Daily WorkArt Theme for the year: Know thyself in Art
Day 1 Objective - reaffirm class and IB expectations 1. Letter to students 2. Introduction a. Prezi 3. Philosophy a. I want students to know that anyone can learn to draw or create art. Creativity does not equal skill. In Art, as in other aspects of life, to learn, you must make mistakes. I intend to create an environment with security, consistency, respect, dignity, and care so that students feel safe enough to do so. I am passionate about building relationships with my students and inspiring them to go farther than they ever thought they could. 4. Blind Contour drawing 5. Send them with letter to parents and signature form for syllabus on Plusportals (PP) Day 2 DA What are the characteristics of a blind contour drawing? Objective: demonstrate understanding of SEEING in life drawing
Day 3 DA Who are you in art class? Who are you as an artist? Jot down some ideas. Objective: identify strengths and areas for growth/
Day 4 DA Is art a feeling or an action? Is it a receiving or a giving? Is art a question or an answer? Jot down your ideas. Objective: Add new techniques to your repetoire.
Day 5 DA - Choose a color that you like and look for it EVERYWHERE. Document your discoveries using text and image in your VAJ in a 48-hour time period. Objective: understand the photo transfer process.
Day 6 Objective: Review color schemes and color theory.
Day 7 Objective: demonstrate deeper knowledge of the elements of Art.
Day 8 DA Find an artwork that describes who you are. You can see yourself in this artwork. Objective: demonstrate understanding of the annotation evaluation format.
Day 9 DA What does it mean to say, ‘I know an artwork.’ Write your reflections in your book. this could be a potential PP page, so don’t title it DA. Objective: understand and apply the latest brain research on mind maps
Day 10 DA Is the artist’s intention relevant to the viewer? (you may want to add this to the page on ‘knowing an artwork’. Objective: think about the viewer’s interpretation of your pieces.
Day 11 DA How does your art reflect the values, beliefs and attitudes of your time and place? Objective: understand the impact of art on society.
Day 12 DA Make an art-making chart in your book and list where your work to date falls. Two-dimensional forms Three-dimensional forms Lens-based, electronic and screen-based forms
Objective: understand how to think critically about art.
DA Last class you wrote a list of where your artworks fall. Today, meet with Ms. Teran to make a plan. Two-dimensional forms Three-dimensional forms Lens-based, electronic and screen-based forms
DA 10 - Explore layers. Look at a mixed-media art work. How many different layers do you see in a piece? Where do new structures/surfaces begin? Now go make one! (Try making it on a tablet drawing app!)
Objective: I understand the difference between concept maps and topic maps Framework for Analysis. (Rate 1-5) Concept maps, topic maps, Mind Maps® and other visual organizers can be used by students to organize knowledge and understandings about artists, artworks, styles and movements. While there is some difference in approach between concept mapping, topic mapping and Mind Mapping, each uses a visual and hierarchical approach to organize key ideas or concepts. Arrows, broken and unbroken lines can be used to show links between the core subjects matter, and the sub-concepts and features that emerge from it. The linking arrows and lines can be further articulated with linking phrases such as “causes” or “leading to”. Independent work on individual topics of art research. DA What are you worried about? What’s on your mind? Write about it for a few minutes. In June, members of the local arts community were invited to submit pieces that celebrate life’s “Beautiful Worries.” The design intent is to embody the many little worries that we all have – like “Do I drink too much caffeine?” or “Did I remember to close the garage door this morning?” The custom pieces will recognize these little worries, and then illustrate them beautifully with any interpretation from the artists. Contributing artists include Conrad Garner, as well as a commissioned piece specially created for the event by Joshua Pearson and Jay Giroux. Objective: I understand how societal values frame the way viewers see art. Interpretive frameworks - How we see artworks Deconstruction - going against the normal hierarchy Gender - reinforces gender roles Want more info?? Check this source, start on page 112 |
IB Art Year 2Curriculum Plan IB YEAR 2 SL Overview of the assessment tasks, calendar and deadlines Approaches to assessments Prepare assessment materials for submission. Check comparative study submission (10–15 screens that examine and compare at least three artworks, at least two of which should be by different artists from contrasting contexts). Check that process portfolio submission includes work from the correct art-making forms columns (SL students submit 9–18 screens with work in at least two art-making forms, each from separate columns of the art-making forms table). Select screens/pages for components including work of the exhibition (curatorial rationale of 400 words maximum, 4–7 artworks, exhibition text). External assessment task Part 1: Comparative study Part 2: Process portfolio Internal assessment task Part 3: Exhibition HL Overview of the assessment tasks, calendar and deadlines Approaches to assessments Prepare assessment materials for submission. Select screens/pages for components. Check that comparative study contains connections to the student’s art-making practice, analysing and reflecting on the outcomes of the comparative study with evidence of influence on the student’s development, identifying connections between one or more of the selected works and the student’s art-making (submit 3–5 screens that analyse the extent to which their work and practices have been influenced by the art and artists examined). Check that process portfolio submission includes work from the correct art-making forms columns (HL students submit 13–25 screens with work created in at least three art-making forms, selected from a minimum of two columns of the art-making forms table). Check that the exhibition includes a reflection on how it conveys an understanding of the relationship between the artworks and the viewer (select 8–11 artworks for submission, and include a curatorial rationale of 700 words maximum and exhibition text). External assessment task Part 1: Comparative study Part 2: Process portfolio Internal assessment task Part 3: Exhibition |
IB Art ExamAlthough the assessment tasks emerge from the holistic studio experiences of the students, it is possible to identify the following dominant core areas and art-making practices for each task:
Comparative study (external assessment task) 20% Dominant core area: visual arts in context Dominant art-making practice: theoretical practice Process portfolio (external assessment task) 40% Dominant core area: visual arts methods Dominant art-making practice: art-making practice Exhibition (internal assessment task) 40% Dominant core area: communicating visual arts Dominant art-making practice: curatorial practice The weighting of the assessment tasks reflects the practical nature of the subject. While each task has been more specifically aligned to one core area and one practice to ensure the highest possible outcomes from the tasks, students will need to have worked across all the core areas and practices. |