U N I T P L A N N IN G T O O L :

Unit Theme or Issue: Recontextualizing Perspectives Grade Level: High School State Fine Art Goals: 25.A.1d, 25.A.2d,
25.A.3d, 25.A.3e, 26.A.1e, 26.A.3e, 26.A.4e

• Unit Objectives and Purpose:

The unit will investigate various ways in which images and objects can be recontextualized in both 2-D and 3-D processes. Emphasis will be put
on the power of an image/object and how it can be either remixed or augmented through various creative approaches that have been used both
historically and in much of contemporary art practice.

Session Themes/Goals Historical/ Artist Journal Discussion/Terms Process Materials Closure/

of Week Contemporary Artists Assessment

What is a camera? Constructing Camera Body (Shoe N/A

Week 1 Introduce Andreas Kaiser Reflection on
What are some of the Pinhole box or cylinder)
Pinhole Stephen Salmiker discussion: what Cameras
Camera is a camera? contemporary roles 3”x3” aluminum square
Project Mary Ellen Mark What different of a camera? How Exacto knife
Sally Mann has that function Needles
Hiroshi Sugimoto ways can it
function in ones changed throughout Electrical tape
life? history? Black paint
Black card stock
Photo paper

Week 2 Anders Nygaard How did it feel Discuss figurative Developing Darkroom Mini critique of
Technique constructing the elements of art Photographs in Developer experimental shots
Andreas Gursky pinhole including bird Darkroom Fixer taken throughout the
for taking Paul Strandt camera? Do eye/worms eye, Water week. { pictures
you feel you framing, wide angle, Tongs displayed with post it
and have a better close up, soft focus, Towels that indicates lighting
developing idea of how a high contrast. How are Safe light (orange LED conditions and
camera works? these elements used to Halloween lights) approximate shutter
What trouble or communicate different speed}
confusions do things?
you still have?
Week 3 What would you Portraiture vs Field trip to Pinhole Camera Self reflection of ones
Growing like to landscape local park or Photo paper own work
Richard Avedon communicate shooting on Darkroom
Technique Wolfgang Tillmans with your What types of photo school grounds Developer Final critique of entire
Thomas struth photograph(s). manipulations could Fixer class body of work
and Moving What figurative enhance your content? Shooting and Water
towards elements that Developing Tongs
we have (example: over Pinhole Towels
Content discussed can exposure, curved Photographs Safe Light
you use to cameras, blurring, throughout
articulate your cutting, weaving) week
intentions.
Week 4 John Stezaker Did you see In what ways can an Photo Weaving 2 Prints of different Critique of photo
Reconstructi Barbara Kruger anything image change when photographs weavings
visually remixed with another Xacto Knifes
ng and interesting image? Cutting Matts
happened by Pencil
Recontextua the remixing of Remix Ruler
lizing two separate
images? Did
Photographs certain images
convey a
different
meaning when
combined? Did
images lose all
together when
combined?
Week 5 Eric Fischl How can impact of Color Watercoloring Inkjet printer Critique of water
Using Color Gerhald Richter selected color Resist photographs Print of photo on colored photographs
alter the Spatter printed on watercolor paper
to transform meaning of an Under painting watercolor Watercolors Self Reflection: Which
image? Wash 8”x10”paper. Masking Tape of 3 recontextualization
an Image Wet on Wet Inkjet Printer Masking Fluid projects do you think
Watercolors Original Print was most successful
What are some Pencil and why? Which was
other ways you Water least successful and
can think of to Salt why?
recontextualize Brushes
images besides
the techniques
we have
discussed the
past 3 weeks.
Week 6 Remixing Robert Raushenburg Given three Juxtaposition Additive and Paper Critique of media remix
images through Jasper Johns images shown Mixed Media subtractive Glue projects
the juxtopisition Dj Shadow on a slide, write Appropriation techniques Xacto Knife
of media or sketch how Remix employed Scissors
you could Mash up Collage Permaent Markers
juxtapose them Collage techniques Paint
in at least two Juxtaposition of Brushes
different ways What are the images Magazines
that would differences between layering Newspapers
communicate these terms? Images from
entirely internet/home
differently.
Week 7 Collections, Duchamp What does an object Exercise 1: Masking tape Discussion
Assemblage, Tracey Emin represent? What is its Ready Made Camera surrounding found
and Meaning Betye Saar purpose in society? Objects objects students
brought in after history
How does its meaning Exercise 2: of found object art.
change in different Categorizing
contexts? Objects Critique of masking
taped assembled
How do we categorize Exercise 3: sculptures. Focus on
objects? Assemblage of formal qualities and
found objects functionality as a 3-
History of Assemblage via masking Dimensional object.
and Found Object Art tape in groups.
(non-
permanent)
Week 8 Collections, John Chamberlain Start How does nostalgia or Process will Epoxy Mid-critique
Assemblage, Daniel Spoerri categorizing sentimental value vary according Glue
and Meaning Spencer Bohren your own effect the meaning of to each student Rubber Cement Each student will be
collected an object? and their Hot Glue randomly assigned
objects. Can collection. Duct Tape another studentʼs work
you draw any How can you convey Masking Tape in progress and give
connections or that power within a 3- Conferences Hammer/Nails constructive feedback
recognize any dimensional work of will be held Needle/Thread
themes within art? between Drill/Screws
your process. student and
How can they teacher to
represent discuss special
different things assemblage
in different techniques or
contexts? materials that
may be needed.
Student and
teacher will
problem
together.
(Example:
Shadow box
could be
constructed by
shop teacher
with dimensions
and permission)
Week 9 Collections, Joseph Cornell Design your Does the cultural Individual to Epoxy Final Critique of
Assemblage, Bob Turek assemblage meanings of your students Glue Assemblage
and Meaning Michael Johannson sculpture using objects inform the Rubber Cement Sculptures
your ongoing content of your Assemblage Hot Glue
collection. How assemblage sculpture, techniques Duct Tape
will you attach or are you primarily Masking Tape
your display concerned with your Hammer/Nails
your objects? objects as formal Needle/Thread
elements? Drill/Screws
Unit Plan Instructions:

A Curriculum Unit is made up of multiple individual sessions that work together in order to form a meaningful, in-depth exploration of our experiences through art. Units of time should
be stated depending upon the setting/context. This unit results in a high quality, well crafted, fully developed art project that centers on a universal or culturally specific theme that is
relevant and meaningful to students. A theme is the center around which all learning activities should be fashioned. In the context of a unit, a theme should be informed by the study
of historical, multicultural, and contemporary exemplars; by examination of the power of imagery in everyday experience; and by consideration of social, aesthetic, and perhaps
spiritual interpretations of the nature and quality of human existence. Explorations of content, media, processes, and design strategies and orientations emanate from these thematic
reflections on human experience and aspirations. In accordance with national and state standards, exemplars selected for study MUST be gender and ethnically inclusive.

Each of the following areas or components inform your unit plan, and these areas of focus will be addressed in individual sessions according to your individual lesson plans. For this
part of your Unit Plan, please describe (in the spaces below) as fully as possible each of the following components and how you will include them in your unit and relate them to your
theme. Some of these components will become the focus of particular individual sessions that make up the 5-week unit. Individual sessions should focus on areas of importance
that you determine according to your general artistic aims. Focus within sessions on specific media, craftsmanship, design and composition, multicultural inquiry, social issues,
themes, or writing and dialoguing will enable students to gain competence and greater depth of understanding. In individual sessions, a brief reference to the theme and previously
taught content and historical/ multicultural exemplars is helpful.

Discuss your Theme/Issue(s): and how it relates to reflections on the nature and quality of human existence; reflections on the aesthetics of experience; or individual, social,
communal, or spiritual concerns or aspirations.

How will Historical/ Multicultural Exemplars be used to both relate to your theme and to teach specific content (such as media, processes, and design)?

What Media, techniques, and creative artistic processes will students engage, and how will you help them both develop competence and skill as well as engage creative,
intuitive processes of exploration?

What Design Principles or Conceptual Themes are most central to this unit and how will you make sure students learn these?

How will you use Artistsʼ Journals/ Sketchbooks to engage students in sustained inquiry, reflection, skill building, and creative exploration?

Artistsʼ Journals/Sketchbook time

Your unit must have students involved in developing their artistsʼ journal/sketchbook on a regular basis. After giving time for free exploration your should ask students to use their
sketchbooks to plan, explore, experiment, write, and sketch ideas in preparation for specific sessions and relating to your unit theme. These journal/sketchbook assignments should
guide students to think about the project themes, compositions, and ideas specific to the unit. Sometimes “sketchbook/journal time” may be completely open, for student-selected
exploration. Students should learn to use their artistʼs journal/sketchbooks just like many artists often do. Be sure to include a writing component several times during the
journal/sketchbook time of an individual session.

Writing component
Teaching students to write is mandated for all teachers in Illinois schools, regardless of their subject area. We support a “writing across the curriculum” approach, and believe that
writing complements and supports our artistic/aesthetic goals for students. There are many exciting ways to engage students in writing processes: narrative, descriptive, persuasive,
creative writings engage students in critical and reflective thinking and help them organize their ideas. Several times during the unit, you should involve students in writing. The
journal should be used to have students write about their thoughts, goals, and feelings about aspects of their work, thoughts about the exemplars you are sharing with them, or
experiences that relate to the unit theme. Sometimes the writing component may be at the end of assignments as a self-critique, or a reflection on their work. Sometimes the writing
may take place during the middle of the project as a way to reflect and plan further. Sometimes they may write a story or narrative about the work. This narrative may accompany the
finished piece in an exhibit. Be creative in planning your writing activities!