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UNIT TITLE: Silent Communication ENDURING IDEAS: Throughout time and across cultures artists have used photography as a means of communication. Communication for this art lesson means silence and an image. Pictures and body language alike have the ability to express emotions. COURSE: AP with an emphasis in photography ELO (Essential Learning Objectives-‐list provided) http://www.amiria.co.nz/artist/a-‐level-‐photography-‐examples-‐ideas/ http://www.phototherapy-‐centre.com/articles/1988_PhTxc.pdf Create a photographic image that depicts silent communication. Appropriation is allowed ESSENTIAL QUESTIONS (What are students investigating? What will they discover?) What did you discover using appropriation? How does our culture relate to our visual world? How does photography and appropriate relate to visual culture? Does culture affect silent communication? EXEMPLAR ARTISTS: Nikki S. Lee http://thecreatorsproject.com/creators/nikki-‐s-‐lee Does one truly determine their own identity or simply conform to one of the subcultures found within society?
Hip-‐Hop Project #4 from the Yuppie Project
Photo #2, Self Portrait, "The Hip Hop Project" #1, 2001, Chromogenic color print, 21 x 28
The Ohio Project (7), 1999 Heidi Lender http://heidilender.com/
Air Stream Ax Bench Brinks Bench
Danny Lyon http://www.jacksonfineart.com/Danny-‐Lyon-‐907.html# Louis Stettner http://www.jacksonfineart.com/Louis-‐Stettner-‐3303.html
"Migrant Mother" Dorothea Lange 1936 OBJECTIVES (Artists will be able to: 1. 2. 3.)
1. Demonstrate prior knowledge on usage of a camera 2. Acquire proficiency with a camera 3. Develop vocabulary with the camera and associated terms 4. Successfully compose a final piece communicating their captured body language 5. Differentiate meaning between figure and background
MATERIALS:
1. Camera 2. Computer 3. Program that allows cropping & B+W 4. Mixed Media
PROCEDURES (Artists will… explore, play relate, choose, reflect)
1. Artist will begin by quickly writing down different emotions they feel on a day to day basis and words that are associated with these emotions.
2. Provide a brief discussion on silent communication 3. Relate these emotions they wrote down to what they see others portray around
them through silent communication 4. (As a teacher) As challenging questions to the class that relate back to my essential
questions and dig further into the topic of silent communication through personal and visual culture.
5. Have students write three people down they feel exhibit silent communication or feel have portrayed this form of communication towards them and write down what emotion this person normally exhibits.
6. Photograph these three people and their correlating emotions and then pick the best portrayal of this emotion.
7. Use your preferred program to turn the image into black and white and then cropping the photo into three separate section: eyes, mouth, and hands
8. Reflect on your image and then appropriate these three different images to exaggerate your what your subject matter is portraying with silent communication.
9. Use appropriate materials to frame or present the piece ASSESSMENT (What evidence do you have about what the students know and what will they be able to do?)
CULMINATING ACTIVITY (Will it include rubrics/portfolios/journals/performances/artists statements/exhibitions/videos/websites/blogs?)
Create a YouTube video critiquing their own work and discussing how silent communication is portrayed. “In brief, students should understand that criticism is primarily about interpreting the meanings of artworks and evaluating their qualities. Art critics ask key questions such as What do you see? What is the artwork about? What tells you that? Is it good art?” ( Stewart & Walker 42). Using the Judy Weiser text I would have the students include answers from a set of questions I provided:
1. What are you seeing? 2. How do you know what you’re seeing? 3. How was this made conceptually? 4. Where do you think you got the information from in the photo that you based your
answer upon? 5. How do you think you knew that? 6. How did you scan those nonverbal photo-‐inputs for the nonverbal information that
they based your responses on?
UNIT EXEMPLAR (Compelling piece showing your metacognition and technical facility) EVIDENCE OF PRIOR KNOWLEDGE (Unit exhibits a deep understanding of current issues in Art Education to include the ideas of Gude, Eisner, Walker, Pink, TETAC, etc.) With this particular lesson plan I often referred back to the article written by scholar Judy Weiser “See What I Mean?” Photography as Nonverbal Communication in Cross-‐Cultural Psychology. Here I found key points such as: “Document what the camera was pointed at, but it is perceived by, and given meaning by, the person who took the pictures (and those who later view it)—the person who actually chose what was to be included.” (245) “…all photos we take are in some ways self-‐portraits, expressions of the conscious and unconscious self, moments of importance chosen for whatever personal reasons to be frozen in time forever, and if deemed successful, kept and treasured as items of value”(245)
That people “…hold onto that one moment and its associated feelings…” (245) “…trying to freeze a split-‐second slice of time forever, making an instant last an eternity.” (246) “We must never assume that we are fully aware of what we communicate to some else [or, for that matter, to ourselves either]…” (246) “It is my belief that using photographs… will allow better explorations of these nonverbal facets of human life and communication (not just the usually thought of ones like expression, posture, etc., but also, and more importantly the more subtle and culturally revealing ones as well). “(246) “The majority of our messages are based heavily on those nonverbal (and predominately visual) components that we may not be all that conscious of, and these cues are by no means universal across cultures or generations (or even families or individuals).” (248) “In viewing snapshots, therefore, what we are viewing (and taking meaning from) is what those photographers chose as important at that specific moment (if they got what they wanted or expected). “(248) “Our most powerful symbols are out nonverbal ones, for they are essentially the source of our consciousness.” (250) “Literacy is primarily visual, and visual literacy so primary, that photos become the logical solution when seeking a language of communication.” (253) “Photography is a two-‐way interaction, and it must be strongly emphasized that photos do not ‘mean’; rather, they can only suggest, i.e., there are infinitely multiple ways to ‘read’ and interpret any given photograph; there is not any ‘right’ or ‘wrong’ interpretations possible in this process.” (256) I also referred to the Stewart & Walker text Rethinking Curriculum in Art: “…emphasis on the cultural context of visual images—how images are presented and responded to in contemporary life—teachers can assist students in critically analyzing the way in which their ideas, beliefs, and behaviors are shaped through daily encounters with images in popular cultures.” (10) “The Cultural Side of Seeing: Learning to See Socially…. [how] images are constructed, [how] images are socially coded, [how] images create reality, [and how] images commodify the world.” (122)