Between the Lines Multiple Visit Program Teacher...

Education 2015-2016

Between the Lines Multiple Visit Program Teacher Guide

How to Use This Guide These materials provide additional context for what your students will experience when visiting the museum. Pre- and post-visit lessons target a variety of curricular areas including literacy, drama, and visual art. They ask students to think critically and solve problems. Lesson plans are carefully aligned to provide either an entry into the conversations that will take place in the galleries, or further ideas that were constructed during time spent at the Blanton. We recommend that you teach them in order and within two weeks of your museum visits. You will notice that lessons vary in duration from thirty minutes to one hour, and many include extensions for both the classroom and home. Specific TEKS are outlined within each lesson plan and also on the Teaching Timeline. The timeline will help you quickly assess the content of all six lessons, as well as let you know what materials are needed. The Between the Lines curriculum, both in the museum and classroom, is organized around three themes that build upon one another: reading works of art, the beauty of the everyday, and looking for the hidden. It has been written for elementary, middle, or high school students. TEKS are aligned to grades 3-8. Occasionally suggestions are included for scaffolding content to accommodate student needs. You are encouraged to adapt lessons to meet the needs of your students and to fit your teaching objectives. We welcome your feedback! Please get in touch to let us know how things went! We would love to see pictures of students at work or of completed projects. Don’t hesitate to share suggestions for how we can improve our teacher resource materials. Email us at [email protected]. Blanton Education For more information about education programs at the Blanton, including teacher resources, school programs, opportunities for families and public audiences, please visit our website: www.blantonmuseum.org. Support for K-12 education programs at the Blanton is provided by the Buena Vista Foundation, the Burdine Johnson Foundation and the Lowe Foundation. Additional support is provided by The Brown Foundation, Inc. Education Endowment and the Burdine Johnson Foundation Education Endowment.

Between the Lines Grades: 3-12

Teaching Timeline Visit 1 Visit 2 Visit 3 Concept/s Reading Works of Art Beauty of the Everyday Looking for the Hidden

Subject Area/s

Pre: art, ELA Post: art, ELA



Lesson Pre: Story Detectives Post: Visual Stories

Pre: Everyday Note Cards Post: Memory Statements

Pre: Abstracted Architecture Post: Surprising Silhouettes

Focus Works of Art

for Pre-visit Lessons

Essential Question

Giovanni Domenico Tiepolo, The Storyteller

What stories might a work of art generate?

Edda Renouf, For Dorothy on her birthday: to be read from right to left-14.5.'77 forty times

How does legibility effect our interaction with a work of art?

Max Weber, New York at Night

What is revealed through close looking?

Focus Works of Art

for Post-visit Lessons

Essential Question

Robin O’Neil, Everything that stands will be at odds with its neighbor and everything that falls will perish without grace

Can works of art make you feel more than one emotion?

Celia Munoz, “Enlightenment #4: Which Came First?”

How can we use images and text to illustrate a memory of something we have learned?

Wangechi Mutu, Untitled (face looking left)

How can we create works of art that are surprising?

Materials

Pre: a prop for the speaker to hold. Post: large sheets of paper, drawing supplies, story prompts.

Pre: blank note cards, vocabulary sheets 1 & 2 (provided in lesson), drawing supplies Post: drawing paper, drawing materials, lined paper, glue, scissors

Pre: construction paper and scissors, construction paper scraps, glue, large sheets of paper Post: large sheet of paper, charcoal, magazine images, scissors, glue

MVP

Between the Lines

Sequence

Pre Lesson for Museum Visit 1

Lesson Title

Story Detectives

Grade Level/s 3-8

Subject Area/s Art, English Language Arts

Duration 55 minutes

Essential Question

What stories might a work of art generate?

Abstract

Students will compose a collaborative story based on observing Tiepolo’s The Storyteller.

Focus Work of Art

Giovanni Domenico Tiepolo The Storyteller Mid 1770s

TEKS Correlations

Art (3.b.1, 4.b.1, 5.b.1, 6.c.1, 7.c.1, 8.c.1) The student develops and organizes ideas from the environment. (3.b.2, 4.b.4, 5.b.4, 6.c.4, 7.c.4, 8.c.4) The student makes informed judgments about personal artworks and the artworks of others. English Language Arts (3.b.1, 4.b.1, 5.b.1, 6.b.26, 7.b.26, 8.b.26) The student listens actively and purposefully in a variety of settings. (3.b.29, 4.b.27, 5.b.27) The student listens and speaks both to gain and share knowledge of his/her own culture, the culture of others, and the common elements of cultures. (3.b.23, 4.b.23, 5.b.23, 6.b.22) The student understands and interprets visual images, messages, and meanings. (3.b.24, 4.b.24, 5.b.24, 6.b.23) The student analyzes and critiques the significance of visual images, messages, and meanings. (3.b.17, 4.b.15, 5.b.15, 6.b.14, 7.b.14, 8.b.14) Students use elements of the writing process to compose text. (3.b.19, 4.b.17, 5.b.17, 6.b.16, 7.b.16, 8.b.16) Students write about their own experiences.

Learning Outcomes

Students will be able to… 1. Have an interpretive discussion about The Storyteller. 2. Work with their classmates to create a narrative about The Storyteller, based on their observations.

Vocabulary N/A

Materials

Venetian mask, magnifying glass, or other object which students can hold while they tell their portion of the story (optional)

Resources

http://collection.blantonmuseum.org (search Tiepolo) http://www.getty.edu/art/gettyguide/artMakerDetails?maker=787

About the Artwork On the edge of a Venetian piazza, a cantastorie—a popular storyteller and balladeer—entertains a group that seems a microcosm of society. The scene appears at first a slice of contemporary life. Underpinning it, however, are the basic conventions of Venetian decoration from Paolo Veronese through Sebastiano Ricci: horizontal proportions, a low viewpoint that translates the group into a procession, and a distribution of light and color that give it structure. Any simple realism is put to further question by the loose brushwork, by the traces of underdrawing in black, and in general by a display of process that underscores artifice. Ultimately the picture insists upon its own exquisite fiction, echoing the performance of the cantastorie, enchanting the viewer as he does his listeners. Another version of The Storyteller, larger and more even in finish, belongs to a famous series of genre pictures painted by Giovanni Domenico Tiepolo just after going to Madrid with his father, Giovanni Battista, in 1762. Some time later Giovanni Domenico revisited the subjects with a cooler palette, more nervous touch, and greater whimsy. This picture is one of those re-creations. That it was conceived thus, as part of a personal repertory performance, only multiplies and deepens the ways in which the work is reflexive. Contemporary and nostalgic, real and artificial, the painting is emblematic of the Venetian school in its waning moments.

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at The Storyteller. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis.] What do they think is happening here? What clues can they find to determine when this might have been painted? What title would they give the painting? What story do they imagine is being told? Finally, students should be asked to RELATE their discussion to their own lives. Have they ever heard someone tell a story? Where? Who? Activity (15 minutes) Explain to students that they are going to make up their own stories about this work of art. These stories might or might not relate to the conversation they just had. The teacher should provide an interesting story starter to begin (optional: while speaking, students can hold an object to pass to the next storyteller). Each student should take a turn adding to the story- the teacher might choose to interject phrases or words at any point. [If the story is written, model writing skills related to sentence structure, word choice, spelling, and punctuation.] Reflection (5 minutes) How was making up a story about the painting different than analyzing the painting? How was it similar? Did students have a preference? How can we tell when a story is “finished?”

Assessment

Assess understanding through closely observing student participation.

In Class Extensions

Use this strategy with other images. Ask students to work in small groups to develop short stories about The Storyteller and present these to the class.

At Home Extensions

Encourage students to ask their older family members to share their favorite stories. Photos are good story starters for these conversations. Are there special family stories that might be recorded or written down?

MVP

Between the Lines

Sequence

Post Lesson for Museum Visit 1

Lesson Title

Visual Stories

Grade Level/s 3-8


Duration 55 minutes

Essential Question

Can works of art make you feel more than one emotion?

Abstract

Everything… by Robin O’Neil is at once absurdly silly and oddly dreadful. Students will create their own large-scale collaborative drawings based on silly prompts provided by their teacher. They will consider how a narrative might be translated into drawing, and the emotions that their story will convey.

Focus Work of Art

Robin O’Neil Everything that stands will be at odds with its neighbor and everything that falls will perish without grace 2003

TEKS Correlations


Learning Outcomes

Students will be able to… 1. Have an interpretive discussion about Everything... 2. Work collaboratively with their classmates to create a visual narrative based on a prompt.

Vocabulary

N/A

Materials

4-6 large sheets of butcher paper (depending on class size) 4-6 story prompts 4-6 buckets or cups of drawing supplies Set Up arrange sheets of butcher paper at stations around room place drawing supplies with butcher paper place one story prompt at each station

Resources

http://collection.blantonmuseum.org (search O’Neil) http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights

About the Artwork Over three months, using only pencil and paper, O’Neil crafted an alternate universe whose expansive size, meticulous detail, and disturbing subject matter have a powerful impact on the viewer. Here a mountainous landscape sets the stage for an absurdist narrative: slightly overweight men in identical sweatsuits run, crawl, and fall seemingly without purpose or direction. The composition’s deliberate allusion to Hieronymous Bosch’s early sixteenth-century altarpiece The Garden of Earthy Delights, as well as the title, whose cadence recalls Old Testament prophesies of impending disaster, create a strong sensation of dread.

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Everything.... Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis.] What is silly or absurd about this drawing? What other emotions do you feel when looking at this? What do you think the artist was trying to accomplish? Finally, students should be asked to RELATE their discussion to their own lives. Can students think of examples of things that are absurd or silly? How might they depict them? Activity (35 minutes) Divide class into four to six equal groups and assign to stations. Instruct each group to read the story prompt at their station. They should talk about the prompt and brainstorm a story. [Teachers can use the ones provided or create their own.] Elements might evoke more than one emotion, like the drawing by O’Neil. Students should work collaboratively to think through their composition and what they might draw to relay their story. They should be respectful of one another’s ideas, artistic style, and personal space. Reflection (10 minutes) How was it different to tell a story through pictures than through writing? Was it helpful to work with a group to do this, or would they prefer to work alone? Why? How did this activity relate to the work by O’Neil? Did the process assist their understanding of Everything...? Why or why not?

Assessments

As students work, assess their engagement and understanding by asking questions. Students should be able to describe their story and rationale for what they are drawing.

In Class Extensions

Discuss and compare this work by O’Neil to that of Hieronymous Bosch, The Garden of Earthly Delights.

At Home Extensions

Create a large drawing that tells a silly story with members of your family.

Prompts She woke up for the first day of school with a mix of feelings swirling like butterflies in her stomach… Focused on the finish line, the racers charged ahead… They looked back at the house where they had spent so many birthdays, knowing it would be their last glance… “A puppy!” In her excitement Abby forgot about Sadie… The frog slowly hopped up to Ruben and stared… When she started to sing…

MVP

Between the Lines

Sequence


Lesson Title

Everyday Note Cards

Grade Level/s 3-8


Duration 55 minutes

Essential Question

How does legibility effect our interaction with a work of art?

Abstract

The students will have an interpretive discussion about For Dorothy on her birthday: to be read from right to left by Edda Renouf and consider the relevance of legibility. They will come up with a list of objects that they use everyday and create greeting cards with these objects, paired with phrases in languages other than their native language. For example, an image of a book might be paired with merci.

Focus Work of Art

Edda Renouf For Dorothy on her birthday: to be read from right to left-14.5.'77 forty times 1977

TEKS Correlations


Learning Outcomes

Students will be able to… 1. Have an interpretive discussion about For Dorothy... 2. Use other languages and drawings of objects used every day to create note cards.

Vocabulary

N/A

Materials

Image 3-6 folded blank note cards, any size per student (can be made from card stock or paper) Word Sheets 1 and 2 (included) Drawing supplies

Resources

http://collection.blantonmuseum.org (search Renouf)

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at For Dorothy…. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis.] How does knowing the title of this work affect their interpretations? Finally, students should be asked to RELATE their discussion to their own lives. Have they ever made a card for someone? What was the occasion? Have they ever given or received a card “just because?” Warm-up (10 minutes) In pairs, ask students to discuss what objects they use every day. What function do these objects serve? What would the students do if they didn’t have these objects available? Ask students to consider the importance of these things in their every day lives. What would they do if they lost the item? Activity (20 minutes) Pass out 3-6 folded note cards, drawing supplies, and word sheet 1. Tell students that similar to the work by Edda Renouf, they will be making something that at first, they might not be able to read. Explain that all of the words on the sheet are in other languages and are translations of simple English phrases. Ask them to write one phrase on the cover of each of the note cards, leaving room for a drawing. Once finished, ask the students to recall the objects that they talked about with their partner. They should illustrate each note card with a simple drawing of each of these objects (one object per note card). The end result should be a blank note card with a cover that is illustrated with an object and a phrase in a language other than English. When students are finished illustrating their cards, pass out word sheet 2 and let them look up the translation that corresponds to their phrase. How does the phrase they chose force a connection to the object they drew? Reflection (10 minutes) Who might students give these cards to? Can note cards be given for every day reasons and occasions? How did they feel about writing in a language that they did not know? Were there any surprises when they translated their phrase and compared it to their object? Were there languages that were familiar to students? Which and why? What language/s do they speak at home with their families? Have any of the students needed to learn a different language? What was the experience like?

Assessments

Assess student comprehension throughout the lesson by asking clarifying questions and checking for understanding.

In Class Extensions

As a class, continue learning phrases in new languages. Continue to talk about student experiences with learning a new language.

At Home Extensions

Make greeting cards with and for family members. Do this for everyday occasions and activities.

Word Sheet 1 Furaha ya kuzaliwa- Swahili Saeng-il chukha hamnida- Korean Joyeux anniversaire- French Doğum günün kutlu olsun- Turkish Tsnundd shnorhavor- Armenian Danke -German Tack- Swedish Salamat- Filipino Arigatou gozaimasu- Japanese Prego- Italian Cảm ơn bạn- Vietnamese Dankie- Afrikanns Merci- French Terima kasih- Indonesian Kor-Tod-Thai Mi Dispiace- Italian Lo Siento- Spanish Ek is Jammer- Afrikaans Mian haeyo- Korean Yoi shigoto- Japanese Hǎo gōngzuò- Chinese Bon travay- Haitian Acchā kāma- Hindi Buen trabajo- Spanish

Word Sheet 2 Happy Birthday furaha ya kuzaliwa- Swahili saeng-il chukha hamnida- Korean Joyeux anniversaire- French Doğum günün kutlu olsun- Turkish Tsnundd shnorhavor- Armenian Thank you Danke -German Tack- Swedish Salamat- Filipino Arigatou gozaimasu- Japanese Prego- Italian Cảm ơn bạn- Vietnamese Dankie- Afrikanns Merci- French Terima kasih- Indonesian I’m Sorry Kor-Tod-Thai Mi Dispiace- Italian Lo Siento- Spanish Ek is Jammer- Afrikaans mian haeyo- Korean Good job Yoi shigoto- Japanese Hǎo gōngzuò- Chinese bon travay- Haitian Acchā kāma- Hindi buen trabajo- Spanish

MVP

Between the Lines

Sequence


Lesson Title

Memory Statements

Grade Level/s 3-8


Duration 55 minutes

Essential Question

How can we use images and text to illustrate a memory of something we have learned?

Abstract

The students will have an interpretive discussion about one of five prints from Enlightenment #4 by Celia Munoz. After analyzing the relationship of the text and image in her work, they will compose personal statements that will be juxtaposed with found images.

Focus Work of Art

Celia Alvarez Munoz Enlightenment #4: Which Came First? 1982 Five color photographs, letterpress on rag paper, & graphite in curly maple box

TEKS Correlations


Learning Outcomes

Students will be able to… 1. Recall a memory of something that was challenging for them to learn. 2. Translate their memory into a work of art using text and image.

Vocabulary

N/A

Materials

Image Drawing paper Lined writing paper Scissors Glue Pencils and other drawing supplies Found images (If using photographs from students, collect in advance). Use magazines and printouts from images online for other sources.

Resources

http://collection.blantonmuseum.org (search Celia Munoz)

About the Artwork One of the leading Latina Conceptual artists in the United States, Celia Alvarez Muñoz is an ingenious strategist who exploits the full effects of the words and images she employs in her elegant and spare photo-based works. Asking questions about the borderlines of personal and cultural identity, and playing with the puns and double entendres of the English/Spanish language dance in Mexican American culture, each of the ten works in her Enlightenment series tells a visual/verbal story that seems part joke and part confession, ultimately calling into question how we acquire wisdom and what we choose to do with it. Comprising multiple panels of photographs and text encased in a custom-made box (or exhibited on the

wall or in a vitrine), these “bookworks” draw on fuzzy memories of childhood for their unexpectedly witty parables. Examining language as a key to knowledge and denoting its specific complexities for bilingual youth, Muñoz traces the circuitous paths of the routine lies that pass between adults and children. Her gently probing work makes us aware of the paradox of viewing photographs, reading literature, or depending upon any art form to convey truths about the past or the present.

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Enlightenment #4. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis: Share information contained in About the Artwork section. Let students know that the statements in Enlightenment #4 are from the artist’s memory of her childhood.] How do the two statements relate to the image Munoz chose? How do the two sentences relate to one another? What message do they think is the artist trying to convey by juxtaposing these statements with the image of chicken eggs? How does knowing this work is contained in a handmade box with four other similar works contribute to their interpretation? Finally, students should be asked to RELATE their discussion to their own lives. Can students relate to this image? How and why? Warm-up (5 minutes) Working in pairs, ask students to share a memory about something that was challenging for them to learn. When was this? What things do they associate with this memory? For example, if the student knows how to skateboard, learning to ride it might be the memory they share and the object related might be the skateboard, helmet, pads, or street. If the student was shy and learned how to talk in front of a crowd, they might associate a room full of people or a stage with their memory. Activity (30 minutes)

1. Ask students to choose an image that evokes the memory they discussed during the warm-up. They can also think of a different memory, if they find an image that is relevant to something else. If students do not find an image or have an old photo to share, they might instead choose to illustrate their memory.

2. Once images have been selected, ask students to glue it to their drawing paper (anywhere). 3. They should then write a sentence or two describing their memory. They can use the lined paper, if

they wish. Reflection (10 minutes) Do a gallery walk around the classroom to observe the artwork created. Discuss similarities and differences among the memories recorded with students. What did they learn by doing this project?

Assessments


In Class Extensions

Invite students to create a series of these works to turn into a book.

At Home Extensions

Discuss memories of learning with family members. If family members speak a language other than English, talk with them about their experience learning English.

MVP

Between the Lines

Sequence


Lesson Title

Abstracted Architecture

Grade Level/s 3-8


Duration 55 minutes

Essential Question

What is revealed through close looking?

Abstract

Students will view New York at Night by Max Weber and discuss. They will compare this image to photographs of famous skylines and discuss similarities and differences. Students will then play with paper shapes to create a skyline.

Focus Work of Art

Max Weber New York at Night 1915

TEKS Correlations


Learning Outcomes

Students will be able to… 1. Create a cityscape from paper shapes. 2. Use the vocabulary term abstract correctly.

Vocabulary

Abstract: Artwork in which the subject matter is stated in a brief, simplified manner. Little or no attempt is made to represent images realistically, and objects are often simplified or distorted.

Materials

Image Construction paper (for cutting and one piece per student for backing) Paper scraps Scissors Glue Images of city skylines (printed out for picture pass)

Resources

http://collection.blantonmuseum.org (search Max Weber) http://travel.cnn.com/explorations/play/worlds-top-20-skylines http://www.weather.com/travel/hit-the-road/top-us-skylines

About the Artwork Max Weber was one of the first American artists to fully synthesize the principles of European modernism and adapt them to a specifically American subject matter. Well acquainted with the debates and practices of Gertrude Stein, Pablo Picasso, Henri Matisse, Henri Rousseau, and other leading European artists and

intellectuals whom he met while living in Paris, Weber helped introduce their avant-garde ideas to artists working in the United States when he returned to New York. His own influential pulpit was Alfred Stieglitz’s journal Camera Work. In its pages he proposed his most important concept, the notion of a fourth dimension, or the extension of space into another realm beyond the three dimensions of the visible world. His speculative ideas found clear expression in the paintings he executed around 1910, which incorporated representations of movement and time. New York at Night, completed five years later, reduces his impressions of time and place to a basic vocabulary of colorful geometric shapes and intersecting planes seen from multiple perspectives and enhanced by illusions of motion and reverberating sound. In works like this, Weber conveyed the speed, the action, and the dynamic energy of the city more abstractly than ever before in American painting.

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at New York at Night. Next, ask students to DESCRIBE what they see. After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis.] How does Weber capture a cityscape without painting something realistic? [Introduce term abstract.] Finally, students should be asked to RELATE their discussion to their own lives. Can anyone recall a trip to Austin (possibly while visiting the Blanton) and its skyline? How does it compare to New York at Night? Have students traveled to other cities? If so, which? Warm-up (10 minutes): Picture Pass Print out images (1 per 2 students) of famous skylines. Give every 2 students one picture to look at. They should view for a few seconds and then pass their image to the next set of students. The picture pass is complete when all students have viewed the images. [The teacher might want to point out different architectural elements and building shapes.] Activity (20 minutes)

1. Pass out supplies, leaving cityscapes on tables for reference. Ask students to first play with the various shapes they have available from the paper scraps. What type of cityscape can they configure?

2. Students can cut additional shapes from construction paper to use in their cityscape. Once students are satisfied with their compositions, they can glue their cityscape onto the large sheet of paper.

Reflection (10 minutes) Do a gallery walk to view each student’s work. Discuss how students manipulated their shapes to create an abstract cityscape. Note examples of simplification and distortion and the resulting effect.

Assessments


In Class Extensions

Create a self-portrait or still life using this same strategy. Make three versions moving from more naturalistic to more abstract.

At Home Extensions

Talk with family members about cities they have visited. What were they like? How do these cities compare to where they live now?

MVP

Between the Lines

Sequence


Lesson Title

Surprising Silhouettes

Grade Level/s 3-8


Duration 55 minutes

Essential Question

How can we create works of art that are surprising?

Abstract

Students will create silhouettes in the style of Wangechi Mutu, continuing their exploration of how images create subtext, and of collage.

Focus Work of Art

Wangechi Mutu Untitled (face looking left) 2004

TEKS Correlations


Learning Outcomes

SWBT… 1. Create a silhouette that incorporates a similar method as used by Wangechi Mutu. 2. Articulate a rationale for the images they chose to use within their portrait.

Vocabulary

Silhouette: a picture of something showing it as a dark shape on a light background; especially : such a picture showing a person's face from the side Juxtapose: to place (different things) together in order to create an interesting effect or to show how they are the same or different

Materials

2-3 copies per table of Untitled (face looking left) Large sheet of paper Pencils A white wall and lamp to cast silhouette shadow Tape Charcoal Magazine images Scissors Glue

Resources

http://collection.blantonmuseum.org (search Mutu) http://wangechimutu.com/art/on-paper

About the Artwork A disturbing subtext underlies Wangechi Mutu’s beguiling work. Violence and brutality, not to mention graphic sexuality, haunt these two images of what appear, from a distance, like elegant, slightly abstracted depictions of glamorous women. This tension between beauty and horror results in large part from the diverse array of materials that Mutu employs. From fashion, pornographic, and ethnographic magazines as well as books on aerial photography, Mutu collects, crops, and assembles found photographs, supplementing them with layers of ink and acrylic to create highly personalized and strongly politicized images of the female form. Mutu’s half-human, half-monsters address such charged issues as gender relations, feminine beauty, and social and ethnic conflict in Africa.

Lesson Components

Introduction to artwork (10 minutes) Using the same strategy that students learn at the Blanton, invite them to silently LOOK at Untitled (face looking left). Next, ask students to DESCRIBE what they see. What do they discover with close observation? After taking full inventory, students should move on to ANALYZING the artwork. [As facilitator, the teacher should link observations and descriptions to assist student analysis. Information shared about Mutu (as described in About the Artwork) should be at the teacher’s discretion and age-appropriate.] Why do they think the artist is working in this style? Finally, students should be asked to RELATE their discussion to their own lives. [Explain to students that they will be creating portraits in the style of Mutu.] Activity (35 minutes)

1. Pass out collage materials and have students sort through to find images for their artwork. 2. Pass out large drawing paper and pencils. Have students work in twos to draw each other’s

silhouette. To do this, one student should tape their large white paper to the wall and either sit or stand in a position against the light that casts a shadow. Students might choose to trade their drawings so that they may create their artwork using their own silhouette. [Depending on classroom set up, 4-8 students can be tracing silhouettes at a time.]

3. Once silhouettes have been traced, ask students to begin arranging and cutting the magazine images to form parts of the portrait (eyes, chin, skin, hair, etc.). They should not glue these images yet.

4. Next, students should apply charcoal to their silhouette. They can blend and smudge the charcoal, and also add designs, creating an effect similar to that in Mutu’s work.

5. Pass out glue for the collage elements to be tacked down on top of the charcoal portrait. 6. Students might wish to return to the portrait with charcoal for final details and shading.

Reflection (10 minutes) Do a gallery walk to view each student’s work and discuss. What was successful about this project? What would they do differently next time? How did working in the style of an artist assist their understanding of the artwork?

Assessments


In Class Extensions

Create a landscape using this same strategy.

At Home Extensions

What kind of collage can students create from magazines and newspapers at home?

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