Women in Art Unit Plan: Women in Art
Unit Theme: Women in Modern Art
Lesson Titles:
1. Who is an Artist?
2. Marjorie Liebman
3. Museum Field Trip
Goals:
•
Lesson one will establish the absence of women in art history. A short women’s history
lesson will show the relationship between the growing role of women and the appearance of
women artist in modern art. The students will research a woman in history and work in
groups to create a poster to represent her role in history.
•
Lesson two will focus on Memphis artist Marjorie Liebman as a revolutionary figure in the
establishment of women in the art world. The students will look at influences of Liebman and
then create a work inspired by her gestural style.
•
Lesson three will give students an opportunity to view the actual works by Marjorie Liebman
or other women artist and practice some of the vocabulary they have learned while obtaining
the total museum experience.
Artists:
1.
2.
3.
4.
5.
6.
Marjorie Liebman
Mary Cassatt
Eva Gonzales
Gabriel Munter
Tamera de Lempicka
Georgia O’Keefe
7. Kathe Kollwitz
8. Lois Mailou Jones
9. Dorothy Dehner
10. Vaclav Vytlacil
11. Hans Hoffman
12. Mark Rothko
This curriculum was developed for “The Arts Interviews,” a film series created by True Story Pictures. DVDs are available through ArtsMemphis. Curriculum writers include: Dr. Donalyn Heise Erica Glover Edwards Rachael Grant Amberlee Ahearn Hickman 1 This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. Women in Art Who is an Artist?
Lesson #1:
Grade Level: 10-12 grades
Time Frame: 6 class days (50 mins.)
Theme: Women in Modern Art (lesson 1 of 3)
Media Focus: Mixed Media
Goals: Students will gain knowledge and understanding of the history of the working artist with
particular attention to women in art history.
Learning Objective: The learner will:
1.
2.
3.
4.
recognize the absence of women as artist in history.
learn about the role of women in art history.
discover the presence of women in American history.
work in groups to research and create a poster illustrating an important woman in
history and the related event which surround the particular period in history.
5. give a brief presentation on their chosen women in history explaining their contribution
to women’s history.
National Standards:
1. Content Standard: Understanding and applying media, techniques, and processes
Achievement Standard, Proficient:
Students:
a. apply media, techniques, and processes with sufficient skill, confidence, and
sensitivity that their intentions are carried out in their artworks.
b. conceive and *create works of visual art that demonstrate an understanding of how
the communication of their ideas relates to the media, techniques, and processes they
use.
Achievement Standard, Advanced:
Students:
c. communicate ideas regularly at a high level of effectiveness in at least one visual arts
medium.
d. initiate, define, and solve challenging *visual arts problems independently using
intellectual skills such as analysis, synthesis, and evaluation.
2. Content Standard: Using knowledge of *structures and functions
Achievement Standard, Proficient:
Students:
a. demonstrate the ability to form and defend judgments about the characteristics and
structures to accomplish commercial, personal, communal, or other purposes of art.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 2 Women in Art b. evaluate the effectiveness of artworks in terms of organizational structures and
functions.
c. create artworks that use *organizational principles and functions to solve specific
visual arts problems.
3. Content Standard: Choosing and evaluating a range of subject matter, symbols, and ideas
Achievement Standard, Proficient:
Students
a. reflect on how artworks differ visually, spatially, temporally, and functionally, and
describe how these are related to history and culture
b. apply subjects, symbols, and ideas in their artworks and use the skills gained to solve
problems in daily life.
Achievement Standard, Advanced:
Students
c. describe the origins of specific images and ideas and explain why they are of value in
their artwork and in the work of others
d. evaluate and defend the validity of sources for content and the manner in which
subject matter, symbols, and images are used in the students’ works and in significant
works by others
4. Content Standard: Understanding the visual arts in relation to history and cultures
Achievement Standard, Proficient:
Students:
a. differentiate among a variety of historical and cultural contexts in terms of
characteristics and purposes of works of art.
b. describe the function and explore the meaning of specific art objects within varied
cultures, times, and places.
c. analyze relationships of works of art to one another in terms of history, aesthetics,
and culture, justifying conclusions made in the analysis and using such conclusions to
inform their own art making.
5. Content Standard: Reflecting upon and assessing the characteristics and merits of their
work and the work of others
Achievement Standard, Proficient:
Students:
a. identify intentions of those creating artworks, explore the implications of various
purposes, and justify their analyses of purposes in particular works.
b. describe meanings of artworks by analyzing how specific works are created and how
they relate to historical and cultural contexts.
c. reflect analytically on various interpretations as a means for understanding and
evaluating works of visual art.
Art History: Art work and Artists
The lesson will begin will a discussion, prompting the students to discuss the term “artist” and
discover common stereotypes of artists. Question the students about their preconceived ideas
by asking: What is an artist? What do they do? Who is an artist? What does one look like? What
are some of the stereotypes that are often given to artist? Can you name three famous male
artists? Can you name three famous female artists? Why were women seldom artists in history?
Why is it acceptable for modern women to become an artist? What has created this change?
3 This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. Women in Art Distribute the following Student Worksheet: Who is an artist? Students complete the
worksheet during the teachers presentation.
STUDENT WORKSHEET: Who is an artist?
Student name:
Date:
1. Define artist –
2. Why aren’t women artists as well known as men?
3. List 3 women artists and describe their work.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 4 Women in Art TEACHER LED DISCUSSION / PRESENTATION
Define ARTIST
1. One, who is able by virtue of imagination, talent or skill to create works of aesthetic
value, especially in the fine arts. Examples include a painter, sculptor, or writer.
2. A person whose work shows exceptional creative ability or skill: You are an artist in the
kitchen.
3. One, such as an actor or singer, who works in the performing arts.
4. One who is adept at an activity, especially one involving trickery or deceit: a con artist.
Why aren't women artists as well known as men?
The main reason has to do with how women have been looked upon over the centuries. It
was once thought (and sometimes is still thought) that women are not capable of being
brilliant or even particularly intelligent. "Women can't make great art", it was said, and the
common thought was that creative genius could only be attained by men.
However, there are some women in the early centuries who were indulged for their
"eccentricity", their determination to make art. These were women who worked in the
church, who were noble or were the daughters of famous artists.
In later generations (Victorian and later), women were encouraged to be well-rounded with
a variety of skills in "the Arts". This didn't mean visual art necessarily, but instead the skills
necessary to make a home beautiful and entertain guests: needlework and decorative arts,
the playing of a musical instrument, etc. As long as it didn't interfere with the running of the
home, art was tolerated and sometimes praised as a hobby.
Bear in mind that, throughout the centuries, women were also very busy having babies,
taking care of children and making sure the children were educated. Until advances in
medicine and methods of birth control, women had shorter lifespans due to the high
mortality rate associated with child-bearing.
The subjects women painted were also affected by the times in which they lived. Women
were sometimes court painters, or they stuck with "feminine subjects" such as a still life
with flowers or scenes of women being domestic around the house.
In the later centuries, as times were changing and the world was becoming more
industrialized, women were out of the home more. Activism was on the rise and women
didn't feel as much pressure to conform to their outlined roles of the good wife and mother.
Communication also speeds up change: people become stronger and more determined in a
fight when they know they are not alone.
Women in the art world are not really any different than women in any other field. Those
who were indulged in their eccentricities were often able to make a name for themselves.
5 This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. Women in Art The rest pursued their loves in secret, to satisfy themselves. It's the work of those women
that are lost to us.
http://www.wendy.com/women/womenfaq.html#3
Women in History:
Since early times women have been uniquely viewed as a creative source of human life.
Historically, however, they have been considered not only intellectually inferior to men but also
a major source of temptation and evil. In Greek mythology, for example, it was a woman,
Pandora, who opened the forbidden box and brought plagues and unhappiness to mankind.
Early Roman law described women as children, forever inferior to men.
Women were long considered naturally weaker than men, squeamish, and unable to perform
work requiring muscular or intellectual development. In most preindustrial societies, for
example, domestic chores were relegated to women, leaving "heavier" labor such as hunting
and plowing to men. This ignored the fact that caring for children and doing such tasks as
milking cows and washing clothes also required heavy, sustained labor. But physiological tests
now suggest that women have a greater tolerance for pain, and statistics reveal that women
live longer and are more resistant to many diseases.
Formal education for girls historically has been secondary to that for boys. In colonial America
girls learned to read and write at dame schools. They could attend the master's schools for boys
when there was room, usually during the summer when most of the boys were working. By the
end of the 19th century, however, the number of women students had increased greatly.
Higher education particularly was broadened by the rise of women's colleges and the admission
of women to regular colleges and universities. In 1870 an estimated one fifth of resident college
and university students were women. By 1900 the proportion had increased to more than one
third.
Traditionally a middle-class girl in Western culture tended to learn from her mother's example
that cooking, cleaning, and caring for children was the behavior expected of her when she grew
up. Tests made in the 1960s showed that the scholastic achievement of girls was higher in the
early grades than in high school. The major reason given was that the girls' own expectations
declined because neither their families nor their teachers expected them to prepare for a future
other than that of marriage and motherhood. This trend has been changing in recent decades.
During the early history of the United States, a man virtually owned his wife and children as he
did his material possessions. If a poor man chose to send his children to the poorhouse, the
mother was legally defenseless to object. Some communities, however, modified the common
law to allow women to act as lawyers in the courts, to sue for property, and to own property in
their own names if their husbands agreed.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 6 Women in Art In the 19th century, women began working outside their homes in large numbers, notably in
textile mills and garment shops. In poorly ventilated, crowded rooms women (and children)
worked for as long as 12 hours a day. Great Britain passed a ten-hour-day law for women and
children in 1847, but in the United States it was not until the 1910s that the states began to
pass legislation limiting working hours and improving working conditions of women and children.
During the 1960s several federal laws improving the economic status of women were passed.
The Equal Pay Act of 1963 required equal wages for men and women doing equal work. The
Civil Rights Act of 1964 prohibited discrimination against women by any company with 25 or
more employees. A Presidential Executive Order in 1967 prohibited bias against women in hiring
by federal government contractors.
http://www.wic.org/misc/history.htm
Biographical informationRosie the Riveter- is a cultural icon of the United States, representing the American women
who worked in war factories during World War II,[1][2] many of whom worked in the
manufacturing plants that produced munitions and materiel. These women sometimes took
entirely new jobs replacing the male workers who were in the military.[3] The character is
considered a feminist icon in the US.[2]
Rosie the Riveter was most closely associated with a real woman, Rose Will Monroe, who was
born in Pulaski County, Kentucky[6][7][8] in 1920 and moved to Michigan during World War II.
She worked as a riveter at the Willow Run Aircraft Factory in Ypsilanti, Michigan, building B-29
and B-24 bombers for the U.S. Army Air Forces. Monroe achieved her dream of piloting a plane
at the age of 50 and her love of flying resulted in an accident that contributed to her death 19
years later.[4] Monroe was asked to star in a promotional film about the war effort at home. The
song "Rosie the Riveter" was popular at the time,[2] and Monroe happened to best fit the
description of the worker depicted in the song.[9] Rosie went on to become perhaps the most
widely recognized icon of that era. The films and posters she appeared in were used to
encourage women to go to work in support of the war effort.
Vocabulary:
Art- The conscious production or arrangement of sounds, colors, forms, movements, or
other elements in a manner that affects the sense of beauty, specifically the production
of the beautiful in a graphic or plastic medium.
Artist-One who create art.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 7 Women in Art Feminism- A term used to describe a political, cultural or economic movement aimed at
establishing more rights and legal protection for women.
Rosie the Riveter- is a cultural icon of the United States, representing the American
women who worked in war factories during World War II
Stereotype- A conventional, formulaic, and oversimplified conception, opinion, or
image.
Suffrage- The right or privilege of voting.
Student- Driven Aspect of Lesson:
Students will work in groups to research a prominent woman in history. The group will
collaborate to create a poster that depicts each woman’s contribution. Each group will give a
short presentation to inform the class about what they learned and discuss why and how their
poster was created.
Amanda Caum
Tribute to Norma Jean, 2005
Acrylic, colored pencil, and ink on stock
8 This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. Women in Art What inquiry prompts will you use to address?
Aesthetics Prompts:
1. What types of materials would best establish your historical figures contribution?
2. What colors best represent your historical figure?
3. What symbols represent your historical figure and their contribution to history?
Art Interpretation:
1. What elements and principals might contribute to the message you wish to
express about your historical figures contribution?
2. How might your composition contribute to your message?
Art History:
1. When did your figure live and what significant historical events were occurring
during this time period?
2. What impact did your figure leave on history?
3. How did your historical figure contribute to the progress of women’s history?
Materials and Resources:
•
•
•
•
•
•
•
•
•
•
18 x 24 heavy paper (one for each group)
Color pencils
Scissors
Glue
Markers
Charcoal
Pictures and information about historical figures
“What is an Artist?” Power Point presentation
http://www.wendy.com/women/womenfaq.html#3
http://www.wic.org/misc/history.htm
Anticipatory set:
1. The teacher will show the students the “Who is an Artist?” presentation and begin
discussing stereotypes of artist and the role of women in art.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 9 Women in Art 2. The students will take notes in their sketch books and respond to the “Brainstorm”
prompts in the slides.
3. The students will share their ideas with the class.
4. This discussion will precede a brief history of women in America and the remaining
Power Point Slides.
Procedure for teaching:
Day one:
Ask students to make a list of as many artists that they can remember. Then ask students how
many on their list are men. How many are Hispanic? black? Asian? Women? Then ask students
to name women artists. The teacher will explain the project, show the sample artwork and
divide the students into six groups. Each group will research one of the artists from the
following list:
Margorie Leibman
Veda Reed
Mahaffey White
Billy Price Carroll
Agnes Stark
Mimi Dann
Students will complete the following Artist Research Worksheet: This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 10 Women in Art STUDENT WORKSHEET: Artists Research Your name: Date: DIRECTIONS: View “The Arts Interviews” DVD on your selected artist and answer the following: 1. Name of Artist: 2. View the slide show on your DVD and complete the following: a. Media or medium that this artist often used: b. Briefly describe their artwork. 3. View the interviews on the DVD and complete the following: a. How is their art related to what is happening in their community? b. What was happening in history at the time this artist created? This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 11 Women in Art The student can choose media to complete this project including: color penciled, markers,
charcoal, collage or any combination.
•
•
When did your figure live and what significant historical events were occurring
during this time period?
What impact did your figure leave on history?
The student will spend the remained of the class researching a female historical figure. All
biographical information should be recorded in their sketchbooks.
Day two: The teacher will begin by discussing the choices the students have made for their
projects and showing the example again.
•
•
•
What types of materials would best establish your historical figures contribution?
What colors best represent your historical figure?
What symbols represent your historical figure and their contribution to history?
Once the teacher has approved the project the students will continue researching and gathering
supplies.
Materials:
•
•
•
•
•
•
•
18 x 24 heavy paper (one for each group)
Color pencils
Scissors
Glue
Markers
Charcoal
Pictures and information about historical figures
At the end of class students will clean up and return all supplies to the proper places. Work will
be stored in the student’s assigned area.
Day three: Student will gather supplies and continue working on their poster.
Materials:
• 18 x 24 heavy paper (one for each group)
• Color pencils
• Scissors
• Glue
• Markers
• Charcoal
• Pictures and information about historical figures
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 12 Women in Art At the end of class students will clean up and return all supplies to the proper places. Work will
be stored in the student’s assigned area.
Day four: Student will gather supplies and continue working on their poster.
Materials:
•
•
•
•
•
•
•
18 x 24 heavy paper (one for each group)
Color pencils
Scissors
Glue
Markers
Charcoal
Pictures and information about historical figures
At the end of class students will clean up and return all supplies to the proper places. Work will
be stored in the student’s assigned area.
Day five: Student will gather supplies and continue working on their poster.
Materials:
•
•
•
•
•
•
•
18 x 24 heavy paper (one for each group)
Color pencils
Scissors
Glue
Markers
Charcoal
Pictures and information about historical figures
At the end of class students will clean up and return all supplies to the proper places. Work will
be stored in the student’s assigned area. Any uncompleted painting will need to be completed
as homework.
Day six: Final Project due. The student will be expected to have their completed project
ready at the beginning of class. The students will first complete the critique/ assessment
questions (written on the board).
Critique Questions•
•
What person and event did you decide to represent in your piece?
What elements did you include in your piece that was inspired by your historical
figure?
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 13 •
•
Women in Art What colors did you choose to use? How do these colors represent your
historical figure?
How did your figure impact history?
The group will begin by giving their short presentation on their figure and showing their
complete work. Each group will individually discuss and defend their project with reference to
the above critique/assessment questions. Each student is required to verbalize critical and
analytical comments about the work of their classmates throughout the discussion.
Closure: The students can make changes on their project based on the critique and the
teacher will help the student photograph and download their work to their assigned folder on
the computer. As each student works on the computer individually the remaining students will
engage in an informal discussion to close the project including:
•
•
Which techniques learned in this project will you use again in the future?
How can this project be expended to create different projects?
Student Product:
1. The student will take notes in their individual sketchbooks based on the lecture
and brainstorming prompts.
2. The students compile research on a historical figure.
3. The student will work in groups to create a poster depicting their historical figure
and a related significant event.
4. The student will complete a written assessment of his or her piece based on the
above critique/assessment questions.
Modifications:
Depending on the diversity of students, the following modifications could be made:
Students may work primarily in collage to create a composition.
Extensions for gifted students might include:
•
The student may work independently to create a composition.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 14 Women in Art RUBRIC : Who is an Artist?
Name:
Group Members:
Historical Figure/Event:
Assessment will be based on the following Rubric:
Points Earned/ Possible
•
•
•
•
•
Completion sketchbook pages including:
o Brainstorming list
o Biographical information on artist
o Lecture notes
Completion Historical Figure poster:
o Depicts a female historical figure
o Depicts related historical event
o Uses colors and symbols relating to figure
and event
o Neatly crafted
Participation in group presentation.
Participation in group discussions.
Completion of critique/assessment questions.
_________
_________
_________
(10 points)
(10 points)
(10 points)
_________
_________
(10 points)
(10 points)
_________
_________
_________
_________
_________
(10 points)
(10 points)
(10 points)
(10 points)
(10 points)
______________________________________________________________
Total: ________
(100 points)
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 15 Women in Art Memphis Artist Marjorie Liebman
Lesson #2 Theme: Women in Modern Art (Lesson 2 of 3)
Grade Level: 11-12 grades
Time Frame: 7 class days (50 mins.)
Media Focus: Gesture Drawing and painting
Goals: Students will obtain knowledge of artist Marjorie Liebman in relationship to women in
modern art and create a work influenced by his style.
Learning Objective: The learner will:
1. use acquired knowledge of Marjorie Liebman’s work as a woman in Modern Art.
2. practice gesture drawing of objects using the techniques learned in class.
3. draw and paint and original work in a gestural abstract style inspired by Marjorie
Liebman.
4. assess his or her final work with a series of questions about their process in creating
this piece.
5. participate in a group critique will the class to present and defend their final piece.
National Standards:
1. Content Standard: Understanding and applying media, techniques, and processes
Achievement Standard, Proficient:
Students:
a. apply media, techniques, and processes with sufficient skill, confidence, and
sensitivity that their intentions are carried out in their artworks.
b. conceive and *create works of visual art that demonstrate an understanding of how
the communication of their ideas relates to the media, techniques, and processes they
use.
Achievement Standard, Advanced:
Students:
c. communicate ideas regularly at a high level of effectiveness in at least one visual arts
medium.
d. initiate, define, and solve challenging *visual arts problems independently using
intellectual skills such as analysis, synthesis, and evaluation.
2. Content Standard: Using knowledge of *structures and functions
Achievement Standard, Proficient:
Students:
a. demonstrate the ability to form and defend judgments about the characteristics and
structures to accomplish commercial, personal, communal, or other purposes of art.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 16 Women in Art b. evaluate the effectiveness of artworks in terms of organizational structures and
functions.
c. create artworks that use *organizational principles and functions to solve specific
visual arts problems.
3. Content Standard: Choosing and evaluating a range of subject matter, symbols, and ideas
Achievement Standard, Proficient:
Students
a. reflect on how artworks differ visually, spatially, temporally, and functionally, and
describe how these are related to history and culture
b. apply subjects, symbols, and ideas in their artworks and use the skills gained to solve
problems in daily life.
Achievement Standard, Advanced:
Students
c. describe the origins of specific images and ideas and explain why they are of value in
their artwork and in the work of others
d. evaluate and defend the validity of sources for content and the manner in which
subject matter, symbols, and images are used in the students’ works and in significant
works by others
4. Content Standard: Understanding the visual arts in relation to history and cultures
Achievement Standard, Proficient:
Students:
a. differentiate among a variety of historical and cultural contexts in terms of
characteristics and purposes of works of art.
b. describe the function and explore the meaning of specific art objects within varied
cultures, times, and places.
c. analyze relationships of works of art to one another in terms of history, aesthetics,
and culture, justifying conclusions made in the analysis and using such conclusions to
inform their own art making.
5. Content Standard: Reflecting upon and assessing the characteristics and merits of their
work and the work of others
Achievement Standard, Proficient:
Students:
a. identify intentions of those creating artworks, explore the implications of various
purposes, and justify their analyses of purposes in particular works.
b. describe meanings of artworks by analyzing how specific works are created and how
they relate to historical and cultural contexts.
c. reflect analytically on various interpretations as a means for understanding and
evaluating works of visual art.
INTERDISCILPINARY LINKAGES:
History, Southern Culture, Language arts
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 17 Women in Art Art History: Art work and Artists
The lesson will begin will a DVD presentation on the noted works of Marjorie Liebman. During
the presentation a discussion will question the students on how the artist successfully used a
variety of techniques to create paintings. Sample prompts include:
•
What subjects does Liebman commonly paint?
•
Are the images in Liebman’s work abstract of realistic? How does this affect the message
given to the viewer?
•
What other events in history may have influenced Liebman? Women’s Liberation?
•
How might have Liebman been influence by Professor Helen Gardner? Artist Jackson
Pollock?
•
What other artist may have influenced Liebman?
Biographical information
•
Marjorie Liebman was born in 1911 in Memphis, TN.
•
Liebman received her B.A. from Memphis State University and her M.A. from the University
of Mississippi.
•
In addition, she studied at the Art Students League, the Art Institute of Chicago, and the
Washington University of Art in St. Louis. She was a pupil of Vaclav Vylaticil and taught art
at Memphis State University and in Mexico.
•
Her work has been exhibited at the Whitney Museum, the Guggenheim Museum, the
Brooklyn Museum, the Memphis Brooks Museum of Art, and numerous galleries in New
York, Memphis, and in Mexico. She was represented by the well-known Betty Parsons
Gallery in Manhattan for many years.
•
Liebman was the last surviving member of the original five founders of Art Today, a group
formed to raise funds to purchase works of contemporary art for the Memphis Brooks
Museum of Art.
•
Prior to her death on February 27, 2007, Liebman had been working for more than two
years on the pieces being shown in this exhibit. None of the works being featured have
ever been exhibited to the public and will be available for purchase.
•
http://www.cbu.edu/News/Releases/1177949328.html
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 18 Women in Art Vocabulary
Abstract expressionism - A painting movement in which artists typically applied paint rapidly,
and with force to their huge canvases in an effort to show feelings and emotions, painting
gesturally, non-geometrically, sometimes applying paint with large brushes, sometimes dripping
or even throwing it onto canvas.
Academy figure - Sometimes simply called an academy, an academic figure is a twodimensionally drawn or painted figure of a nude model, about half-size, typically used for
instruction and not considered a work of art at the time it was made. Such life drawing or
painting studies, demonstrating skill in idealistic or realistic representation of human anatomy,
became standard exercises in art schools (academies) from the sixteenth century until late in
the nineteenth century.
Abstract- Art that does not attempt to represent the appearance of objects, real or imaginary.
The artist takes an image or object and changes its appearance by leaving out details,
simplifying or rearranging its parts to express his or her idea or feeling.
Life drawing - The act of drawing the human figure from a live (often nude) model, and each
such drawing produced.
Gesture drawing -The act of making a sketch with relatively loose arm movements (gestures)
— with the large muscles of the arm, rather than with the small muscles of the hand and wrist
of the artist.
Impasto - A thick or lumpy application of paint, or deep brush marks (brushstrokes), as
distinguished from a flat, smooth paint surface.
Painterly - A painting technique in which forms are created with patches of color, exploiting
color and tonal relationships.
Still Life- A picture of inanimate objects. Common still life subjects include vessels, food,
flowers, books, and clothing.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 19 Women in Art Inquiry prompts
Aesthetics Prompts:
4. What design elements and principles make the work of Marjorie successful?
5. What color schemes are most evident in Leibman’s work? How do these colors
make the viewer feel?
6. How are the figures in Liebman’s work represented? Abstractly, or realistically?
Art Interpretation:
3. What message is Liebman trying to relate to the viewer? How do you relate to
this message?
4. Is it obvious a woman created this body of work? What brings you to thins
conclustion? Is this a positive of negative aspect or Liebman’s work?
Art History:
4. What other artist probably influenced the work of Liebman?
5. How does the work of Liebman compare to the work of other female artist in her
time period? How does it compare to work done by men during this period?
6. Should Liebman be considered an abstract expressionist?
Materials and Resources:
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18 x24 Newsprint (10 sheets per student)
Charcoal crayons
Tape (to adhere news print to table for ease of drawing)
Objects for still life
Newspaper to cover desk
Containers for water
Water
Acrylic paints
Large Paint Brushes (1/2”-1 ½”)
Paint pallets
18 x 24 canvas/luan/heavy primed paper
Power point on artist.
True Story Pictures’ “The Arts Interviews: Marjorie Liebman” Video clip
Video Questions Worksheet
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 20 Women in Art Anticipatory set:
5. The teacher will begin by reviewing the information from the previous lesson with
special attention to the history of women in America.
Procedure for teaching:
Day one: The teacher will introduce the artists with the slide show. The teacher will show the
students the “Marjorie Liebman” Power Point and begin discussing the biographical information
on the artist and influences of other artist and define the vocabulary words as example appear
in the slideshow. The teacher will use the above prompts to lead a discussion about the work of
Marjorie Liebman and the artist who influenced her throughout her work. The teacher will
reserve the slides on gesture drawings for day two.
The teacher then show a short clip from the True Story Pictures’ “The Arts Interviews: Marjorie
Liebman.” (clip time 5:00-11:20). During the video the students will complete the Video Clip
Worksheet
Materials:
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Marjorie Liebman Power Point
True Story Pictures’ “The Arts Interviews: Marjorie Liebman” DVD
(clip time 5:00-11:20)
Video Clip Worksheet
The teacher will close the class with a show discussion of the worksheet.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 21 Women in Art Day two: Before class the teacher will prepare a still life containing a variety of items.
The teacher will begin class with a review of the work of Marjorie Liebman and define gesture
drawing. The teacher will show the Gesture Drawing slides from the Marjorie Lieman Power
Point and further explain the purpose and process of gesture drawing. The teacher will give a
demonstration on gesture drawing of a still life using charcoal on large new print. The teacher
will instruct the student to complete the assignment while standing (not sitting) and using the
entire arm and body to draw. The students may want to tape their paper to the table to allow
both hands free while drawing. The teacher will also stress the quickness of this technique and
explain how perfection is not necessary for a successful product. The students will gather
supplies and return to their seats to begin work.
Materials:
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Marjorie Liebman Power Point
18 x24 Newsprint (10 sheets per student)
Charcoal crayons
Tape (to adhere news print to table for ease of drawing)
Objects for still life
The student will create 10 pages of geature drawings using the following criteria:
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1 page displaying at least 25 different marks that can be created with the charcoal
2 pages containing numerous small drawings or individual items of the still life
7 pages containing large gesture drawings of all or parts of the still life.
At the end of class students will clean and return all supplies to the proper places. Work will be
stored in the student’s assigned area.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 22 Women in Art Day three: The students will gather supplies and continue working on their gesture drawings.
Materials:
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18 x24 Newsprint (10 sheets per student)
Charcoal crayons
Tape (to adhere news print to table for ease of drawing)
Objects for still life
At the end of class students will clean and return all supplies to the proper places. Work will be
stored in the student’s assigned area. All ten drawings should be completed by the end of class.
Any unfinished work should be completed for homework.
Day four: The teacher will give a demonstration on gesture painting and show the example.
The teacher will show the students how to create a gestural painting using large brushes and
strokes of color to represent the still life on a pre-painted background. The teacher will once
again stress the use of the entire arm and body to make the strokes while standing. The
students will gather supplies and cover their desk with newspaper. The students will spend the
rest of the class preparing the background with paint so it will be dry for the following class
period.
Materials:
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Objects for still life
Newspaper to cover desk
Containers for water
Water
Acrylic paints
Large Paint Brushes (1/2”-1 ½”)
Paint pallets
18 x 24 canvas/luan/heavy primed paper
At the end of class students will clean and return all supplies to the proper places. The teacher
will remind the student how to properly clean their brushes. Work will be stored in the
student’s assigned area.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 23 Women in Art Day Five Student will gather supplies and continue working on their gestural painting. The
teacher will once again show the work by Marjorie Liebman and the example. The teacher will
encourage the students to make an anitial drawing using their paint brush and a neutral color
rather than using a pencil.
Materials:
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Objects for still life
Newspaper to cover desk
Containers for water
Water
Acrylic paints
Large Paint Brushes (1/2”-1 ½”)
Paint pallets
At the end of class students will clean and return all supplies to proper places. The teacher will
remind the student how to properly clean their brushes. Work will be stored in the student’s
assigned area. Any uncompleted work will need to be completed as homework.
Day Six: Student will gather supplies and continue working on their gestural painting.
Materials:
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•
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Objects for still life
Newspaper to cover desk
Containers for water
Water
Acrylic paints
Large Paint Brushes (1/2”-1 ½”)
Paint pallets
At the end of class students will clean and return all supplies to proper places. The teacher will
remind the student how to properly clean their brushes. Work will be stored in the student’s
assigned area. Any uncompleted work will need to be completed as homework.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 24 Women in Art Day seven: Final Project due. The student will be expected to have their completed project
ready at the beginning of class. The students will first complete the critique/ assessment
questions (written on the board).
Critique Questions•
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What objects did you decide to represent in your piece?
What elements did you use that were inspired by Marjorie Liebman?
What colors did you choose to use? How are these colors similar or different
from the work of Marjorie Liebman?
Which portion of your work did you have the most trouble with?
What was the most successful aspect of your work?
What would you do differently if you could do it over?
The students will participate in an analytical discussion about the success of the overall project.
Each student will individually discuss and defend their project with reference to the above
critique/assessment questions. Each student is required to verbalize critical and analytical
comments about the work of their classmates throughout the discussion.
Closure: The students will make changes on their project based on the critique and the
teacher will help the student photograph and download their work to their assigned folder on
the computer. As each student works on the computer individually the remaining students will
engage in an informal discussion to close the project including:
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Which techniques learned in this project will you use again in the future?
How can this project be expended to create different projects?
Modifications:
Depending on the diversity of students, the following modifications could be made:
• The student could use a variety of assessable materials to create a painting.
Extensions for gifted students might include:
• The student could create additional painting in a series.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 25 Women in Art Sample Student Product:
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The student will complete the Video Questions Worksheet
The students will create 10 gesture drawings as listed above.
The student will create an original work in the gestural style of Marjorie Liebman.
The student will complete a written assessment of his or her piece based on the
above critique/assessment questions.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 26 Women in Art Marjorie Liebman Rubric
Name:______________________________________________
Assessment will be based on the following Rubric:
Points Earned/ Possible
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Completion of Video Worksheet
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Completion of 10 gesture drawings
o 1 page of 25 marks
o 2 pages containing 5 small drawings
7 pages of large drawings
Completion of Gestural Painting
o Background painted
o Variety of objects represented
Participation in group discussions.
Completion of critique/assessment questions.
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_________
(10 points)
_________
_________
_________
(10 points)
(10 points)
(15 points)
_________
_________
_________
_________
(15 points)
(20 points)
(10 points)
(10 points)
______________________________________________________________
Total: ________ (100 points)
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 27 Video Response: Women in Art Name:______________________________ Title: True Story Pictures: Marjorie Lieberman (time-­‐ 5:00-­‐ 11:20) 1. What is the name of the artist and what time periods did she work during? 2. Name two people whom the artist discusses in the interview they may have influence her work. 3. Name one technique the artist used to learn portraiture or figure structure. 4. What style of art does the artist mostly work within? This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 28 Women in Art Women in Modern Art- Museum Field Trip
Lesson #3:
Theme: Women in Modern Art (lesson 3 of 3)
Grade Level: 11-12 grades
Time Frame: 1 school day
Media Focus: Gallery Exhibitions
Goals: Students will experience a local museum of fine art exhibiting the work of Memphis
Artist Marjorie Liebman or other Women artist.
Learning Objective: The learner will:
visit the museum and view the collections.
complete the museum activity while viewing the work.
participate in a group discussion about their experience at the museum.
National Standards:
3. Content Standard: Choosing and evaluating a range of subject matter, symbols, and ideas
Achievement Standard, Proficient:
Students
a. reflect on how artworks differ visually, spatially, temporally, and functionally, and
describe how these are related to history and culture
b. apply subjects, symbols, and ideas in their artworks and use the skills gained to solve
problems in daily life.
Achievement Standard, Advanced:
Students
c. describe the origins of specific images and ideas and explain why they are of value in
their artwork and in the work of others
d. evaluate and defend the validity of sources for content and the manner in which
subject matter, symbols, and images are used in the students’ works and in significant
works by others
4. Content Standard: Understanding the visual arts in relation to history and cultures
Achievement Standard, Proficient:
Students:
a. differentiate among a variety of historical and cultural contexts in terms of
characteristics and purposes of works of art.
b. describe the function and explore the meaning of specific art objects within varied
cultures, times, and places.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 29 Women in Art c. analyze relationships of works of art to one another in terms of history, aesthetics,and
culture, justifying conclusions made in the analysis and using such conclusions to inform
their own art making.
5. Content Standard: Reflecting upon and assessing the characteristics and merits of their
work and the work of others
Achievement Standard, Proficient:
Students:
a. identify intentions of those creating artworks, explore the implications of various
purposes, and justify their analyses of purposes in particular works.
b. describe meanings of artworks by analyzing how specific works are created and how
they relate to historical and cultural contexts.
c. reflect analytically on various interpretations as a means for understanding and
evaluating works of visual art.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 30 Art History:
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Women in Art Art work and Artists
Review Woman’s American History and Women in Art from Lesson 1
Review biography and work of Marjorie Liebman
During the planning process the teacher should familiarize themselves the the
collections and temporary exhibits of their local art museum. Before the fieldtrip
days the teacher should introduce some of the artist that the students will view
in the museum.
Biographical information• Marjorie Liebman was born in 1911 in Memphis, TN.
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Liebman received her B.A. from Memphis State University and her M.A. from the
University of Mississippi.
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In addition, she studied at the Art Students League, the Art Institute of Chicago, and
the Washington University of Art in St. Louis. She was a pupil of Vaclav Vylaticil and
taught art at Memphis State University and in Mexico.
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Her work has been exhibited at the Whitney Museum, the Guggenheim Museum, the
Brooklyn Museum, the Memphis Brooks Museum of Art, and numerous galleries in
New York, Memphis, and in Mexico. She was represented by the well-known Betty
Parsons Gallery in Manhattan for many years.
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Liebman was the last surviving member of the original five founders of Art Today, a
group formed to raise funds to purchase works of contemporary art for the Memphis
Brooks Museum of Art.
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Prior to her death on February 27, 2007, Liebman had been working for more than
two years on the pieces being shown in this exhibit. None of the works being
featured have ever been exhibited to the public and will be available for purchase.
•
http://www.cbu.edu/News/Releases/1177949328.html
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 31 Women in Art Vocabulary
Analogous colors - Any two or more colors that are next to each other on the color wheel and
are closely related.
Charcoal - Compressed burned wood used for drawing.
Complementary colors - Colors that are directly opposite each other on the color wheel,
Life drawing - The act of drawing the human figure from a live (often nude) model, and each
such drawing produced.
Gesture drawing -The act of making a sketch with relatively loose arm movements (gestures)
— with the large muscles of the arm, rather than with the small muscles of the hand and wrist
of the artist.
Impasto - A thick or lumpy application of paint, or deep brush marks (brushstrokes), as
distinguished from a flat, smooth paint surface.
Painterly - A painting technique in which forms are created with patches of color, exploiting
color and tonal relationships.
Pastel - Pigments mixed with gum and water, and pressed into a dried stick form for use as
crayons.
Still Life- A picture of inanimate objects. Common still life subjects include vessels, food,
flowers, books, and clothing.
Triad - Three colors equally spaced on the color wheel.
Student- Focus of Lesson:
Students will work in groups to complete the museum activity.
Inquiry prompts to address:
Aesthetics Prompts:
What
What
What
What
pieces of art did you enjoy the most?
elements attract you to these particular pieces?
pieces did you not enjoy?
element detract you from these particular pieces?
Art Interpretation:
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 32 Women in Art How do you feel about the museum environment?
Do you think you will return again to an art museum? Why or Why not?
Art History:
Who were some of the female modern artist we discussed in class
What were some of the significant events that occurred allowing women to more actively
create art?
Materials and Resources:
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Permission slips
Funding accounting system
Class rolls
Museum Activity Cards (prepared in envelopes)
Pencils
Sack lunches
In preparation for this lesson one may need to consider the following:
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Clarify your school’s procedures and regulations for permission slips, funding field trips,
and attaining busses.
Check the school calendar and establish an appropriate date.
Confirm the availability of adult chaperones.
Contact the education department at your local museum to inform them of your visit
and schedule a docent. Clarify the museum’s policy on pencils in the exhibits.
Prepare the Museum Activities Cards (available for printing in Women in Modern Art
document folder). Each student can easily prepare their own cards by cutting on the
dark lines and folding on the dotted lines. Contain cards in envelopes. Only one set of
cards is necessary for each group of students working together.
Before the visit, clearly explain the behavioral expectations while visiting the museum.
Anticipatory set:
On the morning of the fieldtrip the teacher will remind the students or the behavioral
expectations and review the rules of the museum.
The teacher will also review the vocabulary words from the Museum Activity Cards.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 33 Women in Art Procedure for teaching:
Day one: On the morning of the field trip the teacher will gather the students and verify the
roll and that each student has a lunch. Once the students are on the bus the teacher will check
the roll again. Before leaving the school brief the students and chaperones on the days events
and expectations. Once the group has arrived at the museum the teacher will once again
review the behavioral expectations and break the student into small groups and assign a
chaperone. The teacher will explain the activity and distribute the Museum Activity cards. A
clear meeting time and place should be established before entering the museum.
Activity Directions: The students will use the Museum Activity cards while
viewing the exhibits and find examples of each art principal or technique listed
on the cards. The students will use pencil to write the title and artist of the piece
with best exhibits the art principal on the blanks space on each card. The
students will write their names on the outside of the envelope and turn their
envelopes in for a participation grade.
The students will view the work in the museum and complete the activity, then meet for lunch
before returning to school.
Closure: Upon returning to school the teacher will lead a discussion using the aesthetic and
art interpretation prompts listed above
Student Product:
5. The students will work in groups to complete the Museum Activity.
Modifications: Depending on the severity of the special needs student, the following
modifications could be made:
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The student may use assistance from a group member or chaperone to read and
write the titles and artist names on the cards.
Extensions for gifted students might include:
•
The student could write an additional statement about each piece on the card.
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 34 Women in Art Museum Field Trip
Assessment will be based on the following Rubric:
“Museum Field Trip”Rubric
Point earned/Possible
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The student exhibited satisfactory behaviors in the museum.________(40 points)
The student completed the Museum Activity
________(40 points)
Participation in group discussions following the visit
________(20 points)
______________________________________________________________
Total:_______(100 points)
This curriculum was developed for “The Arts Interviews” series created by True Story Pictures and distributed by ArtsMemphis. Curriculum writers include Dr. Donalyn Heise, Erica Glover Edwards, Rachael Grant, and Amberlee Ahearn Hickman. 35