Artist Study Lesson Plan Submitted by Tam Miller December 4, 2007
Artist Study Lesson Plan Artist: Emily Carr, 1871-1945 Information on Artist: Emily Carr was an extraordinary Canadian female artist who was heavily influences by male role models such as her father and the Group of Seven; art movements in Canada, United States, England, and France; Post Impressionism; feminism; politics; First Nations cultures on the west coast of Canada; nature; trees; children; and animals. As each period of her life passed, complex components based on these influences incorporated themselves into her personal and artistic expressions. Emily Carr was born on December 13, 1871 in Victoria, British Columbia, Canada. She was the second child of nine children of Richard and Emily (Saunders) Carr. She showed an interest in the arts as a child so her father provided her drawing and painting classes. She later went on to attend art schools in San Francisco (18 years of age), London (28 years of age) and France (39 years of age). Components of each period of her life are reflected in the style and design of her art. At 27 years of age, Emily made her first trip to coastal First Nations villages. The village of Ucluelet started her life long interest in First Nations people, their culture and their art. In 1899, Emily traveled to London, England to attend the Westminister School of Art. She spent five years studying and 2
working to the point of exhaustion. In 1902, during her last 15 months in England, her health had deteriorated and she was forces to rest at Sunhill Sanatorium. She was unable to paint during this period; which lead to the completion of a sketchbook. The sketchbook is the base of her published book, Pause: A Sketch Book. In 1905, Emily returned to British Columbia and accepted a position creating political cartoons and the occasional verse for The Week, a weekly newspaper in Victoria. In 1906, Emily was offered a teaching position with the Ladies Art Club in Vancouver. This position was short lived and she returned to teaching art classes for children. In 1907, Emily took a cruise to Alaska to visit her sister, Alice. She had an opportunity to stop at a number of First Nations villages, which had a profound affect on her. She felt that the art had strong talk and upon her return she committed herself to preserving First Nations villages on paper and canvas before they disappeared. In 1910, Emily traveled to France to attend the Academie Colaroossi art school and find out what New Art was all about. At the time there was a huge movement towards Post Impressionism and Fauve schools. In 1912, Emily returned to Vancouver and exhibited her french pieces. She also used her new experience and education to capture life within First Nations villages. Since this new style was not 3
easily accepted by Vancouver, Emily had to think of other economic means of supporting herself. Emily built Hill House (House of All Sorts as it later became known) on her father s property. For the next twenty-two years, until 1935, she financially supported herself as a landlord; raising hens, rabbits, and English bob-tail sheep dogs; growing vegetables; hooking rugs; and making pottery. In 1920, Emily started her sketching trips in rural BC. In 1927, she received an invitation to exhibit at the National Gallery in Ottawa in the Exhibition of Canadian West Coast Indian Art. She was introduced to members of the Group of Seven, who had a profound influence on her art, particularly Lawren Harris. It was also during this period that Emily started to write short stories. In 1927, Emily started keeping journals. She would use writing to aid her painting process to work on ideas, themes or events that she wanted to recreate in paint. She created word portraits to accompany her painted portraits. In 1929, Emily changed her subject matter from First Nations villages to trees. In 1933, Emily purchased an old caravan and started to spend weeks at a time in the BC forests with her pets. It is during this period that she worked on capturing feeling evoked within nature and trees in particular. This became a very spiritual period for her. In 1934, Emily enrolled in a short-story writing class at Victoria College, which later assisted her as she was forced to change her 4
focus on painting to writing due to a heart attack in 1937. From 1937 to 1945, as a result of a number of heart attacks and strokes, Emily was bedridden. During this period, Emily wrote a number of short stories, Klee Wyck (won Governor General s award in 1942), The Book of Small, The House of All Sorts and her autobiography, Growing Pains, to be published after her death. Other books published after her death included Pause: A Sketchbook, The Heart of a Peacock, and Hundreds and Thousands. Emily Carr passed away on March 2, 1945 at 73 years of age. Michael Breuer and Kerry Mason Dodd. Sunlight in the Shadows: Landscape of Emily Carr. Oxford University Press. 1984. Lesson 1: Timeline and Response Approach to Studying Art: Artistic Heritage/Expression Art in Society/Expression Personal Development/Expression Component: Creative/Productive Critical/Responsive Cultural/Historical 5
Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) 3. Initiate and develop ideas for art-making, transpose these ideas into art forms using a variety of media, and reflect upon their processes and their completed works within the contexts of visual art. (Focus: Creative/Productive Component) A. Getting Started: Ideas B. Developing Ideas into Visual Art Works C. Personal Reflection Upon the Process and Product Common Essential Learnings: Communication Numeracy Critical and Creative Thinking Technological Literacy Personal and Social Values and Skills Independent Learning 6
Set: Introduce a brief background of Emily Carr. Some information can be taken from Information on Artist above. Just enough to wet their appetite based on your previous knowledge of the student s interests and learning styles. Some specific points of interest are: Male influences of father and Group of Seven. Feminist movement and theories around Emily Carr due to choices to remain single and without children. Environmental issues and gender metaphors in reference to trees as female and tree cutters as male. Fifteen months in sanatorium in England. Observation and admiration for First Nation communities in west coastal communities. Development: 1. Have students research the life of Emily Carr from birth to death and timeline the significant components and influences on her personal, social and artistic choices. Recommend that students look at political, social, technological, and artistic movements of the time. Artistic Heritage/Expression (N, TL, PSVS, IL) 2. In groups of four, have students compare and contrast their significant components on their timelines and defend why the components are significant. Art in Society/Expression (C, PSVS) 7
3. Have students individually select one component or influencing factor that they find interesting and make a visual response to it. Personal Development/Expression (CCT) 4. Present their response and identify what component/influencing factor they are responding to. (C) Closure: Our next focus will be around the challenges of female artists within a male dominated art world from 1895 to 1945. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected, organization of timeline, participation in group work, and evaluation of response piece Rating Scale for Evaluating Creative Processes Student reflection in presentation of timeline and response piece Portfolio Materials: Book resource room and computer lab to allow for students to start their research and timeline projects. Have students select from a list of media that they wish to work with (based on art supplies through the school): Clay Acrylic 8
Watercolour Oil Other Resources: Copies of books by Emily Carr: Klee Wyck The Book of Small, The House of All Sorts Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard Lesson 2: Female Artists from 1895 to 1945 Approach to Studying Art: Artistic Heritage/Expression Component: Critical/Responsive Cultural/Historical 9
Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) Common Essential Learnings: Communication Critical and Creative Thinking Personal and Social Values and Skills Independent Learning Set: Emily Carr was considered a feminist based on her choice in lifestyle, artistic interests and personal comments. Discuss some of Emily Carr s personal comments found in her sketchbooks and journals. Provide a photo of Emily Carr in her studio. Development: 1. Divide the class into five groups: 1895 to 1905 1906 to 1915 10
1916 to 1925 1926 to 1935 1936 to 1945 2. Have students focus their research on female artists from 1895 to 1945 according to the time period they have been assigned to. Identify the challenges that the artists may have had and how the challenges influenced how they presented themselves personally, professional and artistically. Artistic Heritage/Expression (C, PSVS, IL) 3. Discuss and record the findings in small groups. (C, CCT) 4. Present the findings to the whole group and discuss how these various artists and their challenges may have influenced Emily Carr. (C, CCT) Closure: Next class we will be looking at Post Impressionism and Vancouver society during the beginning of the 20 th century. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected, participation in group work, and presentation of findings. Group record of findings Portfolio 11
Materials: Book resource room and computer lab to allow for students to start their research. Resources: Copies of books by Emily Carr: Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum Lesson 3: Introduction of Post-Impressionist Style in Vancouver Approach to Studying Art: Personal Development/Response Art in Society/Response Component: Critical/Responsive Cultural/Historical 12
Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) Common Essential Learnings: Communication Critical and Creative Thinking Personal and Social Values and Skills Independent Learning Set: In 1912, Emily Carr returned to Vancouver and exhibited her french pieces in a Post-Impressionist style. Vancouver society did not accept these pieces. Give a brief outline of Post Impressionism and why Emily Carr would be interested in it. 13
Development: 1. Have students research why Vancouver society did not accept her first exhibition of french pieces in 1912. Ask what criteria did society have during the turn of the century to accept or reject art? Art in Society/Expression (C, PSVS, IL) 2. Discuss as a class: Why these pieces were not accepted at first? When did Emily Carr s art become accepted by Vancouver society? Why? Art in Society/Expression (C, CCT, PSVS) 3. Have students write a critical review of one of Emily Carr s pieces from 1912 to 1925 using the Falhman s process of critical evaluation. Personal Development/Response (C,CCT) 4. Submit their critical review. (C) Closure: Next class we will be looking at a tool for creative process and development. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected, organization of timeline, participation in group work, and critical review Rating Scale for Evaluating Creative Processes Student reflection during discussion and in critical review. 14
Portfolio Materials: Book resource room and computer lab to allow for students to start their research and critical reviews. Resources: Copies of books by Emily Carr: Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum Lesson 4: Journaling as a Component of the Creative Process Approach to Studying Art: Artistic Heritage/Expression Personal Development/Expression 15
Component: Creative/Productive Critical/Responsive Objectives: Foundational Objectives: 1. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) 2. Initiate and develop ideas for art-making, transpose these ideas into art forms using a variety of media, and reflect upon their processes and their completed works within the contexts of visual art. (Focus: Creative/Productive Component) A. Getting Started: Ideas B. Developing Ideas into Visual Art Works C. Personal Reflection Upon the Process and Product Common Essential Learnings: Communication Critical and Creative Thinking Personal and Social Values and Skills Independent Learning Set: In 1927, Emily Carr started keeping journals and using her writing to aid her painting process. She would illustrate specific ideas, themes and/or events in writing before working them into a painting. 16
Development: 1. Have students mimic this process by writing out an idea of their own. This process is similar to an artist s statement of intent. Personal Development/Expression (C, CCT, PSVS) 2. Translate the idea into a 2-D artistic form. Personal Development/Expression (IL) 3. Review the written idea with the teacher. (C, CCT, PSVS) 4. Present their art piece to the class. (C) Closure: Our next focus will be around looking at Emily Carr s passion for trees. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity written idea and art piece Rating Scale for Evaluating Creative Processes Rating Scale for Evaluating a Product in Visual Art Portfolio Materials: Have students select from list the media they wish to work with (based on art supplies through the school): Acrylic Watercolour 17
Oil Pastel Resources: Copies of books by Emily Carr: Klee Wyck The Book of Small, The House of All Sorts Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum Lesson 5: A Passion for Trees: An Exploration of Subject and Media Approach to Studying Art: Personal Development/Expression Personal Development/Response Component: Creative/Productive 18
Objectives: Foundational Objectives: 1. Initiate and develop ideas for art-making, transpose these ideas into art forms using a variety of media, and reflect upon their processes and their completed works within the contexts of visual art. (Focus: Creative/Productive Component) A. Getting Started: Ideas B. Developing Ideas into Visual Art Works C. Personal Reflection Upon the Process and Product Common Essential Learnings: Communication Critical and Creative Thinking Technological Literacy Personal and Social Values and Skills Independent Learning Set: In 1929, Emily Carr transferred her focus from the subject of First Nations people and culture to trees, which later became a very popular period of her life. Development: 1. Have your students take a look at different examples of tree species and use their fingertips to explore design elements such as line, texture, shape and form. Personal Development/Expression (IL) 19
2. Use water colours, watered down oils, acrylic or pastels to translate what was felt with the fingertips into a 2-D representation. Personal Development/Expression (IL) 3. Record the exploration process and identify how different media, colours and tones affected the final piece. Personal Development/Response (CCT) 4. Have students assess if they felt successful or not in manipulating the design elements through different media. Give a verbal assessment during the presentation of the findings and art pieces. Personal Development/Response (C, CCT) Closure: Our next focus will be looking at critical reviews of Emily Carr s work. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity record of exploration and final piece(s) Rating Scale for Evaluating Creative Processes Student Self-Evaluation form Portfolio Materials: Have students select from list the media they wish to work with (based on art supplies through the school): Acrylic Watercolour 20
Oil Pastels Resources: Copies of books by Emily Carr: Klee Wyck The Book of Small, The House of All Sorts Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum Lesson 6: Critical Reviews of the Theme Feelings Approach to Studying Art: Artistic Heritage/Response Personal Development/Response 21
Component: Critical/Responsive Cultural/Historical Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) Common Essential Learnings: Communication Numeracy Critical and Creative Thinking Technological Literacy Personal and Social Values and Skills Independent Learning Set: In 1933, Emily Carr would spend weeks at a time sketching in the forest. She considered this a spiritual existence while she tried to capture the feelings evoked by nature and trees in particular. 22
Development: 1. Find two critical reviews on pieces produced during this time period. Did the critics pick up on the theme of feelings? What was their response? Artistic Heritage/Response (C, PSVS, CCT) 2. Identify if you agree or disagree with the critic? Why? Personal Development/Response (C, CCT) Closure: Our next focus will be on creating your own critical review Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected and presented in response to critical reviews. Rating Scale for Evaluating Creative Processes Student reflection critical reviews Portfolio Materials: Book resource room and computer lab to allow for students to start their research. Resources: Copies of books by Emily Carr: Klee Wyck The Book of Small, The House of All Sorts 23
Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum Lesson 7: Your Own Critical Review Approach to Studying Art: Artistic Heritage/Expression Personal Development/Response Art in Society/Response Component: Critical/Responsive Cultural/Historical Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate 24
contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) Common Essential Learnings: Communication Critical and Creative Thinking Personal and Social Values and Skills Independent Learning Set: Take a look at Old and New Forest (1931-1932), Scorned as Timber, Beloved of the Sky (1935), Winter Moonlight (1905-1910), and Landscape with Tree (1912). Development: 1. Ask students to use the MacKenzie s Method to provide a critical review of two of the four pieces. Be sure that students look at context. Personal Development/Response (C, CCT, IL) 2. In small groups, compare and contrast your review. What do the reviews say about Emily Carr s art? What do the reviews say about the student s skills as an art critic? Art in Society/Response (C, CCT) 25
Closure: Our final focus will be around the artist as influence. Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected, participation in group work, and evaluation of critical reviews Rating Scale for Evaluating Creative Processes Student reflection in critical review Portfolio Materials: Book resource room and computer lab to allow for students to start their research. Resources: Copies of books by Emily Carr: Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum 26
Lesson 8: Emily Carr s Influence on You and Another Canadian Artist Approach to Studying Art: Artistic Heritage/Expression Personal Development/Expression Component: Creative/Productive Critical/Responsive Cultural/Historical Objectives: Foundational Objectives: 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) 3. Initiate and develop ideas for art-making, transpose these ideas into art forms using a variety of media, and reflect upon their processes and their completed works within the contexts of visual art. (Focus: Creative/Productive Component) A. Getting Started: Ideas 27
B. Developing Ideas into Visual Art Works C. Personal Reflection Upon the Process and Product Common Essential Learnings: Communication Critical and Creative Thinking Personal and Social Values and Skills Independent Learning Set: Emily Carr s subjects of First Nations people/culture and trees have become very popular over time. Development: 1. Find one Canadian artist who was influence by Emily Carr s style, themes or subjects. Art in Society/Expression (IL, PSVS) 2. Report on how Emily Carr s influence is visually reflected in the selected artist s work. (C, CCT) 3. Create a personal artistic response to Emily Carr s style, themes or subjects. Personal Development/Expression (IL) 4. Present the final piece to the class. (C) Closure: Debrief as a class on what has been learned about Emily Carr and own responses to artist study lessons. 28
Assessment: Teacher reflection: Anecdotal notes based on learning objectives that have been met, including observations of quality and quantity of information collected, organization of timeline, participation in group work, and evaluation of response piece Rating Scale for Evaluating Creative Processes Student reflection debriefing Student Self-Evaluation form Portfolio Materials: Book resource room and computer lab to allow for students to start their research. Have students select from list the media they wish to work with (based on art supplies through the school): Clay Acrylic Watercolour Oil Other Resources: Copies of books by Emily Carr: Growing Pains Pause: A Sketchbook, The Heart of a Peacock Hundreds and Thousands 29
Other books: Sunlight in the Shadows: The Landscape of Emily Carr by Michael Breuer and Kerry Mason Dodd The Life of Emily Carr by Paula Blanchard SK Learning Curriculum Guide Evergreen Curriculum 30
Appendix Appendix A Three Components of Arts Education All Saskatchewan Arts Education Courses, including specialized courses, must incorporate the three components of the Arts Education program. These components are the creative/productive component, the cultural/historical component and the critical/responsive component. Courses are structured, through the inclusion of the three components, to achieve a balance in focus. The three components are not to be segregated but are intended to be interwoven throughout the program. The explanations below are specific to visual art. The Creative/Productive Component This component includes the exploration, development and expression of ideas using visual art materials, forms and styles. In order for a project to be creative, the student must be actively engaged in a thinking process. The student will learn where ideas come from and how ideas can be developed and transformed through visual art experiences. Reflection is an essential part of the creative process and allows the students to evaluate their own growth in their creative endeavors. The Cultural/Historical Component This component deals with the role of visual art in culture, the development of visual art throughout history, and the factors that influence visual art and artists. This component includes the historical development of visual art but also focuses on visual art in contemporary cultures. Students will explore popular culture and be provided with opportunities for various cross-cultural studies. The intention of this 31
component is to develop students' understanding that visual art is an integral aspect of living for all people. The Critical/Responsive Component This component aims to develop students' ability to respond critically to visual art works. Students will become willing participants in the interactive process between the art works and themselves, rather than passive consumers of art works. The curriculum provides the teacher with a suggested method for guiding discussion when presenting students with art works. The method is intended to move students beyond snap judgement to informed personal interpretation. http://www.sasked.gov.sk.ca/docs/artsed/visart102030/vaedpr.html 32
Appendix B Foundational Objectives 1. Analyze forms of art from a variety of cultures and societies, historical and contemporary; interpret meanings within appropriate contexts; and relate their understanding to their own expressions and life experiences. (Focus: Cultural/Historical Component) Learning Objectives: Investigate the role and functions of visual art. Recognize how visual art can teach us about ourselves, other individuals and the society in which it is created. Investigate the contributions of Saskatchewan, Canadian and international artists to the field of visual arts. Understand how historical, social and environmental factors and issues influence visual art and artists. Research to understand the traditional and contemporary visual art of various cultures, past and present, including Aboriginal cultures. Understand how visual art can transmit or challenge cultural values, ideas and beliefs. Develop an understanding of the issues and concerns of visual arts and explore controversies related to the arts. Use knowledge of theories of art in attempting to understand and evaluate art works. Become aware of the various art institutions and their purposes, traditions and responsibilities to artists and communities. 33
Recognize that contemporary artists, designers, craftspeople and their work are often difficult to classify. Explore artists processes, business practices, work habits, etc. Examine relationships between patrons and artists, and clients and designers, and the influences they may have upon each other. Analyze and evaluate the meaning and influence of visual art, including mass media and popular culture, in their daily lives. Investigate how artists and art forms can affect the visual environment. Explore and understand the influence of technology on visual art. Understand how the mass media and special interest groups use visual images to communicate messages. Explore some of the many career avenues and future learning opportunities in visual art. Analyze how trends in fashion, décor, architecture, etc. relate to social, political and environmental contexts. 2. Use analytical and critical thought to respond to art works and infer meanings based on the many contexts of visual art and global issues. (Focus: Critical/Responsive Component) Understand that visual art is a form of communication and critically examine non-verbal communication in art works of all kinds. Perceive, describe, analyze and interpret art works and make informed judgements using appropriate vocabulary 34
Judge the success or quality of art works based on research and analysis Demonstrate the ability to use the process described in "Viewing Art Works" in this document, and actively participate when viewing and discussing visual art and related issues Analyze to understand how the creative process, the elements of art, principles of design and technical ability work together to communicate artists' intentions Examine various styles of art, both historical and contemporary, in a variety of art forms Demonstrate an open-minded approach to diversity of ideas and artistic styles and respect informed opinions that differ from their own Demonstrate the ability to write critically about visual art, basing ideas on evidence found in the works and the cultural contexts of the works Demonstrate the ability to research independently in order to increase their understanding of visual art and to further knowledge on a variety of themes Think critically about visual art works by reading published criticisms and artists' statements, and using these to help them with interpretation Investigate how artists', art historians' and critics' views about art change over time and will continue to change Determine how unlike art forms and styles require different criteria for interpretation and evaluation Investigate how artists use metaphor, symbol, juxtaposition and other means to convey meaning 35
Recognize that artists make choices in their work which reflect themes and points of view that are both personal and social Work effectively in a group 3. Initiate and develop ideas for art-making, transpose these ideas into art forms using a variety of media, and reflect upon their processes and their completed works within the contexts of visual art. (Focus: Creative/Productive Component) A. Getting Started: Ideas B. Developing Ideas into Visual Art Works C. Personal Reflection Upon the Process and Product Examine art works for connections to their own lives and for broader meanings that the works may imply Apply knowledge from a variety of sources to the development of ideas for art works Understand ways artists acquire and transform ideas into visual form and use this understanding to generate ideas for their own personal expression Use a journal to record ideas and information for future reference Understand that artists are constantly experimenting with ideas and materials, and appreciate original thought as well as product Be aware that being an artist involves knowledge, attitude and imagination in addition to technical skill Use preliminary analysis, personal notation and drawing when developing ideas, solving problems or clarifying meanings 36
Formulate hypotheses for creative investigation and independent study Modify previously learned techniques to generate new ideas Use the creative process purposefully in the development of art works Challenge themselves to solve problems, make choices, take risks and try a variety of ways of working Work for a variety of purposes (to create, to clarify thinking, etc.) Determine and explore a variety of media, technology, materials and techniques to solve specific visual art problems Understand that media and techniques in themselves may be the content of art works and may convey meaning Develop skills and technical competency for using art tools, technology, forms and methods in their visual art expressions Investigate a variety of new and non-traditional art forms and be receptive to interpretations other than their own Use the elements of art and the principles of design purposefully in works of art Collect a portfolio that shows evidence of variety and development Understand health and safety hazards and procedures in visual art and practise safe work habits Show imagination, interest and initiative in class activities and learn from mistakes as well as successes Select appropriate storage and presentation for art works Consider the permanency and the fugitive quality of art materials when creating art works 37
Develop skills in drawing that assist in the organization and communication of ideas in their work Reflect on and analyze the intentions, development and interpretations of their own and their peers' art works in relation to broader regional, national or international contexts Analyze composition, thinking, direction, etc. critically by deleting, adding, substituting or rearranging ideas Reflect on their own decision-making and problem-solving processes, the ideas represented in their work, and the value of their expressions as their own unique viewpoint Interpret and understand that figures, objects, etc. can imply a multiplicity of meanings Make choices in their own development based on knowledge and information Present and discuss their own works in a professional manner http://www.sasked.gov.sk.ca/docs/artsed/visart102030/vacrrq.html# e10e 23 38
Appendix C Common Essential Learnings Understanding the Common Essential Learnings, A Handbook for Teachers (1988) defines the Common Essential Learnings and expands on a basic understanding. Teachers should refer to this handbook for more complete information on the Common Essential Learnings. Visual Art 10, 20 and 30 offer many opportunities for incorporating the Common Essential Learnings into instruction. The purpose of this incorporation is to help students better understand visual art and to prepare them for future learning, both within and outside of the classroom. The decision to focus on a particular Common Essential Learning within a lesson is guided by the needs and abilities of individual students and by the particular demands of visual art. Throughout a unit, it is intended that each Common Essential Learning be developed to the extent possible. It is important to incorporate the Common Essential Learnings in an authentic manner. They are intended to be developed and evaluated within the visual art program. Throughout Visual Art 10, 20 and 30 the three components (creative/productive, cultural/historical and critical/responsive) reflect an emphasis on the development of the Common Essential Learnings through their content and processes. Therefore, the inherent structure of the curriculum promotes the integration of Common Essential Learnings into instruction. Foundational objectives for the Common Essential Learnings are included in each module overview chart. More specific learning objectives are incorporated throughout the model module. 39
Incorporating the Common Essential Learnings into instruction has implications for the assessment of student learning. A unit that has focused on developing Communication and Critical and Creative Thinking, for example, should also reflect this focus during assessment. Assessment strategies should allow students to demonstrate their understanding of the important concepts in the unit and how these concepts are related to each other and to previous learning. Throughout this guide, the following symbols are used to refer to the Common Essential Learnings: C N CCT TL PSVS IL Communication Numeracy Critical and Creative Thinking Technological Literacy Personal and Social Values and Skills Independent Learning Communication In Visual Art 10, 20, 30 the teacher can further students' knowledge, skills, attitudes and abilities related to Communication by: Incorporating vocabulary specific to visual art through planned activities which help students focus on what they know and also provide a bridge between students' real life experiences and their school learning Organizing instruction that allows students to bring forward prior knowledge and/or make connections with other school learning 40
Creating opportunities for students to express their ideas in a variety of ways, allowing them to learn from other students' thinking and to demonstrate their present understanding Creating opportunities for students to investigate, understand and apply the use of symbolic meaning in visual art Encouraging students to use structures which help them relate and understand the concepts under study (for example, by engaging students in tasks which require them to categorize, order ideas, compare and contrast, discern cause and effect) Planning lessons and designing assignments that stress the possibility and acceptance of many different ways to organize and many potential answers or explanations Planning learning experiences that allow students to draw upon their first-language skills in order to further their understanding and to present this understanding to others Having students use expressive language (spoken, written and nonverbal) in order to explore ideas carefully and conscientiously Providing opportunities for students to use language in different modes (listening, speaking, reading and writing) for a variety of purposes and audiences and in a variety of mediums, in order to strengthen their understanding of visual art Providing opportunities for students to reflect (for example, through questioning, discussion and journal writing) Casting himself or herself in the role of observer and listener in order to gather students' ideas to plan future learning experiences Having students use outlining (graphic and written), concept mapping and diagramming for the purposes of understanding ideas, experiences or objects 41
Encouraging students to synthesize ideas gleaned from current investigations with prior knowledge and understanding Having students identify critical issues in factual, editorial or argumentative messages in print and audio-visual media Having students develop thesis statements and other written constructions required to formulate essays Having students use the vocabulary and concepts of visual art to develop an argument or present information in formal public modes (e.g., essays, debates, etc.) Providing opportunities for students to identify and understand persuasion and propaganda techniques and to explore the influence of media in shaping knowledge, culture and values. Numeracy In Visual Art 10, 20, 30 the teacher can foster Numeracy by: Helping students understand quantitative or mathematical information used Planning experiences that help students develop a sense of space Providing opportunities for students to interpret and produce models, maps, graphs, charts and sketches in order to develop their own understanding of their work further Designing learning experiences that develop spatial concepts such as scale, symmetry, distance, ratio and proportion Having students continue to examine mathematical applications in visual art (for example, pattern, geometric and technical drawings, compositional techniques, architectural drawings, spatial illusion, perspective, fractals and computer generated imagery) Having students use the concepts of probability (chance, risk, odds, frequency, combination) to enhance understanding in visual art 42
Helping students to understand that divergent thinking and reasoning often precede convergent thinking and solutions to problems Providing opportunities for students to develop an awareness of the reporting techniques commonly used by special interest groups to increase the impact of data and influence the uncritical reader, listener or viewer Providing opportunities for students to read and interpret quantitative information found in newspapers, magazines and government or business publications and to evaluate arguments based on such information. Critical and Creative In Visual Art 10, 20, 30 the teacher can foster Critical and Creative Thinking by: Guiding students' analysis of their visual art experiences in order to deepen their understanding of visual art forms and of the concepts being explored Encouraging students to look for alternatives and to give reasons for their decisions Encouraging students to approach content in visual art thoughtfully and discriminately by withholding their judgements until they have enough information to respond in an informed manner Planning opportunities for students to engage in creative problemsolving processes Allowing for differing expression and interpretation of assignments and encouraging imaginative responses Planning opportunities for students to think in images and to manipulate visual images for the solutions to a problem 43
Planning activities that require students to reflect upon and evaluate their own thinking and creative problem-solving processes Providing students with opportunities to reflect on how knowledge is developed, changed and evaluated in visual art Enabling students to understand the barriers to critical and creative thinking (e.g., lack of knowledge; fear of criticism and failure; loss of money, approval or power). Technological Literacy In Visual Art 10, 20, 30 the teacher can foster the development of Technological Literacy by: Planning opportunities for students to explore various sides of an issue related to technological developments, to suggest solutions, to make decisions and, where appropriate, to take action Exploring innovations in media technology, their implications and influences on values, cultures and ideas Integrating content from other subject areas in order to help students understand how technology shapes and is shaped by society Exploring how various forms of electric media such as television, video, radio, audio recordings and computers affect the impact of the message Enhancing students' perceptual abilities and awareness (for example, exploring visual information and its daily effects) Critically examining the technical, social and cultural implications of present technological developments as they arise within the modules (for example, by having students participate in activities which examine technology and copyright issues) 44
Exploring how technology influences occupational roles within society and affects the workplace (e.g., occupational health, safety, unemployment, etc.) Using media techniques, devices and technology to enhance specific learning situations Encouraging students to recognize the inevitability of profound change due to developments in technology and changes in society's values and norms and by preparing them to influence change. Personal and Social Values and Skills In Visual Art 10, 20, 30 the teacher can foster the development of Personal and Social Values and Skills by: Exploring varied cultural content Exploring the themes, characters and conflicts of visual art expressions to foster greater understanding of various cultures, develop understanding of people and develop an awareness of discrimination or bias, when present Modelling and encouraging sensitive responses to the ideas, comments and creative expressions of others Providing opportunities for students to respond to and build upon the ideas of others Raising the students' awareness of group dynamics in co-operative problem-solving situations Allowing students to participate in activities that help them explore and develop empathy for others Encouraging students to recognize the importance of fact finding, truth, prior experience, collaboration, problem solving, and respect 45
for the views and rights of others when engaging in visual art activities Developing an understanding of educational empowerment (for example, encouraging students to function as fully rational, reflective, compassionate and creative individuals in social situations and political processes) Providing opportunities for students to work toward an understanding of human rights and the eradication of prejudice, sexism, racism and other forms of discrimination. Independent Learning In Visual Art 10, 20, 30 the teacher can foster Independent Learning by: Making choices in teaching that reflect student needs and interests, and guiding students in the development of their own art works Encouraging use of resources both inside and outside the school, and encouraging students to seek information through a steadily expanding network of options, including libraries, databases, the media, individuals and agencies Planning experiences that lead to independent exploration and a willingness to take risks Planning, monitoring and evaluating learning experiences to encourage student independence (e.g., using contracts; encouraging students to initiate conferences with teachers, peers or others outside of school) Encouraging students to talk about visual art experiences they have encountered outside of school in order to discover the relationship between these expressions and their class work 46
Providing time for students to share in class what they have discovered at home about a particular concept that was introduced in the visual art class. http://www.sasked.gov.sk.ca/docs/artsed/visart102030/vaccci.html 47
Appendix D Additional Assessment Tools 48
Appendix E Bibliography Blanchard, Paula. The Life of Emily Carr. Douglas and McIntyre: Vancouver. 1987. Carr, Emily. Pause: A Sketch Book. Stoddart Publishing Co: Toronto. 1953. Carr, Emily. This and That. T-Jean Press: Victoria. 2007. Carr, Emily. Klee Wyck. Fritzhenry and Whiteside: Ontario. 2003. Michael Breuer and Kerry Mason Dodd. Sunlight in the Shadows: Landscape of Emily Carr. Oxford University Press. 1984. Shadbodt, Doris. Seven Journeys: The Sketchbooks of Emily Carr. Douglas and McIntyre: Vancouver. 2002. Emily Carr. www.emilycarr.ca Emily Carr: At Home and At Work. http://bcheritage.ca SK Learning. Arts Education Evergreen Curriculum. http://www.sasked.gov.sk.ca/docs/artsed/visart102030/vaccci.html. Vancouver Art Gallery. http://www.virtualmuseum.ca/exhibitions/emilycarr/en/resources/furth erread.php Wikipedia. http://en.wikipedia.org/wiki/emilycarr 49
Appendix F Other Resources for Teachers (As suggested on the Vancouver Art Gallery website) Braid, Kate. Inward to the Bones: Georgia O'Keefe's Journey with Emily Carr. Victoria, Polestar Press, 1998.. Woman's Fingerprint: (Georgia O'Keeffe Meets Emily Carr). Salt Spring Island: Other Tongue, 1997.. To This Cedar Fountain. Vancouver: Polestar Press, 1995. Coghill, Joy. Songs of This Place. Toronto: Playwrights Canada, 2003. Dodd, Kerry Mason. Sunlight in the Shadows: The Landscape of Emily Carr. Toronto: Oxford University Press, 1984. Emily Carr: Growing Pains. Dir. Nancy Ryley. Image Media, 1975. Emily Carr: The Lady of All Sorts. Emily Carr Arts Centre, 1976. Emily Carr: Little Old Lady on the Edge of Nowhere. Dir. Nancy Ryley. Image Media, 1975. Emily Carr: Spirit of the West Coast. National Film Board of Canada, 1982. Emily Carr: A Woman of All Sorts. Force Four Productions. Canadian Broadcasting Corporation, 1997. Klee Wyck. National Film Board of Canada, 1947. Marchessault, Jovette. The Magnificent Voyage of Emily Carr. Trans. Linda Gaboriau. Vancouver: Talon Books, 1992. Milne, Courtney. Emily Carr Country. Toronto: McClelland & Stewart, 2001. Other Side of the Picture. Dir. Teresa MacInnes. National Film Board of Canada, 1999. The Wonder of It All. Dir. Norman Campbell. Canadian Broadcasting Corporation, 1972. 50
CBC Archives. March 2, 1945: We Remember Canadian Artist Emily Carr BC Archives Time Machine with material on Emily Carr Emily Carr House To the Totem Forests: Emily Carr and Her Contemporaries Interpret Coastal Villages Emily Carr Historica and Radio Minutes Vancouver Art Gallery. http://www.virtualmuseum.ca/exhibitions/emilycarr/en/resources/furth erread.php 51