Dr.
Debrah Sickler-Voigt’s Art Education Lesson Plan Template with Content from the Tennessee Benchmark Lesson Plan: Second Grade
www.arted.us
ORIGINAL LESSON PLAN BY: LESSON TIME (CLASS SESSIONS):
GRADE LEVEL: 2nd
Abigail Carter 2 30-minute class periods
LESSON TITLE: Pandemic with Pollock (to be revised)
BIG IDEA: Expressing yourself Video link: MATERIALS: Paper and crayons (markers if
https://www.youtube.com/watch?v=DE7luiHYhwghttps://youtu.be/9L7w3ZDqyhg they have them and want to use them)
ESSENTIAL QUESTIONS FOR HIGHER ORDER THINKING: INSTRUCTIONAL RESOURCES: Photos of
What are ways you use to express yourself? Jackson Pollock’s and Franz Kline’s works, a
Is self-expression different from person to person? color connotation handout, aesthetic and
How might the world be different if we weren’t allowed to express ourselves? criticism questionnaire handout
Can you make art without thinking about it? ELEMENTS OF ART: Color, space, shape,
line
PRINCIPLES OF DESIGN: Balance, unity,
RATIONALE (LESSON OVERVIEW & GOALS): Art was used by Pollock and others in the movement
1950s as a means of self-expression in a world of turmoil and change following the Great OTHER VOCABULARY: Censorship,
Depression and World War 2. Following the war, censorship was cracking down on some expressionist, abstract, history, drip painting,
artists and abstract expressionism flourished in these times of rapid change, upset and action painting/drawing, non-figural art, art
restriction (Abstract Expressionism, 2015). Pollock created what have come to be known as criticism
action paintings, where he used his body not just his hand and wrist to make art in drip
paintings (Jackson Pollock 2020). In a time of political change and obstacles, Pollock and the
other frontrunners of the movement used abstract expressionism to show their experiences in
the post war wolrdworld. Excellent!
Self-expression has always been an important aspect of people’s lives. Children express
themselves in the friends they make, in the clothes they wear. They are molded by the
experiences they have. As a part of this lesson, children will pick a recent memory or feeling
and do an action crayon work. Children will use their knowledge of line, shape and color to
create works that are embodiments of the memory or emotion they chose to express. As
Pollock used his paintings to adapt and express himself in the post war environment, the
students will express themselves in the ever changing and confusing life of COVID 19.
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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OBJECTIVES ASSESSMENT
STUDIO ART OBJECTIVE: Given the background and examples of Jackson Pollock and FORMATIVE ASSESSMENT (CHECKING FOR
Franz Kline’s work in abstract expressionism, the student will create on an 8.5x11 sheet of UNDERSTANDING): The teacher will observe
paper a action crayon work of art using deliberate color choices to represent an emotion or students as they work and give feedback in the form
memory. The student will fill in and color where crayon marks make full loops to give the of praise polish ponder
drawing a painterly feel. The work will show effective craftspersonship by keeping their paper FORMAL SUMMATIVE ASSESSMENT: The
clean, unfolded, non-stained and will demonstrate effective and meaningful use of color and project is worth one hundred points and the criticism
the elements of art and principles of desingdesign. questions worth one hundred points for a total of two
hundred available points.
ART INQUIRY OBJECTIVE:
Aesthetics: The student will answer 6 aesthetic questions based on Jackson Pollock’s Blue Rubric Essay Portfolio Test/Quiz
Poles dated 1952. The student’s answers will be in mostly complete sentences and will contain Checklist Peer/Group Self-Assessment
at least 2 vocabulary words. Interview Authentic Other
Art criticism: The student will participate in a group discussion (responding to at least one of
the criticism question or to a peer response to a question) about the work Painting Number 2
by Franz Kline. The student will be respective of other students’ differing opinions and stay on
task during discussion.
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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PROCEDURES
SET (HOOK): The teacher will present the students with history on the abstract expressionist movement and the political environment surrounding
it, featuring a powerpoint with images of key artists from the period such as Jackson Pollock and Franz Kline and ask the essential questions. The
teacher will finish with a probing question about what would art be with constant censorship and no self expression?
INSTRUCTIONAL STRATEGIES (LECTURE, DISCUSSIONS, DEMONSTRATIONS, & MODELING): (1) The teacher will have prepared the
images for the lesson and the students will have their available art supplies ready. (2) The teacher will identify the lesson objectives, background,
vocabulary words, the guidelines for the lesson and the grading criteria and method. (3) The teacher will have students reflect on their ideas of self
expression and how that applies to their artwork. (4) The teacher will demonstrate action drawing and trying to make crayon painterly. (5) The
teacher will guide class closure and clean up.
GUIDED PRACTICE (GROUP WORK; CLASS/LAB ACTIVITIES): (1) The students will repeat the objectives and acknowledge that they
understand them. They will ask any relevant questions. (2) The students will thoughtfully reflect on their self-expression and think about Jackson
Pollock’s art in reference to that. (3) The students will watch the teacher demonstration and participate in the guided activity of a gesture drawing.
(4) The students will choose their own way to use self-expression in their work (type of line, shapes, color choice, etc). Students will recall the
discussion about Pollock and color theory to make thoughtful choices in their artwork.
INDEPENDENT PRACTICE (CLASS/LAB ACTIVITIES): (1) The student will create an action drawing using non objectivenon-objective lines. (2)
The student will recall that smooth loopy lines have a different meaning than sharp jagged lined. (3) The student will color in spaces that create full
shapes fully. (4) The student will show their work in a formative assesementassessment at the beginning of the second class. (5) The student will
turn in a polished, finished and completely colored piece.
ADAPTATIONS TO MEET INDIVIDUAL NEEDS (ACCOMMODATIONS, EXTRA & ALTERNATIVE ACTIVITIES): The teacher will explain the
vocabulary words the students are unfamiliar with, The teacher will also have a video demonstration available for the students that will be
accessible If they need to see the demonstration again after the lesson is first introduced. The teacher will meet with students and frequently ask
for checks of understanding and ask if there are questions on what they are doing.
The work can also be done in pencil or pen if students do not have crayons. Lined paper is also acceptable if the student doesn’t have printer or
sketch book paper. but all students should be able to complete it with materials. Any other accommodations?
If the students work faster than others, a supplementary task (such as a different color drawing or a have them color in all the white on the page
instead of just the lines) will be presented for them to finish so the entire class can maintain on task. Likewise, if a student is falling behind the
teacher will see how we can catch the student(s) up and keep everyone on the same timeframe.
CLOSURE & CLEANUP: (1) Student will be responsible for cleaning their workspace. (2) The students will in a class discussion talk about what
they enjoyed or didn’t enjoy about the project, how it felt to draw abstractly and emotively. (3) Students will reflect on Pollock’s work and the time it
was from and relate it to their own time. (4) Students will engage in a short critique both of their works and of abstract expressionism in general.
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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AESTHETIC QUESTIONS (BASED ON SALLY MCRORIE’S MODEL, 1996)
Name of Artist, Artwork & Date: Jackson Pollock, Blue Poles
1. Is this a work of art? Does the fact that it’s abstract make it different from other artworks?
2. Pollock lived in a time of a lot of change and uncertainty, even though there’s no subject, do you still see meaning in this painting?
3. Does it change your view of this painting to know what was going on in 1950? Does it make the artwork better or work?
4. In the 1950s, there was were issues with censorship, or people in power not wanting certain things shown in art and in the media
(books, magazines, news, movies). Abstraction was a way to still show what the artists wanted to show, but without getting in trouble. Do
you think that could apply to the current times we live in?
5. Pollock and other abstract expressionists have been the center of a lot of heavy criticism. Do you think you have to be an artist to see
merit in Pollock’s work? Or do you need to know history to like it more?
6. Would this painting be ‘better’ if it had a subject? How do you think this painting would be received if it were made in 2020?
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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ART CRITICISM QUESTIONS (BASED ON TOM ANDERSON’S MODEL, 2005)
Name of Artist, Artwork & Date: Franz Kline, Painting Number 2 1954
1dr. WhatsWhat’s your overall impression of this work?
2. Do you think this is art? Do you see skill inIs this work made with skill and care?
3. Is Does this artwork have a balanced designartwork seem too empty? Should something be added? If so, what?? (You may need to explain
this.)
4. How would you describe this artwork?
5. Do you think color would change how this artwork looks? If it were red and black instead, how would you feel when you look at it? How does
knowing what the world was like in the 1950s change your view of this artwork? How would students know this? It would have to be taught in your
lesson. I suggest revising the question.
6. What do you think the purpose of this artwork was?
7. Do you think this is art? Why? Why not?
8. Is this art better or worse than realistic art?
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9. Abstract expressionism does take a lot of skill. D, do you think just because the outcome may be simple it’s not good or worthwhile? Simplify the
wording here.Do you think this art belongs in a museum with other more realistic artworks? Why or why not? Where would you put it if you don’t
think it should be there.z
10. What makes art “good”?
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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TENNESSEE VISUAL ARTS STANDARDS: 2ND GRADE
Create
2.VA.Cr1.A Brainstorm collaboratively multiple approaches to an art or design problem.
2.VA.Cr1.B Make art or design with a variety of materials and tools, exploring personal interests, questions, and curiosities.
2.VA.Cr2.A Experiment with various materials and tools to explore personal interests in a work of art or design, using developmentally appropriate
craftsmanship.
2.VA.Cr2.B Demonstrate safe procedures for using and cleaning art tools, equipment, and studio spaces.
2.VA.Cr2.C Repurpose objects to create something new.
2.VA.Cr3.A Discuss and reflect with peers about choices made in creating artwork.
Present
2.VA.P1.A Categorize artwork based on a theme or concept for an exhibit. Your lesson does not show students doing this.
2.VA.P2.A Distinguish between different materials or artistic techniques for preparing artwork for presentation.
2.VA.P3.A Analyze how art exhibited in traditional and emerging presentation spaces contributes to communities.
Respond
2.VA.R1.A Categorize images based on determined key information and relevant details.
2.VA.R1.B Perceive and describe aesthetic characteristics of one’s natural world and constructed environments.
2.VA.R2.A Interpret art by identifying the suggested mood and describing relevant subject matter while using appropriate art vocabulary.
2.VA.R3.A Use art vocabulary to express preferences about artwork.
Connect
2.VA.Cn1.A Create art about events in home, school, or community life.
2.VA.Cn2.A Compare and contrast purposes of artwork from various cultures, times, and places.
Integrated Subjects Standards: SSP.01 K-2 Gather information from a variety of sources, including: ● Printed materials ● Graphic representations ●
Artifacts ● Media and technology sources
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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REFERENCES
Art History Timeline: Western Art Movements and Their Impact. (2019, November 04). Retrieved September 29, 2020, from
https://www.invaluable.com/blog/art-history-timeline/
The Editors of Encyclopaedia Britannica. (2015, October 15). Abstract Expressionism. Retrieved September 28, 2020, from
https://www.britannica.com/art/Action-painting
Jackson Pollock. (n.d.). Retrieved September 28, 2020, from https://biography.yourdictionary.com/jackson-pollock
MoMA. (n.d.). Franz Kline. Painting Number 2. 1954: MoMA. Retrieved September 28, 2020, from https://www.moma.org/collection/works/79234?
sov_referrer=artist
Lewis, D. (2016, August 23). Why London's New Abstract Expressionism Show Is a Big Deal. Retrieved September 28, 2020, from
https://www.smithsonianmag.com/smart-news/why-londons-abstract-expressionism-show-big-deal-180960140/
Wikipedia Contributors. (2020, June 12). Action painting. Retrieved September 28, 2020, from https://en.wikipedia.org/wiki/Action_painting
REFLECTIONS FOR FUTURE MODIFICATION: This lesson plan was mostly made in mind for Ms. Malone’s class and the restrictions that her
class is facing given the pandemic and limited supplies. In a future, hopefully more normalized classroom setting, the work would include paint and
feature two parts with both action as in physical movement painting and a drip/splatter painting section. I would also like to expand the lesson itself
but as class time was shortened for the pandemic I tried to keep it simple and as Ms. Malone has tried to mostly give adequate class time for kids to
finish their projects to reduce homework I wanted to try and keep that idea in mind as I made this lesson. Nice!
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
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COMPREHENSIVE LESSON PLAN TEMPLATE DIRECTIONS
Select the appropriate document template for the grade level for which you wish to teach your lesson.
Use the given space the document provides. DO NOT DELETE ANY PARTS OF THE TEMPLATE. ALL PARTS ARE REQUIRED FOR YOU
TO COMPLETE AND WILL BE GRADED.
Type in required information in the gray shaded areas.
Double click on the check box. When the check box form field options box opens click checked and click ok. You can also highlight this
information as an alternative option.
ORIGINAL LESSON PLAN BY & LESSON TITLE: Type your name and the lesson’s title in the spaces provided.
GRADE LEVEL: Type the grade level in the space provided.
LESSON TIME/CLASS SESSIONS: Type in the number of class sessions and the length of class time needed to complete this lesson.
BIG IDEA: A big idea is a broad topic that addresses significant life issues that are relevant to humankind regardless of the time periods and
cultures in which people live.
• ESSENTIAL QUESTIONS FOR HIGHER ORDER THINKING: Essential questions are broad-based questions that assist students in
acquiring knowledge about enduring understandings. They include students’ multiple and varied responses to questions. Enduring
understandings: “Are statements summarizing important ideas and core processes that are central to a discipline and have lasting value
beyond the classroom;” they identify “what students should value about the content area over the course of their lifetimes” (National
Coalition for Core Arts Standards, 2014; p. 14). Through enduring understandings, students revisit topics to build on prior knowledge,
contemplate varying perspectives, and transfer new information to other situations. Reference: National Coalition for Core Arts Standards (2014). National Core
Arts Standards: A conceptual framework for arts learning. Retrieved from http://www.nationalartsstandards.org/sites/default/files/NCCAS%20%20Conceptual%20Framework_4.pdf
RATIONALE (LESSON OVERVIEW & GOALS): In approximately 100 words describe the importance of your lesson and why children need to
learn about it. Include references/citations. Describe your big idea. Include the task students will accomplish. Identify specific content such as a
challenge, scenario, global/community concept, 21st century learning skill, etc.
MATERIALS: List the art supplies and found objects you will need to implement this lesson.
INSTRUCTIONAL RESOURCES: List the resources you will need to teach this lesson such as books, posters, art images, charts, PowerPoint
presentations, and handouts.
ELEMENTS OF ART: Incorporate the elements of art that drive student creations and responses to art. The elements include line, shape, color,
form, space, value, and texture.
PRINCIPLES OF DESIGN: Incorporate the principles of art that drive student creations and responses to art. The principles include balance,
pattern, rhythm, repetition, emphasis, variety, proportion, movement, and unity.
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OTHER VOCABULARY: List art and other subject academic vocabulary as applicable to your lesson. Examples may include Renaissance, fresco,
cumulous, stratus, and cirrus.
OBJECTIVES Write ONE (1) STUDIO objective for studio art and ONE (1) ART INQUIRY objective (aesthetics, art criticism, art history,
and/or visual culture). Objectives are measurable and observable student behaviors/actions that identify learning goals and expectations. Use
your objectives to analyze and interpret the key concepts (the ideas) that makeup the standards to set your curricular plan into action. Objectives
“unpack” (break down) the standards.
Step 1: Measurable Student Behavior: Begin by identifying a measurable student behavior using an action verb that describes a
specific student performance. State “who” (the student, the learner, the class, the group) and “what action” (select a measurable verb
such as: will sculpt, will critique, will paint, will design, will analyze, will compare, or will respond). Avoid non-measurable verbs such as
learn, understand, and like, as well as weak verbs such as “do.” An example of a measurable student behavior includes: “The students will
(+ action verb and activity).” The student will create….
Step 2: Stimulus. The stimulus identifies “how” specific events (such as a class reading, an artist’s visit, or a fieldtrip), materials (such as
paint, paper, and markers), and instructional resources (such as books, multimedia presentations, handouts, etc.) drive the objective.
Examples include: (a) “Given a class reading on an artist’s biography…”; (b) “Given a wire bending demonstration by a local artist…”; and,
(c) “Using recycled materials…”
Step 3: Criteria. A measurable objective includes set criteria that state “to what extent” students will accomplish the objective. The criteria
involve the measurable skills students are expected to master—such as responding to a particular big idea in an artwork, demonstrating
craftspersonship, applying lesson vocabulary, and presenting specific design qualities. Criteria often include quantifiable data. The
following is a drawing objective’s criteria: “…a composition that represents big idea community, shows overlapping objects, contains objects
running off at least three sides of the page, and has a unified design.”
ASSESSMENT: Assessment is the range of tools to measure learning outcomes. It provides an ongoing measurement of student learning
outcomes. Its effectiveness correlates with your lesson objectives, curricular goals, and authentic teaching practices. Select the appropriate
check boxes to identify the different forms of assessment in your lesson. All lesson plans will include formative and formal-summative
assessments. Write a narrative description that explains how you will assess students through formative and formal assessments.
FORMATIVE ASSESSMENT (CHECKING FOR UNDERSTANDING): Apply formative assessment to monitor the class and check for
student understanding. Listen to student discussions and watch their actions to determine if they comprehend all procedures fully. Probe
students with questions that require higher levels of learning. Reinforce key information—such as objectives and modes of assessment—as
necessary. Check that students understand their roles and responsibilities when working independently, in groups, and as part of the whole
class. If you notice student off-task behaviors—such as stalling or excessive talking—stop them immediately.
FORMAL ASSESSMENT: In the space provided, describe how you will assess student-learners formally. Formal assessment requires a
numeric grade for art production and other activities. Make sure to include a numeric score for all art activities in your lesson plan. You
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may use a checklist for primary learners. For example, students will achieve 4 out of 5 skills listed on the checklist. An art project for older
students can use numeric scoring worth 100 points or other points value. See how the sample lesson plan includes numeric scores for the
lesson’s art activities.
PROCEDURES: The procedures are the steps both the teacher and students take throughout the lesson. Make sure to include references to big
ideas, essential questions, studio art activities, aesthetics, art criticism, objectives, assessment, and standards in your lesson so all parts of
your lesson plan will be unified.
SET (HOOK): The set is a brief activity or event at the beginning of a lesson that capture students’ full attention. Introduce your lessons’
big idea and essential question(s) during the set to spark children’s interest in the subject matter and assist them in making personal
connections to the lesson. Set activities include, but are not limited to: (a) responding to art; (b) making authentic connections to prior life
and learning experiences; (c) participating in a storytelling session; (d) watching and participating in demonstrations; (e) brainstorming
ideas; (f) partaking in an interactive class reading; (g) making predictions, (h) performing reviews, and (i) engaging in self-reflective
activities.
INSTRUCTIONAL STRATEGIES (LECTURE, DISCUSSIONS, DEMONSTRATIONS, & MODELING): Your instructional strategies
provide the means for you to impart key information to your students. Integrate the learning modalities— visual, auditory, kinesthetic, and
tactile learning—into your teaching procedures. Your modeling of instruction will change according to the content of your lesson and
students needs. The following examples identify common instructional practices. During lesson procedures teachers: (A) Inform students
about the lesson’s goals and objectives. (B) Explain academic vocabulary related to the lesson. (C) Identify how they will assess student
learning. (D) Operate as facilitators by sharing key information with students while at the same time probing students to answer
questions thoughtfully and independently through Socratic questioning methods. (E) Utilize multimedia instructional resources to engage
students in learning new material and expanding current knowledge levels. (F) Connect the standards to lifelong learning skills. During
these teacher procedures, students will actively participate in the learning process by following along and remaining engaged. They will
answer questions, take notes, model behaviors, and reflect at the appropriate moments.
GUIDED PRACTICE (GROUP WORK; CLASS/LAB ACTIVITIES): Students collaborate during guided practice activities under the
watchful supervision of their teachers. Student activities will vary according to established learning goals and objectives. Students
commonly engage in the following guided practices. (A) Review and practice procedures before hand necessary to complete tasks. (B)
Respond to content and context related to big ideas, essential questions, and challenges in small groups or as an entire class. (C) Make
connections between disparate ideas to seek new possibilities. (D) Take alternative positions and pose “what if” questions. (E) Self-
assess their current knowledge levels and ways of knowing and apply information to set new goals. The teacher will monitor the students
during these activities to ensure that all students remain on-task. The teacher will also check for student understanding and provide
additional feedback to assist students in acquiring the necessary information.
INDEPENDENT PRACTICE (CLASS/LAB ACTIVITIES) Students must learn how to work independently to achieve 21st century learning
skills. Independent practices include class activities and homework assignments. Teachers call upon a range of independent learning
practices so that their students can achieve learning outcomes. Students commonly engage in the following independent practices: (a)
reflecting and self-assessing in their journals; (b) assessing the works in their portfolios; (c) creating works of art while using art materials
and equipment properly and safely; (d) contemplating the best means to present their artworks; (e) utilizing books, notes, information on
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the board, and other instructional resources to achieve tasks; and (f) applying problem solving skills to find solutions and overcome
challenges.
ADAPTATIONS TO MEET INDIVIDUAL NEEDS (ACCOMMODATIONS, EXTRA & ALTERNATIVE ACTIVITIES) Plan how you will
meet the needs of diversified learners in your classroom. Make accommodations for students with special needs, advanced learners
(gifted and talented), students with at-risk tendencies, and English language learners. Your accommodations will vary according to
specific student learning needs. Teachers regularly apply the following accommodations. (A) Break down academic vocabulary and
steps needed to complete a task so that all students understand. (B) Supplement oral descriptions with visual demonstrations, charts,
posters, images, multimedia resources, and content posted on the board. (C) Meet with students individually to review key information.
(D) Move students closer to the teacher so that they can follow along and be removed from possible distractions. (E) Assign a
knowledgeable student peer to assist fellow students. (F) Provide students with a clear list of procedures that contain both text and
images. (G) Offer students addition time to complete assignments. (H) Develop extended activities to assist students in taking learning to
the next level. (I) Check for student understanding by planning breaks at specific points during the lesson.
CLOSURE & CLEANUP: The closure summarizes the lesson. Teachers and students review the lesson’s big idea, essential questions,
objectives, and key content. Teachers check for understanding to ensure that the students learned the necessary material and determine
if students need to go back and revisit concepts and/or spend additional time on a particular learning activity. Students self-reflect on the
learning process and share their ideas with the class. They can also identify how they might apply what they have learned to future
situations that extend beyond the classroom. A lesson’s closure is a suitable time for students to present their in-progress and completed
works and assess their creations through class critiques. Students might also reflect on their learning and performances in their journals
during the closure. Because students will be creating with various art supplies, cleanup is a vital part of the closure. Cleaning up teaches
students responsibility and stimulates a positive learning environment.
AESTHETIC QUESTIONS: Use Sally McRorie’s Aesthetic questioning method to write aesthetic questions based on an artwork. Select 1 question
from each of the 6 categories. Adapt the questions to suit the artwork you have selected and the grade level of your lesson. For example, if the
lesson is for 5th grade students, write the question in language that 5th grade students will understand. Incorporate your big idea and context
about the artwork and artists to make questions more relevant and engaging. Include a picture of the artwork and its title information. All
information will fit neatly on 1 page. Use proper spelling, punctuation, and grammar.
ART CRITICISM QUESTIONS: Use Tom Anderson’s Art Criticism method to write art criticism questions based on an artwork. Select 1 question
from each of the 10 categories. Adapt the questions to suit the artwork you have selected and the grade level of your lesson. For example, if the
lesson is for 1st grade students, write the question in language that 5th grade students will understand. Incorporate your big idea and context
about the artwork and artists to make questions more relevant and engaging. Include a picture of the artwork and its title information. Choose a
different artwork than the one you selected for the aesthetic questions. All information will fit neatly on 1 page. Use proper spelling,
punctuation, and grammar.
TENNESSEE VISUAL ARTS STANDARDS: Teachers are required to use the state standards for each subject taught. Within a school year, each
of the grade level’s standards must be covered. For this lesson you will select at least one standard from each of the art categories. Simply
double click the check boxes (or highlight them) to show which art standards your lesson meets. In the space provided add the other subjects
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and the standards that tie into your art lesson. Use an online search engine such as Google to locate grade level Tennessee State Standards’
Academic Standards. Select applicable subject standards—such as language arts, math, science & social studies.
REFERENCES: References inform the reader where the author of the lesson plan acquired his/her information. Students are required to have at
least three (3) different references. Include Anderson’s art criticism and McRorie’s aesthetics in your reference section. Wikipedia references
will not be accepted. All references must be in APA format and double-spaced. References are listed alphabetically. See the following
examples.
Sample APA Reference Formats
Book
Anderson, T & Milbrandt, M. (2005). Art for life. Boston: McGraw Hill.
Reference
Book Greenwood, D. J. & Levin, M. (2000). Reconstructing the relationships between universities and society through action
Chapter
research. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (2nd ed., pp. 85-106). Thousand
Oaks, CA: Sage.
Internet McRorie, S. (1996). Questioning the work of Sandy Skoglund: Aesthetics. Retrieved from
http://www.getty.edu/artsednet/resources/Skoglund/mcrorie.html.
Article Sickler-Voigt, D. C. (2006). Carving for the soul: Life lessons from self-taught artist O.L. Samuels. Art Education, 59 (3), 25-
32.
REFLECTIONS FOR FUTURE MODIFICATION: After teaching your lesson and/or receiving feedback from your professor or administrator, apply
teacher self-reflection to assess how you will revise this lesson when you teach it in the future. This is not required when you first submit your
lesson.)
AESTHETIC QUESTIONS (BASED ON SALLY MCRORIE’S MODEL, 1996)
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
For Educational Purposes Only.
[Insert a Picture Here]
Name of Artist, Artwork & Date:
1. Definitions of Art:
2. Artist-centered Issues:
3. Audience-centered Issues:
4. Cultural Context:
5. Criticism and Interpretation:
6. Values in Art:
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
For Educational Purposes Only.
ART CRITICISM QUESTIONS (BASED ON TOM ANDERSON’S MODEL, 2005)
[Insert a Picture Here]
Name of Artist, Artwork & Date:
1. General Reaction:
2. Description Obvious Thematic, Formal, and Technical Qualities:
3. Description Formal Relationships of Shapes and Images:
4. Description Formal Characterization:
5. Description Contextual Examination:
6. Interpretation:
7. Evaluation:
8. Aesthetic Judgment:
9. Contextual Judgment:
10. Final Judgment:
Debrah C. Sickler-Voigt, Ph.D. http://www.arted.us
For Educational Purposes Only.
