Visual Arts Term 1 2022 Life Skills Stage: 4-5 and 6

Topic: Pop to Popism

Curriculum:

This program provides a series of teaching and learning experiences for students to explore formal qualities associated with drawing, painting and
sculpture using a variety of drawing and painting media. Students will explore how artists changed our way of seeing the world through abstract colour,
mood and shape. Students will be given opportunities to investigate and create 2D and 3D artworks from a range of Pop artist dating back to 1960’s.

Criteria for assessing learning:

Students will be assessed on their:
 Experimentation with a range of drawing techniques
 Selection of appropriate materials, tools and techniques to suit their artmaking intentions
 Teacher observation of student participation
 Use of paint
 Complete individual paintings
 Individual work
 Contribution to class discussions
 Assessment of drawings
 Completion of in class tasks
 Selection of materials and composition
 Refining of mediums

Resources:
 Art Gallery NSW children’s trail – Pop and Popism, Creative Arts Syllabus, acrylic paint, water colour paint, oil pastels, chalk pastels, charcoal, coloured
paper, ink, paper, canvases, magazines, glue, scissors, cardboard, scrap booking pieces.
Syllabus outcomes:

Practice
LS.1 Experiences a variety of artmaking activities
LS.2 Explores a variety of materials, techniques and processes
LS.3 Explores the function of a variety of artists and audiences
4.1 Uses a range of strategies to explore different artmaking conventions and procedures to make artworks.
4.7 Explores aspects of practice in critical and historical interpretations of art

Conceptual framework
LS.4 Explores the ways in which experiences of the world can be communicated in artworks
LS.5 Recognises that various interpretations of artworks are possible
4.2 Explores the function of and relationships between artist – artwork – world –audience
4.8 Explores the function of and relationships between the artist – artwork – world – audience

Frames
LS.6 Makes a variety of artworks that reflect experiences, responses or a point of view
4.3 Makes artworks that involve some understanding of the frames
4.9 Begins to acknowledge that art can be interpreted from different points of view

Representation
LS.7 Explores how ideas and interests in the world can be represented in their artmaking
4.4 Recognises and uses aspects of the world as a source of ideas, concepts and subject matter in the visual arts
4.10 Recognises that art criticism and art history construct meanings

Conceptual strength and meaning

LS.8 Explores ways to develop ideas in artworks develop knowledge, understanding and skills to make artworks informed by their understanding of practice,
the conceptual framework and the frames develop knowledge, understanding and skills to critically and historically interpret art informed by their
understanding of practice, the conceptual framework and the frames.
4.5 Investigates ways to develop meaning in their artworks

Resolution
LS.9 Uses a range of materials, techniques and processes to make artworks
4.6 Selects different materials and techniques to make artwork
Program detail
Students learn about:
PRACTICE
 P1 - The field of visual arts and design as comprising conventions,
activities, traditions and customs shaped by different values and
beliefs.
 P2 – The pleasure and enjoyment in making artworks.
 P3 – Artistic practices, conventions and the network of procedures
that inform approaches to artmaking of different artists.
 P4 – How practice in the visual arts, in different times within Australia
is conditioned by a range of interests.
CONCEPTUAL FRAMEWORK
 CF1 – The function of the artist.
 CF 2 – Artworks produced for exhibition and display.
 CF3 – The world as the source of ideas and concepts to make art.
 CF4 – How artist invent, adapt and develop strategies and
procedures to investigate the world to make artworks.
 CF5 – How artists develop their intentions.
 CF6 – Various artists, with a focus on what they do, where they work,
how and why they work.
 CF 7 – How the world can be interpreted in art and the ways which
ideas can be represented.
Indicators
Students learn to:
PRACTICE
 Investigate the field of visual arts and design and approximate some
conventions, activities, traditions and customs of the field to make art
 Reflect on and interpret actions and choices, and document these in their
diaries.
 Make informed personal choices to shape meaning.
CONCEPTUAL FRAMEWORK
 Make images and objects (artworks) that approximate an approach to
artistic practice
 Make artworks using a range of 2D, including drawing, 3D and/or 4D
forms, materials and techniques and various investigations of the world.
 Identify the intention, audience and context for an exhibition and display of
artworks.
 Use their diaries to research and investigate the world, for example:
memory, fantasy, people, places and spaces, other living things, objects,
culture, social and national identity, relationships, gender, politics, religion,
celebrations, events, the environment, theories, issues about art.
 Adapt and develop strategies and procedures to investigate the world to
make artworks.
 Record investigations and information gathering in their diary.
 Develop artistic intentions arising from relationships between artist –
artwork – world – audience.
FRAMES FRAMES
 F1 - Belief, value and meaning in artmaking in the cultural frame.
 Recognise that making artworks involves their own interpretive activity,
employing different points of view.
 F2 - Belief, value and meaning in artmaking in the structural frame.
 Use their imaginations, intuitions, sensory and deeply felt experiences and
 F3 - Belief, value and meaning about artmaking in the subjective views of beauty in the development of ideas in the making of art.
frame.
 Use their cultural and community identities and social perspectives of
 F4 - Belief, value and meaning about artmaking in the postmodern interest to them in the development of ideas and interests to represent the
frame. world in the making of art.

 Investigate and employ a range of conventions including codes, symbols

and signs and consider how communication is embedded in the material
and conceptual organisation of artworks and offer a way to develop
representations of ideas and interests in the world in the making of art.

 Modify, interpret or appropriate images from a variety of sources in the

development of representations of ideas and interests in the world in the
making of art and seek to question concepts about art as precious, unique
and singular.
Content
Introduction
Take a look at how the artists in
this exhibition have used images
from pop culture and think about
what their art tells us about our
world.
Eduardo Paolozzi Was this
metal monster master — or
slave? 1952, collage mounted on
card
Robert Rauschenberg Dylaby
1962, rubber tyre, oil on packing
case timber, iron nails
Discussion Activities Date Register
What is pop? Students practise drawing skills to create an
An introduction to Pop art, music and popular individual art work.
culture.
Students explore the elements of design through a
The pop art movement began about 50 years series of exercises in their art book.
ago, at a time when television was still fairly new
and advertising was becoming a major part of
everyday life. Many young artists wanted to
reference this new image-filled world in their art.
Soup cans, magazine ads and pictures of famous
people – things that had never before been
considered artistic subjects – became important.
Popular culture was their inspiration. Even the
name — ‘pop art’ — comes from ‘popular culture’.
Scottish artist Eduardo Paolozzi was inspired by Invent your own amazing alien or robot
comic books and magazine advertisements about creature and make up a story about it.
aliens, robots and machines. He often cut them
up and collaged them together to make designs Make a collage out of pictures, patterns and
for new artworks. advertisements from magazines.
Spot the giant space-age robot.
Do you think someone or something could be
inside controlling it?
Where do you think this action is taking
place?
What is going to happen next?
American artist Robert Rauschenberg was Draw your ideas around it in your artbook.
inspired by everyday objects and turned
discarded junk into art. He called these works Make a sculpture out of recycled objects and

Peter Blake The first real target
1961, enamel on canvas and
paper on board
Tom Wesselmann Still life #29
1963, oil and collage on canvas
‘combines’. discarded junk.
List all of the things you can recognise in this
artwork.
Are they the sorts of things you expect to see in a
gallery?
Imagine you could add or combine more objects
to this artwork to change its appearance or to
make it bigger.
What would you add?
Look at this target. Draw your idea in your artbook.
At home find images of targets, flags and other
everyday objects that have been painted by pop Find images of targets, flags and other everyday
artists. Which one do you like best?
objects that have been painted by pop artists.
Targets and other everyday objects often appear Which one do you like best?
in pop art. Rather than paint a target, British artist
Peter Blake bought this archery target at a
sports shop and attached it to a canvas.
What other things has he stuck to the canvas?
Imagine you could buy an object from a shop and
stick it to a canvas to make an artwork.
American artist Tom Wesselmann was inspired Draw or write your idea in your artbook.
by billboard images of food and mass-produced
goods to make this large artwork that combines Make a combined painting and collage of your
painting and cutout pictures.
 favourite food by cutting images out of magazines.
List what objects are painted and what objects
are stuck on.
Do you think this artwork would look as effective if
every part was painted?

Imagine the cake stand of food and the blue

pepper pot belong to a giant who is about to come
and eat his dinner.

Invent a story about what might happen next.

Roy Lichtenstein In the car
1963, oil on magna on canvas
Look at this comic-like painting.
American artist Roy Lichtenstein is famous for
turning printed comic book images into his own
hand-made paintings. This large painting uses the
same bold colours and black outlines popular in
comics.
Write your ideas in the speech bubbles.
Create drawings for a comic strip story about
characters that you invent.
What adventures will they have?

Notice how the painting is made up of hundreds

of tiny dots. Lichtenstein would use metal stencils
punctured with holes so his dots were neat
and uniform, just like a comic.

Imagine where these people are going.

What could they be saying to each other?

Konrad Lueg Football players
1963, tempera on canv
Meet this soccer team.
German artist Konrad Lueg has used flat, bright
colours so this painting looks like a graphic-style
advertisement.
Notice how the lack of detail in the players’ faces
Design a uniform for the opposition and invent
names for both teams.
Draw yourself and your friends playing your
favourite sport as if you are in a graphic-style

Bridgid McLean Untitled 1969,
synthetic polymer paint on canvas
David Hockney Portrait of an
Artist (Pool with Two Figures)
1972, synthetic polymer paint on
canvas
adds to the impression that this is a advertisement.
stylised image.
Spot the patterns created by the players’
interlocking arms and their red socks.
Australian artist Bridgid McLean has painted a Draw the type of car you think
close-up view of a car’s exhaust pipes using a these pipes belong to.
smooth painting technique to suggest the shine
and gleam of the chrome.
Make drawings of close-up views of household
Look at how the blended colours of the bending objects or machine parts to highlight their
pipes create the illusion of shape and form. unexpected beauty.
Notice how the dark background shape focuses
our attention on the power and unexpected
beauty of the pipes.
View this watery scene. Create a poem that expresses the joyous feeling of
swimming on a sunny day, starting each line with
British artist David Hockney is well-known for his the letters of the word ‘splash’.
paintings of swimming pools which explore the S ______________________
surface qualities of water as it ripples and P ______________________
splashes. L ______________________
A ______________________
Look at how patterns and shapes are created
by sunlight on the water’s surface. S ______________________
H ______________________

Howard Arkley Triple fronted
1987, synthetic polymer paint on
canvas
Maria Kozic MASTERPIECES
(Warhol) 1986, synthetic polymer
paint on wood
Imagine diving into this pool. Would the water be Experiment with different art materials to create
warm or cool? artworks that depict water rippling, splashing and
sploshing.
Describe the sensation.
Visit this colourful home. Add decorative patterns and shapes to give it a
pop makeover.
Australian artist Howard Arkley loved looking at
the houses in Melbourne’s suburbs and their Look more closely at the shape and architecture of
patterned flyscreens, pathways and architecture. your home and paint or draw it in the style of
Howard Arkley.
Look at how Arkley uses bold, bright colours and
strong outlines to make the house look decorative
and cartoon-like.
Would you like to live here?
Imagine you could transform this house into a
pop painting.
Australian artist Maria Kozic was inspired by Draw your exploding object in your artbook.
famous works of art and altered them to make us
look at them in new ways. This fractured Draw or paint a picture of a food packet or can,
soup can is based on a famous artwork by pop then cut it up and stick it down so it looks like it has
artist Andy Warhol.
shattered.
Look at the fragments and the jagged shapes
which make the can look like it has exploded.
Imagine you could make an artwork
of something shattered or exploded.
Evaluation