Investigation

Full-year Art Curriculum

Introduction to Photography
Grades 9-12

(From Left) Jillian Tam, Untitled, Chinatown; Brandy Trigueros, Facial

Unrecognition; Farrah Karapetian, Muscle Memory, 2013

Unit 1: Perception and the World Around Us

Unit 2: Interpreting Our World
Unit 3: Illumination Through Transformation
 Sarah Anthony
Art Education Curriculum 5-12
April 25th, 2020

Table of Contents
Curriculum Vision Statement p. 3

Art Program Goals P. 4

Cours Enduring Understandings

p. 5

Course Essential Questions

p. 5

Curriculum Map
p. 6

Unit 1: Perception and the World Around Us

p. 7

Unit 2: Interpreting Our World

p. 22

Unit 3: Illumination Through Transformation

p. 36
Differentiation Plan p.
50

Standards-based Scope & Sequence Chart

p. 53

Art Program Assessment p.

54

Appendix p.
56

• 2019 Massachusetts Visual Art Frameworks p.

56

• Bibliography p.57

Curriculum Vision Statement

As our society and our neighboring cultures and communities around the world
speed towards an interdisciplinary, information flooded, globalized landscape, art
becomes a critical tool for navigation and decipherment. The art classroom prepares
students with the visual vocabulary, self efficacy, and technical skills to participate as
critical consumers and contributing citizens.
Art Education is important because it employs visual literacy, which demands
perceptive, critical, analytical thinking that can be practiced in other areas of life. It
prompts students to think critically about the world around them through visual art
analysis. Art Education empowers students in a way that is crucial to helping them
grow into empathetic, conscious, active citizens.
The overarching message of the art making process is that with persistence and
curiosity, one’s vision or message can become a reality. In the art classroom a child’s
curiosity is honored, with rules approached in a different way compared to other
classrooms. This allows opportunities for students to explore in a more free, choice
based manner. This opportunity also aids students in understanding their choices,
shedding light on cause and effect, and allowing a safe space for troubleshooting
mistakes. The art making process fosters perseverance in students because it demands
thoughtful consideration, attempts at new skills, and allows for multiple approaches to
problem solving. Students become investigators, researchers, and experts in trial and
error. Students are generators and executors of their own ideas, they choose where
things go, what happens next, and how they wish to communicate their personal
narratives and insights.
An art curriculum should prompt introspection and social justice by way of
empathetic action. The consistent theme of art curriculum should be to embolden and
empower students to take action for social justice. It should begin in a space in which
a student is passionate, and extend the student’s consideration beyond their personal
sphere. Lessons should be steeped in themes that prompt students to consider the
world and experiences beyond their own through a lens which allows them to consider
their role in remedying what they see.
An art curriculum should be flexible, differentiated, and easily adjusted to
meet both individual needs of students, as well as the entire classroom. Equal weight
should be paid to skill and concept, creating challenges for students but also ensuring
levels and opportunities for success. Art education should extend beyond learning how
to create and refine a work of art in a technical respect. The technical skills taught in
the classroom should serve as a vehicle for bigger ideas to be explored while students
solidify their personhood, develop strategies for self actualization, and cement their
internal validation systems. When a student learns how to tackle an art medium, the
final product is not the most important part of the learning process. Rather, the
benefit remains in the journey to that final object. In short, an art curriculum should
prepare students for navigating their internal world, as well as the exterior world.

Art Curriculum Goals

❖ To develop critical thinking skills.
❖ To equip students with the tools necessary for
critically analyzing media and the world around them.
❖ To support and encourage students as they find their
personal voice.
❖ To facilitate exploration, risk taking, mistake making,
critical analysis, and creative response.
 ❖ To produce social justice oriented citizens who
approach all areas of life and interaction through a
lens of empathy.
❖ To enable and encourage students to explore their
own interests, ideas, passions, cultures, questions and
concerns in order to develop unique and meaningful
works of art.
❖ To foster perseverance and thoughtful consideration
❖ To facilitate self discovery of students and the growth
and solidification of a their personhood while
cementing their internal validation systems

Joel-Peter Witkin, Feast of Foods, Mexico City, 1990

Grades 9-12 / Introduction to Photography

Enduring Understandings
Students will understand that...
❖ Artists closely observe the world around them and respond to
it through a critical lens.
❖ Art can be a vehicle for self exploration and understanding.
❖ Art can be a vehicle for understanding other’s experiences
through a lens of empathy.
❖ Artists have the ability and responsibility to illuminate hidden
and counternarratives.
 ❖ Artists can use skills and techniques to create emphasis
around a subject, educate, and evoke an emotional reaction
from their audience.

Grades 9-12 / Introduction to Photography

Essential Questions

❖ Why do artists have the responsibility of illuminating hidden

narratives?
❖ Who possesses the power to deem one subject important and
another unimportant?
❖ How do artists investigate their own experiences and
empathize with the experiences of others?
❖ How does noticing hidden messages or details aid in an artist’s
perceptual and conceptual inspiration?

Curriculum Map
!

Unit 1
Perception and the World Around
Us

!
Vivian Maier, New York, NY.

Lesson 1: Finding the View

Lesson 2: Alien to the World

Lesson 3: Your Unique Lens

 Unit 1 Map

!
Perception and the World Around
Us
Grades 9 -12

STAGE I – DESIRED RESULTS

Unit Transfer Goal
❖ Students will independently use their learning to...
➢ Observe the world around them and respond to it critically
➢ Manipulate available resources to achieve desired outcomes

Enduring Understandings
❖ Students will understand that:
➢ Every individual has a unique
outlook to the world and the
ability to develop personal
opinions.
➢ Passion can be communicated and
made contagious through
artwork.
➢ Perception is a valuable tool in
critical analysis of one’s
surroundings.
➢ The way artists choose to depict
a subject can change the
perceived importance of that subject.
Brandon Thibodeaux
Christmas Tree, Alligator, Miss.

Essential Questions
➢ How do artists notice things?
➢ How do artists communicate passion and critical thinking through
their artistic choices?
➢ Who decides what is important, or why something is beautiful?
 Standards Addressed
1. Generate and conceptualize artistic ideas and work. Create artistic ideas
that reflect characteristics of different artistic movements from different
cultures (e.g., study art by different individual 20th century Australian
aboriginal artists and choose one as an inspiration for a composition. (F.V.Cr.01)
3. Refine and complete artistic work. Refine concepts and content by focusing
on a particular principle of design such as emphasis, balance, contrast, or
pattern. (F.V.Cr.03)
6. Convey meaning through the presentation of artistic work. Describe how
decisions about how an artwork is presented are connected to what the student
wants to express, evoke, or communicate. (F.V.P.06)
7. Perceive and analyze artistic work. Analyze the style of an artist, and how
it manifests itself in a given artwork. (e.g., examine influences on the artist).
(F.V.R.07)

8. Interpret intent and meaning in artistic work. Identify specific elements in

a work that connect it to a specific genre or style. (F.V.R.08)

Unit Objectives
➢ Students will realize their own visual style.
➢ Students will know that artists explore their world and actively
look for inspiration.
➢ Students will be skilled at interpreting and critiquing various
works of art.
➢ Students will be skilled
at solving technical
issues they experience
while shooting or in the
darkroom.
➢ Students will create
compositionally balanced
photographs when
composing their shots.
➢ Students will know how
to utilize aperture,
shutter speed, and ISO to
create their intended
photographs
 Todd Hido, #1726

STAGE 2 – ASSESSMENT EVIDENCE

Evidence

Lesson 1: Finding the View - The final product of this lesson will be 10
completed photographs inspired by an assigned scavenger hunt, paired with a
written reflection that prompts students to consider their developing visual
style and addresses the student’s technical strengths and weaknesses.

Lesson 2: Alien to the World - The performance tasks that comprise this
lesson will be represented by technical logs kept by students while shooting
and printing their images, as well as physical evidence in the form of test
strips, contact proof sheets, or digital snapshots of work in progress. The final
product of this lesson will be 10 completed photographs taken through the lens
of an ‘Alien on Earth.’ Accompanying these images, the student must also
complete a written assignment, in the voice of an alien, justifying why they
chose to photograph these earthly observations.

Lesson 3: Your Unique Lens - The performance tasks that comprise this
lesson will be represented by technical logs kept by students while shooting
and printing their images, as well as physical evidence in the form of test
strips, contact proof sheets, or digital snapshots of work in progress. The final
product of this lesson will be 10 completed photographs that all relate to the
student's chosen theme. Along with the final images submitted, the student
must write an accompanying artist statement, discussing why they chose the
subject matter they chose, their artistic and technical choices, and what they
deemed successful or could be approved upon.

Continuum of Assessments
❖ The students will participate in one-on-one, sticky note, and
group critiques to discuss their work, the process for creating it,
and ideas for improvement.
❖ The students will complete a self assessment or an artist
statement at the end of each lesson.
❖ The teacher will meet one-on-one with students during the
creation of their artwork to assist with troubleshooting.
❖ While out shooting and in the darkroom, students must keep a
log where they track their exposure and aperture.
 STAGE 3 – LEARNING PLAN
SCOPE AND SEQUENCE OF LESSONS

Finding the View

Lesson 1
In this lesson students will explore and
analyze the artworks of William Eggleston,
Todd Hido, Vivian Maier, and Juan Madrid.
Students will go on a scavenger hunt,
searching for scenes that relate to the
elements and principles of design, as well as
a broader list, ie: “Photograph something
that made you smile. Photograph something
that seems forgotten or mistreated.
Photograph your mother, or another
important person in your life…” Students
must produce 10 final
photographs from their film or digital files, along
William Eggleston, Big Wheels, with a written reflection that prompts
students to
Memphis. C. 1969 consider their developing visual style and
addresses
technical strengths and weaknesses.

Art Materials
○ Cameras
○ Film
○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards

Juan Madrid
 Finding the View
Resources and Images

Eggleston, W. (Photographer). (1969). Big Wheels. [Photograph].

Retrieved
from https://www.moma.org/collection/works/51630

! Hido, T. (Photographer). #1726. [Photograph]. Retrieved

from http://www.toddhido.com/

! Madrid, J. (Photographer). Untitled. [Photograph]. Retrieved

from https://juanmadridphoto.com/

! Maier, V. (Photographer). New York, NY. [Photograph]. Retrieved

from http://www.vivianmaier.com/gallery/street-1/

! Percoco, P. (Photographer). Untitled. [Photograph]. Retrieved

from https://percoco.fail/

Alien to the World

 Lesson 2
Students will begin by
investigating artists and
artworks that are made
about a place, or with
specific restrictions.
Students will be tasked with
completing a written
response that
addresses the question:
what makes a photograph
interesting or good? Now
with a better understanding
of how to use a Jillian Tam,
Untitled, Chinaton camera, students will act as aliens,
plopped down on earth. Using their camera as their only tool, they are tasked
with investigating and documenting this strange world. Their mission? Find out
what is beautiful or interesting about Earth. They are limited to photographing
one square mile around their home. Students will produce 10 completed
photographs to send back to their ‘Mothership.’ Accompanying these images,
the student must also complete a written assignment - a mission report
justifying why they chose to photograph these earthly observations.

Art Materials
○ Cameras
○ Film
○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards

Tenzing Dakpa, Untitled

Alien to the World

Mission Report
Unit 1 Lesson 2
Name: Date:
Class:

1) Choose Your 4 favorite photographs, and discuss why you chose to photograph
and include them in your mission report. Specifically, what makes what you saw
interesting or worth documenting?

2) What were your strengths during this mission? Be specific:

3) How do you wish this mission had gone differently?

4) What technical difficulties did you run into while on your mission? Based on this
report, we will adjust our training regimen.

Alien to the World

Resources and Images

Dakpa, T. (Photographer). Untitled. [Photograph]. Retrieved

from http://tenzingdakpa.com/selected-works/the-hotel/
Tam, J. (Photographer). Untitled, Chinatown. [Photograph]. Retrieved
from https://www.jilliantam.com/
chinatown-1/7e8rwzb50vgbztfprzj5jz6w0ayv4d

Thibodeaux, B. (Photographer). Christmas Tree, Alligator, Miss. [Photograph].

Retrieved
from https://www.brandonthibodeaux.com/

Wiethorn, E. (Photographer). Untitled #9. [Photograph]. Retrieved

from http://lenscratch.com/2017/10/emily-wiethorn-the-fragility-of-
home-2/

Your Unique Lens

Lesson 3
 (Left) Carrie Mae Weems Untitled (Woman and daughter without makeup),
1990
(Right) Carrie Mae Weems, Untitled (Eating Lobster), 1990

In this lesson students will investigate artists who make thematic work, such as Nydia
Blas, Mary Ellen Mark, Carrie Mae Weems, and Gordon Parks. Students will then be
tasked with choosing a photographer and body of work that inspires them. Students
must give a brief, 5-10 minute, presentation on their photographer, the project, its
origins, and why they chose it. For those who are less inclined to public speaking, one-
on-one conversations with the teacher will also be accepted. Having investigated
thematic work, students will then choose a subject that they are passionate about - it
can be anything under the sun - and create their own photo essay. Students must
produce 10 final photographs from their film or digital files, along with an artist
statement that reflects on their subject matter choice, and addresses their technical
strengths and weaknesses.

(Left) Gordon Parks, Workman Through the Pipes, Harlem, New York, 1946
(Right) Gordon Parks, Railroad Gang Moving a Portion of Track, New York, New
York, 1946
Art Materials
○ Cameras
○ Film
 ○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards

Nydia Blas, Untitled, The Girls

Who Spun Gold

Nydia Blas, Untitled, The Girls Who Spun Gold

Your Unique Lens Rubric

 Criteria
Criteria 1: Creativity &
Concept
Criteria 2: Process and Logs
Criteria 3: Craftsmanship
Criteria 4: Research / Artist
Statement
Criteria 5: Effort
4 3
Burned &
Dodged
*Final images follow one
cohesive theme
*Images utilize the principles
of design used to elevate a
composition that were
discussed in class 
 class
*Artistic choices made by
student make sense with the
goal of the project
*Images show evidence of
intent and deep
consideration of theme
*All logs were kept while
shooting
*All logs were kept during
printing
*Test strips, snap shots, CPS
handed in with final images
*Test strips, snap shots, CPS
are annotated
*Evenly exposed and
unblemished film or digital
files
*Even borders, appropriate
export size
*Successful use of dodging
and burning / adjustments in
PS
*Evenly exposed darkroom
print / edited final photo in
PS
*In depth research completed
*Images reflect influence of
researched artist
*Artist statement completed
*Artist statement is well
thought out and justifies
artistic choices of student
*Consistent and diligent
effort
*Focused
*Project is complete and well
thought out
*Student went above and
Beyond
*Student spent extra time
perfecting
*Student cleaned up well
*Student helped others
Printed
*Final images follow one
cohesive theme
*Images utilize the principles
of design used to elevate a
composition discussed in
*Well thought out theme
 class
*Artistic choices made by
student make sense with the
goal of the project
*Most logs were kept while
shooting
*Most logs were kept during
printing
*Test strips, snap shots, CPS
handed in with final images
*Evenly exposed and
unblemished film or digital
files
*Even borders, appropriate
export size
*Evenly exposed darkroom
print / edited final photo in
PS
*In depth research
completed
*Artist statement completed
*Artist statement is well
thought out and justifies
artistic choices of student
*Consistent and diligent
effort
*Focused
*Project is complete and well
thought out
*Student cleaned up well
*Student helped others
2 1
Test Strip Still
Developing
*Final images follow one *Did not complete project,
cohesive theme or have less than the
*Images do not utilize required amount of final
any of the principles of images

design used to elevate a *Final Images do not all
composition discussed in follow one cohesive theme
*Some logs were kept *Materials were misused
while shooting *Logs were not kept
*Some logs were kept
during printing
*Test strips, snap shots,
or CPS not handed in
with final images
*Some mistakes are *Film or digital files did
present - undeveloped not come out, and student
spots on film, no info in neglected reshooting
darks, no info in lights
*Could benefit from a
little more time in
darkroom / shot another
roll of film or more
digital images
*Uneven bordered
darkroom print /
incorrect export size
*Surface level research *Surface level research
completed conducted, if at all
*Artist statement *Artist statement
complete incomplete
*Inconsistent levels of *Distracted
effort *minimal to no effort
*Somewhat focused *Project is incomplete
*Project is complete,
but bare minimum
achieved
 Your Unique Lens
Resources and Images

Blas, N. (Photographer). Untitled, The Girls Who Spun Gold. [Photograph].

Retrieved
from https://nydiablas.com/photography-1#/photography/

Blas, N. (Photographer). Untitled, The Girls Who Spun Gold. [Photograph].

Retrieved
from https://nydiablas.com/photography-1#/photography/

Mark, M.E. (Photographer). Ram Prakash Singh with His Elephant Shyama,
Great Golden
Circus, Ahmedabad, India. [Photograph]. Retrieved from http://
blog.honoluluacademy.org/curators-notes-portrait-photography-micro-
photo-going-on-view-dec-17/01sehgal1-blog427/

Mark, M.E. (Photographer). Hippopotamus and Performer, Great Raymon Circus,

Madras, India, 1989. [Photograph]. Retrieved from http://
www.howardgreenberg.com/exhibitions/mary-ellen-mark-indian-circus

Parks, G. (Photographer). Railroad Gang Moving a Portion of Track, New York, New
York, 1946.
[Photograph]. Retrieved from
http://www.gordonparksfoundation.org/gordon-parks/photography-archive/
workers-in-new-york-city-1944-1948?view=slider
Parks, G. (Photographer). Workman Through the Pipes, Harlem, New York, 1946.
[Photograph]. Retrieved from
http://www.gordonparksfoundation.org/gordon-parks/photography-archive/
workers-in-new-york-city-1944-1948?view=slider

Weems, C.M. (Photographer). Untitled (Eating Lobster). [Photograph].

Retrieved from https://aperture.org/blog/vision-justice-around-kitchen-
table/

Weems, C.M. (Photographer). Untitled (Woman and daughter without makeup).

[Photograph].
Retrieved from https://aperture.org/blog/vision-justice-around-kitchen-
table/
 UNIT 2
Interpreting Our World

David Uzochukwu, A Familiar Ruin - VIII, 2015

Lesson 1: Your Portrait, My Portrait

Lesson 2: Dream Interpretation

Lesson 3: Worth 1,000 Words
Unit 2 Map
Interpreting Our World
Grades 9-12
 STAGE I – DESIRED RESULTS
Unit Transfer Goal
❖ Students will be able to independently use their learning to… 
➢ interpret personal experiences and other’s experiences through a
lens of empathy.
➢ both convey and comprehend meaning through artistic
representation and symbolism.

Enduring Understandings
❖ Students will understand that:
➢ Everyone deserves to tell their own story.
➢ Shared history is the basis for many forms of communication.
➢ Artists can use a variety of techniques to elicit specific responses
from their audience.

Essential Questions
➢ How can an artwork manipulate
emotion?
➢ What role does personal history
have in interpretation?
➢ What is the difference between
taking a picture and making a
picture?
➢ Why does an artist choose to
provide some information, and
choose not to provide other
information?

Chema Madoz, Untitled, 2014

Standards Addressed
1. Generate and conceptualize artistic ideas and work. Create artistic ideas that
reflect characteristics of different artistic movements from different cultures (e.g.,
study art by different individual 20th century Australian aboriginal artists and choose
one as an inspiration for a composition. (F.V.Cr.01)
2. Refine and complete artistic work. Refine concepts and content by focusing on a
particular principle of design such as emphasis, balance, contrast, or pattern. (F.V.Cr.
03)

6.Convey meaning through the presentation of artistic work. Describe how decisions
about how an artwork is presented are connected to what the student wants to
express, evoke, or communicate. (F.V.P.06)

8. Interpret intent and meaning in artistic work. Identify specific elements in a work
that connect it to a specific genre or style. (F.V.R.08)

Unit Objectives
➢ Students will know how to
identify and explain the
specific techniques
photographers use to create
mood in their artwork.
➢ Students will know how to
design conceptually
meaningful photographs.
➢ Students will be skilled at
writing an artist statement
and explaining their artwork
to others.
➢ Students will be skilled at
imagining the experiences of
others.

Karen Navarro, Subject #3

STAGE 2 - ASSESSMENT EVIDENCE

Evidence

Lesson 1: Your Portrait, My Portrait -The final product of this lesson will
be six portraits of one individual. Three of the photographs will be directed
solely by the student, and three of the photographs will be made through a
collaborative process between the subject and the student. Along with the final
images, students must complete a written reflection about their experience,
and must interview their subject.

Lesson 2: Dream Interpretation - The final product of this lesson will be

six photographs that represent a fellow classmate’s dream. Along with the final
images, students must complete a joint interview with their classmate whose
dream they have photographically represented.

Lesson 3: Worth 1,000 Words - The final product will be a woven object
composed of a self portrait and a written component that represents the
student, or a double exposure collage. The written component may be anything
and is the student’s choice. Acceptable choices include: a poem, song lyrics, a
journal entry, or an automatic writing exercise. Additionally, a copy of the
written component, unaltered will be required.

Joel-Peter Witkin, Feast of Foods, Mexico City, 1990

Continuum of Assessments
❖ The students will participate in one-on-one, sticky note, and
group critiques to discuss their work, the process for creating it,
and ideas for improvement.
❖ The students will complete a self assessment, reflection, or an
artist statement at the end of each lesson.
❖ The teacher will meet one-on-one with students during the
creation of their artwork to assist with troubleshooting.
❖ While out shooting and in the darkroom, students must keep a
log where they track their exposure and aperture.
(Left) Jess T. Dugan, Duchess Milan, 69, Los Angeles, CA, 2017
(Right) Dora Maar, Untitled, (Hand-Shell), 1934

STAGE 3 – LEARNING PLAN

SCOPE AND SEQUENCE OF LESSONS

Your Portrait, My Portrait

Lesson 1
In this lesson, students will discuss, critique and analyze the work of various
portrait artists. They will research different portrait making styles, from studio work
to street photography. They will investigate specific portrait making techniques and
have a discussion around the question, ‘What is the difference between taking a
 picture and making a picture?” Students will then
make six portraits of one person. For the first 3
photos, students will have full authority over the
shoot (within reason). For the second 3 photos,
students will collaborate with their subject in an
attempt to depict their subject as they wish to be
seen. Prior to photographing the second set of
pictures, students will conduct a brief interview
with their subject. Students
will be required to shoot 4 rolls of film (if a
Lydia Panas, Xie Yue darkroom
class) or 120 frames (if a digital class).
Students will engage in a class critique, and will
be required to complete a written reflection.

Art Materials
○ Cameras
○ Film
○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards

Cristina Fontsaré, Laia at eleven as an

appearance, 2018

Your Portrait, My Portrait

Interview & Reflection
Name: Date:
Class:

Complete the interview portion of this worksheet with your subject/collaborator.

Subject Name:
Subject Relationship to Student:

To be completed prior to the photoshoot, ask your subject the following:

1) What do you like about yourself?
 2) How do you think people perceive you?

3) What do you wish you could tell the world about yourself?

After completion of assignment:

1) Describe your concept for taking the 3 photos that you solo directed. Why did you
choose the lighting you chose? The location? The pose? What were you trying to
convey about your subject?

2) Describe the process behind collaborating with your subject for the second set of
photographs. What changed? What was a challenge? Did it change the way you
thought about your subject and photo? If so, how?

3) In your own words, what is the difference between taking a picture and making a
picture?
Your Portrait, My Portrait
Resources and Images

Dugan, J.T. (Photographer). Duchess Milan, 69, Los Angeles, CA, 2017. [Photograph].
Retrieved
from https://www.tosurviveonthisshore.com/portraits/
cxi0834y8n3eufby1g37mdqqvsd49r
Fontsaré, C. (Photographer). Laia at eleven as an appearance, 2018. [Photograph].
Retrieved
from http://lenscratch.com/2019/12/cristina-fontsare/

Uzochukwu, D. (Photographer). A Familiar Ruin - VIII, 2015. [Photograph]. Retrieved

from https://www.daviduzochukwu.com/

Panas, L. (Photographer). Xie Yue. [Photograph]. Retrieved

from http://lenscratch.com/2019/02/lydia-panas-sleeping-beauty/

Dream Interpretations
Lesson 2
In this lesson, Students will anonymously write in detail
a vivid dream they have had, focusing on how they felt
during the dream or specific objects or events in the
dream that they recall. They will all put their written
dreams in a hat, and the teacher will jumble them
together. Each student will pull a dream at random.
The student must create a photo story based off of the
dream. They can tackle this any way they please - a
still life, a photo collage, a portrait - whatever they see
fit. Students will be encouraged to keep their dream
anonymous, though they may collaborate and
brainstorm together if stuck. Students will engage in a
class critique, and along with the final images, students
 must complete a joint interview with their classmate whose dream they have
photographically represented.

Brandy Trigueros, Facial

Unrecognition

Art Materials
○ Cameras
○ Film
○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards

Robert and Shana ParkeHarrison,

Cloud Cleaner

Dream Interpretations
Resources and Images

Maar, D. (Photographer). (1934). Untitled, (Hand-Shell). [Photograph]. Retrieved

from https://www.tate.org.uk/whats-on/tate-modern/exhibition/dora-maar
Madoz, C. (Photographers). (2014). Untitled, 2014. [Photograph]. Retrieved
from https://www.robertkleingallery.com/chema-madoz

ParkHarrison, R. & S. (Photographers). Cloud Cleaner. [Photograph]. Retrieved

from https://www.parkeharrison.com/architect-s-brother/earth-elegies/353

Trigueros, B. (Photographer). Facial Unrecognition. [Photograph]. Retrieved

from http://lenscratch.com/2018/07/brandy-trigueros-the-dadabyte-theater/

Witkin, J.P. (Photographer). (1990). Feast of Foods, Mexico City, 1990. [Photograph].
Retrieved
From https://www.bonhams.com/auctions/18561/lot/153/

Worth 1,000 Words

Lesson 3
 Bieke Depoorter

In this lesson, students will begin by doing a brief writing reflection with the
prompt ‘Who are you and how does the world see you? How do you see
yourself? What has the world gotten wrong or right about you?’ Then they will
create a self portrait based off of this writing assignment. The self portrait can
be traditional, showing the face of the student, or it can be representational,
with the student photographing a part of themselves or a ‘stand-in.’ Students
will then select a piece of writing that they connect to deeply. This can be a
song, a poem, a page from their favorite book, a personal journal entry, an
essay, or the writing prompt from the beginning of the project. At this point,
students have a choice for their final product. Students may cut their
photograph into even horizontal strips, and their writing piece into even
vertical strips to weave these strips together to create a woven collage.
Alternatively, with the help of the teacher, students may transform their
writing into a digital negative and create a double exposure over their self
portrait in the darkroom. Students will complete a written reflection on the
assignment in addition to their final image.

Art Materials
○ Cameras
○ Film
 ○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards
○ Acid Free Glue
○ Matt Board

Greg Sand, Remnants: Betty, 2011

Barbara Kruger, Untitled (Your body is a Battleground), 1989, The Broad, Los
Angeles, California

Worth 1,000 Words

Resources and Images
 Bieke Depoorter
Depoorter, B. (Photographer). (2011-2017). [Collaged Photograph]. Retrieved
from https://www.biekedepoorter.com/

Barbara Kruger, Untitled (Your body is a Battleground), 1989, The Broad, Los
Angeles, California
Kruger, B. (Photographer). (1989). Untitled (Your body is a Battleground), 1989, The
Broad, Los
Angeles, California. [Collage]. Retrieved from https://mymodernmet.com/
text-art-masters/

Karen Navarro, Subject #3

Navarro, K. (Photographer). (2018). Subject #3. [Collaged Photograph] Retrieved
from https://www.karennavarroph.com/el-pertenecer-en-tiempos-modernos#0

Greg Sand, Remnants: Betty, 2011

Sand, G. (Photographer). (2011). Remnants: Betty. [Collaged Photograph] Retrieved
from https://gregsand.net/project-11

UNIT 3
Illumination Through
Transformation
Lesson 1: Artifacts From the Story

Lesson 2: Destroy Expectations

Lesson 3: Unsung Cyanotype

Unit 3 Map
 Illumination Through
Transformation
Grades 9-12

STAGE I – DESIRED RESULTS

Unit Transfer Goal
❖ Students will be able to independently use their learning to… 
➢ Question narratives and the sources from which they are produced.
➢ Seek out and discover counter and hidden narratives.
➢ Critically analyze the flow of
information and systemic power
structures within society.

Enduring Understandings
❖ Students will understand that:
➢ There are many sides to any one story
➢ A person has the power to reclaim
the narrative
➢ Destruction can be a form of
transformation
➢ Artists use creative techniques to
educate audiences

Elizabeth Opalenik, Untitled

Essential Questions
➢ Who decides what story is told?
➢ How do artists communicate a story through very basic elements?
➢ What role do artists play in challenging the status quo?

Standards Addressed
1. Generate and conceptualize artistic ideas and work. Create artistic ideas
that reflect characteristics of different artistic movements from different
cultures (e.g., study art by different individual 20th century Australian
aboriginal artists and choose one as an inspiration for a composition. (F.V.Cr.01)
2. Organize and develop artistic ideas and work. Develop multiple plans for
producing a piece of artwork prior to selecting one. (F.V.Cr.02)
3. Refine and complete artistic work. Refine concepts and content by focusing
on a particular principle of design such as emphasis, balance, contrast, or
pattern. (F.V.Cr.03)

10. Synthesize and relate knowledge and personal experiences to make art.
Describe what has influenced changes in one’s own artistic style and
preferences in visual art. (F.V.Co.10)

11. Relate artistic ideas and works to societal, cultural and historical
contexts to deepen understanding. Identify the connections between
historical and cultural contexts and define stylistic elements of artistic
movements (e.g., how the impact of World War II influenced the western art
world and shifted focus from Europe to New York City). (F.V.Co.11)

Claire Warden,
Mimesis

Units Objectives
➢ Students will know how to represent experiences through artistic
metaphor and symbolism.
➢ Students will know how to derive meaning from elements of an
artwork.
➢ Students will be skilled at comparing and contrasting the main
narrative and counter narratives.
➢ Students will be skilled at justifying their artistic choices.
➢ Students will be skilled at making educated guesses about the
outcomes of specific combinations of elements.
➢ Students will be skilled at writing an artist statement and explaining
their artwork to others.

STAGE 2 – ASSESSMENT EVIDENCE

Evidence
Lesson 1: Artifacts from the Story - The final product of this lesson
will be a photogram (if film) or a photo collage (if digital) inspired by a
researched social justice movement, or event of the student’s choice. Along
with the finished product, students must complete a written artist statement
that includes researched information on their social justice movement choice
and how their artwork is representative of that movement.

Lesson 2: Destroy Expectations - The final product of this

lesson will be a destroyed image that represents a time in their life in which
they felt powerless, or observed others experiencing mistreatment. They may
burn the negative, scratch the negative, develop the negative in a damaging
way, experiment with printing techniques such as solarization, tear up the
print, burn the print, or even bleach the print. Along with the final product,
the student must complete an artist statement.

Lesson 3: Unsung Cyanotype - The final product of this

lesson will be a collaged cyanotype print. The print will depict a lesser known
figure of a social justice movement with collaged effects that represent the
figure’s contributions to the movement. Students may use any collage
techniques they would like on their cyanotype, including gold leaf application,
drawing, and sewing, etc. Along with the finished product, students must
complete a written artist statement that includes researched information on
their figure and how their artwork is representative of that figure’s
contribution.

Vicki Reed, Handyman

Continuum of Assessments
❖ The students will participate in one-on-one, sticky note, and
group critiques to discuss their work, the process for creating it,
and ideas for improvement.
 ❖ The students will complete a self assessment or an artist
statement at the end of each lesson.
❖ The teacher will meet one-on-one with students during the
creation of their artwork to assist with trouble shooting.
❖ While out shooting and in the darkroom, students must keep a
log where they track their exposure and aperture.

Farrah Karapetian, Muscle Memory, 2013

STAGE 3 – LEARNING PLAN

SCOPE AND SEQUENCE OF LESSONS

Artifacts from the Story

 Lesson 1
In this lesson, students will select and research an important social
justice movement or cause that the student is passionate about. They may
choose a specific event within the movement, such as a march or a protest, or
the main themes of the entire movement itself. They will use metaphorical
‘artifacts’ from that movement or event to create a photogram that represents
the cause and effect of that movement. Alternatively, students may complete a
digital collage that represents the movement they have researched. While
working, students must keep a technical log as the troubleshoot and formulate
ideas. Along with the finished product, students must complete a written artist
statement that includes researched information on their social justice
movement choice and how their artwork is representative of that movement.

Art Materials
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop

Len Lye, Anne Lye, 1947

Raphael Hefti, Lycopodium 2011

Artifacts from the Story

Resources and Images
Hefti, R. (Alternative Process and Installation Artist). (2011). Lycopodium 2011.
[Photogram]. Retrieved
from https://www.tate.org.uk/tate-etc/issue-33-spring-2015/out-light-
shadows

Karapetian, F. (Alternative Process Photographer). (2013). Muscle Memory.

[Photogram]. Retrieved
from https://www.farrahkarapetian.com/

Kepes, G. (Photographer). (1939 - 40). Structure Photogram. [Photogram]. Retrieved

from https://www.tate.org.uk/art/artists/gyorgy-kepes-18710

L
Lye, L. (Photographer and Sculptor). (1947). Anne Lye. [Photogram]. Retrieved
from https://www.tate.org.uk/tate-etc/issue-33-spring-2015/out-light-
shadows

Destroy the Expectations

Lesson 2
In this lesson, students will create a still life representing an experience
in which they felt powerless, or observed others experiencing mistreatment.
The still life will be made up of objects that represent that experience. If a
student would rather create an image that is not a still life, that is fine so long
as it relates to an experience in which they felt powerless, or observed others
 experiencing mistreatment. They will
then ‘destroy’ this image, thereby
reclaiming the power. They may burn the
negative, scratch the negative, develop
the negative in a damaging way,
experiment with printing techniques such
as solarization, tear up the print, burn
the print, veil the print, or even bleach
the print. The teacher will help with
some of the more dangerous destructive
processes. Students Kari Wehrs,
Tristan, 2016 will be required to
keep a journal of their ideas for this
project, as well as the outcomes of their
destructive processes. Students will also
be required to complete an artist
statement addressing their choice of
destruction.

● Art Materials
○ Cameras
○ Film
○ Developing bags
○ Developing wheels
○ Developing tins
○ Negative Sleeves
○ Paper
○ Enlarger
○ Chemistry
○ Cardboard
○ Silver Sharpie
○ Adobe Photoshop
○ CF or SD cards
○ Bleach
○ Lighter
○ Plastic Gloves
○ Oranges & Lemons
○ masks
Marina Font, Mental Maps

Destroy the Expectations

Resources and Images
 Font, M. (Photographer). (2014). Mental Maps. [Sewn Photograph]. Retrieved
from http://www.marinafont.com/work#/mental-maps/

Opalenik, E. (Photographer). (2014). Untitled. [Veiled Photograph]. Retrieved

from https://www.elizabethopalenik.com/mordanage

Warden, C. (Alternative Photographer). (2016). Mimesis. [Destroyed film].

Retrieved
from https://www.claireawarden.com/mimesis.html

Wehrs, K. (Photographer). (2016). Tristan 2016. [Shot Tintype]. Retrieved

from http://www.kariwehrs.com/shot#1

Unsung Cyanotype
Lesson 3
In this lesson, students will research a lesser known, but still influential figure from a
social justice movement of their choice. With the assistance of the teacher, the
student will create a digital negative of their chosen figure. Students are welcome to
collage on the digital negative, or directly on the paper used in the next step. They
 will create a cyanotype with this negative. Once the
cyanotype is fixed and dried, the student will continue
the project by implementing collage techniques, such as
gold leaf application, drawing, sewing, etc. to highlight
the importance of their figure, and the contributions of
that figure. Students will be required to complete a
written artist statement that includes researched
information on their figure and how their artwork is
representative of that figure’s contribution.

Fritz Liedtke, My Sister

Art

Materials
○Transparency film
○Negative Sleeves
○Paper
○Enlarger
○Chemistry
○Cardboard
○Silver Sharpie
○Adobe Photoshop
○CF or SD cards
○Sunshine or UV lamp
○Yarn
○Needles
○Gold/copper/silver leaf
○Acrylic and watercolor paint
○Markers
○Oil pastels

Nydia Hartono

Unsung Cyanotypes
Artist Statement

Name: Date:
Class:
Use the space below to write an artist statement. Please make sure to
include background information about your subject, why you chose your
subject, and an explanation of the artistic choices you have made in this
piece and how they relate to your subject.

Unsung Cyanotype
Resources and Images
Blas, N. (Photographer). Untitled, I Want to be the Girl with the Most Cake.
[Photograph].
Retrieved from
https://nydiablas.com/photography-1#/i-want-to-be-the-girl-with-the-
most-cake/

Garcia Roman, G. (Photographer and Collage Artist). (2016). Carlos & Fernando.
[Collage].Retrieved
from http://www.gabrielgarciaroman.com/queer-icons-home#/carfer/

Hartono, N. (Photographer and Collage Artist). [Collage]. Retrieved

from https://www.nydia-hartono.com/mood-magazine

Liedtke, F. (Photographer and Collage Artist). My Sister. [Collage]. Retrieved

from http://lenscratch.com/2020/02/fritz-liedtke-sacred/

Mathews, R. (Photographer and Collage Artist). [Collage] Retrieved

from https://reneemathews.format.com/collage

Reed, V. (Photographer). Handyman. [Cyanotype]. Retrieved

from http://www.vickireed.com/gallery/gallery.aspx?id=14
 Art Room Differentiation Plan
Flexibility is a powerful tool for an educator. As a teacher, I will implement
varied instruction and strategies every day in my classroom. These strategies
are helpful to all learners. The outline below shows how these strategies can
aid specific learners.

Learning Challenge Classroom

Strategies
English Language Learners or ● Offer visual, verbal, and
students with limited English written instructions
● Act out directions
proficiency
whenever possible
● Label materials and areas
of the room in both English
and native languages
● Provide subtitles for all
videos
● Allow students to use
language that is
comfortable to them
● Directions posters in both
English and native
languages will be available

Students struggling with motor ● Allow students choice of

skills materials
● Provide students with
modified tools and
accommodations when
necessary
● Demonstrate multiple ways
to hold tools
● Adapted positioning of
materials
● Precut materials offered
when needed
● Student direction of peer
or adult allowed when
needed
Students struggling with attention
disorders
Students struggling with reading
and writing
● Immediate happy greeting
of student, clearly stating
in a positive way
expectations for the day
● Ask for call backs and ask
students to repeat the
steps explained
● Flexible seating - allowing
students to work in groups
or alone.
● Hold student’s attention
with different voices,
varying teaching
instruction, humor, keep
students guessing, and
acting out directions /
thinking out loud
● Giving jobs - assigning
students a specific task to
incentivize them to pay
attention & engage
● Offer choice in learning -
oral or written
● Provide video of
demonstration with
subtitles, transcription
● Allowing for extra time to
read/write/revise.
● Support students with
verbal and visual
instructions to aid making
connections
Students with hearing impairment
or auditory processing disorders
Students with behavior or
emotional Distress
Students on the Autism spectrum
Students with severe learning
impairment and have an aide or
paraprofessional with them in the
art room
● Provide written
instructions on the board
as well as handouts
● Demonstrate each step of
the lesson visually as well
as verbally (acting out)
● Small group instruction if
needed
● Preferential seating when
necessary
● Engage in basic ASL for
words like ‘bathroom,’ or
materials, if appropriate
● Establish consistency, clear
goals, expectations
● Always utilize an agenda -
let students know what is
going on
● Provide flexible seating
● Provide designated quiet
area
● Focus on positive behavior
and acknowledge/reinforce
good behavior
● Allow students to explore
their interests in their
artwork
● Give time checks
repeatedly
● Positive feedback prior to
positive encouragement
● Consistent routines and
expectations
● Establish clear
communication with aide
and determine what the
student’s goal is - how best
that student’s goal and
learning can be supported
● Provide the student with
flexibility on modality of a
project
 Students with Visual Impairment ● Provide different textured
materials, rather than just
different colors
● Utilize lightbox
● Offer magnifiers, both
electronic and otherwise
● Enlarge written instruction

Standards-Based Scope & Sequence Chart

Unit 1
 Unit 2 Unit 3

Perception Interpreting Our Illumination
and the World World Through
Around Us Transformation
2019 Massachusetts Visual Arts
Frameworks: Standards of Artistic
Practice

1. 1. Generate and conceptualize x x x x x x x x

artistic ideas and work

2 . Organize and develop artistic ideas x x x x x x x x

and work

3. Refine and complete artistic work. x x x x x x x x

4. Select, analyze and interpret artistic x x x
work for presentation.

5. Develop and refine artistic techniques x x x x

and work for presentation
 6. Convey meaning through the x x x x x x x
presentation of artistic work.

7. Perceive and analyze artistic work x x x x x

8. Interpret intent and meaning in x x x x x x
artistic work.

9. Apply criteria to evaluate artistic x x x x x

work.

10. Synthesize and relate knowledge and x x x x

personal experiences to make art.

11. Relate artistic ideas and works to x x x x

societal, cultural and historical contexts
to deepen understanding.

Grade Level: 9-12


Overarching Big Idea: Investigation

Art Program Assessment Plan

Purposes of the Assessment

The purpose of the assessment plan is to check a student's understanding of key
concepts and techniques used throughout this course, their creative growth, their risk
taking, their progression of critical thinking skills, and their creative development.
Students will be assessed based on their willingness to try new things, their
perseverance in the face of skills and techniques that may be difficult to master, the
development of their creative perception, and their conceptual ideation. Students and
teachers will work together to track progress made throughout the course. The
assessment plan will track students’ progress and serve as a reference tool for the
teacher to improve their instruction.

Content & Skills to be Assessed

❖ Developing skills
❖ Overall effort / time management
❖ Understanding of the basic concepts of the Single Lens Camera and the
Darkroom
❖ Inventive problem-solving
❖ Intuitive exploration
❖ Exhibiting care for materials
❖ Exhibiting respect for others
❖ Participation during critiques and class discussions

Assessment Tools & Strategies

❖ Teacher designed rubrics
❖ Final Products
❖ Artist statements
❖ Research materials (where applicable)
❖ Work logs
 ❖ Test strips and Contact Proof Sheets (CPS)
❖ Teacher meetings

Grading System
Student grades will be determined through teacher rubrics, which will be shared with
students prior to the beginning of each lesson so that students have a clear idea of
what is expected of them. Final grades will be determined by reviewing a combination
of final products, work logs, artist statements, self assessments, research materials,
and overall class participation and effort. Students have the option of submitting
reworked elements of their work at any time for an improved grade up until the
closing of the course.

Accommodations for Students on IEPs

*Please see Differentiation Plan on Page BLAHBLAHBLAH for specific classroom
student accommodations. Students with IEPs will be handled on a case by case basis,
with their individual learning plan serving as the baseline for classroom operations.
The teacher will check in with increased frequency, reiterating instruction, making
sure every student understands what they need to do. Extra time will be provided to
those students who need it. Students may also be given altered directions, materials,
or rubrics that have been simplified or otherwise altered to better suit the individual
student’s learning needs. This course has been designed for optimal differentiation and
accommodation for all learners. All students will have an equal opportunity to
succeed.

Reporting Out Plan

In order to keep track of student progress, grades will be given out at the end of each
lesson. Students have the option of re-submitting work at any time during the duration
of the course for an improved grade. Students and parents have full access to the
teacher at any point in the curriculum and may schedule meetings or phone calls to
discuss questions or concerns. Additionally, students may check their grade at any
time.
 Appendix:
2019 Massachusetts State Visual Arts
Frameworks
Foundations Visual Arts Course Standards
Creating
1. Generate and conceptualize artistic ideas and work. Create artistic ideas
that reflect characteristics of different artistic movements from different
cultures (e.g., study art by different individual 20th century Australian
aboriginal artists and choose one as an inspiration for a composition. (F.V.Cr.01)
2. Organize and develop artistic ideas and work. Develop multiple plans for
producing a piece of artwork prior to selecting one. (F.V.Cr.02)
3. Refine and complete artistic work. Refine concepts and content by focusing
on a particular principle of design such as emphasis, balance, contrast, or
pattern. (F.V.Cr.03)

Presenting
4. Select, analyze and interpret artistic work for presentation. Justify choices
for curating and presenting artwork for a specific exhibit or event. (e.g.,
Students complete a proposal for a juried show within the community.) (F.V.P.
04)
5. Develop and refine artistic techniques and work for presentation. Develop a
proposal for an installation, artwork, or space design that transforms the
perception and experience of a particular place. (F.V.P.05)
6. Convey meaning through the presentation of artistic work. Describe how
decisions about how an artwork is presented are connected to what the student
wants to express, evoke, or communicate. (F.V.P.06)

Responding
7. Perceive and analyze artistic work. Analyze the style of an artist, and how it
manifests itself in a given artwork. (e.g., examine influences on the artist).
(F.V.R.07)
 HSS Connection: When studying the Mexican Revolution, students
analyze Mexican folk culture and its influence on the life and work of
Frida Kahlo. (HSS.USI.T7.05.i)
8. Interpret intent and meaning in artistic work. Identify specific elements in a
work that connect it to a specific genre or style. (F.V.R.08)
9. Apply criteria to evaluate artistic work. Compare and contrast different
rubrics or criteria for evaluating artwork. (F.V.R.09)

Connecting
10. Synthesize and relate knowledge and personal experiences to make art.
Describe what has influenced changes in one’s own artistic style and
preferences in visual art. (F.V.Co.10)
11. Relate artistic ideas and works to societal, cultural and historical contexts
to deepen understanding. Identify the connections between historical and
cultural contexts and define stylistic elements of artistic movements (e.g., how
the impact of World War II influenced the western art world and shifted focus
from Europe to New York City). (F.V.Co.11)

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