2012 EDUCATORS’ ART FAIR

2012 EDUCATORS’ ART FAIR

How-To Guide

2012 EDUCATORS’ ART FAIR | Behold, America!1

Teams of artists, art historians, educators, interns, and librarians comprise the award-winning education departments at The San Diego Museum of Art, the Museum of Contemporary Art San Diego, and the Timken Museum of Art. Each institution works with staff within the Museum and with colleagues from cultural and educational institutions throughout California to provide programs that enhance the exhibitions presented.

Through lectures, tours, workshops, music, film, events for educators, and art making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within each Museum and their complementary collections.

Whether you are new to art, or a long-time member who visits the Museums frequently, we invite you to bring your family, grandchildren, and friends, and participate at The San Diego Museum of Art, the Museum of Contemporary Art San Diego, and the Timken Museum of Art.

We look forward to meeting you and hearing about any ideas you may have about the Museums and our program efforts. We hope to see you often!

The San Diego Museum of Artwww.TheSanDiegoMuseumofArt.org

The Museum of Contemporary Art San Diegowww.mcasd.org

Timken Museum of Artwww.TimkenMuseum.org

Letter from the Education Departments

Cover Image: (Left) Faith Ringgold, Seven Passages to a Flight, hand-stitched quilt, 1955. Museum purchase, 41995.73.b. Middle: John F. Peto, In the Library, 1900, Putnam Foundation Collection, Timken Museum of Art. 2000:001 Right and Above: Iana Quesnell, Triptych: Migration Path, 2007, graphite on paper. Collection Museum of Contemporary Art San Diego, Museum purchase, Louise R. and Robert S. Harper Fund. © 2007 Iana Quesnell.

THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART 2

Table of Contents

Faith Ringgold, Seven Passages to a Flight, etching and pochoir, 1995. Museum purchase, 1995.73.a, The San Diego Museum of Art.

Letter from the Education Departments ....................................................................................................1

Learning Through Museums .....................................................................................................................3

Exhibition-Inspired Lesson Plans*

Presented by The San Diego Museum of ArtFaith Ringgold-Inspired Painted Story Quilt (Elementary; Grades K-5)* ...........................................4

Presented by the Timken Museum of ArtSymbolic Story Map: Identity (Middle School; Grades 6-8)* ...........................................................10

Presented by the Museum of Contemprary Art San DiegoMapping Identity (High School; Grades 9-12)* ................................................................................14

California State Standards ......................................................................................................................19

Visual Art Terms Glossary ........................................................................................................................20

Art Resources ..........................................................................................................................................21

Credits .....................................................................................................................................................22

Upcoming Behold, America! Related Programs ......................................................................Back Cover

Young Art 2013: The Story of Me .............................................................................................Back Cover

*Note: All lessons include suggestions for how to adapt them to other grade levels.

2012 Educators’ Art Fair: Behold, America!


Learning Through MuseumsBehold, America!: Art of the United States from Three San Diego Museums is a bold collaboration between three prominent San Diego art museums: The San Diego Museum of Art, the Museum of Contemporary Art San Diego, and the Timken Museum of Art. The wide spread exhibition covers three centuries of American art, representing works from each participating institution’s permanent collection and structured into three components: Frontiers (Museum of Contemporary Art La Jolla), Forms (Timken Museum of Art), and Figures (The San Diego Museum of Art). This exhibition challenges viewers to think about American art in new ways, and the lessons in this How-To Guide have been created by each participating institution to serve as a foundation for exploring the exhibition content in all three locations and its connective thread of identity more fully in the classroom.

Each lesson has been written for a specific grade level (from elementary to high school), but the artistic processes chosen can be easily adapted to suit the needs of any student at any level. At the end of each lesson is a list of additional visual art resources, including relevant works from the exhibition currently on view that relate to the media, historical context, or artistic genre explored in that lesson. Through the lesson plans in this How-To Guide, you will be given the tools to integrate both art viewing and art making into your curriculum and classroom.

The following lesson plans have been designed to help educators create elaborate classroom activities that will enhance their students’ understanding of objects in the Behold, America! exhibition. The lessons presented here can be explored solely in the classroom but are best supported with an accompanying field trip to the Museums, and can be used as a resource both before and after the set visit. Through these lessons, students will be introduced to works of art currently on view in the galleries, representing a wide array of artistic mediums, styles, and cultures that are most fully experienced in person and through the accompanying projects. Viewing these works of art first hand will help to increase student knowledge and understanding of the visual art subjects explored in the lesson plans and add realism to each topic of study, further sparking student interest as well as nurturing thinking skills.

We are eager to meet your needs and assist you in making the most of your educational experience!

Sincerely,

The San Diego Museum of Artwww.TheSanDiegoMuseumofArt.org

The Museum of Contemporary Art San Diegowww.mcasd.org

Timken Museum of Artwww.TimkenMuseum.org

THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART

Museum Exhibition Inspiration: Seven Passages to a Flight, 1995, Faith Ringgold, Hand-stenciled quilt, The San Diego Museum of Art Permanent Collection

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OBJECTIVEStudents will:

view and discuss Seven Passages to a Flight (1995) by Faith Ringgold.

understand how and why artists make artistic choices.

use art to visually represent their personal history and identity.

create a mixed media work inspired by their personal experiences.

gain a better understanding of who they are and what is important to them.

learn the basic techniques and vocabulary of printmaking.

explore pattern in a variety of mediums.

construct a shape stencil from cardstock and apply it to their work (optional).

hand-stich fabric and add details to printed fabric using paint (optional).

Faith Ringgold-Inspired Painted Story Quilt

GENERAL DESCRIPTIONFaith Ringgold is a contemporary African American painter, writer, mixed media sculptor, and performance artist, best known for her content-rich painted story quilts. In Seven Passages to a Flight (1995), a hand-stenciled quilt by Ringgold on view at The San Diego Museum of Art Forms portion of the exhibition Behold, America!: American Art from Three San Diego Museums, the artist presents an autobiographical quilt form that, like much of her work, bridges the gap between painting and quilt making. The images in the work can be found within the exhibition in two formats—a forty-two page book and the quilt work—and connect to the artist’s experience and reflections on being a black woman in the United States. The center of the quilt includes nine hand-painted etchings surrounded by a multicolor stencil border printed on linen, and completed with a stitched and hand-painted, printed fabric border. Each of the nine images is a vignette, or scene, and is accompanied by text that may confirm, contradict or refute it. In addition to its clear reference to African American cultural traditions, the medium of quilting has great personal significance for the artist as it represents a five generations-long family practice that she first learned from her mother.

In this lesson, students will view Seven Passages to a Flight (1995) and discuss the autobiographical work by Faith Ringgold, and then have the opportunity to express their own story using image and text through the creation of a printed, mixed media fiber work representing a unique moment in their own experience. Through this project, students will explore personal narrative and learn how artists like Ringgold visually represent their identity through a variety of materials, techniques, and aesthetic choices.

Grade Level: Upper Elementary (Grades 3-5), Adaptable to all grade levels

Author: Daniela Kelly, Museum Educator


Project time: Allow approximately two and a half hours, one 30 minute and two 60 minute and sessions, from introduction to completion. Additional time may be required depending on the amount of detail work desired.

Prep time: Allow approximately an hour and a half to research, prepare examples, and cut materials.

VOCABULARYIntroduce the project and discuss associated vocabulary words: composition, contour, engraving, geometric, mixed media, piece border, plate, primary colors, pattern, print, quilt, stylus, textile, and to pull a print. Please see appendix for vocabulary definitions.

CALIFORNIA STATE STANDARDSPlease see appendix.

MATERIALSPlease see appendix for online and San Diego art suppliers.

Geometric border:Ruler (one per student)Pencil (one per student)8 ½” x 11” white drawing paper (one per student)Color pencilsWater based acrylic paints (in the colors yellow, red, blue, black, white)Size 6 or 8, square-tipped, flat brushes (one per student)Palette (one per student) – as alternatives consider using Plexiglas, disposable palette sheets and/or foam platesWater cups (one per student)Paper towels (to be shared among the class)

Piece border:12” x 18” white cotton fabric (one per student)12” x 18” white felt (one per student)Tacky Glue (one small cup of glue for every four students)Plastic glue cups (one cup for every four students)Large size glue brushes (one brush per student)Pencil (one per student)Ruler (one per student)Scissors (one pair per student)Small scraps of upholstery fabric (the quilt’s perimeter is 60”, students will need approximately 65” of fabric in 2 inch wide strips for the project). Tip: upholstery fabric can be bought at upholstery fabric stores. Consider asking the store clerk if they would be willing to donate fabric sample swatches

Images of Ringgold’s work for reference (see Resources section of this lesson)

Engraving and print:5” x 7” white drawing paper (one sheet per student)Dull pencils (for sketching and scratching foam plate)5” x 7” Scratch-foam board to serve as printing plate (two per student)Classic color set of water-based markers (e.g. Crayola; one set for every four students)Sharpie markers (one per student)

Several water-filled squirt bottles (for spritzing the printing plates prior to printing)

PREPARATIONPrior to implementing the lesson, create a finished example of the project, as well as additional samples that illustrate the steps of the project. Even if you choose not to share these works with students, making these examples will help you to have a better understanding of the lesson.

Arrange a visit to The San Diego Museum of Art to view Faith Ringgold’s Seven Passages to a Flight OR prepare reproductions (available at www.TheSanDiegoMuseumofArt.org) for presentation in the classroom.

Pre-glue 12” x 18” white cotton fabric the 12” x 18” felt backing for each student.

Read to students one of the many books by artist and author, Faith Ringgold (e.g.Tar Beach). See the Resources section of this lesson for other title examples.

Session One Class Discussion and Quilt Construction

PREPARATION

Pencils, rulers, and 12” x 18” fabric pieces. Set up all supplies on tables.

Class discussion In the classroom or through a docent-guided visit to The San Diego Museum of Art, view and discuss as a group one or more examples of Ringgold’s work. Consider posing the following questions: How does this work tell a story, and whose story does it tell? Where do quilts come from, how are they made, and why might they be important to the artist? What are the different parts of this quilt (inner vignettes, geometric border, outer fabric border)? What artistic choices might this artist have had to make when designing this story quilt? Think about the story you would choose to tell in your quilt.

For older students (middle and high school) In addition to the above questions, have students use a more complex visual and textual relationship. Explore the possibilities of text and image refuting and contradicting each other; discuss the relationship of text to image in Ringgold’s work. Have students strive to create a unique narrative relationship between image and text in their own works. Other possible extension discussion topics in the classroom are the history of quilting in the United States, the relationship between art and craft, and exploring the concept of race and identity in art.

CREATING THE OUTER AND INNER BORDERSLaying the lines for the outer fabric borderNote: If you sense that measuring using a ruler will prove too challenging for your students, considering creating a 2”


cardboard strip (for the outer boarder) and a 1 ½” cardboard strip (for inner border) for students to lay down and trace onto their fabric to create their borders.

1. Instruct students that they will begin by first drawing a 2” border around the outer edge of their 12” x 18” fabric piece. This will serve as a placeholder for the final fabric upholstery border.

2. Demonstrate how to find the inch measurement on the ruler. Have students measure 2” from the edge of the quilt inward and make a small mark on the fabric. Repeat this step every few inches on all four sides.

3. Mention to students that these marks will serve as a guide to make a straight line with an equal distance from the edge of the fabric.

4. Line rulers along the marks, secure ruler on surface, and make a straight line exactly two inches from the edge of the quilt. Repeat on all four sides creating a 2” wide border.

Laying the lines for the inner geometric shapes border1. The geometric shapes border measures 1 ½”.

2. Encourage students to create this second border on their own. They will follow the same steps taken to create the first border, but will instead measure 1 ½” inches from the inner edge of the upholstery border.

Session Two Class Discussion and Geometric and Upholstery Border

PREPARATION Pre-cut 2” x 2” all upholstery fabric squares.Gather pencils, rules, color pencils, 8 ½” x 11” drawing paper, paints, brushes, palettes, water cups, paper towels, glue, and glue supplies, scissors, and upholstery fabric squares. Set up all supplies on tables.

Class discussion on patternAs a class, look for and explore the many patterns found in Ringgold’s quilt work and other selected works. Define pattern as a reoccurring design element using shapes and colors that repeat themselves in a predictable manner. Discuss why are patterns an important design element in quilts, how do they convey a visual rhythm, and why are they an important design element found in many works of art.

Designing and painting geometric shapes borderNote: If students are young and painting may prove too time consuming or challenging for the group, consider using a solid color border or a pre-cut patterned, fabric or paper border and have students glue it onto the fabric.

1. Demo for students how to use the ruler and a pencil to create a series of joined triangles (as seen in Ringgold’s work) which fit within the 1 ½” inner border previously outlined.

2. Using colored pencils and paper, have students pre-design the pattern for their geometric border that they will ultimately create with paint.

3. Demo color mixing. Mix primary colors to create secondary colors. To save on time, you may use pre-mixed colors.

4. Distribute paints, brushes, palettes, water cups, and paper napkins.

5. Prompt students to begin painting their geometric pattern of their choice. To speed up the painting process, students can begin by painting all the shapes of the same color first before moving on to a second color. Tip: To help students achieve a straight line with their paints, use flat, square-tipped brushes and consider creating a straightedge from a small stiff piece of cardboard. Line up the straightedge along the line you want to paint and use the edge of straightedge as a painting guide.

6. Place the wet painted fabric to dry in one area of the room and ask the class to briefly gather around to talk about their work. Discuss together the different patterns created. Invite students to share challenges and successes from the day.

Adding fabric to the upholstery border1. Pre-cut or demonstrate to students how to cut strips

of upholstery fabric and layer them on top of the outer border, creating a pattern of their choice. The entire frame is created through a patchwork of fabric pieces, much like the border found in Ringgold’s quilt piece. The cut pieces should fit within the 2” border.

2. Demonstrate for students how to glue the upholstery fabric onto the quilt using Tacky Glue and a glue brush.

3. Encourage students to think about how Ringgold selected her fabric pieces for her quilt piece. Ask students to think about how their fabric choice will help tell their story and complement the design of the entire quilt.

4. Once all the pieces are selected and cut, students should arrange the shapes within the outer frame of their fabric.

5. Once the students are happy with their fabric pattern design, have them glue down the fabric pieces. The top and the bottom of the frame should be glued on first.

Session Three Class Discussion and Printmaking

PREPARATIONGather 5” x 7” white drawing paper for sketching, pencils, 5” x 7” scratch-foam board, water-based markers, squirt bottles with water, and Sharpies. Set up all supplies on tables.


Class discussion and motivationShare with the class a significant moment in your life, a life experience that changed you in a positive way. Encourage students to begin thinking about their own experiences in life, and pose for them the following questions: What is the most important thing that has happened to you? What are you most proud of? Where is your favorite place to go? What is your greatest dream? Encourage students to write their answers on a piece of paper.

Sketching and engravingDemonstrate how to sketch a 5” x 7” image that helps narrate a significant moment in your life. Include a central figure in your sketch and a background that reflects where this experience took place.

1. Ask students to do the same and encourage them to keep their sketch simple. They should sketch various scenarios before choosing the one that they like best.

2. As students work on their sketch, walk around and ask them about their experience. Have them explain their story to you and how they are representing it in their drawing.

3. Have students place their finished sketch on top of their foam plate (image side up).

4. Attach small pieces of masking tape on all four edges of the paper – to secure it in place.

5. Using a dull pencil or stylus, have students trace their entire image onto their foam plate.

Pulling the print1. Quickly discuss how Ringgold used printmaking (hand-

colored etching) to create her story images in the quilt piece. Explain to students that they too will create a colored print image of their story for their quilts.

2. Spritz water onto the center area of the quilt, where the print will be made. Allow time for the water to soak through the fabric before printing.

3. Have students color directly onto their 5” x 7” foam plate using water-based markers. Encourage students to fill in the entire plate, leaving no white areas.

4. Check to see the fabric is ready for printing: fabric should be damp and free of water droplets on the surface.

5. Using an example plate, demonstrate for students how to pull a print: quickly turn the plate over (ink side down) and carefully place in the center area of the quilt. If the other components have been accurately measured, the print image should fit perfectly within the remaining white space of the fabric.

6. Use your hands to rub the entire back of the printing plate in circular motions.

7. Carefully peel-back one corner of the foam printing plate and slowly remove it from the fabric. The color from the plate should have transferred onto the fabric. Do not be concerned if the image is slightly grainy, as this is intentional and is meant to mimic the texture in Ringgold’s etchings.

8. Have students do the same.

9. To mimic the black outlines found within the shapes in

Ringgold’s images, have students outline their silhouette and major shapes in their print using Sharpie markers. The print will naturally create a “white/clear” contour line around most shapes. This clear outline will serve as a guide for the back outline. Do not encourage students to draw inside the shapes as too many outline details within small shapes can get muddy.

Session Four Adding Text And Wrap Up

PREPARATIONGather pencils, white paper, ruler and black sharpies.

Set up all supplies on tables.

ADDING TEXT1. Discuss how text will help tell your

story. How did Ringgold use text in her work? Share with students the details about the moment in your life that you chose as inspiration. Ask students to think about what the person in their image would say to them if he/she could talk.

2. On the board, write down in two or three sentences how the person pictured on the quilt might describe what is going on. Then, come up with a different set of sentences and as a class decide which set of sentences best completes your story.

3. Once you have selected the text, use the Sharpie marker and write it directly below your image. Tip: consider using the ruler to draw lines on the quilt where the text will be.

4. Encourage the students to discuss amongst themselves the different text possibilities that they could use on their own quilts.

5. Ask them to write down on a piece of paper the text they would like to include. Have students double check spelling, grammar, and punctuation before they begin writing on their quilt.

6. Once this final step is complete, have an exhibition in the classroom. Hang the quilts or lay them on tables/desks and have students walk around and view them. Ask students to share what they like about the work they are looking at, what they would have done differently, and what they have learned about themselves and their classmates through this project.

TEACHING TIPS Emphasis should always be on the process. Encourage students to enjoy each step of the art making process and not judge their success or failure solely on the finished work.

After each step, have students re-examine the same step in Ringgold’s work.

Spend time discussing how the various patterns in their quilt help tell their story.


Keep paper towels and water cups handy when students are painting their geometric borders. Have students clean their brush (rinse and dry) every time they switch colors.

Discourage students from adding words or letters on their foam printing plate. Keep in mind that the final image on the fabric will be the reverse/mirror image of the etched drawing.

EXTENSION ACTIVITIESLower grades (elementary)Consider having students work together to create a painted quilt as a class. Modify the lesson plan so that each student pulls a single print directly onto the collective quilt. Assemble images as a class and create one multiple image composition. This collective piece will be larger than that needed for single works, thus requiring a large size felt and cotton fabric.

Upper grades (middle and high school)Have students write a research paper on Faith Ringgold, the history of African American quilts in the United States or write and illustrate their own children’s book.

ADAPTATION SUGGESTIONSThis particular lesson is geared towards upper elementary aged students, but the art process is easily adapted to suit younger and older students.

For younger students (grade K-2)Consider preparing various, basic templates of the human figure. Students can use these guides while working on their story engravings. Precut 2” and 1 ½” strips from stiff cardboard, have students use them as an aid in tracing their borders. Printed-fabric or paper can be used on the piece boarder as an alternative. The project size can also be modified to suit the needs of the class. For a smaller scale project consider a 9” x 11” painted quilt with the outer border measuring 1 ½”, the inner border measuring 1”, and the print area measuring 4” x 6”.

For older students (grades 6-12)Introduce basic sewing techniques to the students and have them hand stitch their final border. As is traditional in quilt making, this step would be the last step taken before completing the quilt. Encourage students to create geometric shaped stencils and use them to create the inner border of their quilt. Also, invite students to hand paint details onto their fabric piece border as a final step.

RESOURCESRelated work currently on view at The San Diego Museum of ArtSeven Passages to a Flight, 1995Faith RinggoldHand-stenciled quiltThe San Diego Museum of Art

Seven Passages to a Flight, 1995Faith RinggoldPrinted bookThe San Diego Museum of Art

WEB RESOURCESBehold, America! Exhibition Websitewww.beholdamerica.org

Faith Ringgold Website: http://www.faithringgold.com/ringgold/default.htmBlog: http://faithringgold.blogspot.com/

How to mix colorshttp://www.gotcs.com/news/colormixing.pdf

LITERARY RESOURCESSeven Passages to a FlightFaith RinggoldBrighton Press, 1995

Tar Beach Faith RinggoldCrown Publishers, Inc., 1991

Getting to Know the World’s Greatest Artists: Faith RinggoldMike VeneziaChildren’s Press 2008

AUDIO-VISUAL RESOURCESFaith Ringgold: The Last Story QuiltCreated and Produced by Linda FreemanWritten and Directed by David Irvinghttp://www.landsvideo.com/vcat.shtml

Faith Ringgold: Paints Crown HeightsCreated and Produced by Linda FreemanWritten and Directed by David Irvinghttp://www.landsvideo.com/vcat.shtml

Faith Ringgold on YouTubewww.youtube.com

MATERIAL RESOURCESUpholstery Fabric Outlethttp://www.ufofabrics.com

Institutional support for the Museum is provided by the City of San Diego Commission for Arts and Culture.

2012 EDUCATORS’ ART FAIR | Behold, America!

Faith Ringgold-Inspired Painted Story Quilt Notes

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OBJECTIVEStudents will: be taken through a Visual Thinking Strategies (VTS) session

to learn how to analyze a painting’s content.

practice utilizing a graphic organizer to generate ideas.

learn to problem solve creatively and without criticism.

learn how to communicate symbolically with words and pictures.

organize and edit their ideas.

create a map of words and images that relates to their thoughts and ideas surrounding a central theme.

Project time: Allow approximately four hours, in four separate, one-hour sessions, from introduction to

completion. Additional time may be required depending on the amount of detail desired.

Prep time: Allow approximately two hours after session two to collect images for your students to use, in the event that they did not have enough time. Preparation before class should only require 20 minutes.

VOCABULARYIntroduce the project and discuss associated vocabulary words (Visual Art Vocabulary): collage, color palette, contrast, mood, personal narrative, primary theme, secondary themes, still-life, symbolism, and tone. Please see appendix for vocabulary definitions.

Symbolic Idea Map Identity

GENERAL DESCRIPTIONIn the Library (1900), an important still life painting by nineteenth century American painter John Frederick Peto on view at the Timken Museum of Art in the Forms portion of the exhibition Behold, America!: American Art from Three San Diego Museums, reflects the artist’s signature trompe l’oeil (fool the eye) style and uses ordinary objects found in realistic arrangements as the central subject. Influenced by the Philadelphia tradition of still-life painting, including the work of such artists as Raphael Peale and John F. Francis, Peto’s artistic efforts show the same adeptness at creating fine still lifes of commonplace objects as those of his contemporaries. The objects that Peto chose to include in this large oil painting depicting a disorderly arrangement of well-worn volumes on a draped table, are familiar rather than the exotic, drawing from his own life and surroundings and revealing the interests of the artist himself.

In this lesson, presented by the Timken Museum of Art, students will learn how artists communicate about themselves using words and pictures. Using a combination of words and images in a collaged map form that they create, students will learn to artistically combine symbols and words that represent their interpretations of the title of Peto’s painting and reveal something about themselves at the same time.

Museum Exhibition Inspiration: In the Library, 1900, John Frederick Peto, Timken Museum of Art, Putnam Foundation Collection

Grade Level: Middle School (Grades 6-8), Adaptable to all grade levels

Author: Elizabeth Washburn, Artist and Educator


CALIFORNIA STATE STANDARDS Please see appendix.


Idea map: Sketch paper and pencils (for all students) White poster board (as a drawing/collaging surface) Colored Pencils or markers Modge Podge and applicator (foam brush or paint brush) Acrylic paint and brushes (optional) Scissors Graphic organizer (free for downloading and classroom use

at http://www.eduplace.com/graphicorganizer/pdf/cluster.pdf)Computer/printer (optional)

PREPARATION Prior to implementing the lesson, create a finished example

of the project, as well as additional samples that illustrate the steps of the project (goals for each day). Even if you choose not to share these works with students, they will help you have a better understanding of the lesson. *Also be sure to read the VTS descriptor below.

Visual Thinking Strategies: A process of looking at artwork created by Philip Yenawine, Museum Educator and Abigail Housen, Cognitive Psychologist. With VTS, the facilitator’s role is not so much to impart facts, or manage drill and practice, but to facilitate the learner’s process of discovery – encourages learners to discover new ways to find answers to their own questions. The process is made up of the three questions:

1. What is going on in this picture?2. What do you see that makes you say that (provide

evidence)?3. What more can you find?

Session One Introduction to the Project/VTS Session/Creating a Graphic Organizer

PREPARATION

Practice running a VTS session and familiarize yourself with the Peto painting or other selected work. Pass out one sheet of scrap paper to each student.Print out graphic organizer sheets for all students.

Class discussion (VTS Session) Project an image of In the Library in the classroom (available at www.TimkenMuseum.org) or arrange a visit to the Timken Museum of Art and run a VTS session revolving around the painting. Allow students to be free to interpret the painting in any way that they choose. This practice of interpreting a work of art without guidelines will assist them later when it is time for them to connect the painting with themselves.

Brainstorm1. Read aloud the title of the painting and ask students to

independently write down what they think of when hearing it. Emphasize that there are no right or wrong answers and that the only important factor is that their interpretation be their own.

2. If necessary, provide students with an example to help them begin. Be sure to not have them share their ideas until later to prevent students from borrowing ideas from one another.

3. Ask students to pull out the graphic organizer titled “Cluster/Word Web 1” and write their interpretation of the title of the painting in the blank labeled “Topic.” Explain that this topic will be their primary theme.

4. Next, have students create four secondary themes that revolve around the primary theme.

For example: Topic- Studying in the library for an art history test.

Four secondary themes-a. Solitudeb. Concentrationc. First year of colleged. Favorite subject

5. Emphasize how important it is for students to come up with their own ideas.

6. Ask students to fill in the four secondary themes on their cluster organizer.

7. Finally, if there is time, or for homework, ask students to come up with two descriptive words that focus on sensory details; sight, smell, touch, hearing, and taste, for their four secondary themes.

For example:a. Solitude- quiet, peaceb. Concentration- stale, hardc. First year of college- soft serve ice cream, wasted. Favorite subject- passion and beauty

Session Two Understanding Symbolism

PREPARATION Prepare images for an example Idea Map to share with students that reflect selected primary and secondary themes.

Class discussionProject the Peto painting in the classroom for reference purposes. Define symbolism and share the example Idea Map with the class. Highlight the process taken to find images that symbolize the primary and secondary themes. Ask for a volunteer to share their graphic organizer with the rest of the class. Then, ask the class to imagine images that could be paired with the themes from their peers’ work. Write these ideas on the board.


Research images1. Using computers, instruct students to go to Google

Images to find pictures that are symbolic of their ideas from their graphic organizer. If printing pictures is not possible or computers are not accessible, have students draw symbolic images on separate sheets of paper. Reinforce that the images they either make or print need to relate to their primary and secondary themes in some way but do not need to match exactly.

2. Provide students with the remainder of the class time to accumulate and create symbolic imagery. Share with students that the image chosen as the primary theme MUST be larger than all of the other images because it will be the focus of the work.

3. Collect the imagery for the next class period.

4. Magazine images (optional)

Session Three Creating the Idea Map Poster

Class discussion With the example Idea Map in hand, review with students what symbolism means and how images and words can be paired together to enhance meaning.

Symbolic imagery1. Ask students to retrieve their images and lay them out on

poster board.

2. Instruct students to edit out any unwanted images and narrow down their image selections into the most important components.

3. Once students have selected which images they would most like to use, instruct them to lay the image representing their primary theme in a location of their choosing. The primary image does not have to be placed in the center of the work, but it must be the largest image in the work.

4. Ask students to lay out their secondary themes around their primary theme, similar to, but not exactly like, the format of the graphic organizer.

5. After the secondary themes have been placed on the poster board, have students add the descriptive pictures that reinforce the secondary themes.

6. Encourage students to take their time to figure out how they would like to arrange their images on the poster board before gluing them down. Walk around and provide help and encouragement to those who need it.

7. Once students have selected the final arrangement for their images, pass out Modge Podge and applicators, and have students glue their images to the poster board.

Adding decoration and detail1. At this stage of the project, students are encouraged

to be as creative as possible. The only mandatory instruction for students is that they must cover all of the white of the poster board. Explain to students that a white background will make their project appear unfinished.

2. Provide students with art materials already found in the classroom, i.e. markers, colored pencils, paint, glitter, tissue paper etc.

3. Do a quick demonstration with the art materials to show students how they can draw on top of and around the images pasted on the poster board.

4. Demonstrate how students can use words in lieu of images and write the words in a decorative font.

5. Walk around encouraging students and holding up examples of student work where unusual or creative approaches are being taken.

Session Four Complete Idea Map and Gallery Walk

Class discussionSelect a few student examples of creative Idea Maps and ask those artists to explain to the rest of the class the process they took and what their Idea Map reveals about them. This is a good time to provide positive feedback to students on the work they have done.

Complete idea MapEncourage students to take pride in their work and be sure that their maps are as finished as possible.

Gallery walk1. Students should place their work face up on their desks

and place a piece of blank paper with a pencil next it.

2. Instruct students to write positive and constructive feedback on the papers next to their peers’ works.

3. At the end of the gallery walk, ask students to reflect on the project and to share what they liked about it and what they think might have made the project better.

TEACHING TIPS While going through demonstration steps each day, be sure to model the tasks and point out good practice.

Write out the steps of the process on the board each day.

ADAPTATION SUGGESTIONSThis particular lesson is geared towards upper elementary aged students, but the art process is easily adapted to suit younger and older students.

For younger students (grades K – 5) Select another painting within the exhibition, follow the same process outlined in this lesson, but gear the theme of the idea map to address specific points of focus in your curriculum.

For older students (grades 9-12)Ask students to write an artist statement describing their idea map.


RESOURCESRelated work currently on view at the Timken Museum of Art

After Many DaysThomas Hart Benton, 1940The San Diego Museum of Art Permanent Collection

The Magnolia BlossomMartin Johnson Heade, 1888Timken Museum of Art. Putnam Foundation Collection

MerganserWilliam Harnett, 1883The San Diego Museum of Art Permanent Collection

WEB RESOURCESBehold, America! Exhibition Websitewww.beholdamerica.org

How to Mind Map http://www.youtube.com/watch?v=4wZ5wV5dPZc

John F. Peto Museum Websitehttp://petomuseum.org

Education Programs at the Timken Museum of Art are supported by The Legler Benbough Foundation, the City of San Diego Commission for Arts and Culture, the Helen K. and James S. Copley Foundation, the County of San Diego, the Samuel I. & John Henry Fox Foundation, The J. Douglas and Marian R. Pardee Foundation, The Parker Foundation, the Patrons of the Prado, San Diego Gas & Electric, US Bank, the Mandell Weiss Charitable Trust, and the Wells Fargo Foundation.

Symbolic Idea Map Identity Notes


OBJECTIVEStudents will:

identify ways that artists convey identity without using the human form.

identify places that are central to their identity.

identify how their surroundings are socially, politically, economically, and culturally arranged.

use mapping as a springboard for art making.

work collaboratively to draw a map of significant places in their city or neighborhood that provides viewers with insight into their identity.

Project time: Allow approximately an hour and a half from start to completion, split into two 45-minute sessions.

First session: pre-project discussion, procedure stage one: brainstormingSecond session: procedure stage two: project

Prep time: Allow approximately one hour and a half to research, prepare examples, and gather materials.

Mapping Identity

GENERAL DESCRIPTIONHow people navigate their surroundings can shape their identity and create for them psychological associations with places. Individuals incorporate places into the larger concept of self which range from intangible conceptions to specific physical settings. Iana Quesnell (American, 1969) is an artist who explores “the underlying codes that dictate our daily interaction with our surroundings,” contending with personal, social, cultural, political, economical, and technological ideologies. In her work Triptych: Migration Path, on view at the Museum of Contemporary Art San Diego in the Frontiers portion of the exhibition Behold, America!: American Art from Three San Diego Museums, Quesnell maps her movements as she crosses the U.S.–Mexico border. This large pencil and graphite drawing charts the artist’s path from her former art studio at the University of California, San Diego to her home in Tijuana, Mexico. Her work has the quality of multi-dimensional maps that follow her movements through a specific territory, exploring spatial connections and narrowing on areas where she settles for periods of time.

In this lesson, presented by the Museum of Contemporary Art San Diego, students will explore the way in which artists convey identity without use of the human form and how the method of mapping, an examination of how the subject is spatially located within an environment, involves charting not just geographic coordinates but socioeconomic realities, historical data, and personal experience. From there, students will fully investigate their own surroundings and work collaboratively to create a map that provides insight into their own identities and connections to place.

Museum Exhibition Inspiration: Triptych: Migration Path, 2007, Iana Quesnell, Museum of Contemporary Art San Diego Permanent Collection

Grade Level: High School (Grades 9 – 12), Adaptable to all grade levels

Author: Alison Hendrickson, Education Intern for School and Tour Programs and Education Staff


VOCABULARYIntroduce the project and discuss associated vocabulary words: border, boundary, identity, map, migration, place, and triptych. Please see appendix for vocabulary definitions.

CALIFORNIA STATE STANDARDS Please see appendix.


1 sheet of 14” x 17” tracing paper for each student Studio drawing pencils of varying hardness Pencil erasers Colored pencilsFine point permanent black markersRulers14” x 17” printed copies of maps for each student (use local transit map, map on city’s website, or maps.google.com to find desired territory and zoom length)

PREPARATIONPre-project class discussion: (30 minutes) (available at www.mcasd.org)Through a prepared visual or through an arranged visit to the Museum of Contemporary Art San Diego, show students Iana Quesnell’s Triptych: Migration Path as a whole and the panel details. Allow students to carefully and quietly observe the work before talking about it. Use the questions given below to guide the discussion. Visual inquiry questions should provide you with a method to discover the visual qualities of the artwork. Interpretative questions will allow you to use factual information to understand the artwork and how it relates to the theme of identity.

1. Visual inquiry questions: exploring what you seeBegin with a specific question about the students’ first impressions of the work. For example: What is the first thing you notice about this work? What associations come to mind? What do you see that makes you say that? If you were going to describe the work to someone who had never seen it, what adjectives would you use? Why? What do you notice about the organization of this image? What impact does it have and why? Follow by exploring formal qualities of the work such as composition, materials used, scale, color, etc. What images, materials, symbols, or texts do you recognize? Integrate factual information about process, composition, and materials with student responses. Follow up by asking: How do the work’s materials or form suggest what the work might be about? Why do you think the artist chose to use these images/materials/symbols/texts?

2. Interpretive inquiry questions: exploring meaning1. Provide factual information about the work including

title, date, artist, and background information.

2. Tell students that this drawing conveys a sense of identity through non-figurative means by representing a map of the artist’s daily movements between significant places in her life during one period of

time. Communicate to students that a person’s surroundings and interactions with places can provide insight into their identity and what they find important.

3. Allow students to consider and integrate the information you have shared: How does this work relate to that concept?

4. Give students time to form their own interpretations and to support these interpretations with visual evidence: What do you see that makes you say that? How would you describe aspects of the artist’s identity based on what you see? What details support your interpretation? What identifies the artist based on the places she includes in her drawing? How do these selected places serve as clues for how the artist represents herself? What can we learn about the artist from looking at this drawing? How does the artist tell you about these places? What kind of social, political, and/or cultural attributes would you include in a drawing of places that relates to you? What can you learn about a person from a map of the daily paths they take and the places that they visit?

5. Share information on the artist’s overall practice. Encourage students to make connections to the larger world and to other social contexts and to connect ideas to the overall theme of the Behold, America! exhibition.

PROCEDUREStage one: brainstorming (15 minutes)1. First, have students consider their perceptions of the

artwork including materials, theme, artist’s background, etc.

2. Ask students to brainstorm a list of places that they might include on their own “migration path.” These places may include significant physical and geographical locations that they migrate to during their day to day movements and activities. They can include places in the community that they may not encounter everyday but that have impacted their lives perhaps through a moving experience or physical setting.

3. Have students consider why these places are significant, ways in which the place represents them, and what these places convey about their identity/who they are.

4. Have students consider how the places function. Have students consider the places’ cultural, social, political, and/or economic relations in the community.

Stage two: project (45 minutes)1. Divide students into small groups of 4 or 5 with their

materials.

2. Each student will trace the provided map of the territory onto their tracing paper.

3. Instruct students to collaboratively create a key for their map so that visible connections can be made later in the project. For example, the key could use colors to differentiate types of places. Blue could be used to draw students’ houses. Red could be used to draw the school. Yellow could be used to draw civic buildings such as the


public library. The key could also incorporate different types of drawing materials (pens, pencils, markers, etc.) to represent the various types of places.

4. Instruct students to individually plot the places that they brainstormed onto their traced maps to create their own “migration path.”

5. Have students draw their maps based on how they imagine/visualize their surroundings. Students may choose to incorporate ideal places which may not currently exist but that they feel would benefit them or the community. Encourage students to draw more detailed areas of the significant places as Quesnell does.

6. Once students are done drawing, have each group layer their maps to see visual connections and differences (places that are shared, difference in routes, etc.).

7. Have the groups of students prepare to present their drawings to the class in a short presentation describing what they included on their maps and how the layers relate to or differentiate from each other. Have students describe how their work relates to the concepts discussed during the Pre-Project Class Discussion. Students may reference the Interpretive Questions previously posed when describing their own work such as: How would you describe aspects of the artist’s identity based on what you see? What details support your interpretation? What identifies the artist based on the places included in the drawing? What can we learn about the artist from looking at this drawing? How does the artist tell you about these places? What kind of social, political, and/or cultural attributes would you include in a drawing of places that relate to you? What can you learn about a person from a map of the daily paths they take and the places that they visit?

Project Example:

TEACHING TIPS We hope this lesson plan has inspired you to explore

concepts of identity, mapping, and community. To learn more about the artists, artworks, and themes included in this lesson, please use the links to resources provided below.

EXTENSION ACTIVITIES Display an image of Maya Lin’s artwork Atlas Landscape:

Rand McNally The New International Atlas (2006) to show a second example of how artists use mapping as an art form and discuss what ideas and themes she represents. Allow students to respond to Lin’s work by comparing it to Quesnell’s work visually and thematically.

Have students create a guidebook to narrate their paths. Have students write why they chose to incorporate the places on their maps. Have students discuss how they are represented by the places on their map and to discuss how the places on their map relate to the identity of the community and its inhabitants. How have these places been shaped by the identity of different cultures and/or social groups in the community? What are the social, political, economic, and cultural associations of these places?. The guidebook could include research that students have done on an aspect of their map (history of a street name, area of the city, or a building/business, etc.). Students may incorporate photographs of these places into their guidebook to compliment their written narrative. Have students present their guidebook to the class in a short presentation.

ADAPTATION SUGGESTIONSThis particular lesson is geared towards upper elementary aged students, but the art process is easily adapted to suit younger and older students

For younger students (grade K-5)

Stage One: Brainstorming (15 minutes)Ask students to brainstorm a list of places that they might include on their own “migration path.” Discuss what is a migration, ask students to list places they may encounter when traveling between school and home, the places they migrate to during their day to day , places in the community that have impacted their lives perhaps through a moving experience or physical setting. Have students consider why these places are significant to them and what these places convey about their identity/who they are. Tally the types of places that are relevant to students and present them to the class so they can make connections between shared places.

Stage two: project (45 minutes)Have students gather their project materials and work independently to create a “migration path” (a map with the route they take each day) of places where they go each day. Students may choose to draw a path from home to school, as home is the environment of primary importance, followed by neighborhood and school.

Have students draw their maps based on how they imagine/visualize their surroundings.

Encourage students to draw more detailed areas of the significant places as Quesnell does using different types of lines, shapes, etc. Have them prepare to discuss their drawings and why the places they chose to include are important to them, or what they tell the viewer about their identity/who they are.

For middle school students (Grades 6 – 8)

Stage one: brainstorming (15 minutes)Ask students to brainstorm a list of places that they might include on their own “migration path.” These places may include significant physical and geographical locations that they migrate to during their day-to-day movements and activities. They can include places in the community that they may not encounter everyday but that have impacted their lives perhaps through a moving experience or physical setting.


Have students consider why these places are significant, ways in which the places represent them, and what these places convey about their identity/who they are. Instruct students to take photographs of their significant places to contribute to Stage Two: Project.

Stage two: project (45 minutes)Create a collaborative map using Google Map’s feature My Places (maps.google.com/maps/MyPlaces). Scan and/or import the students’ photographs to create a map of the community’s significant places. Have students prepare to present their photographs on the map and describe why they chose to include these places. Have students explain how these places represent them. Have students explain how these are significant places and how they function within the community. Students may reference the Interpretive Questions previously posed when describing the map, such as: How would you describe aspects of the artist’s identity based on what you see? What details support your interpretation? What identifies the artist based on the places included in the map of photographs? What can we learn about the artist from looking at this map of photographs? How does the artist tell you about these places? What can you learn about a person from a map of photographs plotting places along their daily paths?

RESOURCESBehold, America! Exhibition Websitewww.beholdamerica.org

Museum of Contemporary Art San Diego, Triptych: Migration Path, http://www.mcasd.org/artworks/triptych-migration-path This is a direct link to the artwork on MCASD’s website.

Pincus, Robert L., “The student steps out”, San Diego Union-Tribute. October 18, 2007. http://www.utsandiego.com/uniontrib/20071018/news_lz1w18pincus.html

Pincus, Robert L., “Behind the scenes”, San Diego Union-Tribute. December 1, 2006. http://www.utsandiego.com/uniontrib/20061201/news_1c01prize.html These articles discuss Iana Quesnell’s previous exhibitions, artwork, and practice.

Kelly, Patricia. “Mapping as Practice, or Finding the Subject in American Art circa 1970”, Behold, America! catalogue. This catalogue essay examines mapping as a contemporary art form, artists who use mapping in their practice, and ideas/themes addressed in such artwork.

Hauge, Ashild Lappegard. “Identity and Place: A Critical comparison of three Identity Theories”, Architectural Science Review, March 1, 2007.

Livingstone, D. “Space, Place, Identity”, Geographical Approaches. 1992. http://socgeo.ruhosting.nl/html/files/geoapp/Werkstukken/SpacePlaceIdentity.pdf

These articles address prevailing identity theories in relation to place and space. They discuss how identity is shaped by one’s surroundings.

Artwork of Elizabeth Chaney, http://www.mcasd.org/programs/teen-art-council-presents-night-forks-film

This is a direct link to MCASD’s webpage posting of Elizabeth Chaney’s teen program exploring the movement of people across countries and continents and meditates on unfinished journeys, all issues that relate to Quesnell’s treatment of her movement over the United States-Mexico Border.

“Maya Lin: Systematic Landscapes at the Museum of Contemporary Art San Diego”, artdaily.org. April 6, 2008. http://www.artdaily.com/index.asp?int_sec=2&int_new=23788

This article discusses Maya Lin’s artwork exhibited at MCASD.

The Center for Urban Pedagogy. http://welcometocup.org/

CUP is an organization that uses art to improve civic engagement. CUP encourages the public to participate in shaping their community through the understanding of urban policy and planning issues.

This is the inquiry-based methodology used by the Museum of Contemporary Art San Diego to inspire engagement with contemporary art and ideas.

Mapping Identity Lesson Plan was developed by MCASD Education staff and Summer Intern, Alison Hendrickson and presented by Artist and MCASD Gallery Educator, Amy Sanchez.

Education Programs at MCASD are supported by Qualcomm Foundation, the County of San Diego Community Enhancement Fund, the Samuel I. & John Henry Fox Foundation, the Price Family Charitable Fund, the Chula Vista Target Store and contributions to MCASD’s Museum Fund.

Institutional support of MCASD is provided, in part, by the City of San Diego Commission for Arts and Culture.


Mapping Identity Notes


California State Content Standards

FAITH RINGGOLD-INSPIRED PAINTED STORY QUILTGrade Level Three thru Five Visual and Performing ArtsGrade Level Three Visual and Performing Arts1.5 Identify and describe elements of art in works of art,

emphasizing line, color, shape/form, texture, space, and value.

2.2 Mix and apply tempera paints to create tints, shades, and neutral colors.

2.4 Create a work of art based on the observation of objects and scenes in daily life, emphasizing value changes.

3.2 Identify artists from his or her own community, county, or state and discuss local or regional art traditions.

Grade Level Four Visual and Performing Arts1.4 Describe the concept of proportion (in face, figure) as used in

works of art.

1.5 Describe and analyze the elements of art (e.g., color, shape/form, line, texture, space, value), emphasizing form, as they are used in works of art and found in the environment.

2.5 Use accurate proportions to create an expressive portrait or a figure drawing or painting.

3.1 Describe how art plays a role in reflecting life (e.g., in photography, quilts, architecture).

4.2 Identify and describe how a person’s own cultural context influences individual responses to works of art.

4.3 Discuss how the subject and selection of media relate to the meaning or purpose of a work of art.

4.5 Describe how the individual experiences of an artist may influence the development of specific works of art.

Grade Level Five Visual and Performing Arts1.1 Identify and describe the principles of design in visual

compositions, emphasizing unity and harmony.

2.7 Communicate values, opinions, or personal insights through an original work of art.

4.4 Assess their own works of art, using specific criteria, and describe what changes they would make for improvement.

SYMBOLIC IDEA MAP: IDENTITY Grade Level Six thru Eight Visual and Performing Arts6th Grade Visual and Performing Arts2.5 Select specific media and processes to express moods,

feelings, themes, or ideas.

3.1 Research and discuss the role of the visual arts in selected periods of history, using a variety of resources (both print and electronic).

4.4 Change, edit, or revise their works of art after a critique, articulating reasons for their changes.

7th Grade Visual and Performing Arts5.3 Examine art, photography, and other two- and three-

dimensional images, comparing how different visual representations of the same object lead to different interpretations of its meaning, and describe or illustrate the results.

4.5 Identify what was done when a personal work of art was reworked and explain how those changes improved the work.

8th Grade Visual and Performing Arts4.1 Define their own points of view and investigate the effects on

their interpretation of art from cultures other than their own.

4.3 Construct an interpretation of a work of art based on the form and content of the work.

5.3 Demonstrate an understanding of the effects of visual communication on all aspects of society.

MAPPING IDENTITY LESSON PLANGrade Level Nine Thru Twelve Visual and Performing ArtsProficient1.1 Identify and use the principles of design to discuss, analyze,

and write about visual aspects in the environment and in works of art, including their own.

1.3 Research and analyze the work of an artist and write about the artist’s distinctive style and its contribution to the meaning of the work.

1.5 Analyze the material used by a given artist and describe how its use influences the meaning of the work.

3.1 Identify similarities and differences in the purposes of art created in selected cultures.

3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.

4.1 Articulate how personal beliefs, cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in a work of art.

Advanced1.3 Analyze their works of art as to personal direction and style.

2.1 Create original works of art of increasing complexity and skill in a variety of media that reflect their feelings and points of view.

2.4 Demonstrate in their own works of art a personal style and an advanced proficiency in communicating an idea, theme, or emotion.

4.1 Describe the relationship involving the art maker (artist), the making (process), the artwork (product), and the viewer.

4.2 Identify the intentions of artists creating contemporary works of art and explore the implications of those intentions.

The content standards are organized by lesson plans in the How-To Guide Source: CA Department of Education websitehttp://www.cde.ca.gov/be/st/ss/index.asp


Visual Art Terms GlossaryThe following visual art terms are organized by order of the lesson plans.

FAITH RINGGOLD-INSPIRED STORY QUILTVisual and Performing Arts Vocabulary:composition – the arrangement of the elements of art (color, line, shape, value, texture, and form) in a work of art

contour – the outer edges and ridges of a form

engraving – using a sharp tool to make a design onto a printing plate

geometric – shapes or forms that are regular and precise (e.g. squares, circles, triangles, etc.)

mixed media – a technique involving the use of two or more art materials in a single composition

piece border – sewing or stitching trips of fabric together to create a border

plate – a prepared surface, usually stone, metal, glass, wood, plastic, or form from which printing is done

primary colors – the colors are red, blue and yellow; these colors cannot be mixed from or formed by combining any other colors, and they are the basis of making most other colors

pattern – a design made by repeating a motif at regular intervals

print – an impression that is the result of transferring an image from a print plate onto a surface

quilt – a blanket made by sewing and or stitching pieces of fabric together

stylus – a scrapping instrument, usually with a sharp-pointed or chiseled edged

textile – a flexible woven material made out of natural and/or synthetic fibers

to pull a print – the act of transferring an image from the printing plate to paper

SYMBOLIC IDEA MAP: IDENTITYVisual and Performing Arts Vocabulary:collage – a technique of composing a work of art by pasting on a single surface various materials not normally associated with one another

color palette – the colors chosen by the artist in a given artwork

contrast – an effect in art created by using opposites near or beside one another; such as a light object next to a dark object or a rough texture next to a smooth texture

mood – the emotive expression of a given artwork

personal narrative – a story that is told by and about the narrator

primary theme – the main plot or focus of a story

secondary themes – subcategories of the main plot or focus of a story

still-life – a drawing or painting of a grouping of objects

symbolism – the practice of representing things by symbols or of investing things with a symbolic meaning or character

tone – a particular quality, way of sounding, modulation, or intonation of the voice as expressive of some meaning, feeling, spirit, etc.: a tone of command

MAPPING IDENTITY LESSON PLANVisual and Performing Arts Vocabulary:border – the part or edge of a surface or area that forms its outer boundary; the line that separates one country, state, etc., from another; the district or region that lies along the boundary line of another (noun); to form a border or boundary to or around; to lie on the border of; adjoin (verb)

boundary – a line that marks the limits of an area; a dividing line; a limit of a subject or sphere of activity

identity – the combined set of characteristics by which a thing is definitively recognizable or known

map – a representation of the whole or a part of an area (noun); to make a survey of for or as if for the purpose of making a map (verb)

migration – the movement of persons from one region or country to another

place – particular portion of space with definite or indefinite boundaries; a geographical space that has acquired meaning as a result of a person’s interaction with the space

triptych – a set of three panels side by side, bearing pictures, carvings, or the like


Art Resources

ART EDUCATION WEBSITE RESOURCESCALIFORNIA ALLIANCE FOR ARTS EDUCATION (CAAE)www.artsed411.org The CAAE promotes, supports, and advocates visual and performing arts education for pre-school through post-secondary students in California schools. It also sponsors the Emerging Young Artists Awards to post-secondary students who intend to pursue a career in the arts.

CALIFORNIA ARTS COUNCIL (CAC) www.cac.ca.gov The California Arts Council provides a variety of arts in education grants that foster collaborative relationships between schools and artists, schools and museums.

CORE LEARNINGS www.sandi.net/depts/vapa/ This presentation of content standards was initiated by the Visual and Performing Arts Department of San Diego City Schools to define the standards and how they can be deepened and applied throughout the grade levels.

INCREDIBLE ART DEPARTMENT www.princetonol.com/groups/iad/ The Incredible Art Department contains California standards-based art lessons supplied by practicing art educators for K-12 educators, as well as links to other art-related online resources, art education-related chat rooms, resources for supplies, and job postings in the field of art.

NATIONAL ART EDUCATION ASSOCIATION www.naea-reston.org/ The NAEA is a non-profit, educational organization. The NAEA website includes information on the mission and history of the organization, arts-based lesson plans for educators, articles on art education, and information on state and national art education-related conferences and workshops.

VISUAL AND PERFORMING ARTS STANDARDS www.cde.ca.gov/be/st/ss/index.asp This California Department of Education website, adopted by the State Board of Education in January 2001, offers art content standards, which can be downloaded.

SAN DIEGO AREA SOURCES FOR ART Artist & Craftsman Supply

Blick Art Materials (formerly known as The Art Store)

Teachers receive a 10% discount. Take advantage of their knowledgeable staff.

Freeform Clay Supply

Salmagundi Arts & Crafts

If no other place has what you are looking for, they probably have it!

GENERAL ART SUPPLY ONLINE RESOURCESDiscount School Supply

Dick Blick Art Materials

Nasco Arts and Crafts

FINE ART MUSEUMS Mingei International Museum 1439 El Prado, Balboa Park, San Diego

Museum of Contemporary Art San Diego (Downtown and La Jolla) 1100 Kettner Blvd, San Diego; 700 Prospect St., La Jolla

Museum of Photographic Arts 1649 El Prado, Balboa Park, San Diego

The New Children’s Museum 200 West Island Ave., San Diego

Oceanside Museum of Art 704 Pierview Way, Oceanside

Timken Museum of Art 1500 El Prado, Balboa Park, San Diego

Teaching resources, art education activities (locally and around California), professional development opportunities, and grant resources for teachers.


Daniela KellyDaniela Kelly earned B.A. degrees in Spanish Literature and Economics from UC San Diego. She has continued her studies at San Diego State University where she is currently pursuing an M.A. in Art History. Daniela has been involved with San Diego’s underserved communities for many years and has collaborated with local not-for-profit organizations as a language instructor and in the organization of intergenerational workshops on art and culture. As a Museum Educator at The San Diego Museum of Art, Daniela teaches youth and teens at alternative schools, community centers, and at the Museum. Her classes incorporate art history, studio art, and museum gallery experiences. This will be Daniela’s first year as an instructor at the Educators’ Art Fair event.

Alison Hendrickson Alison is a Museum Studies M.A. Candidate at New York University and holds a B.A. in Art History from SUNY Albany. She has interned in the education departments of the The Jewish Museum, the Museum of Contemporary Art San Diego and the Timken Museum of Art. Alison developed this lesson with the support of the education staff at the Museum of Contemporary Art.

Anne KindsethAnne is the Education Associate at the Museum of Contemporary Art San Diego, where she oversees School and Teen Programs. Before coming to MCASD, Anne worked at museums and community arts organizations including the Art Institute of Chicago, the Museum of Modern Art New York, and the Manchester Craftsman’s Guild in Pittsburgh, PA. This will be Anne’s first year assisting with the Educators’ Art Fair.

Amy SanchezAmy is a San Diego-based freelance curator, writer, and arts

bi-national arts collective producing work in and about the US/Mexico border. Amy also works as the Educator for Teen

Programs at the Museum of Contemporary Art San Diego. This will be Amy’s first year as an instructor at the Educators’ Art Fair.

Elizabeth WashburnElizabeth earned her Masters degree in painting from the Laguna College of Art and Design in Laguna Beach and her Bachelors degree in Fine Art from the Academy of Art University in San Francisco. She has been teaching art for the Timken Museum of Art as well as multiple public and private schools throughout San Diego for the past decade. In addition, she is a teaching artist for the Collaborative Arts Resources for Education (CARE) Program, and her expressive arts program with the military helps combat veterans suffering from Post Traumatic Stress Disorder reintegrate back into society after their combat deployments. As a fine artist, Elizabeth is currently represented by Ronis Fine Art of San Diego, CA and Sue Greenwood of Laguna Beach, CA, and her work has been exhibited locally and nationally. This will be Elizabeth’s first year as an instructor at the Educators’ Art Fair event.

Other StaffAmy Briere, Manager, Educator and Student Programs, The San Diego Museum of Art

Coordinator and Editor for How-To Guide

Kristina Rosenberg, Education Director, Timken Museum of Art

Editor for How-To Guide

Cristina Scorza, Education Curator, Museum of Contemporary Art San Diego

Editor for How-To Guide

Gaby Beebee, Graphic ArtistDesign of How-To Guide

CreditsBehold, America! Art of the United States from Three San Diego Museums is a collaborative exhibition organized by the Museum of Contemporary Art San Diego, The San Diego Museum of Art, and the Timken Museum of Art. Lead support for the show is provided by a generous grant from the Qualcomm Foundation.

Further major funding has been received from The Henry Luce Foundation and Jake and Todd Figi. Additional support for the show is provided by SDG&E, US Bank, Mandell Weiss Charitable Trust, RBC Wealth Management, and the Wells Fargo Foundation. Institutional funding for all three Museums is supplied by the City of San Diego Commission for Arts and Culture.

Behold, America! Art of the United States from Three San Diego Museums is a collaborative exhibition organized by the Museum of Contemporary Art San Diego, The San Diego Museum of Art, and the Timken Museum of Art. Lead support for the show is provided by a generous grant from the Qualcomm Foundation. Further major funding has been received from The Henry Luce Foundation and Jake and Todd Figi. Additional support for the show is provided by SDG&E, US Bank, Mandell Weiss Charitable Trust, RBC Wealth Management, and the Wells Fargo Foundation. Institutional funding for all three Museums is supplied by the City of San Diego Commission for Arts and Culture.

Lead Patron

Additional Support Provided bySupporting Patron

SPONSOR CREDITS FOR BEHOLD, AMERICA!

Upcoming Behold, America! Related Programs

Saturday, November 17, 2012Family Artlab: Unbound Borders2:00 – 4:00 p.m.MCASD La Jolla

Saturday, December 1, 2012Family Storytelling11:00 a.m.Timken Museum of Art

Wednesday, December 12, 2012Art in the Afternoon Gallery Talk12:30 p.m.Timken Museum of Art

Friday, January 4, 2013First Friday Films: Do The Right Thing7:00 p.m.The San Diego Museum of Art

Thursday, January 10, 2013Artist Talk: Brian Ulrich7:00 p.m.Timken Museum of Art

Saturday, January 12, 2013Second Saturday Workshop: Pastel Portraits1:00 – 4:00The San Diego Museum of Art

Thursday, January 17, 2013Behold, America! A Conversation with Three Directors7:00 p.m.MCASD La Jolla

Thursday, January 30, 2013Artist Talk: Pae White7:00 p.m.The San Diego Museum of Art

Friday, February 1, 2013First Friday Films: The People Speak7:00 p.m.The San Diego Museum of Art

Thursday, February 7, 2013Artist Talk: Eleanor Antin7:00 p.m.MCASD La Jolla

For more Behold, America!-related programs and information, please visit www.BeholdAmerica.org.

What is the purpose of the Educators’ Arts Fair How-To Guide?This How-To Guide provides lesson plans corresponding with the theme of Identity. The projects outlined can be used in your classroom for student submissions for the Young Art 2013 exhibition. Teachers are also encouraged to build upon the concepts discussed at the Art Fair to create new projects for the exhibition. This guide also contains resource listings to help teachers learn more about visual arts.

What is Young Art?Young Art 2013: The Story of Me will be the 42nd installation of The San Diego Museum of Art’s biennial exhibition of K-12 student artwork from San Diego County schools. This event, a San Diego tradition, will focus on works of art that explore the subject of individual identity. Students will tell the story of themselves through artistic representations of their culture, traditions, family, friends, memories, experiences, or physical appearance.

The theme of Young Art 2013: The Story of Me connects this installation to the broader exhibition program of the Museum in the 2012/2013 year. Educators are encouraged to visit the Museum throughout the school year to be inspired by the concept of “identity” as seen in the Museum’s permanent collection and special exhibitions, including Behold, America!: Art of the United States from Three San Diego Museums (November 10 – February 10, 2013).

How can my school participate?Teacher information packets that detail the submission process are available. Please email [email protected] to request an information packet, and include your name and home or school address in the message.

Will all of the work submitted be exhibited?Due to the large number of submissions, the museum will not be able to exhibit all of the works submitted. Although the Museum will be unable to exhibit all of the submitted works, public spaces in San Diego County are planning to set aside space to display additional Young Art student artwork.

YOUNG ART2013The Story of Me




Documents

2012 EDUCATORS’ ART FAIR