Educating for Creativity and Innovation

Educating for Creativity and Innovation 90636Submission date:09-NOV-13 Extension: 16-NOV-13Jennifer McBride: 386435

Do students need creative teachers to be creative learners?

Th is report is based on the question: do students need creative teachers to be creative learners? Th e submission is multi-modal, comprising an essay and a unit plan with resources. Th e report will demonstrate thoughts and fi ndings on the importance of fostering and promoting creative thinking, processes and outcomes. My hypoth-esis is that a creative teacher will foster and promote creativity more eff ectively than a non-creative teacher allowing for more successful learners.

Our education system is based on educating students for real world skills. Students must now not just know facts but be able to fi nd novel answers and creative solutions to successfully function in today’s society. “It is believed that individuals without the ability to create will be replaced with computers.” (Ewing and Tuthill, 2012). In Australia, the current National Curriculum has implemented “Critical and Creative Th inking” into the curriculum across all subjects. Th ey did this because they recognize “… that critical and creative think-ing are fundamental to students becoming successful learners” (ACARA, 2013). Th is has been instigated by the vast amount of discussion by not only educational theorists, researchers and educators like Lev Vygotsky, Arthur Cropley, Joy Guilford and many more but also by our 21st century businesses and media like with Todd Sampson. To give an overview of these instigators:• Lev Vygotsky not only wrote a book called “Imagination and Creativity in Childhood” in 1995 and said that “Without new art there can be no new man” (Lindqvist, 2003). But he directly quoted an education system by saying “We should emphasize the particular importance of cultivating creativity in school-age children. Th e entire future of humanity will be attained through the creative imagination…” (Vygotsky, 1967/2004)• Arthur Cropley, regards that there is a fear “… that societies will stagnate, even deteriorate, unless their leaders, and thinkers fi nd creative ways of dealing with issues…” such as social, environmental, medical, politi-cal and industrial. (Cropley and Cropley, 2007)• Joy Paul Guilford viewed the identifi cation and development of creative potential as a key educational goal. (Guilford 1950)• Todd Sampson, CEO of Leo Burnett, panelist on ABC’s TV show Th e Gruen Transfer and presenter on ABC’s Redesign My Brain argues that “creativity is the last remaining competitive advantage for businesses today.” And goes on to argue that people’s individual creativity not only has the power to change the company they are with “but it has the power to change the world at large.”(Adobomagazine, 2011)

Th is shows that our education system needs to enable creative thinking, processes and outcomes to make sure students don’t just cope in society but take on and solve real world circumstances and challenges. Th is means that students need to be able to break new ground, put forth new ideas, pose unfamiliar questions, conjure up fresh ways of thinking, and arrive at unexpected answers (Ewing and Tuthill, 2012). A creative teacher does this as well but additionally a teacher should be able to inspire, motivate, and develop students to function at various levels of engagement in multiple roles (Brinkman, 2010). One teacher was seen doing the same task in multiple diff erent ways and was asked why do you do this? She commented “Why do I do this? Because it makes me a better teacher and it makes my students more successful learners” (Tomlinson, 2008). If a teacher can only teach in one way they are only teaching a small percentage of the average class room and not allowing for creativity. Take Visual Art for example. For one artwork it can start with ideas generated in a note pad or on a computer. Th en the idea can be photographed outside or sketched on a tablet, scanned into the computer, ed-ited with Photo-shop, 3D modeled in CAD, sent to be made or manufactured outside the school, saved numer-ous times so never lost, sent to friends or teachers for feedback and enlarged on a projector for presentations. Th ese multi-modal ways of learning encourage students to be creative and therefore more creative learners.

According to Beghetto (2010) the main factors that hinder creative teaching and therefore learning are con-vergent teaching practices, teaching attitudes and beliefs about creativity, the motivational environment, and students own creative beliefs. Each one of these factors crushes student creativity in diff erent ways. Convergent teaching practice means the student will struggle to expand their thinking and take on new ideas. An example of this is where the teacher plays a game of “intellectual hide and seek” (Beghetto, 2010) with students. Th is is a game where the teacher has the answer and the students need to fi nd it or guess is. Th is does not allow for divergent thinking or novel ideas. Teaching attitudes and beliefs are important for not only modeling critical and creative thinking to the stu-dents but also creating and promoting creative attributes. As Cropley and Cropley discuss one of the issues with teacher attitudes is“…many teachers frown upon traits associated with creativity, or even actively dislike characteristics such as boldness, desire for novelty or originality” (Cropley, Cropley 2007).Creative thinking can sometimes mean going on a tangent or using humor. Th is means teaching and learning can go into territory of the unknown which can be daunting for some teachers to deal with. For those teach-ers it would be easier to follow very structured environments, rules and curriculum. In essence if the teacher doesn’t believe in promoting creative thinking how can it be expected for the student value it?

‘Sculpting your World’ UNIT PLAN FOR YEAR 9 VISUAL ART. BY Jennifer McBride 2010 1

World Sand Sculpture Festival in Tottori prefecture

WALL-E Wooden Sculpture

What do I need to do? In the following 10 weeks you will be a sculptor. By the end of the unit, you will have (1) explored sculpture and sculpture artists (2) through group discussion, 3D perspective drawings and drawing annotation, you will have presented a variety of ideas for your sculpture and (3) created and built your sculpture while continuously refining your processes and design ideas to a presentation standard. Also you will have reflected on the constraints and considerations within the school environment and how these help or hinder in designing a sculpture. The unit is designed to help you gain knowledge in sculpture, using a variety of tools and materials and using a variety of creative process.

Sculpting your World Year 9 exploration into sculpture

You are going to be a sculptor. Sculptures may be carved, chiseled, modeled, cast, or constructed. They can be made of many different materials such as wood, stone, clay, metal, sand or anything else you can imagine. So your main restriction is going to be what material and equipment you can get your hands on.

Salmon sculpture, OregonHand carved wooden sculptures made with English hardwoods A hydrostone sculpture by Michael Alfano

Our environment is important in everything we do. We need specifi c environments for specifi c tasks. For exam-ple quiet environments to concentrate on technical tasks or a spacious area to exercise. People can do these exam-ples in other environments but nowhere near as productively. It’s the same with creativity. Th e environment needs to stimulate creativity not hinder it. Amabile’s Environmental stimulants to creativity states a creative environ-ment would include freedom, a good manager, access to resources, encouragement, organization, recognition and motivation (intrinsic and extrinsic). Th e students’ own creative beliefs will diff er between students having a go or shying away from creative tasks. Everyone is creative but students pick up on everything people in their surroundings say. So if they hear their teacher, parent or mentor say “I’m not creative,” they are more liking to repeat that themselves one day (Wasu, 2008). Four out of these above fi ve points can be changed directly by the teacher. Th e fi ft h one, ‘students’ own beliefs,’ is not so obvious as to how the teacher may intervene to change students’ own beliefs. But having a creative teacher who displays all of the other creative points above can convince students that they are indeed creative. It might take some scaff olding from the teacher to get the student to believe they are creative. Using Wasu (2008) ideas the teacher could get the student to expand their defi nition of “creativity to include all the times you create around you, which includes problem solving.” Th is means that a student can change their beliefs about their creativity with the help of a creative teacher.

When a teacher is implementing creative learning into their teaching they need to make sure their teaching peda-gogies are in line with creative thinking, processes and outcomes. Two frameworks which could be enlisted when constructing a creative unit plan are Amabile’s (1996) Environmental stimulants to creativity and Cropley’s steps to achieve creative outcomes. Amabile’s Environmental stimulants to creativity are freedom, a good manager, ac-cess to resources, encouragement, organization, recognition and motivation (intrinsic and extrinsic) and Cropleys steps to achieve creative outcomes being: identify the problem or issue; organize and assemble relevant knowl-edge; think divergently about it; attain a novel interpretation; test and evaluate it; display the outcome; evaluate its relevance and value. Th ese two are appropriate frameworks to use for producing a creative unit of work because Amabile concentrates on the creative environment whereas Cropley concentrates on the creative process the stu-dents will follow. Th is means a well-rounded outcome of work.

To demonstrate how these two frameworks can be used to help make a unit plan that assesses regulated curricu-lum as well as creative thinking, below is a unit plan of a year 9 Studio Art project on sculpting. Th is unit has been created, planned and implemented to assess multiple criterias including creativity. Assessing creativity can be dif-fi cult because assessment can reduce creativity and the marking can be subjective but to make this unit a relevant resource for a classroom it needs to have assessable qualities (Cropley and Cropley, 2007). Although creativity assessment is diffi cult it is believed by Eisenburger and Armeli (1997) “that the giving of grades can promote creativity” (Cropley and Cropley, 2007). Th e criteria being assessed in this unit plan are the National Curriculum (AusVELS, 2013) progression points 8.5, Studio Art Domain and General Capability ‘Critical and Creative think-ing’. Th is unit plan is produced like this to fi t into the current curriculum while enabling student’s time to pen-etrate and give depth into their projects.

Professor Arthur Cropley’s steps to achieve creative outcomes for the Unit Plan:• Identify the problem or issue. In page 1 students are asked to be a sculptor. Th ey are then told they have 10 weeks to complete the task which consists of exploring sculptures and sculpture artists, drawing sculpture ideas in perspective, creating and building a sculpture. Once they understand the overall assessment they turn to page 2 where it shows the tasks in detail. From page 3 on, each page is one task meaning clear and easy to navigate. Th e task descriptions have minimal words so as not to confuse students but to also give student choice and scope for how and what they do in each task. Th is results in fewer constrictions and more creative thinking, processes and outcomes.• Organize and assemble relevant knowledge. Th e plan is 6 pages with separate resources so all informa-tion is assembled in one place and in correct, consecutive order. All information on the sheets is relevant and any that may not be is stored in links. Th is means students have the choice to access it depending on if it’s relevant to them. For example in Task Th ree there are 4 links in the Materials section. If a student is using wood they don’t need to click on clay sculpting link. If all the information was on each page it would be an overwhelming amount of information and not easy to identify the important information – the projects criteria’s.


Your Tasks

DESIGNING THE SCULPTURE Your work must demonstrate a logical and creative progression from ideas and outcomes to final artwork. Explore and document allideas and processes and annotate them in your Visual Diary. This will include researching artists and materials, sketching ideas, drawing 4 or more semi-final design sketches with annotation and a shaded/coloured final design drawing. Be creative in your Visual Diary. Experiment with your ideas in order to generate different approaches to elements and principles of design and see how they influence your sculpture. Be a confident risk taker, try out new ideas and processes without fear.

CREATING THE SCULPTURE You need to model careful workmanship in completing the sculpture exercises. Explore using different materials, colours and patterns by using different processes and/or techniques. Refine ideas and processes in imaginative and personal ways to produce an original sculpture.

METACOGNITION / SELF EVALUATION Your thought process of how you approached and carried out the sculpture task.

TASK

4

TASK

2

TASK

1EXPLORING SCULPTURE AND SCULPTURE ARTISTS - 5 min presentation. Include visual reference. In pairs you will research a sculpture. Use Feldman’s method to analyse your chosen sculptural artwork. 1; describe the art work 2; analysis elements 3; Interpret what the artwork means. 4; Judge the artwork.

TASK

3

ASSESSMENTYou will be assessed according to the criteria outlined on the assessment sheet and the self assessment sheet attached below.

Assessment CriteriaSelf-Assessment


Clifford Last sculpture

Have a look at some other sculptors work! (Google or Wikipedia is a good place to start.) Make sure you record all the things you look at in your visual diary. For example:

Federation square and the Australian Center for Contemporary Art Ross Bridge and Daniel Herbert Charles Summer “Burke and Wills” in Swanston St. Auguste Rodin – French sculpture Henry Moore and Anthony Caro Clifford Last and Robert Klippel Stelarc’s “Performance Event” – body parts Ron Robertson Swan

Click here to see some more sculpture and questions

Task 1 Research sculpture and sculpture artist

Federation Square in Melbourne. Designed by London-based architects Peter Davidson and Don Bates

Melbourne born Ron Mueck's (2000) 5m tall 'Boy' on exhibition at AROS in Aarhus, Denmark

Annalise at one sculptural artwork and create a 5 minute presentation on it. Use Feldman’s method to analyse your chosen sculptural artwork. 1. Describe the art work 2. Analysis elements of it 3. Interpret what the artwork means. 4. Judge the artwork. Plus remember to hold up/show a visual for the class.

John Kelly’s 'Cow up a tree', located in Melbourne’s Docklands.


Visual Diary Brainstorm! Put all your images, drawings, research etc in this one place. Document the development of your ideas; this will be enabling you to explore how your ideas connect so that you can generate your final artwork. (Start googlingsculpture) Analyse everything. Collect postcards, invites and other information to give you ideas and ways to explore your ideas further. Use words – Okay its visual art, so why use words? Well, not all of us have a “visual mind” or if we do it may need a break from pictures and words can do that. One way is to look at mind mapping a group of words. These can be powerful starting points for you.

Start drawing up your design Use the art elements and principles to inspire you. At this point you’re just thinking about the composition.

Task 2 Designing sculpture

Elementary Elements and Principles of Art Student Guide

Just start sketching. Sketch everything and anything you can think of. You want to generate ideas.

After you have started sketching try to start annotating your drawings. This will help you remember what you were thinking when you drew them! To the left is an exampleof a student who has annotated their drawing. (This example is not very neat but their plan and annotation is easy to understand.)

Joel Shaprio’s sculpture ‘Untitled’ drawn in the sketchbook and tweaked a bit in photoshop

“Sculptree” (2007) by Daniel Cordell in the UK. Wood Carving sculpture. “Circa” (2003) by Matt Hollis

• Th ink divergently about it. In Task Two brainstorming and mind-mapping is introduced to produce as many ideas as possible. Th is is to encourage divergent thinking. “Mind mapping, Morning Pages, and Brain-storming are a few such tools that help one to collect and organize their creative output” (Gino et al, 2004). By us-ing these techniques students can create without constrictions of nationality, language, grammar and spelling. It is also a case where ideas can be communicated visually meaning that one image can portray one idea or hundreds. It “is the best tool for young children to explore new things and learning” (Wen-Cheng et al, 2010). Students can use their brainstorming to ‘piggy back’ one idea onto another meaning more ideas. Another way the unit plan thinks divergently is by asking open ended questions. For example in Task One the students use Feldman method for analysing art. Th is method lets student contemplate questions like “Are there any leading lines and if so, where is your eye led?” • Attain a novel interpretation. As Cropley and Cropley (2007) state: “Th e core of creativity, however, is novelty…”. Students are challenged to think divergently to try and promote novelty. Th e students are also given a certain amount of information so they have a ‘spring board’ of information they can go off from. Th e example sculptures in the resource are all novel ideas. It encourages the student to create their own novel ideas.• Test and evaluate it. With the multiple steps in the assignment the student has multiple opportunities to test and evaluate their work and their process, continually being able to push their creativity concepts further. As stated above the teacher will be discussing projects with student at multiple stages and will be seeing how students are progressing through the tasks.• Display the outcome. Th e students display their fi ndings on a sculpture they researched and following this will display the sculpture they have created themselves. It’s important for the student to feel a sense of achieve-ment in their work. To promote their sense of achievement the work should be displayed either in the classroom, in main school areas like corridors or around school grounds and depending on the school an exhibition held to show off class work (even if it’s just at lunch time or straight aft er school).• Evaluate its relevance and value. Th ese techniques include: compare your work to the project criteria & sheet; put the sculpture 3 meters away from you and look at it from all angles; hold the sculpture away from you and look at it with ‘squinted’ eyes; ask a friend or someone else whose opinion you value for comments regarding the sculpture; take a photograph and play with diff erent lighting and angles.

Amabile’s (1996) Environmental Stimulants to Creativity for the Unit Plan:• Freedom: there are multiple ways of doing and submitting the assignment, meaning students have some freedom with how and what they are going to do for the project. Two examples are in task 1 students need to research and present their fi nding on an artist. Th ey can choose how they present this information. Th ey could decide to make a poster, mind map, verbally present to the class, make a movie, write poetry or a song. Th e second example is of the multiple materials the student can use for their sculpture. “Materials with high levels of ‘functional freedom’ let the children’s imaginations decide the use of an object rather than the object dictating how it should be used” (Ewing and Tuthill, 2012).• Good manager: the good management comes not only from the teacher in my unit plan but from the unit plan itself. It is set up for the students to pick it up and run with it. Any class has students with a large range of abilities and knowledge. Th ey would be able to achieve results with the same unit plan because it is about self-interests and exploration. Th e teacher’s role is to be the inspirer and facilitator, making sure students stay on task and don’t get distracted. For example the teacher encourages students to follow their own individual interests.• Access to resources: throughout the 6 page unit plan there are lots of hyperlinks to many diff erent resourc-es. Th ese include topic outline with time line and assessment, research pages with artist pages, material properties and also skill building with mind mapping and brainstorming tips. Th e resource has been created on Microsoft Word to give every student access to it. Some students may not have internet access at home so the document can be used as long as there is a computer available.• Encouragement: throughout the project the teacher will intermingle with and rotate around the students. Th e teacher will encourage them to push ideas further, explore diff erent concepts and give open-ended exciting questions to push students when they get stuck. Even though the fi nal work must be assessed the atmosphere is free of assessment and evaluation during the project so students can explore their ideas freely. Th is means when the teacher approaches them they know it’s not for evaluation but for enthusiastic creative discussion of their work.


“The Public Purse” created in 1994 by Simon Perry. Located on the corner of Elizabeth and Bourke Street in Melbourne.

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MaterialsThink about all the different materials you could use. Can you find them? Can you use them for this project? Do you have the equipment to be able to use that material? Make a list in your visual diary of all the materials you can think of and then cross off the ones you can’t use in the art room. You can use materials which may seem odd or ‘random’. It’s your sculpture! Be creative!

In the classroom your teacher will help you with some materials but you may need to do your own research with some others. You can use the mind mapping technique on the previous page or you can search though books or the internet. Here are some examples which may help with your research. (You don’t need to investigate them all just ‘skim’ over them and take out what you need.)

Odd sculpture materials – this link will help you a lot with ideas Student Tips –Plasticene and other materials Clay Sculpting and Progress Towards Clay Modeling Artistry Wood sculpture

Tools sheetPrint off and complete the work sheet by yourself and then get into groups of 3 and correct it together to see if you’re an expert at wood work tools. This will help you when you start creating your sculpture. Click here or on the tools picture to get the Tools Sheet

Check before you start your sculpture. Before you start your sculpture show your teacher the tools worksheet and discuss which materials and what equipment you want to use for your project. Your teacher will be checking you’re aware of safety considerations.

Tasks 3 Creating your sculpture

'Blowhole" by Duncan Stemler located in Melbourne.

"Bunjil' ( the eagle) by Bruce Armstrong located in Melbourne.

“Three businessmen who brought their own lunch" created in 1994 by artists Alison Weaver and Paul Quinn. Located in Melbourne


“Balance” Sculpture. Year 8 student (2010) Materials: wood and wire

“Sail Boat” Sculpture. Year 9 student (2008) Materials: wood, CD’s, Metal, Cloth.

“Car” Sculpture. Year 10 student (2009) Materials: wood, and Metal.

“Face” Sculpture. Yr 10 (2008) Materials: Stone. “Heart” Yr 9 (2009) Materials: Hebil Brick.

“Ranch” Yr 9 (2009) Materials: Clay

How to assess your own work. Ask yourself: “Did I draw on the wealth of experiences I have outside the art classroom? “Did I draw on the skills and knowledge built up over my previous years of doing art?” “Am I happy with my final piece?” “Do I like it?” “Why or Why Not?”Assessment techniques

Compare your work to the project criteria & self assessmentsheet. Put it 3 meters away from you and look at it from all angles. Hold it back and look at it with ‘squinted’ eyes. Ask a friend or someone’s opinion you value. Take a photograph and play with different lighting and angles.

Task 4 Finishing and presenting your sculpture

Does your sculpture look finished? Is the wood sanded smooth and waxed? Is the clay glazed? Is it a stable object?

(All the sculptures on this page are done by students)

• Organization: the process of researching and getting information is organized. All information is in one spot and digital so cannot be lost. Students then can work through sections task by task. Again meaning that the large project is not overwhelming (which would kill creativity) but give students a clear model to follow with lots of scaff olding for the students who need it. • Recognition: the unit plan has many small steps to it so feedback and recognition can be given at multiple stages throughout the project. Th is is not assessment but more a celebration for any and all creative process and outcomes the students have achieved. At diff erent times throughout the project when students do something in-novative it should be discussed and applauded by the class. Th eir innovations should be recognized by the teacher to encourage students and give students confi dence in being creative.• Motivation (intrinsic and extrinsic): the unit plan is set up with lots of pictures and links to draw students into it so they want to explore and do the project. Th e project also promotes self-motivation by letting students choose things that interest or relate to them as well as real world sculpture. Many of the example sculptures are lo-cal so they will recognize and relate to them.Th is essay draws the conclusion that not all creativity is determined by the teacher. It will also depend on “time, place and person” (Beghetto, 2010). Nonetheless as Prof. Klaus Urban (President, WCGTC) stated in 2002 “there is no doubt that the infl uence of the teacher is critical for development of creativity …” (Yamin, 2013). A more creative teacher will enable more creative learners. In essence more successful learners need creative teachers.

For the benefi t of society as well as advancement in education - for the twenty-fi rst century and beyond - teachers need to realize how important creativity is and then makes sure their pedagogies promote creative thinking, pro-cesses and outcomes. “By creating a classroom that celebrates creativity, we are helping pave the way for develop-mentally appropriate practices” (Ewing and Tuthill, 2012).

Appendix- Unit plan- Unit resources/hyperlinks

Bibliography

Ewing, V and Tuthill, L. (2012). How Creative is Your Early Childhood Classroom? Creative Classrooms. Septem-ber/October, 86-87.

ACARA - Th e Australian Curriculum, Assessment and Reporting Authority. (2013). Critical and creative think-ing. Available: http://www.australiancurriculum.edu.au/GeneralCapabilities/Critical-and-creative-thinking/Intro-duction/Introduction. Last accessed 12th Nov 2013.

Lindqvist, G. (2003). Vygotsky’s Th eory of Creativity. Creativity Research Journal. 15 (2), 259

Vygotsky,L.S (2004). Imagination and creativity in childhood (M.E Sharpe, Inc., Trans.). Journal of Russian and East European Psychology, 42, 7-97. (Original work published 1967)

Cropley, A and Cropley, D. (2007). Using Assessment to Foster Creativity. In: Tan, Ai-Gril Creativity: A Hand-book For Teachers World Scientifi c. Signapore: ISBN. p209-217.

Guilford, J.P. (1950). Creativity. American. American Psychologist, 5, 444-454

Adobomagazine. (2011). adoboLIVE! Leo Burnett Australia CEO Todd Sampson on how creativity can change the world. Available: http://www.youtube.com/watch?v=hmrshcHLNBQ. Last accessed 11th Nov 2013.

Brinkman, D. (2010). Teaching Creatively and Teaching for Creativity.Arts Education Policy Review. 111, p48-50.

Tomlinson, Carol Ann (2008). “Th e Goals of Diff erentiation”. Educational Leadership, 66 (3), pp. 26-30Beghetto, R. (2010). Creativity in the Classroom. In: Kaufman, J.C. and Sternberg R.J. Th e Cambridge Handbook of Creativity. Cambridge: Cambridge University Press. P450-453

Nikakis, S. (2013). Environmental Stimulants to Creativity : Amabile, 1996. ECI 2013 Lecture Th ree. 3 (1), p5-8. Wasu, S. (2008). Don’t say, “I’m not creative.” . Available: www.lifeahoy.sg. Last accessed 15th Nov 2013.

Nikakis, S. (2013). Prof Arthur Cropley’s steps to achieve creative outcomes. VIP. ECI 2013 Lecture Th ree. 3 (1), p16.

Victorian Assessment and Reporting Authority. (2013). Th e Australian Curriculum in Victoria. Available: http://ausvels.vcaa.vic.edu.au/. Last accessed 14th Nov 2013.

Gino YU, Roy HORAN, Michael MAMAS & Barbara WEISSHAAR (2004). Recovering Creativity: ForPersonal Evolution, Industry, and Society. Journal of Youth Studies, 7(2). p1-10.

Wen-Cheng, W, Chung-Chieh, L and Ying-Chien, C. (July 2010). A Brief Review on Developing Creative Th ink-ing in Young Children by Mind Mapping. International Business Research. 3 (3), 233.

Ayman-NolleYI S. (1999). A Piagetian perspective on the dialectic process of creativity. Creativity Research Jour-nal, 12, 267-275.

Yamin, T. (2013). From Creativity to Responsible Createlligence.Available: http://taisiryamin.tripod.com/gift ed-nessampcreativity/id15.html. Last accessed 14th Nov 2013.

‘Sculpting your World’ UNIT PLAN FOR YEAR 9 VISUAL ART. BY Jennifer McBride 2010

Some questions you may want to think about?

- What is Sculpture? - Why is Federation Square an

influence on sculpture?” - What are sculpture traditions for

the Australian Aboriginal and Torres Strait islander people?

- Why was sculpture not important in early decades of Australian colonial life?

- Who were the impressionists? - Why in the twentieth century were

there lots of sculptures of memorials?

- Why in the 80’s and 90’s did sculpture take a different twist?

- What other materials could be used to make sculpture?

Australian artist Stelarc at a lecture at the National Museum of Science and Technology. Plus Stelarc Extra Ear Project

Lego Sculpture Used Tyre Sculpture Gargoyle Metal Sculpture

‘Sculpting Your World’ UNIT PLAN FOR YEAR 9 VISUAL ART. BY Jennifer McBride 2010

ASSESSMENT RUBRIC - YEAR 9 - SCULPTURELOW MEDIUM HIGH OUTSTANDING

PRESENTATION IN THE VISUAL ART DIARY H M L

Little or no evidence of understanding of how work is to be mounted and presented.

Evidence of understanding of mounting work and producing a Heading.

Evidence of detailed presentation with Headings and All worksheets pasted in.

Evidence of detailed presentation, great care taken with every page, Headings, Designs, all completed to a very High standard.

RESPONDING TO SCULPTURE./10

Little or no evidence of understanding other sculptural artist. Exploration of 1 or less sculptural artist. With referencing of 1 or less sculptural art works.

Evidence of understanding sculptural artist. Exploration of 1 sculptural artist. With referencing of 2 sculptural art works.

Evidence of clearly understanding sculptural artist. Exploration and detail of 2 sculptural artists. With referencing of 4 sculptural art works.

Excellent evidence of understanding sculptural artist. Exploration and detail of 4 or more sculptural artists. With referencing of 6 or more sculptural art works.

EXPERIMENTATION. /10

Little or no evidence of experimentations. The modelled skill, process or technique has not been demonstrated to an appropriate standard.

Experimentations are present. The modelled skill, process or technique has been demonstrated to a good standard.

Experimentations have been completed very well; in-depth. The modelled skill, process or technique has been demonstrated to a high standard.

Experimentations resulting in skill and careful workmanship in completing the exercises. The modelled skill, process or technique has been demonstrated to an outstanding standard.

COMPLETED ART WORK DEPICTING THE ART ELEMENTS OF SHAPE, LINE, COLOUR AND TONE. /10

Little or no care taken in creating this artwork. Little evidence of the use and manipulation of the elements of shape, line colour or tone.

Evidence of some care taken in creating this artwork. Evidence of some use and manipulation of the elements of shape, line colour or tone.

Evidence of great care taken in producing a quality artwork. Evidence of excellent use and manipulation of the elements of shape, line colour or tone.

Evidence of skill, workmanship and meticulous effort in producing a high quality artwork which incorporates excellent use and manipulation of the elements of shape, line colour or tone.

METACOGNITION / SELF EVALUATION HM L

Incomplete or lacking detail. Complete with some detail.

Completed in detail. Illustrations present.

Completed in outstanding detail with illustrations.

NOVELTY Very limited novelty. Approach and final are mostly obvious solutions

Novelty shown in varying degrees in project approach and solutions

Novelty shown in high degrees in project

Completely novel assignment in all aspects

Unit resources/hyperlinks

Documents

Educating for Creativity and Innovation