|K - 2||Collection, Connection and the Making of Meaning|
introducing children to artwork created by adults one must consider the
age gap between the young audience and the older artist. Accepting that
a child of five or seven has not the breadth of experience, education
or cognitive development of the grown-up, educators must then draw upon
elements in the artwork, with which the child can most readily connect
with. Once the familiar element has been determined, it can be used as a
springboard to experimentation, questioning and understanding beyond
what the child initially brings to the artwork.
Lesson 2 Diagram.pdf
Haida Sockeye Salmon 1981.jpg
Lesson 3 - template.pdf
ni plus, ni moins 1993.jpg
Wesleyville Seabird Hunters Returning Home 1991.jpg
|K - 7||Building Forts and Drawing on Walls: |
Fostering Student-Initiated Creativity Inside and Outside the Elementary Classroom by David Rufo
Over the years my classroom has developed into a site where students
are afforded agency by self-governance. They are co-creators of the
curriculum and make choices in
how they go about their learning and investigations.
2 - 4
Collection, Connection and the Making of Meaning
images upon which these lessons are based have in common the theme of
our relation to nature, fundamental to our physical and spiritual being,
which forms us even as we alter and exploit it for survival, comfort or
gain. Children in Grades 2 to 4 can be inspired by three Canadian
artists to engage their imagination and their environmental
consciousness as they create images that tell the story of their own
place in the natural and built environment using painting, stamping,
mixed media and photography.
Red Rock Lake 1990.jpg
|3 - 7||Discover Indigenous Peoples|
following collection of lessons and activities can be extended,
enriched and integrated into Social Studies, Language Arts as well as
Visual Arts. By studying the art of indigenous British Columbian peoples
in the context of their culture students will gain a greater
appreciation of the great art traditions and how they influence and
describe indigenous culture.
|4 - 7||Ab-strak-shuh n|
View lesson plans from our recent exhibition Ab-strak-shuh n. This series of lesson plans gives you ways to create work while teaching form and color.
|Gallery Team Lesson copy.pdf|
|4 - 8||“Object Lesson”: Using Family Heirlooms to Engage by Maurice Rose|
in Art HistoryAfter having engaged with an object close to their and
their families’ lives, students become sensitive to the connections that
people and communities make with works of art of all different types.
|5 - 7||Collection, Connection and the Making of Meaning|
early on we establish strong attachments to objects. You see it all the
time—children can’t go to bed without their blanket or leave the house
without their favourite teddy bear. This affinity begins to define who
we are and how quickly we develop affections for our personal
belongings. We also develop attachments to those objects owned by
others. Many possessions are passed down from generation to generation;
memories are formed and stories are told associated with those things.
On a larger scale, people feel strong connections based on where they
live. Culturally and geographically our identity is formed by our
memories of growing up; our responsibility to preserve a certain way of
life and our desire to protect our feeling of kinship toward the land.
Object becomes icon.
Betty Goodwin Untitled 1993.jpg
West Coast 2002.jpg
Venice Sinks with Postcards from Marco Polo27 1991.jpg
|7 - 8||Exploring Shop Window Displays by Martha Christopoulou|
a world saturated by visual images, aesthetic experience can be
encountered almost anywhere. It seems that everything that appeals to
the sense of sight can be considered in an artistic and aesthetic realm
and analyzed. The very diff erent sites of everyday culture may
simultaneously offer immense visual pleasure and enable viewers to
construct their own identities and self-concepts by providing them with a
wide range of sources and cultural options (Duncum, 1999). Using visual
resources from everyday life in art lessons, therefore, can enrich
students’ knowledge about the creation of visual images, artifacts, and
sites, and develop their critical understanding about the cultural
impact of these images and their effects on people’s lives.
|5 - 12||Kara Walker: Subtelty as a Big Idea by Laura K. Reeder|
the early summer of 2014, artist Kara Walker was commissioned by
Creative Time, an organization that “commissions, produces, and presents
art that engages history, breaks new ground, challenges the status quo,
and infiltrates the public realm” (Creative Time, 2014, Mission) to
install a temporary 40-foot-tall, 75-foot-long, and 35-foot-wide
sculpture of sugar in the Williamsburg neighborhood of Brooklyn. The
sculpture was surrounded by attendants—boy-shaped figures made of a
molasses and sugar resin. The gigantic white sculpture was produced in
an old sugar factory destined for demolition and provided an iconic
Instructional Resource for exploring important issues of arts education
for years to come. Those issues include: standardization of education,
contemporary concepts of visual art and learning, and persistent racism
and inequity in our schools and the worlds that surround them.
|8 - 10||Collection, Connection and the Making of Meaning|
Hartman’s aerial view painting of Vancouver, 2011 is representational.
From a distance, the viewer knows it is Vancouver. Observed at close
range, we are seduced by the thick paint, the colours and the
brushstrokes. Close-up it is abstract. What else can you find hiding
under the surface?
Blue Quantifier 6.jpg
No Hostage Needed 2005.jpg
Rule of Thirds.JPG