here yesterday, gone tomorrow · activity 6: production of artworks activity 6: production of...

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Here Yesterday, Gone TomorrowHere Yesterday, Gone TomorrowHere Yesterday, Gone TomorrowHere Yesterday, Gone Tomorrow

Project OverviewProject OverviewProject OverviewProject Overview

Students explored how changes in the U.S. during the period of Westward Expansion had both positive and negative effects. To think about change, students experimented with art materials that can be changed by the artist’s hand, time, and natural elements. They then storyboarded narratives related to Westward Expansion. The project culminated in time-based group works exploring these historical moments.

Essential Question:Essential Question:Essential Question:Essential Question: How can change be both positive and negative?

Artistic Goals: Artistic Goals: Artistic Goals: Artistic Goals:

1. Students will understand art can be made with materials that are changed not only by the artist, but also by outside forces.

2. Students will understand art can both exist in the moment and change over time. 3. Students will understand the concept of “decisive moment” and consider it in creating their artwork. 4. Students will be able to use materials to convey symbolic meaning.

Curricular Goals:Curricular Goals:Curricular Goals:Curricular Goals:

• Students will learn that certain themes manifest themselves throughout history.

• Students will know that the history is the result of a series of interrelated events (moments in time).

• Students will understand and be able to share at least one narrative related to Westward Expansion.

National Content Standards Addressed:National Content Standards Addressed:National Content Standards Addressed:National Content Standards Addressed: Visual Arts 5-8.1: Understanding and Applying Media, Techniques, and Processes

� Students select media, techniques, and processes; analyze what makes them effective or not effective in communicating ideas; and reflect upon the effectiveness of their choices.

� Students intentionally take advantage of the qualities and characteristics of art media, techniques, and processes to enhance communication of their experiences and ideas.

Visual Arts 5-8.3: Choosing and Evaluating a Range of Subject Matter, Symbols and Ideas

� Students integrate visual, spatial, and temporal concepts with content to communicate intended meaning in their artworks.

� Students use subjects, themes, and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks.

Visual Arts: 5-8.5: Reflecting Upon and Assessing the Characteristics and Merits of Their Work and the Work of Others

� Students analyze contemporary and historic meanings in specific artworks through cultural and aesthetic inquiry.

� Students describe and compare a variety of individual responses to their own artworks and to artworks from various eras and cultures.

Social Studies: U.S. History 5-12.4: Expansion and Reform (1801-1861) � Students study the United States territorial expansion between 1801 and 1861, and how it affected relations with

external powers and Native Americans. � Students learn how the industrial revolution, increasing immigration, the rapid expansion of slavery, and the

westward movement changed the lives of Americans and led to regional tensions.


Part 1: Part 1: Part 1: Part 1: Artist as Agent of ChangeArtist as Agent of ChangeArtist as Agent of ChangeArtist as Agent of Change

How can artists change art materials?

Activity 1Activity 1Activity 1Activity 1: Materials Exploration: : Materials Exploration: : Materials Exploration: : Materials Exploration: Changing Clay Changing Clay Changing Clay Changing Clay Students considered the ways that artists transform their materials by exploring the variety of ways they could change a slab of clay. They used their hands as tools for rolling, pinching and squishing the clay. Throughout this experiment they documented their discoveries in their sketchbooks by drawing the different forms and noticing how the clay changed over time. Recommended Time: one 45-minute session Inquiry Artwork: Cai Guo Qiang, New York Rent Collection Courtyard Materials: clay

Activity 2: Environment as Agent of ChangeActivity 2: Environment as Agent of ChangeActivity 2: Environment as Agent of ChangeActivity 2: Environment as Agent of Change Students learned that art materials can by changed not only by the artist’s hand, but also by time and environmental elements. To experiment with the effects of light and water on art materials, they used spray bottles and sun lamps on paper, dried paint, dirt, clay, salt and ice, and recorded the changes that took place. Recommended Time: two 45-minute sessions Materials: paper, spray bottles, sun lamps, paper, paint, dirt, clay, salt, ice

Part 2: Stories in Westward Expansion Part 2: Stories in Westward Expansion Part 2: Stories in Westward Expansion Part 2: Stories in Westward Expansion

How can a picture tell a story? Activity 3: Storyboards Activity 3: Storyboards Activity 3: Storyboards Activity 3: Storyboards After learning about Westward Expansion in the 19

th century United States, students chose episodes to study in depth,

such as the Gold Rush. They then divided these stories into four parts and drew each part of the sequence on paper divided into four sections. They discussed Martin MunMunMunMunkacsikacsikacsikacsi’s photograph, The Goalie Gets There a Second Too Late, and considered the idea of capturing a moment when change is imminent – a decisive moment – in a work of art. When students viewed their finished storyboards, they also chose the panel that they felt represented the decisive moment in their own story. Recommended Time: two 45-minute sessions Inquiry Artwork: Martin Munkacsi, The Goalie Gets there a Second too Late Materials: paper, drawing paper, pencils, colored pencils, art sticks

Part 3: Part 3: Part 3: Part 3: Ephemeral Art Ephemeral Art Ephemeral Art Ephemeral Art

How can ephemeral art tell a story?

Activity 4: Brainstorming Materials Activity 4: Brainstorming Materials Activity 4: Brainstorming Materials Activity 4: Brainstorming Materials Students considered how unusual materials might be used in a work of art, referencing Joseph Beuys, Andy Goldsworthy, and Vik Muñiz – artists known for their use of unusual art materials. They then brainstormed a list of materials that could symbolize the historical events storyboarded in Activity 3. From this list, they chose those that they might use as art materials. Recommended Time: one 45-minute session Inquiry Artworks: Joseph Beuys, Earthquake Materials: paper, pencil


Activity 5: Creating Symbols Activity 5: Creating Symbols Activity 5: Creating Symbols Activity 5: Creating Symbols Students worked in small groups and experimented with the symbolic materials they had chosen for their Westward Expansion scenarios. They observed the effect of their hands, light, and water on their materials, and recorded their observations in their sketchbooks. Recommended Time: one 45-minute session Materials: to be chosen by students. Materials used by PS 9 students included frozen milk, grass, blocks, flowers, dirt, tin foil, and stones.

Activity 6: Production of Artworks Activity 6: Production of Artworks Activity 6: Production of Artworks Activity 6: Production of Artworks In groups, students mapped out a plan for symbolizing their selected moment by using and changing their selected materials to create their own ephemeral artworks. Students predicted certain events and left others up to chance when carrying out their projects. They documented their ephemeral art by photographing the artwork at different stages. Recommended Time: two–three 45-minute sessions Materials: to be chosen by students

ActiviActiviActiviActivity 7: Reflection ty 7: Reflection ty 7: Reflection ty 7: Reflection Students presented their work through a series of photographs and reflected on their discoveries during the art-making process. Students wrote and sketched about their experience. Recommended Time: one 45-minute session Materials: pencils, posters, markers ====

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Westward Expansion:Westward Expansion:Westward Expansion:Westward Expansion:

Web sites:Web sites:Web sites:Web sites:

“American Experience: The Gold Rush.” PBS.org, http://www.pbs.org/wgbh/amex/goldrush/index.html

“Discovering Lewis & Clark.” The Lewis and Clark Fort Mandan Foundation, http://www.lewis-clark.org/

“New Perspectives on the West.” PBS.org, http://www.pbs.org/weta/thewest/

Books:Books:Books:Books:

Krueger, Mary Ann and Barbara A. Pfender. Westward Expansion: 1800–1875. The Center for Learning, 2001.

Lassieur, Allison. Westward Expansion: An Interactive History Adventure. Mankato, MN: Capstone Press, 2008.

Steele, Christy. Pioneer Life in the American West. Milwaukee: World Almanac Library, 2005.

Ephemeral art:Ephemeral art:Ephemeral art:Ephemeral art:

Web site:Web site:Web site:Web site: ViK MUNiZ, http://www.vikmuniz.net/

Film:Film:Film:Film: Rivers and Tides: Andy Goldsworthy Working with Time. DVD. Directed by Thomas Riedelsheimer. New York: New Video Group, 2001. Book:Book:Book:Book: Lailach, Michael. Land Art. Berlin: Taschen, 2007.

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Sample Inquiry PlansSample Inquiry PlansSample Inquiry PlansSample Inquiry Plans

Martin Munkacsi Martin Munkacsi Martin Munkacsi Martin Munkacsi The Goalie Gets There a Second too Late, The Goalie Gets There a Second too Late, The Goalie Gets There a Second too Late, The Goalie Gets There a Second too Late, 1928.1928.1928.1928. Inquiry Script:

• What do you notice?

• What do you think happened just before this picture was taken?

• This photo is entitled “The Goalie Gets There a Second too Late.” Why do you think the photographer chose this moment to capture?

• Another photographer, Henri Cartier Bresson, coined the term “the decisive moment,” which refers to the moment when an event is about to take place – the moment when there is no turning back. Do you think this is a decisive moment? Why or why not?


Cai Guo QiangCai Guo QiangCai Guo QiangCai Guo Qiang Venice’s Rent Collection CourtyardVenice’s Rent Collection CourtyardVenice’s Rent Collection CourtyardVenice’s Rent Collection Courtyard Inquiry Script:

• Sketch this piece, using words to label the materials if you know what they are.

• What do you notice?

• What can we guess about the story that is being told in this artwork?

• The figures in this piece are made of clay. What are some actions you can guess the artist took to transform lumps of clay into these sculptures?

• Usually clay is fired in a kiln, which makes it hard and durable. This clay was not fired. What are some of the changes you either notice or can predict might happen over time, as the elements of nature act on this clay?

• Why might the artist have chosen to leave these sculptures unfired?


Joseph BeuysJoseph BeuysJoseph BeuysJoseph Beuys Earthquake, Earthquake, Earthquake, Earthquake, 1981. 1981. 1981. 1981. Installation: typesetting machineInstallation: typesetting machineInstallation: typesetting machineInstallation: typesetting machine with grease, Italian flag wrapped in felt, chalk on nine blackboards with grease, Italian flag wrapped in felt, chalk on nine blackboards with grease, Italian flag wrapped in felt, chalk on nine blackboards with grease, Italian flag wrapped in felt, chalk on nine blackboards, , , , metal metal metal metal container with fat and lead type, recorder with cassette, and printed brochure, 80 x 137 3/4 x 193 inches. Solomon container with fat and lead type, recorder with cassette, and printed brochure, 80 x 137 3/4 x 193 inches. Solomon container with fat and lead type, recorder with cassette, and printed brochure, 80 x 137 3/4 x 193 inches. Solomon container with fat and lead type, recorder with cassette, and printed brochure, 80 x 137 3/4 x 193 inches. Solomon R. Guggenheim Museum. 91.3960. Joseph Beuys © 2007 Artists RightR. Guggenheim Museum. 91.3960. Joseph Beuys © 2007 Artists RightR. Guggenheim Museum. 91.3960. Joseph Beuys © 2007 Artists RightR. Guggenheim Museum. 91.3960. Joseph Beuys © 2007 Artists Rights Society (ARS), New York/VG Bilds Society (ARS), New York/VG Bilds Society (ARS), New York/VG Bilds Society (ARS), New York/VG Bild----Kunst, Kunst, Kunst, Kunst, BonnBonnBonnBonn.... Inquiry Script:

• Sketch this piece, using words to label the materials if you know what they are.

• What did you notice as you sketched?

• What materials did the artist use in this piece? (Make a list – the left side of a T-chart)

• This artwork was created in reaction to political turmoil in Italy during the 1970s and early 1980s, involving bombings, assassinations, and protests. Naples, Italy had also just suffered an earthquake killing over 2,000 people. Given this context, pick one material to discuss with your neighbor, and come up with a hypothesis about why the artist, Joseph Beuys, might have used it.

• After students have time to discuss in pairs, call in pairs to share; add ideas to the right side of the T-chart, noting where students have different ideas / symbolism attributed to the same material.

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here yesterday, gone tomorrow · activity 6: production of artworks activity 6: production of...

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