Thematic Treatments of Cluster One. William Ritchie Trout. Helen Gregory Skeletal Study and Bird Wings. Heidi Oberheide Silence

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1 Thematic Treatments of Cluster One William Ritchie Trout Helen Gregory Skeletal Study and Bird Wings Heidi Oberheide Silence These activities are merely suggestions which are intended to help teachers begin using these resources as a starting point for lesson plans and classroom activities within their own subject areas. These resources provide strong pathways to stimulate your students thinking and problem solving abilities. Apply your own creativity in planning lessons to these suggestions, or examine the collection for other works which lend themselves to themes and connections which are appropriate for your students. The following themes apply to cluster one. William Ritchie, Labrador Mythology Series: Trout Helen Gregory (placeholder image) Heidi Oberheide, Pothead Whales/Point au Gaul Series: Silence 1

2 Life and Death The survival of animals, humans, and culture Cultural connections The death of animals to sustain humans Dichotomies Tensions Perceptions of death and dying Mysteries of both Life Cycles/The Passage of Time History Loss of Culture Change Dichotomies Beginnings and endings Life and death Contemporary and aged Beauty and Ugliness Nature and the Environment Environmental respect Search for understanding Preservation Interactions between Nature and Humans Integrity Co-existence Interdependence Responsibility Bewilderment Survival Loss Cycles Immortality 2

3 William Ritchie Labrador Inuit Mythology Series: Trout 4/ Lithograph, 4/20-46 x 59 cm About William Ritchie About Trout Other Works by William Ritchie Using This Art Work in the Classroom Related Artists Heidi Oberheide, Pothead Whales/Point au Gaul Series: Silence Helen Gregory (placeholder image) 3

4 About William Ritchie Art is a disease you drive yourself mad doing it. Why? I don't know, but there is a great joy in being an artist, though it's a struggle to get the work done, a great struggle. - William Ritchie, 1996 William Ritchie was born in Windsor, Ontario, in After attending several art colleges in Southern Ontario, Ritchie moved to Halifax where he graduated with a bachelor of fine arts from Nova Scotia College of Art and Design in That same year he travelled to Nain, Labrador, to work for Memorial University of Newfoundland's Artist-in-the-Community program. Gilbert Hay, an artist and native resident of Nain, shared his knowledge of Inuit mythology and survival tactics in the Labrador wilderness with Ritchie, in return for Ritchie's instruction in the fine art of silkscreen and lithography. The Labrador Inuit Mythology Series was a collaborative exhibition of Ritchie's and Hay's lithographs illustrating various Inuit legends. Not only a printmaker, Ritchie has also worked in watercolour, acrylic paint, film and digital media. After a six-year residency in Nain, Ritchie returned to Newfoundland to work at St. Michael's Print shop in its original location on the Southern Shore of the Avalon Peninsula. He lived there for several years in an isolated cabin with no running water and with electricity provided only by a small generator. Ritchie's avid interest in the wilderness and natural history gained him employment at the Smithsonian Institute and the Federal Department of Mines and Energy during Landscapes and animals displaying human characteristics are frequent subjects in Ritchie's work. For instance, a fish has human hands transcribed into the pattern of its fins or a fox has a human face partially disguised within its fur. His earlier work tended to be monochromatic, but in recent years his palette has expanded. In addition to the Art Gallery of Newfoundland and Labrador's Permanent Collection, Ritchie's art work is part of private and public collections including the Government of Newfoundland and Labrador, Art Gallery of Hamilton, and The Canada Council Art Bank. In 1997, he opened Caplin Cove Press, a small fine art print shop in the community of St. Michael's, Newfoundland. 4

5 About Trout This is an image of a trout, identifiable by the shape of its head, the colour of its red belly and the speckles on its back. It is an unusual example of a trout in that it has two human faces concealed by its gill. For what reasons would Ritchie give these human characteristics to a trout? Ritchie is demonstrating an understanding that all things in creation are connected. Consider the relationship of a creator with creation. According to Inuit belief, the Creator is part of the plants, animals, and humans. Plants provide food and oxygen for the animals and humans in return, humans and animals provide nutrients for the plants. Interdependence means a logical or natural association between two or more things. How are trout and people related? People depend on food [animals and plants], shelter and water in order to survive. Trout depend on people too. If people polluted brooks, rivers and oceans, then trout or any other animal that feed on trout, would not be able to survive. Ritchie s Labrador Mythology Series: Trout illustrates that all life forms are related and must maintain a healthy balance for the same of universal survival. We all share the responsibility of environmental conservation and preservation. The environment and people are interdependent, which labels us all as environmentalists. 5

6 Other Works by William Ritchie From Under the Ice 1991 Watercolour x 113 cm Ookpik the Believer Lithograph, A. P x 68.7 cm Raven Lithograph, 20/ x 59.2 cm Labrador Inuit Mythology Series: Caribou Lithograph, 10/ x 76.4 cm 6

7 Using This Art Work in the Classroom Visual Art Activity # 1 Representational Artwork Explain the differences between direct and indirect or abstract representations, before introducing the concept of a mythology. Identify examples of artwork which address mythology or mythological creatures and stories. Have the students research their own ancestry in order to discover which mythologies are associated with their past or culture. Based on this research, have the students create an image using landscapes or animals which illustrate their mythologies. Students must also include other elements in their image which represent themselves, either directly in the form of a portrait, or indirectly based on their personality, likes, dislikes, and sense of identity. Chose the medium the students may use to complete the assignment, paint is recommended. This activity will take several classes to complete, depending on its complexity. Ensure that this time frame is manageable. Activity # 2 Synaesthesia Create a numbered playlist of music which addresses mythology or mythological creatures. Set up a table with colourful drawing or painting supplies, such as oil pastels, acrylic, or water colour paint. Include a CD or MP3 player and headphones. Begin the class by examining the relationship between music and art. Visit the Teaching Strategies Library and look for The Sounding Image. Explain the concept of synaesthesia (experiencing one sense in terms of another), and provide examples. Ask the students to tell you which colour they think of when you say different days of the week, the majority will list the same colours. Give each student a number, and in turn, have them listen to the corresponding soundtrack. They will have only the length of the song to create a work in response to the music. When each student has finished, hang the pieces and play a sample of each song. Have the students identify which songs match which drawings/paintings. While each student completes this activity you will need to occupy the rest of the class. Give them something which does not require new instruction or lectures, such as class time to work on previously assigned work. Activity # 3 Mythical Scroll Introduce the concept of scrolls, their history and function. Display images of scrolls from a chosen time period or culture. Using this information, have the students identify their favourite mythical creature, and then create their own scrolls. Choose the medium the students may use to illustrate their chosen mythology; paint, photography, collage, drawing tools, textiles or any combination of these. Have the students complete a preparatory sketch before beginning their image on their scroll. 7

8 Music Activity # 1 Classroom Discussion Read though the About Trout section of this document, and explain the mythology behind the image. As a group, have the students brainstorm for examples of music which represent Newfoundland and Labrador mythologies or culture. From this list, begin a classroom discussion examining these pieces. When and why are they performed? What instruments are most often used? Why is this music significant? How and why did this style of music develop in Newfoundland? Examine how and why different types of music have developed so differently between cultures. Social Studies Activity # 1 Group Work Show the class William Ritchie s lithograph, but do not provide any additional information about the work. Divide the students into groups of four or five, and have each group write their answers to the following. What they see in the image Who the people (faces) in the image may be Where do they think the artist is from Do they think the artist is trying to tell us something (is there a theme) Have each group share their answers with the class. Read though the About Trout section of this document, and explain the context and mythology behind the image. Use the painting as a starting point to examine Inuit culture and mythology. 8

9 Language Arts Activity # 1 Deconstruction As a class, deconstruct William Ritchie s lithograph. Prompt your students by asking simple questions, such as what they see, what makes them say that, where they think the artist is from, what is the artist trying to say, etc. Read the About William Ritchie and About Trout sections of this document but do not reveal its underlying message to your students. Explore examples of Inuit literature and mythological stories. Discuss the common themes and relevance, and then return to the lithograph. As a class, deconstruct the lithograph a second time. Now that the students have background knowledge of Inuit mythology, have their answers and interpretations of the image changed? You may reveal the underlying message of the image this time, but the goal is for the students to discover it for themselves. Environmental Science Activity # 1 - Discussion After reading the About William Ritchie and About Trout sections of this document show your class Ritchie s lithograph. As a class, or divided into smaller groups, ask the students the following: What do they see in the image What do they think is happening Do they think the painter is trying to tell us something (is there a theme) Using this painting as a starting point, you can then examine several different issues, such as fresh water ecology, fish anatomy (the structure of gills, eyes, fins, etc), the concept of interdependence in nature, environmental conservation and preservation, and pollution run off. Choose whichever issue/s are appropriate for your class. 9

10 Cross-Curricular Themes This artwork is accompanied by two others; Skeletal Study with Bird Wings by Helen Gregory, and Pothead Whales/Point au Gaul Series: Silence, by Heidi Oberheide. All three paintings contain a variety of overlapping themes which may be used in a cross-curricular, integrated or interdisciplinary manner. Each of the following may be elaborated upon further. When using these images to support thematic teaching, it is important to familiarize yourself with the techniques of conducting a critical analysis of an art work, and the methods of deconstructing an image. Visit the Techniques Library and look for Guidelines for Viewing Visual Texts. Life and Death Dichotomies Life Cycles Interdependency Nature and the Environment Relationships Interactions between Nature and Humans Survival 10

11 Helen Gregory (Placeholder Image) Skeletal Study with Bird Wings Acrylic on Canvas 61.3 x 230 cm About Helen Gregory About Skeletal Study with Bird Wings Other Works by Helen Gregory Using This Art Work in the Classroom Related Artists Heidi Oberheide, Pothead Whales/Point au Gaul Series: Silence William Ritchie, Labrador Mythology Series: Trout 11

12 About Helen Gregory Much of the imagery that I draw upon in my painting stems from my fascination with the act of collecting, whether that is the result of an afternoon spent beach combing along the shores of Newfoundland, mudlarking on the banks of the river Thames while living in London, or merely saving the ephemera of my life as it unfolds. The majority of what I collect tends to be made up of life s more organic detritus: skulls, bones, little desiccated birds, dead flowers. It is that dichotomy between life and death, growth and decay, and the paradox that something can be both repulsive yet seductive that informs most of my imagery. Helen Gregory, 2006 Helen Gregory s artwork focuses on dichotomies and cycles. The relationships between life and death, beauty and ugliness, and antique and contemporary have fascinated Gregory for years. Gregory was born in St. John s, NL, in In 1993, she completed a Bachelor of Fine Arts degree with distinction at Concordia University, Quebec. That year she was also awarded the first place student bursary in the Loto-Quebec Printmaking Competition a scholarship to study at any print shop in the world. She chose to pursue her work in the mezzotint at Birmingham Print Workshop in England. She returned to St. John s after nearly two and a half years in Houston, Texas, and London, England, which lead to one of her artworks being sold to the Victoria and Albert Museum. Gregory continues creating work based on shapes and objects she culls from local beaches. In 1996, Gregory was named CBC Emerging Artist of the Year at the Newfoundland and Labrador Arts Council Awards. 12

13 About Skeletal Study with Bird Wings (Placeholder Image) Gregory s long slender triptych depicts the full-width of a human skeleton, over imposed with a bird skull on its chest. The two end panels feature feathered wings overlaid with human arm bones. Reflect critically on and evaluate Gregory s use of language in a range of contexts, recognizing the elements of nonverbal messages producing powerful communication. This triptych may remind you of the mythical Arabian bird, the phoenix. When the phoenix was nearing the end of its long life, it set its nest on fire to be consumed by the flames. From the ashes miraculously sprang a new phoenix. Ancient Egyptians associated the phoenix with immortality. Does this painting remind you of the phoenix or another legend? Another likely association with Gregory s painting is the Greek myth of Icarus and his inventive father Daedalus, who constructed two sets of wings for him and his son to escape a labyrinth prison. Icarus, overwhelmed by the thrill of flying, did not heed his father s warnings and flew too closely to the sun which melted the wax on his wings, causing him to crash into the sea. This piece is suggestive on many levels, triggering thoughts of life and death, seductiveness and repulsiveness, as well as growth and decay. It also seems to state that all things must end and possibly transform into some other form of life. 13

14 Other Works by Helen Gregory Desiccate II (Diptych) Acrylic on Canvas x cm Lament II Acrylic on Canvas cm Scarecrow 2003 Acrylic on Canvas x cm Desiccate I (Diptych) Acrylic on Canvas x cm 14

15 Using This Art Work in the Classroom Visual Arts Activity # 1 Using Found Objects/Field Trip Read the sections About Helen Gregory, and About Skeletal Study with Bird Wings in order to familiarize yourself with her work, as well as her underlying reasons for creating it. Show examples of her artwork to the class, with an emphasis on the collected materials and the paradox that something can be both seductive and repulsive at the same time. Either ask the students to collect found materials on their own, or take the class on a field trip to an area such as a beach, where they may collect similar objects (or create artwork while on location). A trip to an area where they can create artwork outside of a classroom setting through drawing, photography, or painting is a worthwhile experience. Have your class create artwork using these objects. This is a good opportunity for your students to become familiar with creating a still life. Assign each student a small space to create an arrangement of their objects. The length and complexity of this assignment may vary. Use whichever materials are appropriate for your class. Place emphasis on creating a dichotomy between life and death, or beauty and ugliness. Activity # 2 Thoughts on Endings Have you seen an object representing death and thought it was beautiful? A forest scene in autumn when the leaves have turned blazing oranges and reds, for example, or a stranger s headstone which made you feel an appreciation for life. Have your students explore these experiences by visually illustrating them using photographic images or mixed media. Using Gregory s paintings as an example, explore the impact of nonverbal messages. Music, Art, and Theatre Cross-curricular Lesson Activity # 1 Group Project Divide the students from a music, theatre, and art class into groups of three. Each group should contain a student from each discipline. The students must work together to create a work of art which links all three, while addressing a dichotomy (if necessary each group could also contain 6 students; two from each discipline).the final piece should include an image based artwork, a musical piece, and a performance piece. 15

16 For example, a group may choose to work with the concept of life and death. One student may create a visual representation, while another finds, and learns to play a related musical piece, and the third learns and recites a monologue; the goal of the project is to emphasize the fact that each discipline is related and closely linked. Another possibility would be to choose or create the performance piece first, to find and play a musical score for the performance, and to create the backdrop to both. The complexity of this project should be adjusted to best suit the classes involved. Social Studies Activity # 1 Antique vs. Contemporary Gregory s art work focuses on collections and dichotomies. Deconstruct the artwork for your students. You may need to familiarize yourself with the techniques of conducting a critical analysis of an art work, and the methods of deconstructing an image. Visit the Techniques Library and look for Guidelines for Viewing Visual Texts. Examine the dichotomies which Gregory is addressing, specifically the relationship between antique and contemporary. This can used as a starting point for an extremely wide range of discussions. Depending on what is appropriate for your class, begin by using examples of contemporary issues and contrasting them with examples from the past. This is a good opportunity to explore some of the following issues; examine their past treatment in comparison to our present values and beliefs. Equality and ethics The expectations placed on men in (our) society vs. the expectations placed on women, how have these shifted? The importance and influence of religion in everyday life Technology in everyday life The definition of freedom Your rights and responsibilities, etc. 16

17 Language Arts Activity # 1 Deconstruction/Discussion As a class, deconstruct Gregory s Skeletal Study with Bird and Wings in order to reveal its underlying message. Ask your students what they think is happening in the image, what part of the painting do they find themselves focusing on and why? What is the theme, and why is it important? Using this painting as an example, discuss visual literacy and the ways in which nonverbal messages can produce powerful communication. Environmental Science Activity # 1 - Discussion This artwork can be used as a starting point for many different topics. Gregory s work has a strong focus on life cycles and the interdependence between humans and nature. Read the sections About Helen Gregory, and About Skeletal Study with Bird Wings in order to familiarize yourself with the work, and after introducing the painting, explain what this interdependence means, and what connections Gregory is creating in her work. Gregory often creates imagery depicting birds. What significance do birds have in relation to humans? What are some reasons you think they continue to appear in her artwork? Cross-Curricular Themes This artwork is accompanied by two others; Labrador Mythology Series: Trout, and Pothead Whales/Point au Gaul Series: Silence, by Heidi Oberheide. All three paintings contain a variety of overlapping themes which may be used in a cross-curricular, integrated or interdisciplinary manner. 17

18 Each of the following may be elaborated upon further. When using these images to support thematic teaching, it is important to familiarize yourself with the techniques of conducting a critical analysis of an art work, and the methods of deconstructing an image. Visit the Techniques Library and look for Guidelines for Viewing Visual Texts. Life and Death Dichotomies Life Cycles Interdependency Nature and the Environment Relationships Interactions between Nature and Humans Survival 18

19 Heidi Oberheide Pothead Whales/Point au Gaul Series: Silence Lithograph 54.1 x 62 cm About Heidi Oberheide About Silence Other Works by Heidi Oberheide Using This Art Work in the Classroom Related Artists William Ritchie, Labrador Mythology Series: Trout Helen Gregory (placeholder image) 19

20 About Heidi Oberheide In the simple mobility of out port life she has found greatness. - Peter Bell, 1978 Heidi Oberheide was born in Germany in 1943 and moved to the United States in Oberheide studied art at Southern Illinois University where she earned a master of fine arts in drawing and printmaking in After teaching briefly at Nova Scotia College of Art and Design in Halifax, she moved to Newfoundland and played a leading role in establishing St. Michael's Print shop on the Avalon Peninsula s Southern Shore. In 1983, Oberheide returned to the United States where she now lives and works on the west coast in Palouse, Washington. Oberheide's art is the result of years of practicing a technique that combines drawing, painting and lithography. The subjects of her work usually involve the interaction of forces between nature, humankind and animals. The seacoast was of special interest to Oberheide and with fellow artist Don Wright she often accompanied whale researchers on their field studies. The work that resulted from these experiences often attests to the sense of bewilderment and loss she felt when confronted with phenomena such as whales caught in fishing gear or mass whale beachings. Among Oberheide's most important work is the Window series, which has been referred to by Kathleen Walker, a reporter for The Citizen in Ottawa in 1978, "...as slices of light and life in an otherwise dark, brooding world." Windows were a significant and constantly evolving element in her work. They first appeared in graphite drawings, positioned alone in the landscape. Then, as Oberheide started experimenting with photolithography, the windows began reflecting the landscape, while also revealing room interiors with furniture and figures. Oberheide's work has been exhibited across Canada in traveling exhibitions such as Gannets and Tidal Pools organized by Memorial University Art Gallery, and is included in various private and public collections such as those of the Art Gallery of Newfoundland and Labrador, The Canada Council Art Bank, the National Gallery of Canada, and Confederation Centre Art Gallery, PEI. 20

21 About Silence Oberheide s Newfoundland work has always come from her involvement with the seacoast environment in which she lived. On July 14, 1979, there was a beaching of over 150 pothead whales at Point au Gaul in Lamaline on Newfoundland s Burin Peninsula. Oberheide was in the crowd that watched while scientists and local fishermen fought vainly to get the whales off the beach and prevent them from returning. 135 whales died. A little over 40% of the dead females were either pregnant or lactating. At the time of the whales beaching, it was foggy. Oberheide s choice of colour for Pothead Whales/Point au Gaul Series: Silence softens the tragic scene. She offers the viewer an opportunity to peer through a veil to the smooth bodies of the whales. The whales are a delicate slate blue as they loom in the foreground. The image contains a kind of subdued anger. The stranding of these pothead whales at Point au Gaul is quite typical of whale strandings. Most occur in sloped, sandy beaches where the whale s sonar is relatively ineffective perhaps indicating that the animal is confused or disoriented. The passiveness of the stranded animals and their determination to re-strand is also characteristic. Some biologists account for this because of the animal s need to stay with its social and family group. The reason for strandings remains a mystery. 21

22 Other Works by Heidi Oberheide Reflections In Window Lithograph - 44 x 32 cm Winter Window Lithograph - 47 x 35.8 cm Untitled # Mixed Media - 56 x 74.9 cm Reflections in the Point Lithograph x 50 cm 22

23 Using This Art Work in the Classroom Visual Arts Activity # 1 Conservation Mural Read the About Silence section of this document before introducing the image to your class. Discuss the piece with your students, explaining its significance and meaning. Separate your students into small groups of 4 or 5 and have them create a mural which addresses issues of conservation and preservation. It is important that students complete preparatory sketches and drawings before deciding on a final image. The size, complexity, and length of this project may vary depending on what is appropriate for your unit. Activity # 2 Field Trip Read the About Heidi Oberheide and About Silence sections of this document and then introduce the Pothead Whales/Point au Gaul Series: Silence to your class. Deconstruct the piece with your students, explaining its significance and meaning. Contact The Rooms and arrange a field trip for your class to tour its galleries, and view the works of art in their collection by Heidi Oberheide as well as other Newfoundland artists. Music Activity # 1 Discussion Read the About Silence section of this document and introduce Oberheide s work to your class. Reveal the underlying message of the image; the plight of whales and conservation, before playing the song Last of the Great Whales by the Irish Descendants. Discuss the song s lyrics, both the bands influence and influences, and the development of this style of music. 23

24 Social Studies Activity # 1 Discussion Read the About Silence section of this document in order to familiarize yourself with the underlying message in Oberheide s work. Introduce the lithograph to your class, and explain its significance. Discuss the whaling industry and its history, the importance of whales in Newfoundland s history, and the current environmental issues and protests surrounding the industry. Language Arts Activity # 1 Times of Trouble Investigate current news coverage on wars and natural disasters such as floods and earthquakes. Newfoundland and Labrador rarely experiences states of emergencies. This does not mean that these events have never occurred. Conduct research on similar events to whale beachings that have happened in your community or another community in NL. Refer to journals, newspapers, and the internet for primary and secondary sources, and interview people who witnessed the events for first-hand accounts. You can use your research to write a song, a poem, or even a play to perform in front of your class or school. Environmental Science Activity # 1 Research Project Read the About Silence section of this document before introducing the image to your class. Discuss the piece with your students, explaining its 24

25 significance and meaning. After your initial interpretation, elaborate on the concepts and issues Oberheide is addressing. Explain the reason why whales are in danger, and have your class research the current conservation projects or organizations in place to help save them. Activity # 2 Discussion Read the About Silence section of this document in order to familiarize yourself with the underlying message in Oberheide s work. Introduce the lithograph to your class, and discuss its significance. Elaborate on the issues she is addressing. Discuss why whales are in danger, why they are caught in fishing gear, what a whale beaching is, the possible reasons whale beachings or mass beachings occur, and how often has this happened on the shores of Newfoundland? Activity # 3 Field Trip/Guest Speaker Contact the Ocean Sciences Centre, The Rooms (Museum) or The Marine Institute and arrange a tour, or if possible, invite a guest speaker to come and discuss the issues of whale extinction with your students. The websites and contact information are available in the Support Library section of this document. Prior to a tour or guest speaker, it is important to complete Activity # 2 with your class. Providing your students with knowledge they can build on will greatly improve the significance and impact of the tour or guest. It is also a good idea to have students prepare questions for your speaker or tour guide on any significant issues they wish to address. 25

26 Cross-Curricular Themes This artwork is accompanied by two others; Labrador Mythology Series: Trout, and Skeletal Study with Bird Wings, by Helen Gregory. All three paintings contain a variety of overlapping themes which may be used in a cross-curricular, integrated or interdisciplinary manner. Each of the following may be elaborated upon further. When using these images to support thematic teaching, it is important to familiarize yourself with the techniques of conducting a critical analysis of an art work, and the methods of deconstructing an image. Visit the Techniques Library and look for Guidelines for Viewing Visual Texts. Life and Death Dichotomies Life Cycles Interdependency Nature and the Environment Relationships Interactions between Nature and Humans Survival 26

27 Techniques Library Guidelines for Viewing Visual Texts Adapted from: Guidelines+for+Viewing+Visual+Texts&hl=en&ct=clnk&cd=23&gl=ca As students view visual messages, they need to use a range of viewing skills and strategies to make sense of the visual images, and accompanying oral and print language. Connect meanings in the messages to their prior knowledge and experiences Consider the pragmatic issues associated with the images including: What is the message? Who is the message for? What is the purpose of the message? What have I learned about the topic, about myself, and about others? Whose point of view is presented? They need to make sense of it and respond personally, critically, and creatively. The International Reading Association/National Council of Teachers of English agree that, "Being literate in contemporary society means being active, critical, and creative users not only of print and spoken language but also of the visual language of film and television, commercial and political advertising, photography, and more" 27

28 Viewing skills and strategies: Guidelines 1. Provide many opportunities for students to view daily. Help students recognize the different forms visual texts can take including: Visual advertisements (print) book covers bulletin boards brochures cartoons (print) computer graphics diagrams dioramas drawings illustrations maps mime presentations models paintings photographs post cards and posters tableaux Audiovisual/Multimedia animation CD-ROMs dance creations dramas films Internet sites multimedia presentations newscasts on-line magazines oral reports puppet plays reader's theatres skits sound pieces television videos Activities to Strengthen Viewing Abilities 28

29 Picture Book Studies: Select various picture books or illustrations for viewing. Through guided discussion, talk about the author or illustrator's style, art work, and other interesting details. Students can learn to enjoy and appreciate well-crafted visual text and the language that accompanies it. Have students read and view other books written or illustrated by the same authors and illustrators. Gallery Walks: Gallery walks allow students to view others' work, particularly displays, illustrations, photos, or multimedia representations, and to process the content in preparation for discussion and reflection. The teacher or students construct displays or representations about various aspects of a topic. Usually a student acts as the curator at each display site and responds to any questions about the display. Students are paired and directed to visit the displays, to observe each carefully, to discuss each with a partner, and to record the important points of their observations and discussion. The pairs then review their notes and determine what they think are the most important observations. Each student shares his or her individual list with someone other than the original partner and negotiates with a new partner to create a common list. This, in turn, can be followed by another pairing and negotiation. The teacher can ask for written summaries, whole class consensus, or class discussion as a follow-up to the gallery walk activity. Drama and Puppet Plays: Whether formally structured and presented by a professional troupe or informally staged by peers, drama and puppetry are powerful vehicles for developing students' critical viewing skills. Students can learn to analyze and appreciate the situations and plots, the dialogue and characters, and the elements that go into a performing art. Viewing live theatre and puppetry can be a wonderful means of encouraging oral communication, writing, and critical listening and viewing. Videos, Films, Television, CD-ROMs, and the Internet: Using the contemporary media that reflect a wide variety of cultures and experiences offers teachers a chance to help students analyze the visual texts that students experience outside the classroom. These media can be used to extend students' vocabulary and experiences and to help students develop lifelong critical thinking and viewing skills. Viewing Center: Provide a variety of forms and genres (including magazines, CD-ROMs, videotapes) in a viewing center. Texts that are appropriate for display in viewing centers or for use in classroom viewing activities are listed below. 29

30 2. Give students guidance and explicit instruction to develop active and critical viewing skills and strategies. Discuss and model viewing strategies Help students consider the visual messages and think critically about the messages being conveyed. Students also need support in recognizing the elements, techniques, and conventions of visual texts, including the following: Visual Audio Technical Arrangement Color Facial expression Gestures Line Point of view Size Shape Dialogue High vs low Loud vs soft Music Silence Single vs multiple sounds Sound effects Voice overs Angle of shots Camera work Editing Lighting Motion Props Special effects Titling Types of shots Activities that support critical viewing View, Pause, Predict, and Think Aloud: Teachers use the pause function in a video, for example, in order to model making predictions and reflecting upon, talking about, comparing, and critically evaluating key points in the visual texts. In an informational video, it is helpful to stop periodically for students to make notes and consider the visual information presented. 30

31 Viewing Guides: Prepare a viewing guide for students to use as they view a film, video, or multimedia presentation. Discuss the important before, during, and after viewing behaviours. Sample Viewer's Guide for Informational Films, Videos, Presentations, and Other Visual Works Before Viewing: What do you already know about the topic? What do you want to learn from viewing this work/presentation? During Viewing: As you view this work/presentation, write below three interesting and new ideas or visual elements that you observe. After Viewing: What was the most interesting idea or visual element? Why? What made the visual work/presentation effective? 31

32 Sample Viewer's Guide for Narrative Films, Videos, Presentations, and Other Visual Works Before Viewing What do you think this work/presentation is about? As you view the work/presentation, consider During Viewing As you view this work/presentation, write below the visual elements that you notice that help you answer the following questions. (1) When did the story happen? Or, when was the work created? (2) Where did it take place? Or, where was it made? (3) Who was the main character(s)? Or, what individuals are involved and how? (4) What was the problem or goal? Or, what do you think inspired this work? (5) How was the problem solved or the goal reached? Or, what problems did the creator overcome and how? After Viewing What was your favourite visual? Why? What did you like about this work/ presentation? What did you learn? Would you recommend this work/presentation to others? Why? How would you rate this work/presentation? (Describe your criteria/reasons.) 32

33 Questioning strategies: the storyline. (E.g., Was the storyline interesting? Convincing?) the acting. (E.g., Was the acting natural? Convincing?) the message. (E.g., What was the message? Who was it for? Whose point of view is presented? Whose is not?) the effects. (E.g., What techniques did the artist use to achieve the desired effect?) Directed Viewing-Thinking Activity: In a directed viewing-thinking activity, the teacher guides students through a visual work or presentation. The focus is on making observations and predictions, formulating questions, and confirming or rejecting them before during, and after viewing. A teacher might use the following steps: Step 1: Activate the background knowledge by looking at the title and any visual cues available in a survey of the work. Step 2: Make predictions about the content of the work and support predictions with reasons. Set a purpose for viewing. Step 3: Have students view the work, keeping their predictions and purpose in mind. Step 4: Have students confirm or reject predictions by finding proof or supporting information in the work. Step 5: Have students continue to view the work with different purposes or foci for viewing, and finding evidence in the visual text for their ideas and conclusions. Questions students should ask themselves: What individuals are most often represented in the media and what individuals (e.g., gender, culture, age) are absent? From whose perspective is the story or image shown? Who owns or supports this medium (e.g., television, newspaper, Internet) and what impact does such ownership have on visual content? 33

34 For whom is this message intended? Who wants to reach this audience and why? What visual elements are used to get my attention? How do my values and life experiences coincide with the visual messages to produce meaning for me? Creative Strategies to Teach Art Criticism Available Online At: 34

35 Teaching Strategies Library The Sounding Image About the Relationship between Art and Music an Art-Historical Retrospective View Written By: Barbara John Available Online At: 35

36 Support Library Visit The Rooms Online At: Contact Information: The Rooms 9 Bonaventure Avenue P.O. Box 1800, Station C St. John s, NL, Canada A1C 5P9 Telephone: (709) Fax: (709) information@therooms.ca The Rooms Provincial Museum Division The Rooms Corporation of Newfoundland and Labrador 9 Bonaventure Avenue P.O. Box 1800, Station C St. John's, NL, Canada A1C 5P9 Telephone: (709) Fax: (709) The Rooms Provincial Art Gallery Division The Rooms Corporation of Newfoundland and Labrador 9 Bonaventure Avenue P.O. Box 1800, Station C St. John's, NL, Canada A1C 5P9 Telephone: (709) Fax: (709) The Rooms Provincial Archives Division The Rooms Corporation of Newfoundland and Labrador 9 Bonaventure Avenue P.O. Box 1800, Station C St. John's, NL, Canada A1C 5P9 Telephone: (709) Fax: (709)

37 Visit The Marine Institute Of Memorial University of Newfoundland Online At: Tour Request Form: Contact Information: The Marine Institute of Memorial University of Newfoundland P.O St. John s, NL, Canada A1C 5R3 Telephone:

38 Visit The Ocean Sciences Centre Online At: Contact Information: Ocean Sciences Centre Memorial University of Newfoundland, St. John's, NF, Canada A1C 5S7 General Inquiries: Winnie Sparkes Ph: (709) Fax: (709) Public Education Programme: Danielle Nichols Ph: (709)

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