BUFFALO PUBLIC SCHOOLS VISUAL ART CURRICULUM GRADES K-12

BUFFALO PUBLIC SCHOOLS VISUAL ART CURRICULUM

GRADES K-12

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Introduction and Acknowledgments

The Art Education Department would like to thank the teachers and administrators that worked selflessly and diligently to create a document that will support all Buffalo Public School art teachers in giving the most rigorous and relevant art curriculum that is aligned to the Common Core Learning Standards and the New York State Learning Standards for the Arts. Without their dedication and hard work, this document would have never come together the way it has. Their commitment to giving all our students a world-class art education should be commended and is deeply appreciated.

Board of Education

Superintendent of Schools

Dr. Kriner Cash

Chief Academic Officer Anne Botticelli

Assistant Superintendent of Curriculum, Instruction and Assessment

Dr. Fatima Morrell

Supervisor of Art Education Michele Agosto

BPS Visual Arts Curriculum Committee

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This standards-based curriculum has been developed to help art teachers effectively and explicitly teach art to all BPS students in grades kindergarten through twelve. The following sections have been included in this document to guide art teachers in their instructional practice at every grade level.

§ Richard Dufour’s Four Essential Questions- The fundamental questions that form the framework for this curriculum. § New York State Learning Standards for the Arts and Performance Indicators- A list of the New York State Learning

Standards for the Arts that expound upon specific measurements used to define progress toward visual arts goals. § Vision and Mission of the Art Education Department- The foundation and of every art program for all our BPS students § Scaffolding Instruction for Art Curriculum – An overview of scaffolding strategies to help ensure success for all students § The Explicit Instruction Model- An overview of the Five Attributes of Explicit Instruction as it pertains to Art Education § Critical Thinking Skills - Creating, Evaluating, Analyzing, Applying, Understanding, & Remembering are critical thinking

skills that will be developed in students when using this curriculum. The skills are based on Benjamin Bloom’s Taxonomy. § Building Character and Positive Attitudes in the Art Room - Individual and cooperative behaviors and characteristics that

support the development of affective and social skills, which are fundamental to participation and achievement in the visual arts. § Defining Visual Art Instructional Units- A list of basic visual arts categories that all students should explore, experience, and

develop mastery in. § Elements of Art and Principles of Design- Lists and defines the Elements and Principles that are used in the art classroom. § Assessments in Art-A list of assessments, assessment strategies, and other tools that can be used to determine student-learning

outcomes in the visual arts. § Feldman’s Critical Performance: A Model of Art Criticism- A 4-step process for critique that involves description, analysis,

interpretation and evaluation. § End of Year Expectations- Where students should be instructionally and cognitively by the end of their grade level. § Art Classroom Management Tips- General advice in safety and procedures that caters to art teachers and their classrooms. § Students with Special Needs Addendum- Specialized tips for art teachers teaching with Students with Disabilities (SWD). § English Language Learners (ELL) Addendum- Specialized tips for art teachers teaching students whose primary language is

not English. § Artists Lists- Required and recommended artists and cultures that are aligned to curriculum grade level benchmarks and

THE BPS VISUAL ARTS CURRICULUM: What you will find in this document

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outcomes. § Instructional Guides by Grade Level- Guidelines by grade level that displays alignment of concepts, skills, and topics related to

the overall curriculum. Kindergarten ........................................................... First Grade .............................................................. Second Grade .......................................................... Third Grade ............................................................. Fourth Grade ........................................................... Fifth Grade .............................................................. Sixth Grade ............................................................. Seventh Grade ......................................................... Eighth Grade ........................................................... Studio in Art ........................................................... Studio in Creative Crafts ........................................ Studio in Advanced Creative Crafts ........................ Studio in Drawing & Painting ................................ Studio in Advanced Drawing & Painting ............... Studio in Media Arts ............................................... Studio in Sculpture ................................................. Studio in Ceramics .................................................. Studio in Photography ............................................. Studio in Computer Arts ......................................... Studio in Graphic Arts- Printmaking ...................... Studio in Graphic Design- Advertising .................. Studio in Fashion Design ......................................... Studio in Advanced Fashion Design ........................ Studio in Architecture & Design ............................. Studio in Architecture & Design ............................. Fundamentals of Art Inquiry .................................. Independent Study Course Curriculum will be developed by teacher

• References- A list of supporting resources and research.

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BUFFALO PUBLIC SCHOOLS VISUAL ART CURRICULUM GRADES K-12

SECTION 1: TIPS & TOOL KIT

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RICHARD DUFOUR’S “FOUR ESSENTIAL QUESTIONS”

The following essential questions were used to guide the writing of this curriculum document:

What do we want students to know and be able to do? How will we know if they have learned it?

What will we do if they have not learned it?

What will we do if they already know it?

On Common Ground: The Power of Professional Learning Communities, (2005) Pg. 15, Dufour, Rebecca, Dufour, Richard, Eacker, Robert

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OUR VISION To develop critical, global citizens who have an appreciation for visual arts’ value in all cultures through the development of art literacy.

OUR MISSION To provide a rigorous, multidisciplinary visual arts program that fosters problem solving and critical thinking skills to create engaged 21st century learners through student-centered instruction that is aligned to the New York State and Common Core Learning Standards. To achieve this we will provide culturally diverse, differentiated, authentic instruction that encourages self-expression and a life-long love, respect and appreciation for the visual arts. In keeping true to the spirit of our vision and mission, the Art Education Department has focused on developing initiatives and programs for our students and art teachers that are geared to improving student achievement and teacher practice within the art classroom and beyond. The BPS Visual Arts Curriculum for Grades K-12 is reflective of the high achievement standards promoted throughout the district and is aligned with the New York State Visual Arts Standards and Common Core Learning Standards.

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NEW YORK STATE LEARNING STANDARDS FOR THE VISUAL ARTS & PERFORMANCE INDICATORS GRADES K-4

Standard 1: Creating Art Students will make works of art that explore different kinds of subject matter, topics, themes, and metaphors. Students will understand and use sensory elements, organizational principles, and expressive images to communicate their own ideas in works of art. Students will use a variety of art materials, processes, mediums, and techniques, and use appropriate technologies for creating and exhibiting artwork.

1a. Students experiment and create artworks in a variety of media based on a range of individual and collective experiences.

1b.

Students develop their own ideas and images through exploration and creation of artworks based on themes, symbols, and events.

1c. Students understand and use the elements and principles of art in order to communicate their ideas.

1d.

Students reveal through their own artwork understanding of how art media and techniques influence their creative decisions.

1e.

Students identify and use, in individual and group experiences, some of the roles and means for designing, producing, and exhibiting art works.

Standard 2: Knowing and Using Art Materials and Resources Students will know and use a variety of visual arts materials, techniques, and processes. Students will know about resources and opportunities for participation in visual arts in the community (exhibitions, libraries, museums, galleries) and use appropriate art materials (art reproductions, slides, print materials, electronic media). Students will be aware of vocational options available in the visual arts.

2a. Students understand the characteristics of various media (2D, 3D and electronic images) in order to select those that are appropriate for their purposes and intentions.

2b. Students develop skills with electronic media as a means of expressing visual ideas.

2c. Students know about some cultural institutions (museums) and community opportunities (art festivals) in connection to looking at art and talking to artists in order to increase their understanding of art.

2d. Students give examples of adults who make their living in various art professions.

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Standard 3: Responding To and Analyzing Works of Art Students will reflect on, interpret and evaluate works of art, using the language of art criticism. Students will analyze the visual characteristics of the natural and built environment, and explain the social, cultural, psychological, and environmental dimensions of the visual arts. Students will compare ways in which a variety of ideas, themes, and concepts are expressed through the visual arts with the ways they are expressed in other disciplines.

3a. Students explain their reflections about the meanings, purposes, and sources of works of art, describe their responses to the works, and the reasons for those responses.

3b. Students explain the visual and other sensory qualities found in a wide variety of artworks.

3c. Students explain themes that are found in visual art and how art is related to other forms of art.

3d. Students explain how visual art ideas, themes, or concepts are expressed in other disciplines.

Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts Students will explore art and artifacts from various historical periods and world cultures to discover the roles that art plays in the lives of people of a given time and place, and to understand how time and place influence the visual characteristics of artwork. Students will explore art to understand the social, cultural, and environmental dimensions of humanity and human society.

4a. Students look at and discuss a variety of artworks and artifacts from world cultures to discover some important ideas, issues, and events of those cultures.

4b. Students look at a variety of artworks and artifacts from diverse cultures of the United States and identify some distinguishing characteristics.

4c. Students create artworks that show the influence of a particular culture.

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NEW YORK STATE LEARNING STANDARDS FOR THE VISUAL ARTS & PERFORMANCE INDICATORS GRADES 5-8

Standard 1: Creating Art Students will make works of art that explore different kinds of subject matter, topics, themes, and metaphors. Students will understand and use sensory elements, organizational principles, and expressive images to communicate their own ideas in works of art. Students will use a variety of art materials, processes, mediums, and techniques, and use appropriate technologies for creating and exhibiting artwork.

1a. Students produce a collection of artworks, in a variety of mediums, based on a range of individual and collective experiences.

1b.

Students know and use a variety of sources for developing and conveying ideas, images, themes, symbols and events in their creation of art.

1c. Students use the elements and principles of art to communicate specific meanings to others in their artwork.

1d.

Students, during the creative process, reflect on the effectiveness of selected mediums or techniques to convey intended meanings.

1e.

Students identify and use, in individual and group experiences, some of the roles and means for designing, producing and exhibiting artworks and discuss ways to improve them.

Standard 2: Knowing and Using Art Materials and Resources Students will know and use a variety of visual arts materials, techniques, and processes. Students will know about resources and opportunities for participation in visual arts in the community (exhibitions, libraries, museums, galleries) and use appropriate art materials (art reproductions, slides, print materials, electronic media). Students will be aware of vocational options available in the visual arts.

2a. Students develop skills with a variety of art materials and competence in at least one.

2b. Students use the computer and other electronic media as designing tools and to communicate visual ideas.

2c. Students take advantage of cultural institutions and community opportunities to learn from professional artists, look at original work and increase their understanding of art.

2d. Students understand the variety of careers related to the visual arts and the skills necessary to pursue some of them.

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3a. Students discuss and write their analyses and interpretations of their works of art and the art of others, using appropriate critical language.

3b. Students identify, analyze, and interpret the visual and sensory characteristics that they discover in natural and man-made forms.

3c. Students compare the ways ideas and concepts are communicated through visual arts with the various ways those ideas and concepts are manifested in other art forms.

3d. Students compare the ways ideas, themes or concepts in the visual arts are communicated and manifested in other disciplines.


4a. Students demonstrate how artworks and artifacts from diverse world cultures reflect aspects of those cultures.

4b. Students demonstrate the ways in which some artworks and artifacts reflect important aspects of the diverse cultures of the United States.

4c. Students create artworks that reflect a particular historical period of a culture.

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NEW YORK STATE LEARNING STANDARDS FOR THE VISUAL ARTS & PERFORMANCE INDICATORS GRADES 9-12 Standard 1: Creating Art

Students will make works of art that explore different kinds of subject matter, topics, themes, and metaphors. Students will understand and use sensory elements, organizational principles, and expressive images to communicate their own ideas in works of art. Students will use a variety of art materials, processes, mediums, and techniques, and use appropriate technologies for creating and exhibiting artwork.

1a. Students create a collection of artwork, in a variety of mediums, based on instructional assignments and individual and collective experiences to explore perceptions, ideas, and viewpoints.

1b.

Students create art works in which they use and evaluate different kinds of mediums, subjects, themes, symbols, metaphors, and images.

1c. Students demonstrate an increasing level of competence in using the elements and principles of art to create art works for public exhibition.

1d.

Students reflect on their developing work to developing work to determine the effectiveness of selected mediums and techniques for conveying meaning and adjust their decisions accordingly.

Standard 2: Knowing and Using Art Materials and Resources. Students will know and use a variety of visual arts materials, techniques, and processes. Students will know about resources and opportunities for participation in visual arts in the community (exhibitions, libraries, museums, galleries) and use appropriate art materials (art reproductions, slides, print materials, electronic media). Students will be aware of vocational options available in the visual arts.

2a. Students select and use mediums and processes that communicate intended meaning in their art works, and exhibit competence in at least two mediums.

2b. Student use the computer and electronic media to express their visual ideas and demonstrate a variety of approaches to artistic creation.

2c. Students interact with professional artists and participate in school – and community—sponsored programs by art organizations and cultural institutions.

2d. Students understand a broad range of vocations/avocations in the field of visual arts, including those involved with creating, performing, exhibiting and promoting art.

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3a. Students use the language of art criticism by reading and discussing critical reviews in newspapers and journals and by writing their own critical responses to works of art (either their own or those of others).

3b. Students explain the visual and other sensory qualities in art and nature and their relation to the social environment.

3c. Students analyze and interpret the ways in which political, cultural, social, religious, and psychological concepts and themes have been explored in the visual arts.

3d. Students develop connections between the ways ideas, themes, and concepts are expressed through the visual arts and other disciplines in every-day life.


4a. Students analyze works of art from diverse world cultures and discuss the ideas, issues, and events of the culture that these works convey.

4b. Students examine works of art and artifacts from United States cultures and place them within a cultural and historical context.

4c. Students create artworks that reflect a variety of cultural influences.

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Scaffolding Instruction for the Art Curriculum Addressing the needs of all learners Building Background Knowledge and Creating Links to Past Learning. • Essential Questions – brief and open-ended questions that connects student learning objectives

contextually and conceptually (How does an artist know when his/her artwork is finished? How does art reflect values in a culture? How does collaboratively reflecting on an artwork help us experience it more fully and develop our thoughts more clearly?)

• Incorporate visual exemplars and realia- authentic artifacts, photographs, textural objects, maps, tools, etc.

• Connect students’ home culture and traditions to content – culturally responsive teaching,

accept and integrate diversity, understand and use the language of your students to define and describe objectives and activities, as well as to develop academic vocabulary

• Incorporate short film clips – use YouTube, movies, and videos on art making processes,

development and progression of art, and introduction to artists and their work

High Leverage Scaffolds

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• Virtual field trips – connect to galleries and museums locally and globally • Word Walls – pre-teach Tier 2 (complex words that cross content areas, such as research,

composition, contrast) and introduce and constantly use Tier 3 (content-specific words such as chiarschuro, juxtaposition, sgrafitto)

• Graphic organizers – use and apply Venn diagrams, T-charts, KWL (know, want to know,

learn) and other such strategies to assist students in observing, analyzing, evaluating and critiquing artwork

• Academic conversations that are prompted through focus questions – applying IVF (idea,

verb, finish thought) and sentence starters to focus students in order to better answer question as and make statements using academic knowledge and vocabulary

• Gallery walks – implement student walks around the studio, classroom, hallways throughout

school and outside of school to observe and discuss images, objects and ideas • Differentiation that support learning styles – grouping for instruction that supports different

types learning, brainstorming ideas between students, applying the buddy system, collaborating when creating art, encouraging independence when selecting and using various materials and art techniques to meet students’ artistic intent and academic goals

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Providing structures for students to talk and think critically about the content. • Think, pair, share – opportunities to allow students to orally, visually or through writing share

their thoughts on a topic • Sentence starters – post or distribute beginning phrases to prompt student ideas (“The artist

used the art element of line to show ________________________________”.) • Questioning, with wait time – give students adequate processing time to think and develop an

answer • Recasting – give corrected feedback that does not draw attention to the error, but encourages the

conversation to continue. Refocus and reword student answers for accurate verbal responses that will help with their art making processes

• Work Banks – have a collection of words that students can draw from when asked to answer

questions or when critiquing art work • Break down the critique process – when asking students to critique (description, analysis,

interpretation, and judgment) access and apply Bloom’s Taxonomy

Building Listening and Speaking Skills

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• Artist statements – writing is based on self-developed concepts and techniques applied in student artwork. These reflective writing pieces help the viewer understand the work created by the artist.

• Cloze assessments – a series of “fill in the blank” statements that help check for student understanding

• Use speech and language appropriate for your students’ level of proficiency- age-appropriate

yet academically progressive language should be used in all classrooms • Elbow partners –have students discuss concepts, techniques and process with their table

neighbor and then have students share out • Peer instruction – students helping students with specific techniques and understandings

• Fish bowl activity – teacher and students apply modeling and demonstration in small and large

groups to help all students understand the purpose and process • Think aloud – go through the process of thinking and application out-loud on any given activity

or question to allow students an opportunity to understand • Differentiation- apply various strategies and create structures to support various student learning

styles and abilities

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Text is considered written pieces, artworks, maps, musical scores, photographs, etc. • Chunking – delivering information in small chunks with time for processing. Students can

selectively look for elements and principles in artwork as well as discuss themes or concepts. Vocabulary can also be supported through chunking. Written pieces can be broken into paragraph or sentence chunks to make them less intimidating.

• Making predictions – “graphic book walks” can be exercised to look for themes, discuss what they see, understand the connection between written text and artwork, and/or anticipation of the effects of the use of art techniques

• Connect to a previous lesson – use previous lessons and objectives to help build background

knowledge and support deeper understanding of concepts and techniques • Students create questions that can be answered as they investigate/learn about a

text/artwork – critical thinking supports creative problem solving and students should be encouraged to be curious and ask questions about what they are learning and doing in class

• Jigsaw – offer written and visual text that students share responsibility of by sectioning off the

text and allowing students to share their portion of the material to one another and the class • Graphic organizers – use and apply Venn diagrams, T-charts, KWL (know, want to know,

learn) and other such strategies to assist students in observing, analyzing, evaluating and critiquing artwork

Previewing and Reviewing Content and Text

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• Use students’ diverse backgrounds to share and break down text – student voice and

perspective is important when revealing their views on what is being read and analyzed and they should be encouraged to share their thoughts, opinions and inferences based on the text being discussed

• Explicit instruction – continue to utilize the 5 Attributes of Explicit Instruction: Direct

Explanation, Model, Guided Practice, Corrective Feedback and Application (more about this in the following section in this guide)

• Guided note taking, highlighting notes, split page note taking, framed note taking-

selectively fill in blanks, color code notes, highlighting, and categorizing notes for students who need more scaffolds (Step up to Writing strategies)

• Work Banks – have a collection of words that students can draw from when asked to answer

questions or when critiquing art work • Multiple reads – look for general information on a “first read” of the visual or written text, then

reread for additional information or details that can be shared and discussed in class

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CRITICAL THINKING SKILLS Critical thinking is the art of analyzing and evaluating thinking with a view to improving it. All students, in grades K-12 will strengthen their abilities to think critically through a rigorous art education program that will be offered at every Buffalo Public School. Specific critical thinking goals for each grade level have been outlined in the curriculum framework. As a result, students will be able to demonstrate the following:

Creating Developing concepts and making art based on the elements and design principles of art.

Evaluating

Interpreting information effectively by citing examples of specific elements and design principles of art so as to use that information to make meaning of abstract concepts and complex ideas.

Analyzing

Observing, reasoning, and communicating questions, curiosities, and comments to others in an explicit manner to understand a piece of art and the intention of the artist.

Applying

Actively using what was previously learned as a foundation to create art when solving new art problems in varying situations.

Understanding Thinking open-mindedly so as to appreciate the value of art as it relates to all aspects of life.

Remembering

Identifying and recalling information about visual symbols, art media, artists, elements of art, principles of design, art vocabulary, cultural connections, and other relevant information.

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BUILDING CHARACTER AND POSITIVE ATTITUDES IN THE ART ROOM

A comparison of individual and cooperative attitudes that support the development of affective and social skills fundamental to appreciation, participation, and achievement in art.

Independent Artist Cooperative Artist § Is self directed and works towards

mastery § Values teamwork and participates fully

§ Manages own behavior and attitude § Contributes to positive team behavior and builds consensus

§ Demonstrates personal integrity and effort § Develops work ethic through commitment and appreciation of team

§ Uses self reflection techniques for improvement in art

§ Learns collective responsibility through empathy and conflict resolution

§ Engages comfortably in self expression and creativity

§ Engages in collaboration and shared decision making

§ Is curious and asks questions, gives attention to details

§ Is respectful and tolerant of differing points of view, opinions and abilities.

§ Understands and applies art concepts and art making skills

§ Offers assistance to the team and accepts being helped when necessary

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DEFINING VISUAL ARTS INSTRUCTIONAL UNITS

The following art components comprise the substance of a comprehensive and diverse K-12 visual arts curriculum.

Drawing

The art of representing objects or forms on a surface, which has been done chiefly by means of lines and value through the use of pencil, charcoal, pen, or similar medium.

Painting

The artful application of paint on a surface using techniques that demonstrate artistic effect and purpose.

Mixed Media and Craft

Mixed media refers to art that combines different mediums and/or multiple materials and methods. This may include collage, assemblage, or combining mediums, such as acrylic and ink. Craft refers to the creation and construction of a functional object with proficiency and artistry. This may include weavings, jewelry, and pottery.

Graphic Arts

The fine or applied art of lines and strokes using varying media and techniques to a two-dimensional surface such as blocks, plates, or type (such as engraving). This also refers to the creation of drawings using techniques that are computer-generated or created by an imaging device.

Three- Dimensional Work

Art that is, of, relating to, having, or existing, in three dimensions through the action and process of converting and manipulating hard or soft tangible materials (either by carving, modeling, welding, constructing, folding, etc.).

Art History

Historical study of the visual arts for the purpose of identifying, describing, evaluating, interpreting, and understanding art objects and artistic traditions.

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ASSESSMENTS IN ART

Through inquiry and exploration of essential questions, vocabulary, art materials and resources, teachers will guide students towards mastery of visual arts learning objectives. In order for this to occur, all assessments must be aligned to all learning objectives. Formative evidence will be gathered throughout the units through a combination of observations, critique, journal/sketchbook entries, checklists, and/or visual art production. Summative evidence will be collected using quantitative and qualitative data, which may include rubric ratings, portfolio items, DBQ (data-based or document-based questions), and/or exams that will provide data on student learning outcomes. Monitoring student progress and assessing student achievement in the art education classroom is essential. All assessments should be discussed and defined to students prior to a newly introduced project. Always provide feedback to students, and produce accurate grades for students. To help art teachers meet these art education curriculum standards, assessment goals have been provided for each course/grade level and are outlined for each unit in the curriculum framework. COMMON TERMS USED IN ASSESSMENT

• Master learning- all learners are given adequate time and support to reach a standard benchmark

• Inquiry learning- learning through exploration, manipulation of materials, predictions, problem-solving, and multiple possible

solutions

• Quantitative data- a method for collecting numeric data to quantify student learning and indicate further instructional needs

• Qualitative data- a method for gathering descriptive data to illustrate student learning and reveal further instructional needs

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• Formative- ongoing measuring and documentation of learning with targeted feedback to learners for continued progress

• Summative- a process of final evaluations to rate learning at a pre-determined endpoint (such as a unit, semester, year, etc.) often

used for grading, selection or determination of readiness for further learning (such as a level test or entrance exam)

• Student observation- visually assessing student project progress to see if objectives are being met

• Constructive feedback/criticism- sharing written or verbal feedback with students individually to assist them through the artistic

ad creative process

• Critiques- observation, analysis and discussion of artwork shared in large or small groups

• Artists statements- an oral or written narrative in which students share information about their own work

• Journals and sketchbooks entries- the act of self-reflection and concept-building presented in drawings, writing, mixed-media,

collage, montage and/or a combination of these methods

• Checklists – a comprehensive list of specific learning tasks or responsibilities

§ Rubric – a guide listing specific criteria for an art project or product with levels determining grading/scoring

§ Exam – a comprehensive review of materials taught and learned in the unit

§ Portfolio – a collection of student work that shows varied instructional experiences and helps determine growth.

AN IMPORTANT NOTE ABOUT PORTFOLIOS: Portfolios are essential assessment tools that must be utilized by all art teachers.

Portfolios can be composed of a collection of actual student artifacts or can be collected and filed digitally. All student portfolios should show evidence of student progress, growth and achievement in each of the Visual Arts Instructional Units as listed in the curriculum.

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Feldman’s Critical Performance: A Model of Criticism The following information is paraphrased from Varieties of Visual Experience: Art as Image and Idea, E.B. Feldman, Prentice-Hall, Inc.,

Englewood Cliffs, N.J., 1981.

Feldman’s Critical Performance is a four-step process that involves description, formal analysis, interpretation, and evaluation. The

steps in this process are so arranged in order to “defer judgment” and gather evidence as you proceed, so that you are able to make sound

“interpretations” and “judgments.” Description This is a process of taking inventory, of noting what is immediately presented to the viewer (subject matter). At this stage you avoid, as

much as possible, drawing inferences. This is a simple account of “what is there.” This is the type of account with which any reasonably

observant person would agree. Language should be “unloaded,” and should not contain hints about the value of what is described.

Description is an attempt “to find” what is objectively present in the art object.

Critical description involves:

1. Making an inventory of the names of the things we see in the art object (this becomes more difficult with respect to “non-

objective” art objects in which one has to describe what one sees in terms of the elements of art [line, shape, form, texture,

space]).

2. Performing a technical analysis or description of the way the art object seems to have been made. Critical description is a

delaying process that helps you to “take in” and to defer interpretation and judgment until later in the process.

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Formal Analysis In the formal analysis, you endeavor to “go behind” the descriptive inventory to discover how the things that have been named are

constituted and organized. This section focuses on the “language of art” and the way the “elements of art” (line, shape, form, texture,

color, space) and the “principles of design” (unity, variety, balance, proportion, scale, dominance, subordination, rhythm) have been

organized by the artist. In this step, you describe the relationships among the elements and principles. You move beyond “description” to

the way the art object is perceived and organized. Interpretation This is a process through which the “meaning” (i.e., content) of the art object is expressed. Through description and formal analysis of

the art object, you will come to “discover” its meanings. You may also state the relevance of these meanings to your own life, or to the

human situation in general. You begin an interpretation by forming a “hypothesis.” A hypothesis is an idea or principle of organization

which seems to relate the material of description and formal analysis meaningfully in order to arrive at the deeper level of “content” that

the art object conveys. This step is an attempt to formulate a specific explanation and disclosure of meaning that will “fit” the evidence

that was assembled through the first two steps. Judgment/Evaluate Evaluating an art object means giving it a rank in relationship to other works in its class. Evaluation is a way of deciding on the degree of

artistic and aesthetic merit of the art object. Evaluating art moves beyond the simple “I like” or “I don’t like” statements.

Within this step you can:

1. Compare the art object with historical models and relate it to the widest possible range of comparable works.

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2. Determine the relevance of “originality.” Here, you decide how the art object either conforms to or departs from other art objects

in its class. Specifically, what is “original” and “compelling” about the art object. “Originality,” however, also must carry with it

some substantive measure and not simply be “novelty for the sake of novelty.”

3. Determine the relevance of technique. Since art is “making,” technical considerations are involved in evaluation. This involves

determinations of the importance of craftsmanship, logic in the use of tools and materials, the proper use of tools, and the

correspondence between the appearance and function of the art object. The question of “craftsmanship” and “anti-craftsmanship”

often results in an elusive relationship in some modern and post-modern art objects. Here it is important to determine whether a

particular technique supports or diminishes the overall impact and import of the art object. Final Words Criticism is “talk” and “writing” about fine arts. Contrary to the popular assumption, criticism is not simply my opinion versus your

opinion. Critical writing and speaking must be based on sound evidence and criteria to which you can point for the support of your

conclusions.

Organizing your fine-arts critique along the lines of this step-by-step critical performance is acceptable. You should strive, however, for a

narrative that flows seamlessly from one step to another.

Following the step-by-step organization leads to a critical paper that reads like an academic exercise or assignment. A well-organized,

seamless narrative, on the other hand, will permit you to create your own critical voice. NOTE: While this account focuses upon a critical model appropriate for the visual arts, the following account may also be used for

music, poetry, dance, and a number of the other areas of fine arts with a bit of linguistic adjustment.

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End of Year Expectations: What is Developmentally Appropriate for Grades K-12?

Every child is unique in the way he/she comprehends and learns. Children also vary in the way they demonstrate their skills and abilities. It is clear that there are certain developmental benchmarks and attributes that students’ share at each grade level and age. Sometimes overlooked, instruction that is age-appropriate or developmentally appropriate, that still offers rigor and piques students’ interest, is essential in helping students achieve at high levels.

Developmentally appropriate instruction must be taken into consideration when implementing any solid art program. It would greatly benefit the art teacher if he/she takes the time to understand what to expect developmentally from their students at differing grade levels and ages. It may be helpful to ask the following questions when determining developmental appropriateness:

What is developmentally appropriate for me to teach at each grade level? What resources are available to me? What do students need to know and be able to do by the end of the school year at each grade level? How will I determine if they have met those benchmarks? How will students know that they have met those benchmarks?

Understanding the general needs, abilities, and limits of students at each grade level and/or age grouping can help the art teacher create lesson plans and units that are appropriate in their level of challenge and expectation. If this is done well, students will react positively to projects and will lead to a better understanding of the concepts and skills that are being taught. In addition, art teachers will witness and enjoy the many student successes in their art rooms. At the end of every school year, students should meet or surpass the developmental benchmarks for their grade, and should have the tools to meet the developmental benchmarks for the next grade level. Evidence of this advancement must be shown through the use of accurate and relevant assessment. Our hope is that this curriculum document will offer you the support and knowledge that will help with this achievement.

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Art Classroom Management Tips

Classroom Arrangement

§ If possible, especially at the elementary level, seat students in table groups- materials can be easily shared this way and students can work together on projects or critique in pairs when appropriate

§ Find safe places to store and dry art work- you may have to be creative, but always be safe § Give assigned seats to students immediately upon entering your classroom and stick to your seating

arrangements § Exemplars of projects, posters of master works, lesson objectives, lesson procedures, and word walls

should be posted in your art room

Safety Considerations § Create and visibly display your own classroom safety rules- make sure to follow your own rules and

enforce them when necessary § Consider the placement of all your materials- where you place your supplies can have great influence on

student behavior in the art room § Do not block entrance ways or emergency windows with materials, art work or other items § Post your Fire Safety Procedure/Exit poster in your room § Keep floors clear of litter and dry wet spots immediately- enlist your students to help with this § Be cognizant of where you hang and display art work- watch out for radiators, wires, movement sensors,

etc. § Model and demonstrate all tools that may potentially hurt a student (sewing needles, glue guns, carving

tools)- and take them away from students who are not properly using those tools § Keep voices at a normal level should you need to hear an emergency announcement

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Classroom Procedures § Procedures should be posted and modeled constantly and consistently to ensure students have learned

them § Greet your students at the door and welcome them in- they should come in quietly and ready to learn § Develop a system for taking attendance that is efficient and quick- students need to get started on their

projects as soon as possible § Post your schedule in your room and outside your door § Be cognizant of the time- allot enough time to introduce, review and close your project assignment. Also

consider the amount of cleanup time you will need at the end of each class § Keep current and detailed lesson plans and have them available for review

Student Awareness

§ Become familiar with your student’s names and homerooms immediately- make an effort to become familiar with your students’ learning styles

§ Be firm and to the point when dealing with unacceptable behavior in the classroom- if you encounter an unruly student, address the problem promptly and find time to discuss the behavior with the student away from the class

§ Differentiate your lessons to allow all students to be challenged and successful § Ask classroom teachers to give you an idea of the abilities your students and their general temperament –

this can help you when planning lessons

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Students With Disabilities (SWD): Supporting their success in the art room

• Before students with special needs and/or IEPs enter the art room, it would behoove the art teacher to consult students IEPs. The special education teacher may also be approached and/or involved in developing plans for SWD. The art teacher should make an effort to communicate with parents to learn about their children.

• The art teacher and the special education teacher should confer and discuss lesson objectives and adaptations. When designing and presenting the lesson, explicit instruction is paramount. Clear, direct directions should be given. Sometimes offering instructions “one step at a time” can be helpful. Rephrasing directions is always appropriate. Modeling and demonstrating to students how objectives can be achieved is essential for students.

• The classroom aide must be actively involved in lessons. Aides are to assist students with special needs, not do the work for them. • Clear routines and expectations should be outlined and maintained. An example of this would be how a teacher deals with supplies.

Art supplies should always be kept in the same place with clear, consistent routines for getting supplies and returning them. All aspects of the lesson must be aligned with consistent routines. If it is possible, consult with their special education teachers to find out which classroom routines, rules, and expectations are already in place and work. The art teacher’s routines should be consistent with theirs.

• For adaptive materials, a teacher can contact a district occupational therapist or the Art Education Supervisor. Examples of adaptive

materials are specialized scissors for motor skills problems. • Students with special needs should have exposure to a variety of sensory materials. Check with the students’ IEPs or consultant

teachers and/or special education teachers for exceptions. • Evaluation and assessment should not be comparative but according to the student’s abilities. Refer to IEPs.

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The Low Functioning Child • The student should be able to have success • Give feedback often • Provide positive reinforcement • Try rephrasing or repeating instructions • Instructions should be given one step at a time, in a clear explicit manner • Move from simple tasks to more difficult ones in a progressive, common sense manner

The Moderate Functioning Child

• Consider offering limited choices (such as colors, shapes, medium) to minimize anxiety and confusion • Concentrate on foundational art skills that are age-appropriate and developmentally appropriate for each students’ needs • Pay attention to motor skills and adjust accordingly • Use academic art vocabulary throughout the project consistently and repeatedly

Children with Learning Disabilities

• Focus on what is being taught, not on the child’s disability • Use very structured approaches that support the needs of the student-plan your projects in a detailed, explicit manner • Plan tasks around the child’s level of learning • Make directions clear and concise and offer a visual representation of your directions (art project procedures) • Be wary of over stimulation and offer alternative ways to meet the objectives set (differentiated instruction) • Consider offering limited choices (such as colors, shapes, medium) to minimize anxiety and confusion

Children with Behavior Problems or Emotional Problems

• Classroom management must be consistent and fair • Clearly state which behaviors are acceptable and which ones are not, and be clear about consequences for inappropriateness • Set challenging but realistic goals for students • Praise appropriate student behavior and address inappropriate behavior calmly, firmly and swiftly • Students may have a short attention span, anxiety, sensory disorders, etc., so be prepared and plan accordingly • Consider the length of lessons (daily, weekly) and how that affects student motivation, frustration and success

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Dealing with a Student Who Exhibits Behavior Problems

• If a student has a short attention span it may be useful to give the student a special job in the classroom or during the lesson.

• Remain calm during an outburst or other negative behavior. Your reaction can either help deescalate or

exacerbate the situation. Standing close to the student may calm the behavior. Simply making eye contact can also calm a behavior.

• A positive, productive time out area may be used. This area must have a positive outcome. It may be helpful

for the child to reflect on behaviors as they compose themselves.

• Acquaint yourself with the child’s frustration limits. The child may have too many choices, or their attention span may be waning.

• If the behavior continues to escalate to the point of severe classroom disruption or if concerns over safety

become apparent, removal may be necessary. Follow school/administrative policy regarding this action.

• For the apathetic learner, approach with a positive attitude. Tell him/her that you are looking for an honest effort, not perfection. Let the student know that they must try. Give the student space to complete the task, checking on progress and encouraging him/her often.

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English Language Learners (ELL): Supporting their success in the art room

ELL and the Silent Period* SIFE (Students with Interrupted Formal Education)**

• Consult the student’s ESL teacher to determine if the student is in this phase or fits this description • Use visuals to help students identify objects or actions for clearer, mutual understanding • Work to meet social needs at this stage by ensuring they are included in group work where everyone must participate to meet

the lesson’s objective • SIFE students may have underdeveloped fine motor skills, so differentiate lessons to help them meet the objectives and other

criteria • Choose a trusted student leader to become the SIFE/ELL student’s “Language Buddy” • Observe and assess student progress by doing frequent comprehension checks • Model lessons, behaviors, expectations, and routines often • Provide explicit instruction individually to student • Offer checklists of project objectives that include pictures to make the list comprehensible to the student

*The silent period is an undetermined amount of time during which ELL students will rely mostly or only on receptive skills. **SIFE students are at least 3 years behind academically due to an interrupted formal education. (Often they are refugees.)

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Beginning ELL (no or limited English language skills)

• Elicit simple 1-word responses (yes, no, pencil, paper, etc.) from the student • Choose a trusted student leader to become the SIFE/ELL student’s “Language Buddy” • Actively engage students in the art room, giving them roles such as art assistants • Observe and assess student progress by doing frequent comprehension checks • Model lessons, behaviors, expectations, and routines often • Provide explicit instruction individually to student • Offer checklists of project objectives that include pictures to make the list comprehensible to the student

Intermediate ELL (moderate English language skills)

• Elicit responses in simple phrases and simple sentences from the student • Observe and assess student progress by doing frequent comprehension checks • Model lessons, behaviors, expectations, and routines often • Offer checklists of project objectives that include pictures to make the list comprehensible to the student

Advanced ELL (strong English language skills)

• Elicit and expect complete complex phrases and responses to teacher questions from student • Model lessons, behaviors, expectations, and routines • Offer checklists of project objectives

BPS Visual Arts Curriculum Focus Artists Lists: Grades K-8

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Drawing Unit Painting Unit Mixed Media &

Crafts Unit 3D Unit Graphic Arts

Unit

Drawing Unit Painting Unit Mixed Media & Crafts Unit

3D Unit Graphic Arts Unit

Grade K Joan Miro Lee Krasner Eric Carle

Claus Oldenburg

Josef Albers

1st Grade

Henri Matisse

Philip Burke

Romare Bearden

Deborah Butterfield

Keith Haring

2nd Grade

Pictographs & Petroglyphs Lascaux Caves Romero Britts

Claude Monet

Rubbings Ho Huan Tree, Chinese, Stone rubbing (2nd grade book pg.16) Gyotaku Prints

Pinch Pots Nampeyo Pottery, Ca.1900 Chinese Bowl, Sung Dynasty 11-12th cent. (4th gr. book pgs.110 -11)

Linda Lomahaftewa Monoprinting

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3rd Grade

Keith Haring Maxfield Parrish

Weaving Karenni weaving Elizabeth Ashdown

Andy Goldsworthy

Typography & Lettering Andy Warhol

4th Grade

Jacob Lawrence

Picasso

Native American Crafts & Jewelry Cultural crafts connected to Seneca and Iroquois http://nativejewelrylit.com

Reliefs & Friezes Parthenon Frieze (Greece) Hoysaleswara Temple (India)

Henri Matisse

Drawing Unit Painting Unit Mixed Media &

Crafts Unit 3D Unit Graphic Arts

Unit

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5th Grade

Salvador Dali Claude Monet

American Folk Art -Face Jugs

Frederick Law Olmsted

Hokusai

6th Grade Giorgio de Chirico

Hasegawa Tohaku

Cathedral Rose Windows

Canopic Jars Elizabeth Catlett

7th Grade Leonardo da Vinci

Georgia O’Keeffe

Scott McCarney

Ai Wei Wei Paul Rand

8th Grade M.C. Escher Frida Kahlo Kobi Levi Cultural Masks (Symbolic & Metaphorical)

Shepard Fairey

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BPS Visual Arts Curriculum Focus Artists Lists: Grades 9-12 (foundations and electives) Course Unit Focus Artists/Topics Studio in Art Drawing Albrecht Durer Painting Jacob Lawrence Mixed Media & Crafts Alexander McQueen 3D, Paper & Soft

Sculpture Claes Oldenberg

Graphic Design Barbara Kruger Graphic Arts Kathe Kollwitz Creative Crafts Printmaking West African/Adinkra Cloth Book Arts, Journal, and

Handmade Books Barbara Wildenboer Carole Maltby

Plaster George Segal Clay Chinese Terracotta Army Warriors Metal, Glass & Wood Marisol; Tiffany glass Fiber Art Sam Gilliam Plaster George Segal Fiber Art Navajo Weaving

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Course Unit Focus Artists/Topics Media Arts Video Tim Burton, Stephen Spielberg, Wes Anderson Documentary Michael Moore, Ken Burns Media Arts and the

Internet/Web Design YouTube, Instgram, Squeaky Wheel, Social Media

Media and Culture Anime; Disney; Internet, Social Media, Politics & Propoganda

Installations and Non-conventional Exhibitions

Tony Oursler, Kara Walker, Ai Wei Wei

Drawing & Painting

Dry Media Edgar Degas

Wet Media Yokoyama Taikan Watercolor and

Gouache Charles Burchfield

Acrylic, Tempera, and Oils

Jan Van Eyck

Painting on Unconventional Surfaces

Swoon

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Course Unit Focus Artists/Topics Ceramics Hand Building

Techniques Peter Voulkos

Surface Techniques Grayson Perry Throwing Toshiko Takaezu Form and Function Greek Redware and Blackware Molds Art Deco Figurines Printmaking Monoprinting, Relief

and Embossing Henri de Toulouse Lautrec; Ando Hiroshige

Intaglio and Etching Harmenszoon van Rijn Rembrandt Screen Printing Andy Warhol Collagraphs and Mixed

Media Printing Romare Bearden

Printing on Alternative/ Unconventional Surfaces

Kathyann White

Sculpture Sculpture in the Round

(freestanding) Auguste Rodin

Relief Parthenon Frieze Subtractive Method Henry Moore

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Course Unit Focus Artists/Topics Sculptural Construction

and Assemblage Louise Nevelson

Kinetic Sculpture Lyman Whitaker, Alexander Calder Molds and Casting Lost wax bronze method (Roman Sculpture) Photography Pinhole Cameras, Solar

Prints and Darkroom Louis Daguerre; Anna Atkins

Digital Photography and Computers

Maggie Taylor; Maleonn

Studio Portraiture Annie Leibovitz; Cindy Sherman Landscapes Ansel Adams; Edward Weston Photojournalism and

Social Commentary Dorothea Lange; Gordon Parks; Milton Rogovin

Advertising through Photography

Brian Duffy; Steven Meisel

Action and Sports Photography

Neil Leifer; Charles M. Conlon

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Course Unit Focus Artists/Topics Computer Arts Animation and Gaming

Imagery Pixar; John Lasseter; Jennifer Steinkamp

Computer Art Basics Kara Walker; Nam June Paik; Bill Viola

Desktop Publishing and Web Design

Tim Berners-Lee

Architecture & Design

Materials of Structure Concrete; Brick; Composite fibers; Metals; Wood; Glass

Function of Space Floor plan unit symbols Tools of Architects:

Drawing Skills and Model Making

Curved, Straight and Triangle edges/templates; Computer-Aided Design

Architecture and Culture

Gaudi; Taj Mahal

Buffalo and Preservation

Darwin Martin House; Frank Lloyd Wright

Aesthetics and Ornamentation

Notre Dame; Louis Sullivan Building (Buffalo)

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Course Unit Focus Artists/Topics Advanced Creative Crafts

Exploring personal identify through craft

Kara Walker; Lucas Samaras

International influences on design concepts

Ukiyo-e (Japanese); Ghana mud cloth; Haida designs

Integrating dissimilar materials

Aurora Robson; Andy Goldsworthy

Advanced Drawing & Painting

Exploring personal identify Francis Bacon; Erich Heckel; Chuck Close

Traditional influences Caravaggio; Johannes Vermeer; John Singer Sargent,

Contemporary Influences Pablo Picasso; Helen Frankenthaler; Jason De Graaf

Graphic Design: Advertising

Overview Johannes Gutenberg (Bible, printing press)

Influential Artists and Designers

Saul Bass, Milton Glaser, Jenny Holzer, Barbara, Kruger, Andy Warhol, Paul Rand, Toulouse (These are artists that should be discussed throughout the course but not under a specific component.)

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Fashion Design

Planning and Designing Erte

Hand stitching Jan Knibbs; Alexander McQueen

Fabric Surface treatment Shingo Sato

Fashion Accessory Philip Treacy

Suggested designers Agatha Ruiz dela Prada; Betsy Johnson

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BUFFALO PUBLIC SCHOOLS2011 - 2012

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REFERENCES

§ Art Education Department, Buffalo Public Schools, www.buffaloschools.org/ArtEducation.cfm

§ Association for Supervision and Curriculum Development (ASCD), www.ascd.org

§ Multilingual Education Department, Buffalo Public Schools, www.buffaloschools.org/ForeignLanguages.cfm

§ National Art Education Association (NAEA), www.arteducators.org

§ New York State Art Teachers Association (NYSATA), www.nysata.org

§ New York State Education Department, P-12 Common Core Learning Standards, www.engageNY.org

§ New York State Learning Standards for the Arts, www.p12.nysed.gov/nysatl/standards.html

§ Partnership for 21st Century Skills, www.P21.org

§ The New Bloom’s Taxonomy: implication for arts education by Hanna, Wendell, Arts Education Policy Review,

(March 1, 2007)

§ Special Education Department, Buffalo Public Schools, www.buffaloschools.org/SpecialEd.cfm

BUFFALO PUBLIC SCHOOLS VISUAL ART CURRICULUM GRADES K-12

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