Syllabus

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HOFSTRA UNIVERSITY
School of Education and Allied and Human Services
Department of Curriculum and Teaching
Course: CT 298B: Instructional Patterns for Art in Secondary Schools; and SED 114
Sem. Hours: 3
Instructor:  Julia Healy

Telephone: Cell: 646.285.7976; Home: 212.358.1640; Studio: 845.856.5083 E-Mail: Jhealy@Hofstra.edu

Class Blog: http://hofstrasecondaryarted.blogspot.com

Course Description

Students will study the developmental, socio-cultural, perceptual and cognitive changes that occur during adolescence with a view to how these transformations impact on artistic-aesthetic development. The course will integrate the exploration of these theoretical strands with weekly participation in hands-on art projects and processes that are appropriate for middle and high school students. Lesson and unit planning, classroom management and diverse assessment practices will be examined. Students will explore ways to foster creative thinking as well as implement art history and aesthetics in the curriculum.

Students in CT298B will be given expanded assignments and projects to reflect their graduate student status.

Required Text:

There is no required textbook. Readings will be distributed and assigned  throughout the semester.

Course Rationale

The unifying theme of this course is the idea that a rigorous, multi-faceted program in the arts is ideally suited to foster and express the burgeoning sense of identity that begins during adolescence. Art education is conceived here as a discipline that embraces artistic production, art history and aesthetics. The art room is envisioned as a creative and dynamic studio environment that highlights the unique contributions of each individual while imparting diverse cultural traditions in the arts.

Course Outcomes

• This course will enable students to develop in-depth art lessons and units for a program in the visual arts, grades 7-12.
• Students will be able to foster visual literacy, enabling adolescents to decode meaning and value in diverse media in their own culture as well as the culture of others. They will demonstrate this through their artistic production and classroom discussion.
• Students will have the option to complete an interview study of adolescents as they look at art in order to understand how this age group makes meaning of the artwork of professional artists. Students will develop their own perceptions of the implications of their findings for teaching in a research paper. (optional, extra credit)
• Students will design qualitative art lessons that demonstrate an understanding of adolescents’ growth to a degree that addresses their development and concomitant changes in visual and spatial abilities and interests.
• Students will demonstrate an ability to introduce students to art history and aesthetics by designing multicultural museum activities.
• Students will demonstrate an ability to successfully teach art through actual presentations in the classroom.
• Students will demonstrate an understanding of current issues in the field of art education by an ability to lead and participate in group discussions on these topics.
• Students will develop the habits of mind of a reflective practitioner as demonstrated in their journals, kept to examine their observations in schools and make connections between field and university experiences.

Jan. 30: Introduction

Review of course and program requirements.

Discussion of:

·      Emotional, intellectual and physical transitions of early adolescence viewed in today’s cultural context.

·      Art as the search for meaning and the social implications of art.

·      General things we will be covering this semester:

Teaching both future artists and non-artists to bring out creativity
Harry Wong and The Structured Classroom
Setting the Tone
Do-Nows/Routines
Making a disparate group a unit within a classroom setting
Materials
Artist first/Teaching supports art, art supports teaching
Visual Culture and Digital Applications
Anime/cartoons/Bob Ross
Beyond art seasons, art elements and dead artists
How to get ideas
Demos: yea or nay?
Lesson Plans & Units
Standards & Common Core for the Arts
Safety
Differentiating Instruction
Accommodations
Legalities
Setting Up Your Room
Display
Assessment
Critiques

Art Form: Drawing/Group Project (Exquisite Corpse)

Homework: Read Engaging the Adolescent Mind, pages 1-3. Read Art Teaching, Chapter 3, pages 167-179.

Feb. 6: Approaches to Art Instruction

Discussion on Reading: Engaging the Adolescent Mind, pp. 1-3. What is an Elegant Visual Problem? (Ken Vieth)

Art 21 DVD

Nyack High School’s Approach to Teaching

Lesson Plan and Unit Introduction

Themes

Curriculum

Art Form:  Drawing

Homework: Read Art Teaching, Middle School Art, pages 167-179 and The    First days of School (Harry Wong), pages 3-15.

Feb. 13: Taking Charge of Your Classroom, Setting Up Your Room for Success and Forming Routines

Student Presentation (#1) on Art Teaching Reading

Discussion of The First Days of School, (Harry Wong)

Do-Nows and Routines

Learning by Osmosis—Setting Up Your Room Accordingly and Thoughtfully

Teaching Studio in Art to art-disinterested students

Art Form: Pop-Ups

Homework: Read Art for Life, Chapter 2

Feb. 20: Middle School and Authentic Instrucion

Discussion of Reading, led by graduate students

Materials and Tools: A Crash Course: Ordering, Safety

Art Form: Collage

Homework: Read handouts from out-of-print Design Synectics and Art Synectics by Nicolas Roarke (Davis Publishing)

 (Portrait Photos Taken of Students for Next Week)

Feb. 27: Visual Culture, Lesson Plans, Standards and Common Core, APPR, SLO and more

Discussion of Reading by Professor

Introduction to National Standards and the new Common Core

Professional Dispositions

Art Form: Photo Collage

Homework: Read Art for Life, Chapter 4, Individual Expression and Creativity, pages 64-78.
 
Mar. 6: Class Cancelled due to NAEA Convention. We will have class on May 8 instead.

Mar. 13: Involving the Community, Outdoor Learning

Student Presentation #3 on Art for Life Reading

Discussion of the relationship of community and art programs

Introduction of Step Outside by Peter London

Art Form: Printmaking, Frottage

Reading: Daniel Pink and Art for Life, Chapter 5, Aesthetics, pages 80-96.

Mar. 20: Creativity, Developing Imagination and Thinking Skills

UNIT PLAN PARAGRAPH DUE.

Student Presentation #4 on Art for Life Reading

You Tube/Vimeo Viewing and Discussion of Daniel Pink

Art Form: Printmaking, Transfer Prints

Homework: Look over assessment instruments. Read article on assessment models.

Mar. 27:  School Closed

April 3: Conversion Day--No Wednesday Classes!!!!

April 10: Assessment Models, Rubrics, Self-Reflection & Critiques

Rubrics

Grading

Portfolio Assessment

Reflection/Self-Reflection

Critiques and various models for secondary students

Art Form: Group Projects, Installations, Performance Art

Homework: Read articles on social issues and Art for Life handout.

Apr. 17: Multicultural Lessons, Diversity, Gender Issue, Character Education and Accommodations

Presentation by Graduate Student (#4)
Discussion of reading

Empathy

PBIS

Teaching from Love

Art Form: Painting and Mixed Media

Apr. 24:  Stand Alone Lessons Vs. Integrating Academic Subjects—Finding a Balance

UNIT PLANS DUE
Discussion of reading

Presentation of lessons

Process versus Product

Quality integrated lessons

Embedding academics in “Art for Art’s Sake” Lessons
MOOCs--the future???

Art Form: Painting and Mixed Media

Homework: Work on Units. Be sure to create at least one sample project for presentation. Graduate Students Only: Write a cover letter, resume and Teaching Philosophy for presentation next week

Homework (ALL): Work on lesson plans and units

May 1: Unit Presentations

Discussion of cover letters, resumes and philosophies

Presentation of Units

Art Form: Sculpture

Homework: Create an original piece of art that summarizes your Field Experience. It could be a handmade book, a journal, a poster, a video, a blog, etc.

May 8: Loose Ends, Further Inquiry and What Comes Next

Presentation and discussion of Field Experiences

Presentation and discussion of cover letters, resumes and teaching philosophiesClosure, Evaluation of Professor and Class

Art Forms: Sculpture and Food


SED 114 and CT298B Course Assignments and Basis for Assessment
Professor Julia Healy

Participant Observation Program in Schools (15%) Due May 8
Students will participate and observe in a secondary school, 20 hours during semester.
The following is required:
___ Attendance log signed by cooperating teacher
___ Creative rendering that exemplifies your experiences observing in the classroom
In your art piece make connections between:
___ theories and ideas discussed in class
___ readings (text and other handouts)
___ Include images of student work (actual, copies or photographs) to share with class. Note the grade of the examples, the course they were from and lesson objectives.
___ In a presentation (5-7 minutes) include an analysis of the aesthetic objective(s), motivations, questions posed, and the criteria or guidelines of assessment (rubrics). Select any examples of open-ended assignments, with no patterns or designs given to share with the class.

Writing and Reading Assignments (10%)—15% for undergraduates
Students will be responsible for leading group discussions of reading assignments
___ Lead a group discussion (or activity) that covers key issues presented in the reading. Initiate dialogue with fellow students, do not read your notes of the article.
___ Be prepared weekly to respond to a question related to the reading and/or handout given. These quizzes will count as one-third of the above grade.

___ Graduate students will present on April 24 their cover letter, resume and teaching philosophy piece for 5% of their final grade.

Unique Lesson Plan and Demonstration (10% of grade) Due April 17
Students will each present an original lesson plan to the class, providing copies of lesson plans, with visuals, for each student. The lesson will be one from your thematic unit (see below).
Be sure to address:
___ where this lesson fits into a unit
___ lesson description and rationale (one paragraph including how lesson is relevant to adolescent interest, development and/ or broad curriculum, artistic or cultural issues)
___ clear aesthetic objectives and their relationship to the NYS arts standards
___ motivation and closure
___ materials, including a technique or demonstration exemplar, if needed
___ visual aids, including art prints large enough for class viewing
___ promotion of creativity and individual response
___ aesthetics and art history
___ presentation: (voice, tone), interactive engagement with students through questioning or other techniques.

Thematic Unit Plan (25% of grade)--Due April 24
Students will create an original unit plan that will contain three to five lessons and submit them to me via email (for our blog) and hard copy.

This is the assignment that will be used on your TK20 site.  Draft of TK20 Rubrics has been given to you separately.

___Your theme should provide a framework or structure to enhance relevance and meaning to adolescents. The theme should go beyond media to embrace themes discussed in the course. For example, you could explore ideas related to identity, place or community. Media could be the same or vary. Present your concept and description to me by Mar. 7 (one paragraph).

___ Every lesson requires visuals, which include a visual of the process being taught, a section of the finished project, or the finished product and art history prints, when appropriate. Other motivation is also welcome.

___ Base at least one lesson on a work of  art created within the past ten years or a work that reflects current trends in the art world. The artist does not have to be famous, but you need to provide a color reproduction (refer to catalogue or the Internet).

___ Include an image of what inspired your lesson, if applicable.

___ Include at least one lesson with a multicultural and/or gender sensitive perspective.

___ Include a lesson that includes art criticism and/or aesthetics.

___ Make sure all sections on the lesson plan format distributed are addressed

___ Lessons must be developmentally appropriate and challenging. For example, note if the unit is for an introductory 9th grade studio course or a more advanced course.

___ Address motivation, pivotal questions and closure in your lessons

___ Be sure to have your lessons further a clear, fundamental artistic objective, while stimulating creative and individual responses.

___ Provide an assessment rubric or other specific approach. Relate clearly to your objective(s). Describe guidelines or criteria for assessment. Each assessment should be different, reflecting the artistic objectives of the individual lesson. Generic assessments are not acceptable.

___ Common Core (if applicable) and/or the New York State Art Standards that are being addressed should be noted in each lesson plan. Be specific.

Art Projects (25%)
Due throughout semester

Professional Dispositions (10%)
Classroom Participation
A dynamic class depends largely on you. You will receive an “A” for your professional disposition piece of your grade if you come to class having completed the appropriate reading assignments, are prepared for and complete art activities and contribute to classroom discussions as an active and informed participant. You bring varied and rich artistic backgrounds and perceptions to class: I welcome you to share them.

Attendance
Due to the hands-on nature of classes, attendance is critical. Students should provide a medical excuse for missed classes. If you must miss a class, you are responsible for finding out what you missed and what art supplies are needed for he next class. If a student misses two classes, he/she will lose a letter grade for each subsequent class missed. Students are expected to be in class on time.

Originality
All lesson plans must be original. Do not “borrow” work from the Internet, other students, teachers or other sources. Such work will not be accepted; no revisions accepted for copied work. Art prints or quotes taken from books or the Internet must be cited.

Disabilities: If you have any documented disability-related concerns that may have an impact upon your performance in this course, please meet with me within the first two weeks of the current semester, so that we can work out the appropriate accommodations.  Accommodations are provided on an individualized, as-needed basis after the needs, circumstances and documentation have been evaluated by the appropriate office on campus.
For more information on services provided by Hofstra, and for submission of documentation of your disability, please contact:
• Dr. Karin Spencer in 101 Memorial Hall at 516-463-6770 (for physical and/orpsychological disabilities) or
• Linda DeMotta in 202 Roosevelt Hall at 516-463-5840 (for learning disabilities and/orADHD)
All disability-related information will be kept confidential.

Ernst-Inspired Collage Lesson Plan

Max Ernst-Inspired Collage
Grades 4 and Up
Time Frame: 2 art periods
This project is inspired by collages by the Surrealist Max Ernst.

Aims:
• To explore the collage process
• To use old illustrations to create impossible scenes
• To create individual works that express absurdity, nightmares, the occult, etc.

Materials: Black paper or backgrounds from collected sources, copied, old illustrations from 19th Century books and ads copied, scissors, glue sticks, old phone books or magazines for gluing

Vocabulary: Surrealism, collage, overlapping, edge

Procedure: Give students pages of images to choose from. Students will make either their own backgrounds or start with one from your collection of images. (Ask me for a packet of originals to copy, if you are interested.) Show good cutting technique, by making clean edged cuts. Have your students move the paper, not their wrists! Show how to plan by working from the back forward. Demonstrate good gluing technique by putting your shape upside down on a page of the phone book and gluing around the edges of the shape. (The middle takes care of itself!) Smack down for a tight, clean bond and throw the page of the phone book away. Repeat for each shape. This way, no glue gets on the table and you get clean gluing.

Reflection/Follow-up: Share the work. Perhaps you can make a class quilt with one work by each student being put together in rows.

Pop-Ups Lesson Plan

271--Pop-Up Books (Can be Applied to All Ages, Depending on Length and Adult Help)

This is a wonderful project that bridges art and writing. It could also have an integrative aspect (science, math, social studies, etc.). It can be adapted in many, many ways for photography classes and in Studio in Art as collage projects.

Materials:
Several sheets Oak tag or Bristol board to be folded in half & used for figures
2 pieces of heavy chipboard, a little bigger than your book
Drawing paper to make covers with
Pencil, eraser
Practice paper
Scissors
Elmer’s Glue
Sharpie Markers
Watercolors
Watercolor Brush
Water Can
Colored Pencils
Note: Do not use pastels or craypas, as they will smear.

Procedure:
Begin by planning your book. Decide how many pages you want it to have and how many moveable characters you will need. Most likely, your book will be horizontal in format, so plan accordingly.
Your story can be worked out on scratch paper. Students may use word processing and cut out their printed copy and glue it to the bottom of their books after the illustrations are done.
The top half of the book will be background for an outside scene or the wall for an inside one. The bottom half will be for the story and is the ground or floor. Your pop-ups will come out of folded area.
Once you have your story, fold your oak tag in half and draw your scene lightly in pencil. Outline in sharpie and watercolor in. Colored pencils can be used later, if you wish. Mixed media can add a rich look to your art work.
On separate oak tag, make your characters. When dry, cut out.
Book Assembly: Pop-ups are based on the idea that everything will fold flat along scored lines when the page is closed.
First draw an “11” on the outside of the fold. Make sure your pop-up will not extend outside of your book by visually measuring first. The “11” can’t be too thin or too thick, too long or too short. As you do this, you will get the hang of what size to make your “11”. Fold back and forth to score and put back into position. Open the fold and push out your “11” which now becomes a stair step. Your pop-up will get glued onto the front of the stair step—not the top!
For a slider, make the “11” and then cut a long strip twice the length of the slider you want. Slide it through your “11” and then glue it to itself at one end. Then glue the character or thing on the outside of the strip.
You also may use z-strips—small strips folded like zees that pop out things like clouds, birds, etc.
Advanced pop-up techniques include angled folds and pop-ups attached to pop-ups. There are many books to refer to if you want to get more sophisticated.
Glue your pages together, being mindful not to slop glue too near the open holes formed by the “11’s”.
Cover: The cover uses the “envelope” technique I showed you for your accordion books. You need to create a spine for your book which will vary depending on how many pages you have. Lay your cardboards our on your cover paper with a space between them that will become the spine. It may be as close as a quarter of an inch or as far apart as three-quarters of an inch. Trace the cardboard and remove. The cardboards, remember, are a bit bigger than the book pages (Maybe ¼” or so on each side). Draw envelope flaps from the exact corners. Angle in, not out! The spine area is just made straight. The lines are only drawn on an angle from the corners. Put the cardboard back on the tracing and fold the flaps tightly over the cardboard and tape down. Do this all eight times.
Draw your cover, sharpie and watercolor. Put your title on the cover and your name, too. It should have a compelling illustration to make us want to open it.
The last step is gluing the end book pages to the cover. Glue around the edges, and your book is finished.

Reflection:
Share the books as usual. Books may be displayed in the library or classroom.
Follow-up or Variations:
Students can make pop-up cards using this technique. Simple one page pop-up pictures can be done by kindergartners. If you want to display on a bulletin board, tie a piece of yarn or string on the oak tag to hold the fold open.