ANIMALS IN ART

CONTENTS

Artists & Artwork Thumbnails. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Artist Biographies Korry R. Bird. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Carel Brest Van Kempen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Clark E. Bronson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 James C. Christensen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Silvia L. Davis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Daniel G. Hildreth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Joseph E. Ostraff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Gary L. Price . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Mark W. Robison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Jason A. Wheatley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Roger D. Sam Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Lesson Plans Michael Phillips Opening Session: Its a Zoo Out There! . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Childrens PlayDog and Iguana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Androceles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 A Tale from the CaribbeanAnansi and the Plantains . . . . . . . . . . . . . . . . . . . . . . . 39 Korry R. BirdContested Meal Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 ArtMythical Animal Sculptures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Art is a Kind of Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Accessible Animal Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 ScienceHabitats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Animal Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 ArtLines that Evoke Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Korry R. BirdSunny Day Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 ArtUsing Basic Shapes to Draw Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 VariationSculpting Simple Animals in Clay . . . . . . . . . . . . . . . . . . . . . . . . .65 Animal Cartoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Language ArtsWriting a Story From an Animals Point of View. . . . . . . . . . . . . .67 Carel P. Brest Van KempenLizard Relay Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 Creating Setting in an Artwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 MusicCreating Settings from Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Language ArtsCreating Settings from poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Using Scientific Information in a Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

ANIMALS IN ART Contents

Science and Language ArtsDescribing Nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 VariationSocial Science, Geography, Drama. . . . . . . . . . . . . . . . . . . . . . . . 72 Using Details to Create a Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Drawing the Critical Moment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Variations: Photography, Jokes, Dance, Music . . . . . . . . . . . . . . . . . . . . . . . . 74 TheaterCreating Character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Clark E. BronsonBig Boys Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Drawing Animals in Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Animals in a Setting/Habitat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 ScienceRelationship of an Animals Physiology to its Life. . . . . . . . . . . . . . . . . . . 78 Language ArtsWriting a Story about an Artwork. . . . . . . . . . . . . . . . . . . . . . . . . . . 79 James C. ChristensenFantasies of the Sea Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 Animals and the Imagination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Creating New Creatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Language ArtsConnections with Literature: Jabberwocky. . . . . . . . . . . . . . . . . 82 ArtUsing Color to Create Focal Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 ArtFantasy Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Art/ScienceUndersea Crayon Resist Drawing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Character Development and Plot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Ocean Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 James C. ChristensenRhinoceros Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 ScienceRhinos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 ArtOne-point Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Creative Thinking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Fantasy Animals in 3-D space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Using Poetic Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Language Arts/Visual ArtsWriting Poems from Art . . . . . . . . . . . . . . . . . . . . . . . . .88 Artforms based on Words. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..89 Ecology Statements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Rhino Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9194 Silvia L. DavisGuest Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Golden Mean. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Proportion in 3-D figures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Language ArtsMyths about Dogs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97 TheaterPets and their Owners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 ScienceCharacteristics of Dogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 MathMaking graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Social StudiesThe Roles of Dogs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 ii

ANIMALS IN ART Contents

Silvia L. DavisThe Colt Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Art/Social Science Images of Horses Through Time. . . . . . . . . . . . . . . . . . . . . . .101 ArtComparing Artworks of Horses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 Variations: Criticism and Art History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Found Object Horse sculptures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Social ScienceEconomic Impact of Horses in Utah. . . . . . . . . . . . . . . . . . . . . . . .104 ScienceIntroduction to Animals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Daniel G. HildrethSnowshoe Hare Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 Art History Researching and Comparing artists . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Making Clay Animals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Creating Finished Art from Sketches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Creating Context in Drawings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Graphic Animal Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Language ArtsWriting Ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 Joseph E. OstraffAlbino Trout Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 ArtTexture, Color, Value, or Unity in a Fish Collage. . . . . . . . . . . . . . . . . . . . . . . .111 Variation: a Sculpture of a Fish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 ScienceEcosystems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Gary L. PriceInterlude Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 ArtExploring Texture in Birds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 115 ScienceMigration and Waterbirds of Utah/Wetlands. . . . . . . . . . . . . . . . . . . . . 119 Variation: Utah Birds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Gary L. PricePuffed Up Prince Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 Language ArtsWriting Fairy Tales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 DanceDancing Fairy Tales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 ArtArtworks from Fairy Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 ArtPaper animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Mark RobisonHouse Cat Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 ArtTaking Time to Look at Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125 Narrative Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 ArtChanging Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Art/Language ArtsExaggeration in Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 Writing Poetry about Pets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Debating the Merits of Dogs and Cats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 The Story Line Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Character Development Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 iii

ANIMALS IN ART Contents

Jason A. WheatleyYellow Bluff Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Language ArtsWriting Animal Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 TheaterPantomiming Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 TheaterLooking at the use of Animals in Theater . . . . . . . . . . . . . . . . . . . . . . . . .132 DancePortraying Animals Through Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 MusicMusic About Animals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 MusicAnimal Sounds Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Folk Songs About Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Art History20th Century Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 CriticismRealism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 AestheticsMimetic Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139 Creating Still Lifes with Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139 Composition Using Xeroxed Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120 ExtensionMultimedia Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Collage.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Elements and Principles of Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 Animated Cartoons and Flip Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Language ArtsWrite your own Just So Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Roger D. Sam WilsonA Tension to Detail Questions for Looking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 ScienceUtah Trout and their Biomes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 ArtDrawing and Paying Attention to Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 ArtMaking a Paper Mache Fish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Language ArtsWrite a Version of The Magic Fish . . . . . . . . . . . . . . . . . . . . . . . .146 ArtAnimal Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Variations: Language Arts, Theater, Art, Social Science, Healthy Lifestyles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Masks and Cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Ceramic Clay Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Stiff Paper Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 Fabric Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 Totem Poles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Appendix Anasazi Animal Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I Paper Animal Patterns: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . II Alligator, Coyote, Fish, Frog, Cat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IIIVII iv

ANIMALS IN ART
ARTISTS & ARTWORKS

Carel P. Brest Van Kempen, Lizard Relay: Jaquarundi with Green Iguanas and Banded Basilisks 1991 acrylic on board, 32 x 42

Korry R. Bird, Contested Meal 1994 Bronze, 68 x 39 x 32

Korry R. Bird, Sunny Day 1999 Bronze, 29 x 17-3/4 x 17 1

Clark E. Bronson, Big Boys 1984 Bronze, 28-1/2 x 14 x 14

Silvia L. Davis, Guest 1994 Wood sculpture, 28-1/2 x 15 x 19

James C. Christensen, Fantasies of the Sea 1985 Acrylic on board, 36 x 24

Silvia L. Davis, The Colt 1995 Bronze, 26-3/4 x 52 x 42

James C. Christensen, Rhinoceros 1981 Acrylic on board, 14-3/4 x 11-3/4 2

Daniel G. Hildreth, Snowshoe Hare 1996 Bronze, 9 x 8 x 5

Gary L. Price, Puffed Up Prince 1996 Bronze, 35 x 28 x 28

Joseph E. Ostraff, Albino Trout 1989 Acrylic on board, 48 x 24

Mark W. Robison, House Cat 1997 Oil on board, 7-1/2 x 5-1/2

Gary Lee Price, Interlude 1989 Bronze, 61 x 22 x 19 3

Jason A. Wheatley, Yellow Bluff 1999 Oil on board, 42 x 46

Roger D. Sam Wilson, A Tension to Detail 1982 watercolor on paper, 22-1/2 x 29-3/4

ADDITIONAL IMAGES

Jaguar Effigy Pot, UMFA for Animal Timeline lesson p. 52 Animals for lesson on Drawing Animals Using Basic Shapes, p. 59

For the lesson on Capturing Animals in Motion, p. 75 Mahonri Young, Animal Sketches, BYU MOA

Mahonri Young, Deer by a Stream, BYU MOA

For lesson on Art History/Language Arts, p.93 Albrecht Durer, A Young Hare 1502 Watercolour and gouache on paper,

ANIMALS IN ART
ARTIST: Korry R. Bird (1961 ) Mapleton, Utah TITLE: Sunny Day 1999 MEDIA: Bronze sculpture SIZE: 29 x 17-3/4 x 17 TITLE: Contested Meal 1994 MEDIA: Bronze sculpture SIZE: 68 x 39 x 32

BIOGRAPHICAL INFORMATION
Korry Bird began making strides toward an artistic career at an early age. While still in junior high, he began sketching the wildlife near his home in Springville, Utah. It was then that he decided to pursue an artistic career. While attending high school, Bird did illustration work for the Utah Fish and Game. He also participated in a work release program offered by his school and spent every afternoon at Brigham Young University doing illustration work for Dr. Vernon J. Tipton in the Entomology lab. During his junior and senior years in high school, he again participated in the work release program and spent this time in the employ of the noted sculptor of western themes, Stan Johnson. Mr. Johnson owned and operated one of the first art casting facilities in Utah. While working with Mr. Johnson, Bird learned the intricacies of the lost wax casting process. In addition to helping the sculptor build a studio and foundry, Korry took advantage of the two years he spent with Johnson and learned every bit of information, experience, and criticism he could from the well-known sculptor. After two years of experience with Mr. Johnson, Korry was ready to move on. He spent the next two years in North Carolina as a missionary for the LDS Church. Upon his return in 1982 he immediately began sculpting. This artistic adventure led him to the studio and foundry of 7

Edward J. Fraughton. Not many young artists have the opportunity to have such reknowned mentors. Bird considers himself fortunate. For the next three years, he frequently visited the studio of Mr. Fraughton. Here he was exposed to principles and practices that still greatly influence Birds direction and attitude. During the third year of this formative period, the young artist was a daily fixture of Fraughtons operation. He was employed by the artist to assist with the casting of the monumental sculpture Spirit of Wyoming,

a 14-foot bucking bronco for the Capitol grounds in Cheyenne. Bird remembers those days with a smile. I look back on that time in my life with great fondness. The kindness that Ed showed to me will always be a bright spot in my life. He has been the greatest single influence on my attitude toward this profession. He helped to instill in me the realization that one must become a true student of sculpture. His gentle way of letting me know that I must continue to improve will always be appreciated. Korry Bird studied sculpture at the University of Utah and then headed to California. There he worked in the foundry industry to learn even more and began sculpting his own wildlife and figurative work. Korry started his own foundry, Park Gallery, along with five full-time employees. The foundry was built on the philosophy of absolute quality in wax work using the best molds in the business, from the best mold-maker in the businessKen Donnelly of Springville, Utah. He is proud of the help he had in the foundry and recognizes those individuals as the heart and soul of his foundrys quality and service. Since that time, Bird has moved on and no longer casts other artists work, which gives him more time to work on his own pieces. He says that learning the foundry process and having his own foundry was a double-edged sword. On the one hand, he developed a high-quality foundry and the knowledge and skills to cast his own work, but on the other hand, having the foundry meant he spent a lot of time learning and casting other peoples work instead of focusing on becoming a better sculptor himself.

Wishing he were a little less conservative, Bird says he made enough money from the beginning to live from his art, but he has always had a hard time trusting he will bring in enough money to support his family. His own sales continue to do well. He sculpts his well-known wildlife pieces, does figurative work, especially children, and fantasy work such as the sculpture for Mapleton Elementary Schoola boy with a dragon. Bird says he thinks he will continue to do a broad range of sculpture, but that he can see a natural progression in his work. Contested Meal was made in 1994 and Sunny Day in 1999, five years later. He believes Sunny Day has a more sculptural feel, that his use of shape and mass and design have improved. The surface of the sculpture is of course partly dictated by the subject, but he likes the increased subtlety and the way the surface took the patination. His art is getting more sophisticated. However, he also says, Even as I reflect on the whirlwind of activity over the past twenty years, I feel as though I am just beginning.

Korry R.Bird, March Hare (1991) Bronze, 11 x 13 x 9

ANIMALS IN ART
ARTIST: Carel P. Brest van Kempen (1958 ) Murray/Holladay, Utah TITLE: Lizard Relay: Jaquarundi with Green Iguanas and Banded Basilisks 1996 MEDIA: acrylic on board SIZE: 32 x 42

BIOGRAPHICAL INFORMATION
Carel Brest van Kempen was born in Murray, Utah, in 1958. He says he has been fascinated with drawing ever since he could hold a pencil, and since he grew up in Emigration Canyon, his drawing focused on nature from the very beginning. Although Brest van Kempen is a wildlife artist, hes not a typical western wildlife artist: more than half his work is of tropical animals. He chose tropical wildlife because of his own interests, which have led him to spend large amounts of time in the tropics in Mexico, Honduras, Nicaragua, Costa Rica, Brazil, Cameroon, Guinea, Madagascar, Kenya, and the Solomon Islands, among others. Carel calls himself an amateur biologist and ecologist, both of which are important in his artwork. The fact that he studied biology, not art, may have influenced his art in ways that make it unique and that have helped him establish a personal niche in the art world. Being a successful artist didnt come easily to van Kempen. Carel left college because he didnt know what he wanted to do: he was interested in art, but making a living at it didnt seem possible. However, in 1988, he finally started painting pieces he felt he could show someone besides his family and friends and that he could sell. Having decided to commit himself to being an artist, Brest van Kempen sold his house and spent four years living in his van, doing nothing except painting. He says there is nothing like abject poverty to help a person focus; he didnt even have the distraction of eating because he had so 9

little food. During those grueling years Brest van Kempen figured out how to paint the way he wanted to and now is very glad he did. Carels art hasnt changed much since he first started painting, although it has gotten more detailed, his technique has gotten better, and hes gone through a real learning process. He believes he is pretty good at what hes doing, so now he isnt concentrating so much on learning. According to Brest van Kempen, he quickly gets bored if things are too easy, so he knows he will need to find other roadblocks, other challenges down the road. He expects in 15 years his art will be quite different just because he doesnt like doing the same thing over and over again. Currently, Brest van Kempen sells mostly outside Utah through touring museum shows and through

galleries all over the United States and in other countries. He is accumulating an impressive array of awards and honors such as 1st place in the Doug Miller Art Show, two awards of Excellence from the Society of Animal Artists, the 1995 Best of Show from the Pacific Rim Wildlife show in Seattle and from the Southeastern Expo in Charleston, South Carolina, the two biggest wildlife art shows in the United States. In addition to exhibiting, Brest van Kempen illustrates books and magazines and his paintings can be found on art print cards by Advanced Vivarium Systems, inc. The September 1997 issue of InformArt (a magazine of art prints) highlighted his work. As a wildlife artist, Carel Brest van Kempen tries to represent nature. As he puts it, lots of stuff chasing other stuff. His drawings and paintings are tightly rendered with themes that involve ecology and how animals relate to their environment; theyre stories about how animals live. Carels experience in tropical areas has given him the background to create realistic settings for his dramas, including details of the animals natural habitats and other animals that would be in the environment. His sense of fun comes through in his workhe himself has fun painting themsome paintings are whimsical and some darker. Often these paintings feature animals with their prey, one about to catch another or to escapethe moment just before the climax. Lizard Relay is such a piece. It shows banded basilisks and green iguanas; both kinds of lizards like to be near water. When danger, like the jaguarundi, threatens, the iguanas dive in the water and the basilisks run across it. Basilisks have long toes with rows of enlarged scales along the edge to give their feet a large surface area, and they run very quickly, never breaking the surface tension of the water, kind of skating across to safety. Both kinds of lizards are very common in Central America, near any river. Jaguarundi also like to hang around water, eating lizards, birds, and other small animals. In this painting, the jaguarundi is 10

spooking a bunch of lizards that are heading for safety. Carel no longer keeps reptiles himself, however, he uses his years of experience with reptiles and other wildlife to produce what Dr. Vern G. Swanson, Director of the Springville Museum of Art says are the best, the most creative wildlife paintings around. Swanson says it is particularly Brest van Kempens original use of color and his fine draftsmanship that sets his work apart from other wildlife artists.

Carel Brest van Kempen Crash-Barrier Waltzer (2005) Acrylic on illustration board, 30 x 22 used by permission of the artist

ANIMALS IN ART
ARTIST: Clark E. Bronson (1939 ) Provo, Utah TITLE: Big Boys 1984 MEDIA: Bronze sculpture SIZE: 22 x 28-1/2 x 14

BIOGRAPHICAL INFORMATION
Clark Everice Bronson was born 10 March 1939, in the small town of Kamus, Utah. Clark began studying wildlife at a very early age. He is mostly self taught. While in high school, he did home study lessons through Art Instruction Course Minneapolis, then took a few classes and University of Utah, and studied under Arnold Friberg. Familiarity gained through years of studious observation coupled with a love of animals and outstanding artistic skills has given his art a beautiful and intricate realism that is respected and admired by others in his profession. Arnold Friberg once said that, Clark Bronson is the best in his field. In 1960 Clark began illustrating for the Utah Fish and Game Department, By 1969, he was recognized as one of the leading wildlife painters in America. His magazine illustrations won national honors and with national recognition came an incredible demand for his paintings. His art was featured on the covers of leading wildlife publications. National calendar companies, Chevrolet, Browning Arms, Mercury Outboard Motors and other large corporations were reproducing his work and commissioning more. Rand McNally published five books using Clarks illustrations and collectors were buying his originals as soon as they were framed. in painting and firsthand knowledge of nature the transition was made quickly and easily. With the completion of his first sculpture, it became clear that the precision and realism so well known in his paintings was only to take on greater form and freedom through his sculptures. Collectors began buying entire series as fast as they became available. In less than five years Clarks wildlife bronze sculptures became the most widely collected in the world. Harry Horswell of the Tryon Gallery in London once said, Clark is the greatest wildlife sculptor since the 19th century.

In 1970 Clark and his wife Pauline, began filming animals in nature as a resource for Clarks art. Intrigued with the beauty of this world and the At age thirty, just when Clarks career as a wildlife painter was reaching its peak, he suddenly wonders of nature, they spent more and more time filming. He and his wife now spend their summers decided to switch mediums. He put away his brush and began sculpting. With his background in Alaska shooting a lot of wildlife, with a camera. 11

12

ANIMALS IN ART
ARTIST: James C. Christensen (1942 ) Orem, Utah TITLE: Fantasies of the Sea 1985 MEDIA: acrylic on board SIZE: 36 x 24 TITLE: Rhinoceros 1981 MEDIA acrylic on board SIZE: 14-3/4 x 11-3/4

BIOGRAPHICAL INFORMATION
James Christensen is an artist who captures our curiosity with a delightful combination of innocence and humor. My aim, says Christensen, always begins with a desire to connect with imagination. He adds, My work is an invitation to let your imagination run wild, explore, and make interpretations spontaneously. James Christensen, son of Sibyl and Harry Christensen, was born September 26, 1942, in Culver City, California. He grew up two blocks from the MGM studio; consequently, he and his friends often played in the back lot of the studio in Tarzans pond or on sets for movies such as Gone With the Wind. James loved to tell stories and use his imagination while playing and drawing. Christensen attended Santa Monica City College, UCLA, and BYU, where he received his Master of Arts. In the middle of his studies, he served a mission for the Church of Jesus Christ of Latterday Saints (LDS) in Uruguay and became a member of the Mormon Mods, a performing group that toured Chile, Argentina, Brazil, and Paraguay. Christensen found the local art compelling, and its influence can be seen in many of his works. In 1972, Christensen moved to American Fork, Utah, and became an associate art director for the New Era, a teen magazine published by the LDS Church. He was also a freelance illustrator but continually worked on his own painting. Christensen created fantasy images for his own 13

amusement, but he only displayed what he thought other people would like. However, he soon discovered that others liked his imaginative, magical worlds as much as he did. Christensen was a faculty member of BYUs art department from 1976 to 1997. He traveled with students in Mexico, Europe, and in Madrid, Spain. He returns to Europe frequently, and his art often reflects his travels. Weaving dreams, hopes, fears, and humor into the fabric of everyday life, Christensen has created many enchanting works of art. My paintings are meant to excite the imagination and invite

the viewer to become a participant in the creative process, says Christensen. His artwork delights adults and children alike. James Christensen draws his images from experience, travel, and nature, which he combines with his own active imagination. While he does not always strive to communicate a serious meaning or moral lesson, his paintings often reflect situations which he has personally experienced and with which the viewer can also easily relate. In his painting The Rhinoceros, Christensen has reinterpreted a sixteenth century drawing of an armored rhinoceros created by the German artist, Albrecht Drer. Abundant detail, scientific perspective, logical space, light, color, and implied texture are characteristic of Christensens fantasy environments. In the piece, the rhino is in a predicament: he is unable to go forward, but cant go back. The plastered room, painted to imitate the outdoors, offers the rhino no room to maneuver. The checkerboard floor is painted to give an illusion of depth in a room that has none, and the rhino is so cramped he cannot play with the tantalizingly close orange ball. The tick bird remains loyal to his symbiotic friend because he also is trapped.

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ANIMALS IN ART
ARTIST: TITLE: Guest MEDIA: SIZE: Silvia L. Davis (1957 ) Salt Lake City, Utah 1994 wood sculpture 28-1/2 x 15 x 19

TITLE: The Colt 1995 MEDIA: bronze sculpture SIZE: 26-3/4 x 52 x 42

BIOGRAPHICAL INFORMATION
Born in Cupertino, California, in 1957, Silvia Davis enjoyed painting and drawing as a child. She also liked creating 3-D models using cardboard, paper, and mud. Her early artistic interests eventually led her to study art in college. Davis moved to Salt Lake City in 1966, and she earned a Bachelor of Fine Arts in sculpture in 1980 and a Master of Fine Arts, also in sculpture, in 1993 from the University of Utah.1 As a student, Davis preferred working with three dimensional forms in wood. More restrictive than clay, the limitations of wood forced her to resolve sculptural forms more clearly. Working almost exclusively in wood, Davis uses observations made from life to create realistic sculpture. Fascinated by the contrast between complex geometric patterns and clearly defined volumes, Davis designs and sculpts subjects that demonstrate geometric clarity.2 Davis has a recurring interest in the coexistence of plants and animals with the man-made environment. While she tries to create sculptures real enough so that people can empathize with the subjects portrayed, she also wants these works to appear artificial enough so that they can be seen freshly.(Artists Statement) According to the artist, No subject is too insignificant for me. The world is full of subjects 15

that are looked at all the time but rarely seen. The more closely I pay attention, the more the world is worth looking at. I never create sculpture out of a void. Instead I try to open my eyes to what is already there.(Artists Statement) Davis received an award at the North American Sculpture exhibition in Golden, Colorado in 1983. Then in 1984, selected sculptures and drawings of hers were exhibited at a one-person show. ( Resume) The Phillips Gallery in Salt Lake City sponsored another solo exhibit of Davis recent sculptures in 1996. It highlighted her sculpture series entitled Animates.3

Davis has worked in a variety of artistic settings: as a sculptor for the Utah Shakespeare Festival, as an instructor at the Petersen Art Center teaching life drawing and sculpture, as an instructor in woodworking at the University of Utah, as a sculpture consultant for architectural firms, as a theater technician, as a free lance sculptor, a scene painter for the University of Utah, fossil preparator, and casting technician at the Utah Museum of Fine Arts. Currently, she sells her work through Phillips Gallery in Salt Lake City.

ENDNOTES 1 Resume of Artist.

2 Artists Statement, n.d, taken from the History of Utah Artists Binder Series, Huntington Research Library, Springville Museum of Art. 3 Animates Exhibition Announcement, Phillips Gallery, Salt Lake City, 11 October - 8 November 1996.

Davis wooden dog sculpture, Guest, is a fine 4 Dr. Vern G. Swanson, Director of the example of her interest in geometric patterns in Springville Museum of Art. Interview. August 25, contrast with a clearly defined volume. Made from 1999 found wood, Guest is carved from an old painted door that was cut up and then laminated. The original candy-satin turquoise-colored surface of the door is visible on certain areas of the sculpture. After the carving was completed, some of the skin areas were touched up to unite the piece as a whole. Davis says using the door to create the dog forced her to see creative solutions in her sculpting. The artist is uninterested in giving more visual information about her subject than is needed to create an expressive image. The economy of detail couples with a fine sense of gesture and form that allow her sculpture to have universal appeal. In recent years, she has expanded her oeuvre [work] into edition bronze casting.4 Her bronze, The Colt (1995), can be seen at the Springville Museum of Art.

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ANIMALS IN ART
ARTIST: Daniel G. Hildreth (1964 ) Pleasant Grove, Utah TITLE: Snowshoe Hare 1996 MEDIA: bronze sculpture SIZE: 9 x 8 x 5

BIOGRAPHICAL INFORMATION
I try to achieve softness with texture, comments Dan G. Hildreth, a self-taught sculptor who created Snowshoe Hare, which is featured as one of the Animals in Art examples in this Evening for Educators packet. I wanted to give the illusion of a rabbit, but purposely left thumbprints to remind one of the processthat it is a sculpture! Dan speaks of valuing the artistic quality of a sculpture while creating a realistic object: I want to preserve the magic of feeling when I sculpt, and that involves knowing what to leave and what to smooth out. Its tough to take hard, cold bronze and make it look soft; Ive tried to do that with texture. Dan also notes that rhythm is an important part of his work: I began with a square base, an abstract design, and created movement; your eye is always moving, from the head, around the body, and back, in the pattern of a wave. Dans natural ability to create wildlife and animal subjects began, he believes, as a young boy when he spent hours hiking, camping, and observing animals in the out-of-doors. He was born in Portland, Oregon, September 30, 1964. He moved to Provo when he was seven and claims to have possessed a wild imagination. He feels he was most influenced by the great sculptor, Rodin. By the time he was 18, Dan was working with Stan Johnson in Mapleton, creating bronze work with western and Native American themes. He attributes his further artistic development to the opportunity to study with Gary Price, a wellknown local sculptor, with whom he has continued to work full-time.

Their studio is located in Springville in the Reynolds Building, where they have 5,000 square feet at their disposal. Though Dan grew up three blocks away from his future wife, Lori, they were not well acquainted at Timpview High School, where she was a freshman when he was a senior. After he served a mission to Alabama, he and Lori became reacquainted at a dance in Provo, later married, and now have two daughters: Aubrey, 12, and Hannah, 8. The youngsters love to draw and paint, Hannah especially showing artistic talent at an early age.

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Becoming a husband and father has tremendously influenced Dans work as an artist. I am, he says, consumed by my family and by my art! Since his Snowshoe Hare won recognition at a Springville Museum of Art Spring Salon and was purchased by the Museum, Dan has had three other sculptures purchased and placed on permanent display in Springville: The Dance, a bronze work of a mother dancing with her baby (displayed across from the Villa Theater), Stepping Stones, a young girl (50 South Main, rear)and White on White, two Arctic Hares exhibited at the First Security Bank. In addition to using his wife and children as models, Dan uses the family pets quite often for his sculpture. The family owns rabbits, a basset hound, and English setters, good evidence a love of animals continues to be a part of his life.

Daniel Hildreth, Stepping Stones Photograph by Venita http://homepage.mac.com/venitar/home.html used by permission of the artist

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ANIMALS IN ART
ARTIST: Joseph Ostraff (1957 ) Provo, Utah TITLE: Albino Trout 1989 MEDIA: acrylic on board SIZE: 48 x 24

BIOGRAPHICAL INFORMATION
Joseph Ostraff, a native of Southern California, has been a resident of Utah since 1986. After graduating from Laguna Beach High School in California, Joseph attended Brigham Young University, earning a Bachelor of Fine Arts Degree in painting. After his BYU experience, Joseph married Melinda Weston and moved to Seattle, where he attended graduate school at the University of Washington, and completed a Master of Fine Arts Degree in painting. Since then he has done everything from lumberjacking in Idaho, sweeping floors in a department store, selling his paintings on the streets of Seattle for gas money, and building a house on the Kitsap Peninsula to traveling the South Pacific on funds collected from art commissions. He exhibits nationally and internationally, and most recently, he and his wife, Melinda, made a documentary film on the traditional art of tapa cloth making in Tonga. Joseph has also taught in the public school system for seven years and is currently an assistant professor of art at Brigham Young University.

something you feel is really important many people and especially your mother may not understand you. Josephs mother has been quoted as saying, What happened to my boy? He used to be so good Secondly, I consider myself to be a friendly, easygoing artist, but my work at art. Allan Fern, curator at the Smithsonian Institute in Washington, DC and juror for the 1993 does express a frustration towards the way we treat nature and each other. Hopefully the things I do Utah Arts Council Fellowship Competition, is quoted as saying upon his selection of Joseph to as an artist will have some positive impact on the be one of the fellowship recipients Joseph seems people within my community. to have some pent up anger and uses nature as a Joseph is best known for his paintings of fish, metaphor to address social concerns. Josephs response to these two statements is, When youre birds, and other animals taken out of the context of their natural environment. You find his animals doing 19

swimming down a street or passing through a window or door opening. Along with the uncommon placement of nature and man-made architectural forms, you may find other objects such as I-beams, pop cans, springs, and childrens toys scattered around. All this is put together in his paintings in an effort to suggest alternative ways for us to look at the world. Albino Trout is a painting about natural selection. Within nature, albino traits are based upon mutant genes that occur randomly within a species. Many animals that have this genetic trait are singled out by predators and have great difficulty surviving. Joseph says, It fascinates me that we would take this trait and use it to develop albino trout in our fish hatcheries so that people who fish for sport can catch these mutant trout in our rivers, lakes, and streams. Albino Trout, the painting, questions humanitys constant reversal of natural laws and the motives for such actions. The fact that our culture has a word like nature implies some sort of separation between ourselves, our culture, and our view of nature. As I peer from my comfortable position of security out towards this wilderness, I see a multitude of complex patterns and ordering systems that are intriguing to me. I see a world that is perplexing and unpredictable. Painting is my way of developing a personal sense of pattern and order in response to what I see. The repeated act of painting solidifies my place in nature, while decreasing my need to manipulate, possess, or control nature.

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ANIMALS IN ART
ARTIST: Gary Lee Price (1955 TITLE: Interlude 1989 MEDIA: Bronze SIZE: 61 x 22 x 19 TITLE: Puffed Up Prince 1996 MEDIA: Bronze SIZE: 35 x 28 x 28 ) Springville, Utah

BIOGRAPHICAL INFORMATION
Gary Price was born 2 May 1955 in Twin Falls, Idaho. He graduated from Montpelier High School in Montpelier, Idaho, and went on to study at Ricks College in Rexburg, Idaho, where he studied art under Oliver Parsons. After serving a two year mission in southern Germany for the LDS Church, he traveled with the Brigham Young University study abroad program for six months in Egypt, Jordan, Israel, and England. While later attending the Utah Technical College in Provo, he met and studied with the sculptor, Stan Johnson. Later that year, he studied painting, drawing, and anatomy with Alvin Gittens and Paul Davis at the University of Utah in Salt Lake City. During his enrollment at the University of Utah, he continued studying sculpture with Stan Johnson in Mapleton. Continuing his studies at the University of Utah, he graduated with a Bachelor or Fine Arts (BFA). After completing his BFA, he went to work for three months as foreman at an Orem foundry where he did a variety of tasks including mold making, wax and slurry casting, and welding. To this point, his subject matter dealt with Southwestern and wildlife themes, as in Buffalo Nickel and Return of Fury,, but later he worked with religious subjects as in his bronze of Jesus Christ, The Master. In 1983 he first started to gain recognition as a sculptor, beginning with an award at the Death Valley Art Show and continuing on to national recognition of They Rise Highest Who Lift as They 21

Go. A change in direction occurred for Price in 1986 when Arthur Bond of the Western Wildlife Gallery in San Francisco encouraged him to sculpt game birds. From this direction came wildlife bronzes such as Wild Wings and Partners, both depicting Mallard ducks. However, wildlife bronzes were not the only type of work he was producing. His versatility was exemplified in the work he was doing around the same time with Hansen Classics in Salt Lake City. There, he created delicate models for porcelain figures. During this year his work consisted of religious, wildlife, sporting, figurative and western subject. His pieces ranged from massive to small and from tightly controlled to impressionistic in style.

For Price, art is a quest for beauty. He has a studio in his home and has turned the lots surrounding his home into an aspen grove where he has placed much of his art collection. He is the founder of the Sculpture to Live By Committee that provides the city of Springville with two outdoor sculptures per year produced by nationally recognized artists. He has been elected to the National Sculpture Society in New York City, has won the Best of Show at the Scottsdale Artists school and has been featured in Southwest Art Magazine. Most recently, he received commissions for a 14-foot high sculpture for the United Methodist Church in Tennessee and a 20 foot high sculpture for NuSkin. Gary says he will continue to create a wide variety of sculptures but his most favorite will always be birds because of their flightbecause of the ideas they represent.

Price, Gary Lee, Interlude (1989) Bronze, 61 x 18 x 19-1/2

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ANIMALS IN ART
ARTIST: Mark W. Robison (1957 ) Orem, Utah TITLE: House Cat 1997 MEDIA: oil on board SIZE: 7-1/2 x 5-1/2 Artwork used by Permission of the Artist

BIOGRAPHICAL INFORMATION
I was born in 1957 in Topeka, Kansas. My family moved to Chicago in 1971, where I graduated from high school. I was going to attend the Art Academy in downtown Chicago, but I decided against it at the last minute. I converted to the LDS Church in 1977, and the missionaries convinced me to come to Brigham Young University (BYU). At BYU, I majored in Illustration and Design, and I count myself extremely lucky to have studied under James Christensen, who was very patient with me as I tried and tried and tried to paint like him. Although I am not a prodigious artist, I love to paint. My struggle with color blindness (red green) has been a constant source of frustration, but I feel Ive become a better artist because of that struggle. I have worked full-time for the Friend Magazine (a publication of the LDS Church) for six years. To be able to produce artwork by traditional means as well as electronic media (Macintosh) has been a wonderfully rewarding experience. It can be a bit disconcerting however, when Im painting at my easel and make a mistake, and instinctively, my left hand tries to Command-Z (or undo) my mistake.

My philosophy of painting is simple: I paint what I like. My wife Dana and I have four kids. We live in Orem.

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ANIMALS IN ART
ARTIST: Jason A. Wheatley (1973 ) Bountiful/CA TITLE: Yellow Bluff 1999 MEDIA: oil on board SIZE: 42 x 46

BIOGRAPHICAL INFORMATION
Jason Wheatley is young to be a successful artist only 26. In fact, he had two galleries representing him before he even graduated from the University of Utah in 1998. Whats more, his first solo exhibition, at the prestigious Coda Gallery in Palm Desert, California, sold out before it opened. As if that werent enough, his painting Yellow Bluff, included in this packet, was chosen for purchase from the Springville Museum of Arts 1999 Spring Salon. About the purchase of Wheatleys work, Dr. Vern G. Swanson, Director of the Museum, said We couldnt ignore him. He is original, authentic, and has an aesthetic vision. His work is emphatic. It doesnt just sit on the wall and get soggy. Instead, viewers get whiplash if they try to walk by it too fast. Wheatley says this is precisely how he hopes people will respond to his work: When people view my paintings, I see them trying to observe and interpret them, and the mysterious nature of my work sends them for an endless loop. This is the state of mind I try to impose on the viewera place where you are intrigued enough to want to keep looking but not so frustrated you want to give up.

same term could be applied to Wheatleys own work. After all, how real is it for animals such as magpies and chickens to be sitting on kitchen tables or for a dog and a rabbit to sit together in what is obviously an interior scene, as shown in Yellow Bluff?

Jason Wheatley explains his paradoxical paintings Influenced by the French Realist Gustave Courbet when he expounds on his view of life. It is my experience that life is humorously sad, [1819-1877], Wheatley says, I like his take on realism. Of course during Courbets time what he awkwardly graceful, chaotically balanced, and painted was considered realism, but today its not. painfully happy. I wholeheartedly accept this beautiful dichotomy; I have taken it as a means I mean, how real is it to walk through the woods and paint two nude women in a forest? Wheatley of interpreting my life and wish to relay it in what I paint. My favorite polarity to manipulate terms Courbets art Fantastic Realism, and the 25

is absurdly beautiful because this is how I personally interpret and process my lifes experience to extrapolate meaning. At their best, my paintings are as layered as our lives. Bonnie Gangelhoff, a writer for Southwest Art points out, He [Wheatley] brings his own contemporary blend of tension, intrigue, humor, and beauty to his still-life canvases. She also asserts that One of Wheatleys strengths as a painter is his ability to create tension in his works. He juxtaposes odd objects that wouldnt normally be grouped together and succeeds in getting the viewer to suspend disbelief. . . . Wheatley is fond of manipulating polarities [such as] serenity and tension.

Jason Wheatley, Buddhas Delight from SMA Spring Salon, 2001

company and for use in his paintings, but the bird squawked too much and was too possessive. He While at the University of Utah, Wheatley studied kept murmuring and attacking people who came in with David Dornan, a Utah painter. Dornan claims to see me, Wheatley says. These days a viewer is Jason is able to see the poetry in the ordinary. more likely to see pelicans in Wheatley work than Although he wouldnt disagree, Wheatley says a parrot; studying the graceful birds is his latest as a still-life painter, he often feels more like a obsession. I can keep painting them again and stage director. His stage may consist of a board again, he says. They keep revealing certain new balanced on two storage bins, but his actors, the aspects of what they are. animals, can be as temperamental as any human actors. Wheatley recounts a time when he was Like many artists, Wheatley includes an element using a live chicken, and the chicken, instead of of personal narrative in his best worksa struggle, looking bright and alert like Wheatley wanted, a problem, a decision. In Yellow Bluff, the golden kept relaxing so much its bright red comb flopped Whippet dog can represent aspects of himself, over. He finally resorted to prodding the chicken confronting a rabbit that is a personification of under the chin with a stick whenever its comb his hopes as Everything in my work relates to drooped. However, Wheatley points out the human emotions and experiencesto just being chicken sat much longer than some models, human, he says. Although personal, Wheatley especially for a chicken. It didnt move for 30 doesnt want viewers to find his work to be an minutes. obtuse, complex maze. Some artists become Instead of live animals, however, Wheatley mostly uses photographs or sketches hes made at local places like a bird sanctuary. He also has painted a number of animals so many times he no longer needs to look at the animalits in his memory. He does use other props in his still lifes, chosen from a wide variety of interesting objects he keeps in his studio: wood treasure chests, green rubber galoshes, Buddhas, bowls, vases, vessels, chopsticks, teapots, shopping badges, piles of rocks. He used to keep a parrot in the studio both for 26 obsessed with completely personalized narratives accessible only to themselves. Their work is like a private diary, he says. Well, no one wants to read a persons diary unless its Anne Franks. Gangelhoff says that what Wheatley does want is for his art to work on many levelsfirst and foremost, for its beauty. As he puts it, I sort of dabble in the absurd and make it accessible and beautiful at the same time. He also wants to invite viewers into his scenes, encouraging their own interpretations. In a Wheatley work, viewers often have the sense they are walking into a drama in the second act, and the mystery is perplexing.

They dont know what happened before or what will transpire in the future, but their curiosity is piqued. Wheatley doesnt like talking too explicitly about the meaning of individual works; he wants viewers to discover meaning for themselves. I want people to feel like they have stumbled onto a riddle, he says. Each object is a metaphor or symbol and the soul of his work, seems to be revealed in the eyes of the creature. Those creatures may be standing in for humans, expressing emotions and ideas he sees in himself and others. Wheatley says, If I put passion into a painting and it becomes personal, that will ooze out onto the canvas and people will feel it. Thats all thats important.

So far, Wheatley says he has never been blocked artistically. One painting leads to another like an extended dialogue. Beginning a new work is much like beginning a conversation. Youre not quite sure what youre going to say or where the conversation may end up. The dialog is an active process, and the painting leaves a record of this event, he says. Paintings continue to come to me like an ongoing conversation in my own idiosyncratic world. Jason Wheatley recently moved to California where he works for Coda Gallery and continues to paint. Gangelhoff, Bonnie. The Idiosyncratic World of Jason Wheatley. Southwest Art, December 1999: p. 40-44, 124 Personal Interview with Jason Wheatley

Wheatleys biggest fear is stagnation. To help avoid the problem, he takes a break every March and again in August to gain new energy and reflect on his work. During this time, he creates only one or two works instead of the usual four a month. In addition, he travels to Helper, where David Dornan, on an extended leave of absence from the university, has opened a kind of atelier there in a renovated hotel with living quarters and studios for visiting artists. Wheatley credits Dornan with showing him that still lifes can be about more than just dead flowers and fruit by pushing the idiom into new, expressive directions.

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ANIMALS IN ART
ARTIST: Roger D. Sam Wilson (1943- ) Salt Lake City, Utah TITLE: A Tension to Detail 1982 MEDIA: watercolor SIZE: 22-1/2 x 29-3/4

BIOGRAPHICAL INFORMATION
Sam Wilson was born in Kansas City, Missouri, in 1943; then his family moved west, living first in Golden, Colorado, and eventually staying in the Los Angeles, California area, mostly in Long Beach. He graduated from high school in 1961, an experience he says is . . . best forgotten. I was too young to be a Beatnik and too old to be a Hippie. I owe my career to Lyndon Baines Johnson. I went to school without much direction. I guess it was partly to avoid getting drafted. I was drafted. After service, mostly in Barstow, California, and Viet Nam (Barstow was the scary place), I resumed my education with the crucial G.I. Bill. My education was completed with a Masters from California State University, Long Beach. Currently, Sam Wilson is an Associate Professor, soon to be a full professor, in the University of Utah Department of Art. His varied career includes a number of teaching positions in California and Colorado, being an illustrator for Carl Sagens Cosmos on PBS, a Magician with Paramount Pictures, and working in stage design, construction, and silkscreening for Silent Running for Universal Studios. Wilsons work has been exhibited throughout the Intermountain Region and in California, earning him numerous awards. He spent 16 months painting the interior of the Cathedral of the Madeline in Salt Lake City, Utah. He enjoyed working there because, They let me do Wilson stuff. Talking about his work, Wilson said: Since I never could figure out the right way to start a painting, I would look at a piece of stuff, 29 thinking that it may be a way of generating a picture. Its like those horse-cart, chicken-egg questions. Do I collect stuff to paint or do I paint to collect stuff? By way of paint or pencil, I display objects both exotic and mundane on desk tops or in caves. This stuff I use may be replicas of other cultures or junk and tools from my work place. Masks may be people, people are animals or a rock is a placeit doesnt matter. I entertain myself and satisfy my curiosities by accumulating and arranging the items on the surface of the picture in a manner as unpredictable as possible. I believe that these oblique references and nonsense relationships open to me (and you) greater possibilities, more surprises and a justification for such a quiet and solitary entertainment.

I use the techniques of realism and illusionism as a medium to present these harmless dramas. The pictures are just hanging around on the wallI mean they are static. I assume the role of magician to add a helpful tension. The game of whats real or not is a ploy, a device to catch your eye. The final result of this labor would be, for you, a trip with no passport, a contest with no clock and a visual snack without the predictable flavor of a franchised fun house.

Roger D. Sam Wilson, Crow-Crowded or I Myself (1985) Acrylic on canvas, 36 x 42

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ANIMALS IN ART
LESSON PLANS

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32

ANIMALS IN ART
Its a Zoo Out There!
Opening Session Michael D. Phillips, Ph.D., Brigham Young University Department of Humanities
Whenever I set out to teach the history of Western Art, the first image I show my students is a paleolithic cave painting of Horses, Bull, and Stags. The image is thought to be about 15,000 years old and was found in a cave in France. Similar images are located throughout the world and testify not only to the importance of animals in the life of early humans, but also of the power of image. The images of animals are thought to have been used in the rites and rituals of these early humans and it is believed that these images had strong religious and magical implications. As I continue a chronological review of the arts and humanities of the Western World, it is remarkable how often animals appearwhether in Aesops Fables, early Christian iconography, as the inspiration for poets and composers, or as the imagery for choreographers and dancers. Animals are ubiquitous in the artsit is truly a zoo out there, and this subject matter may serve as the perfect entre for teachers who want to involve their students in art and in finding the connections between art and the rest of the human experience. The subtitle of this presentation is Myths and Legends of Animals in Stories, Art and Theater. As I looked at the images that were to be given to attendees as slides, one jumped out at me immediatelyLizard Relay: Jagaurundi With Green Iguanas and Banded Basilisks by Carel P. Brest van Kampen. While I thought the image itself was very interesting, I was far more intrigued by all the connections I started to make in my mind the minute I saw the image and read the 33 Jagaurundi With Green Iguanas and Banded Basilisks by Carel P. Brest van Kampen. While I thought the image itself was very interesting, I was far more intrigued by all the connections I started to make in my mind the minute I saw the image and read the title. You see, I have spent much of the last decade doing research in the small Central American country of Belize, where a scene such as the one presented would actually take place. I have watched groups of Iguanas sunning themselves on branches and logs, I have slogged through the swamps and rainforests, I have seen a Jaugurundi. This painting transported me to an exotic place and opened the door for me to think about so many other things. That is the beauty of animals in art especially as we are dealing with children and their insatiable curiosity. One of the things I thought about as I looked at this work of art was the significant role that animals have played in the folklore and legends of Belize. Investigating those is a way to make art come to life. I have included a copy of a wonderful Belizean folktale written as a short play for children. Dog and Iguana opens up a whole new world for students as they have to learn about geography, biology, language, cultures, etc. to be able to understand the work. What an opportunity for learning! I wanted to recount the way I arrived at this play from looking at this painting to show how easy it is to use animals in art to not only discuss the art itself, but also as a springboard to other things. Each one of the images in this packet has these types of connections. You can find

them, or better yet, you can let your students find them. There are endless possibilities for having fun with animals and art. What types of projects can you use in your classroom? The simplest and perhaps most effective approach is using one medium to inspire students to work in another. For example, using music to inspire drawing, story writing, poetry writing, or dance. Another approach that can lead to work and discussion in areas outside the arts concerns contextualizing animals and the art in which they appear. There are so many wonderful resources available relating to animals and art. I am including a very brief list of some of my favorites: Folklore and Legend: Aesops Fables The Tales of Anancy Childrens Books: I Spy a Lion: Animals in ArtLucy Micklethwait Hogsel and Gruntel and Other Animal StoriesDick King-Smith The Illustrated AnansiPhilip Sherlock Music: The Carnival of the AnimalsSaint Saens The Flight of the BumblebeeRimskyKorsakov Swan LakeTchaikovsky Rite of SpringStravinsky Saving the WildlifeMannheim Steamroller Theater (music and dance): Cats Children of Eden Lion King

WEB SITES OF INTEREST Sources for Aesops Fables: classics.mit.edu/Aesop/fab.htmlpacificnet. net/~johnr/aesop/sunsite.unc.edu/pub/ docs/books/gutenberg/etext92/aesopa10.txt Animal Myths and Legends: planetozkids.com/oban/ Animals in Christian Art: newadvent.org/cathen/0151b.htm Just for fun: www.vcn.com/~dillinger/bees.html (Images of animated bees dancing to Flight of the Bumblebees)

Iguana image on facing page from http://www.oaxacanwoodcarving.com/library/index.html

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DOG AND IGUANA a childrens play from Belize, Central America Gladys Stuart, used by permission Characters Narrator Iguana Dog Old Woman Optional Animals: a cat, a crab, a parrot, a monkey, a frog, a duck, a hen, chickens. Setting: In a forest through which a path runs. A lean-to kitchen is far left. Iguana is perched on a tree right. Narrator: (with tambourine) Long long ago Iguana was a proud creature. He was too proud to speak to the other animals. He held his head high and would only nod to them. (OptionalA simple dance of some animals using different rhythms with the tambourine e.g. a cat, a crab, a parrot, a monkey, a frog, a duck, a hen and chickens etc. All show extreme friendliness, but Iguana barely nods at them. They exit.) Narrator: Iguana and Dog were also nodding acquaintances but with a difference. (Iguana sees Dog coming and jumps from tree into path. He now shows extreme friendliness. The tables are turned. Dog ignores him! Another series of rhythms. Dog smells around, scratches. Iguana looks on hopefully etc.) Narrator: Dog passed by every day on his way to an old womans kitchen. This old woman made creole bread and buns and fried fish to sell for a living. Old Woman: (Sings plaintively from afar, enters through the audience, basket on Cant walk da mi plantach Ping wing juk me Cant walk dey at all Cant work da me plantach Ping wing juk me Cant walk dey at all (Old Woman also has her rhythm. She enters her kitchen complaining of work.) Old Woman: (To audience) Work for the night is coming when mans work is done. No one yet has said anything of when womans work will be done. I have to husk and chip and grater the coconut. I have to knead the dough and roll off the bread and buns and bake them. Between these chores I must find the time to clean the fish and fry them, tidy up the dirty kitchen and have everything spick and span before the sun begins to set. (Evening) Womans work is never done. (Works diligently in kitchen.) 35 head etc.)

Narrator: Dog came to the kitchen every day to see how sales were going and to shula for what might be left. When Dog came to the kitchen, he wanted the old woman to know that he was there. So to draw her attention to him, he would rub against her leg. This annoyed the old woman very much. Old Woman: Look here, dog, do not get in my way. Do not bother me. Keep out my way. (Beats Dog across the stage with a kiss-kiss or coconut broom. Dog exits.) That dog will cause me to injure him. (Works some more, then exits to husk coconut.) Narrator: Now Iguana wanted to be more than a nodding acquaintance to Dog. He longed to be on speaking terms. The next day he tried again. Iguana: (Gets in path as Dog enters.) Good morning, Dog. (Dog shows a little friendliness.) How are you, Dog? (A little more friendliness.) Where are you going? (Dog moves away.) Iguana: (To audience) This Dog wont speak to me. He wont tell me where he goes. I will follow him and see for myself. (Another Rhythm dance. Dog at a steady tempo going to the old womans kitchen. Iguana darting from one hiding place to another e.g. behind a tree or stone.) (Dog enters the old womans kitchen. She is not there. He smells around. The pot is open. He eats out of the pot!) Old Woman: (Enters with coconut kernel muttering.) Trial! Troubles! There is no rest for the weary--no peace . . .(sees Dog eating from pot. She shrieks!) (To the audience) Do you know what that dog is doing? He is eating out of my pot. He has lost his respect. I will teach him to respect me. (She beats Dog, saying) Be respectful to your betters. Narrator: Iguana was hiding nearby. He heard Dog, but he did not know he was getting a kiss-kiss beating. He longed even more to be in Dogs company. On the third day when Dog passed by, Iguana tried again. Iguana: Hello, Dog. Where are you going?

Dog: I am going to look for a poor old woman. You see she has no relatives. So I often go there to keep her company. Iguana: Oh, you are just the same as I am. I like to keep old womens company. Sometimes I can hear you when I pass by. Dog:Feeling ashamed) I? Oh! Yes! Yes, I suppose you hear me laughing! That old woman tells such funny stories I am obliged to laugh. Iguana:( Has to be in Dogs company at any cost.) Take me with you, so that I can 36 help

you to keep the old womans company and to listen to some of her funny stories. Dog: (To audience) I cannot escape from Iguana. He is always bothering me. I will teach him a lesson--a lesson not to force his company on others. (To Iguana) Come, Iguana, get on my back and hold on tightly. Whatever happens, hold on--tightly. Narrator: With a happy Iguana on his back, Dog went towards the old womans kitchen. It was a very bad day for the old woman. Old Woman: (Enters) Rain, rain! Everything is wet. Lord, do not give us more than we can bear. (Smells fish) Oh Lord! The fish!--this fish is burnt. (Rushes in the kitchen and out to the audience.) Oh Lord! What a day! It has rained all through the night. The roof of kitchen leaks the same as a sieve, the fire hearth is wet, the wood is wet, everything is wet and smoking.The smoke fills the kitchen. It gets in my eyes. I just went out of the kitchen for a wile and now the fish is burnt. Besides that, the bread and bun will not rise.Lord, I beg you not to test me beyond my endurance. Narrator: Dog entered the old womans kitchen and rubbed hard against the old womans legs. The bony ridge on Iguanas back scratched the old womans legs. She became angry. Old Woman: Dog, do not bother me today. (She whacks Dog but he does not run away. she peers at him through the smoke.) so you are hunching your back at me, (another whack) you ungrateful dog (whack). You come begging at my kitchen everyday (whack, whack). Now you have come to hunch your back at me with your upstartness (Whack, whack, whack, went the kiss-kiss or coconut broom. Iguana bolts, closely followed by Dog. The old woman is astonished to see two figures.) (To audience) Did you see what I saw? I swear! So help me! I saw upstartness come out of that dog. I am going after him or after them. Optional--If there was rhythm dance before, the same characters can enter singly and react to Dog with Iguana on his back, a strange sight indeed. They take up vantage points to see the outcome. The animals understand them to mean they are hiding so they too scamper pell mell.) Narrator: When Dog has to ingratiate himself, he still fears a beating. Cold sweat pours from him but his long hair covers it. As for Iguana, from that day he has not tried to force himself into anyones company. He has not even tried to get on speaking terms with anyone. He is a nodding acquaintance to all. But when he hears a dog bark, he remembers the beating he got and feels so ashamed he changes his colour.

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Aesops Fables

Androcles A slave named Androcles once escaped from his master and fled to the forest. As he was wandering about there he came upon a Lion lying down moaning and groaning. At first he turned to flee, but finding that the Lion did not pursue him, he turned back and went up to him. As he came near, the Lion put out his paw, which was all swollen and bleeding, and Androcles found that a huge thorn had got into it, and was causing all the pain. He pulled out the thorn and bound up the paw of the Lion, who was soon able to rise and lick the hand of Androcles like a dog. Then the Lion took Androcles to his cave, and every day used to bring him meat from which to live. But shortly afterwards both Androcles and the Lion were captured, and the slave was sentenced to be thrown to the Lion, after the latter had been kept without food for several days. The Emperor and all his Court came to see the spectacle, and Androcles was led out into the middle of the arena. Soon the Lion was let loose from his den, and rushed bounding and roaring towards his victim. But as soon as he came near to Androcles he recognized his friend, and fawned upon him, and licked his hands like a friendly dog. The Emperor, surprised at this, summoned Androcles to him, who told him the whole story. Whereupon the slave was pardoned and freed, and the Lion let loose to his native forest. Moral: Gratitude is the sign of noble souls. http://mythfolklore.net/aesopica/images_loc/0133r.jpg 38

ANANSI AND THE PLANTAINS A Tale from the Caribbean

A markit day but Anansi neva ave noh money, soh im siddung by di door af im cattage han im watch Tiger han Iisander di pus, Daag and Goat, han nuff adders hurry a goh markit fi buy han sell. Im neva ave nutten fi sell far im neva did du noh wurk ina di feel. Im staat fi wanda ow ima goh fine food fi im wife Crooky han im pickney dem. Han mose af all, weh ima goh fine food fi imself?. . . No sooner im dun im thaughts, Crooky Haitian Harvest by Joseph com a di door han seh tu im . . . yu mus goh out SMA Collection nung Anansi han fine sompting fi wi fi eit, wi noh ave nutten fi lunch, nutten fi dinna and tumarrow a Sunday!. A ow wi a goh manage widouten a scrap a food ina di ouse? Anansi staat fi pander a ow im a goh get sitten fi bring ina di ouse fi eit..but im seh tu har noh worry bout nutten, mi ha goh fine sompting fi wi fi eit. . . mi a goh out goh wurk han get som food . . . han every day mi goh out wid nutten han com bak in wid sompten. Yu watch han si! Anansi walk bout till midday, im noh fine nutten, soh im liddnung han sleep unda one shadi mango tree. Im sleep till di sun goh dung a evening han den im staat walk ome. Im walk slow far im soh shame im naa goh bak wid nutten ina im han. Im saat axe im self weh im a goh du, a weh ima goh goh fine food fi im fambily. Soh im walk han all af a sudden im com face tu face wid im ole fren Rat. Rat did ave one large hevy bunch a plantin a carry pan im ed soh till it almose a bruk im bak. Anansi eye shine wen im si di bunch a plantin, im stap han talk tu im fren Rat. Anansi seh ow yu du mi fren Rat?. . . a lang time nung mi noh si yu? Rat seh Oh, mi staggerin alang, staggerin alang. . . han ow yu han di fambily? Anansi put ann im langist face, soh lang dat im chin almose touch im toe . . . Im groan and shake im ed!. . . Haa Bredda Rat . . . time aad nung yu si . . . mi can ardly fine food fi eit fram one day tu di nex!. . . weh im seh dat, tears com a im eye . . . but im gallang talk same way. A walk all a yestiday, and tiday and all nung mi noh fine nutten fi eit fi mi han mi fambily . . . Ah Brer Rat . . . di children dem af fi ave so soh water fi drink tunite. Mi soh sarry fi ere! Bredda Rat seh. . . mi nung ow mi oulda feel if mi did afi goh ome tu fi mi wife han pickney dem widouten nutten fi gi dem fi eit! Wid out even a plaintin . . . Ananis seh, han im luk pan di plantin dem fi a while. Rat luk pan di plantin dem in silence tu!. . . Anansi seh nutten . . . im move tuward di plantin dem . . . im jus a draw close likka seh a magnet a draw im. Anansi coulden tek im eye aafa di pantin dem, but ongle fi a quick glance pan Rat face . . . Rat nuh seh nutten . . . den at last, Anansi opin im mout. . . wat a lovely bunch a plantins yu ave dere Rat . . . weh yu get it ina dem aad time ya? Rat seh Is all dat a ave lef in di field Anansi . . . da peas ya mus laas till di peas dem ready...han besides di plantin dem noh ready But dem a goh ready soon Anansi seh, dem will ready soon. Bredda Rat, gi mi two ha di plantin dem . . . di children dem ongle ave water fi drink fi supper tunite. All rite Anansi. Rat seh! . . . Jus wait a minute!! Rat count all seven (7) a di plantin dem. Rat count dem again han at lass im bruk aff four a di smalliss plantin dem han gi dem tu Anansi. Tenk yu Bredda Rat, tenk yu mi gud fren . . . But Rat . . . a four plantin dis and is five a wi in di fambily . . . mi wife . . . di three pickney dem and miself . . . Rat nat even luk pan im . . . im ongle seh elp mi Anansi put bak di planten dem pan mi ed, han noh try fi tief aaf any more. Soh Anansi elp im and Rat goh aff pan im way but im start aff slow as di bunch di still hevy. Anansi coulda walk fass as four planten neva comin like nutten tu im. Wen im 39

get bak tu ome . . . im an di four planten tu Crookey, im wife han tell har fi roast dem. Im goh outside a lie dung under di shady mango tree till Crookey caal im a tell im seh di plantin dem ready. Anansi goh bak inside han dere was four nicely roasted plantin . . . im gi one to di girl and one each tu di boy dem . . . im gi di lass han biggess plantin tu im wife. Afta every baddy ave dem plantin im siddung very sad lukkin an im wife axe im Anansi yu noh waan nun a di plantin? No, Anansi seh. . . dere is ongle enough fi four. . . betta me stay hungry and yu full. But papa one a di pickney dem seh, yu nuh ungry. Anansi seh . . . yes chile mi hungry but yu too likkle fi fine food fi yu self . . . betta me stay hungry. No papa . . . mi affi gi yu alf a fi mi own . . . soh di pickney bruk aff alf a fi har plantin han gi it tu har faader. . . Di adder two pickney dem du di same and wen di wife si wat a gwaan she bruk aff alf a fi har own and gi Anansi tu. Soh Anansi hen up wid more dan one a di plantin dem as usual im afi out smart every baddy.

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ANIMALS IN ART
ARTIST: Korry R. Bird TITLE: Contested Meal 1994 MEDIA: Bronze sculpture SIZE: 68 x 39 x 32

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) When you look at this work of art how do you feel? What do you think of? Does the art work remind you of anything?...Experiences, stories, something you have read or something you have done? These are the kind of ideas that can give substance and content to a work of art. Look carefully at the slide of Contested Meal by Utah sculptor Korry R. Bird. Do you see the fish? .................There is no fish...it is only lines, shapes, values, colors and textures that remind one of a fish. Are there any other lines, shapes, values, colors and textures that remind you of another animal? What is the medium (stuff its made of ) that carries the lines, shapes, values, colors and textures? Can you point out any of these elements and determine which are most interesting, most important to the overall work, which are most dramatic and impressive? Where does your eye want to look? Is there an interesting visual element there to catch your eye and hold it for a moment? Can you find a spot on this work that would be interesting all by itself without the rest of the piece? Can you find an even smaller place that is only lines, shapes, values, colors and textures that is interesting anyway? Do you think that it is possible for the visual elements of line, shape, value, color and texture to be more could walk around it and see it from all sides. Sometimes it is called a statue but in art talk what interesting than the subject matter (what it is a do you think we call this? If you think sculpture picture of )? you are right. In fact this is a metal sculpture. In fact this is a bronze metal sculpture because it is a This kind of art is different from a painting (even sculpture made out of bronze metal. Do you think though it looks like a picture because we are looking at a slide of it) because if you were where we are talking down to you? Do you think that is it is (grounds of the Springville Art Museum) you bad? Why? 41

We usually call sculpture 3-Dimensional Art and painting 2-Dimensional Art. What do we mean by dimension or dimensional? What are the two in 2-D art? What is the third one in 3-D art? Are all sculptures totally in the round (360 degrees)? What is relief sculpture or bas relief? Now are we talking down to you? Do you like this better? Why? When you think of a famous artist who do you think of? Was it a famous sculptor or a painter? Usually people think of art as painting. Are there other kinds of art? Why do you think that most people dont know the names of famous sculptors? Now you know at least one sculptor, Korry R. Bird. Do you know the names of any other famous sculptors? Who are they? What did they do? Where did they live? When did they live? Are they still working? Why are they famous? Do you think they should be famous? Do you think Korry Bird should be famous? Why? Can a woman or a girl be a good sculptor? Why? Do you know of any? Why not? [look up: Laura Lee

Stay, Judy Chicago, Von Allen, Marianna Pineda, Lee Bontecou, Louise Nevelson, Magdalena Abakanowicz, Nancy Graves, Maya Lin and Marisol.]

Lesson one: Mythological Animal Sculpture

Objective: Students will demonstrate an understanding of animal anatomy, sculpture, and mythology by creating their own mythological animal using at least two anatomical parts of existing animals and combining them in a somewhat reasonable way to create a novel creature of their own invention. Materials: This is not a medium-specific lesson because there are many wonderful sculptural materials available. Here we shall list only a few and the rest of this lesson can be adjusted to different materials and their special needs. Ceramic clay is an obvious medium for animal sculptures, but other types of clay can be used without the necessity of firing in a kiln such as the following: oil-based clay ( here is a secret about oil clay; buy a large bag of very fine dry ceramic earthenware. It comes in reds or whites. Add a quantity of light-weight oil, perhaps 3-in-one oil, mixing well until the desired consistency is achieved. This clay will maintain its plasticity and not dry out as there is no water to evaporate. Many recipes are available for specific qualities of the clay but all are considerably less expensive than commercial oil clay.) The real drawback with oil clay is its lack of permanence, susceptibility to damage, lack of tensile strength (it collapses under its own weight) and the oil will stain clothes. Amazingly, ceramic clay is much cleaner because it is water based and easily cleans up with a damp sponge. Some other sculpture materials that can be used in the classroom are listed below: Plastercan be used for additive sculpture in a slurry state, for subtractive carving in a hardened state, and for casting in molds in a slip state

Von Allen, Coast smofa.org

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 Woodsmall scraps and blocks glued together, or carved from a single piece; Papercut paper, cardboard, paper towel and toilet paper cylinder tubes, paper mulch and paper-mache; Waxadditive in a soft or liquid state and subtractive(carving) in a hard or solid state (remember that old crayons are wax and can be used to color paraffin or bees wax; Soap carving; Stonesandstone is soft and carveable with wooden tools and readily available in Utah, small stones can also be glued together as an additive sculptural medium; Styrofoamstyrofoam can be carved easily with simple tools, and it can also be made as very large pieces inexpensively with commercial resin and catalyst or can be found in smaller pieces as discards from packing materials; Wirethere are many kinds of wire made from different materials and at different gauges. These can be twisted and shaped into relatively flat freestanding animal figures or into very 3 dimensional, almost solid figures. With a sturdy base and careful construction any size can be achieved; Metals should be mentioned as a sculptural medium that can be forged (heated and pounded), cast while in a liquid state and cut and added together by welding and brazing. Obviously, very few elementary art programs are going to have welding facilities, but there is a safe and easy technique for small jewelry size metal work known as steam casting; Salt dough should also be mentioned, but it is a very difficult medium because it has limited tensile strength and very little plasticity, and it is difficult to work additively because it does not like to stick to itself except in a very sticky and soft state, and it is almost impossible to stack very tall without squashing and collapsing, and insects will eat it while it is on display; Found objectsassemblages and figures can be created from unusual discarded objects. These can be found in thrift stores, garbage bins, garages, and backyards. Most students and their parents will be glad to donate their junk if they think the art program can use it. Old 43

clothes can be stuffed and stabilized with wood or wire armatures to resemble human gestures. Found objects can be constructed around a wood armature pieced together with wire, glue, nails, solder, or duct tape, to name a few. An interesting twist on this style is to build a plywood or corrugated cardboard silhouette of a figure and then to glue found objects on it until it is completely covered. Things like leaves, small stones, seeds, plastic toys, game pieces and so forth can easily be used to make an assembled sculpture.

Process: After looking at Korry Birds bronze sculpture, Contested Meal, and discussing the QUESTIONS FOR LOOKING, lead students in a discussion of Mythological Animals. The idea of mythology is not culture specific. Remember that mythology is not just Greek and Roman. For example, in the great traditions of pre-European Mexico, the myth of the eagle and the rattlesnake (depicted on the Mexican flag) is visually reminiscent of Contested Meal . The feathered serpent, Quetzalcoatl of the Mayan, Medieval European Gargoyles, Native American totem poles, and Asian winged dragons are but a few of the available mythological creatures made by combining animals to create a new and metaphorical model.

Quetzalcoatl, as depicted in the Codex Magliabechiano (16th century). http://en.wikipedia.org/wiki/Image:Quetzalcoatl_magliabechiano.jpg public domain

Depending on the age of students and the breadth of the lesson, this could be about mythological animals in general or more culturally specific if desired. It might be appropriate to poll the ethnic composition of the class. Here in Utah we have a large population of Native Americans, Hispanics, Polynesians, Asians, and African Americans, not to mention the plethora of European mythic traditions. The object of this lesson is to have students create a mythological animal of their own invention. There are several problem-solving approaches to this issue. 1. Simply choose two or three animals and try to combine them with some zoomorphic sense. 2. Students could first imagine a fantasy scenario that uses unique animal creatures with unique properties and characteristics. 3. Students can combine traditional mythological creatures to create their own idea. 4. Purely fanciful creatures that may or may not resemble any other thing. 5. Combining human anatomy with animal anatomy. There are numerous visual aids and information resources available to teachers about mythology and mythological animals. Your local community library will have books on both mythology and on animal anatomy and habitat. Be resourceful and give the students a lot of options by showing them many animals and possible creatures. Here is a short list to get you thinking and going: Griffin - head of a falcon, eyes of a man, body of a lion, ears like the fins of fish, tail like a serpent. European and Egyptian. Sphinx - head of a woman, wings of a bird, body of a lion. Egyptian. Hours - head of a falcon, body of a man. Egyptian Minotaur - head of a bull, body of a man. Greek and Roman. Pegasus - body of a house, wings of a giant bird. Greek and Roman. Medusa - head of a woman, hair of snakes and sometimes her lower torso is a serpentine body. Etruscan, Greek and Roman. Cerberus - the three headed dog of the 44

Harpy, Ulyssis Aldrovandi; Monstrorum historia; Bologna 1642 http://upload.wikimedia.org/wikipedia/commons/3/3b/

underworld. Greek and Roman. Geryon - three headed, six armed giant. Greek and Roman. Cacus - half man and half reptile and fire breathing. Greek and Roman. Harpy - body and wings of a vulture, head of an ugly old witch with bears ears. Greek. Kappa - size of a 13 year old boy, walks upright, body and shell of a turtle, legs of a frog, head of monkey with long carefully trimmed hair, the top of the head is hollow to hold the water that keeps the Kappa alive. Japan. Jinni - shaggy beasts part wolf and part hyena, could change into human and could be invisible to everything but roosters, thats why they crow. Arabian. Ganesha - head of an elephant and body of a fat man. Hindu. Hanuman - body of a tall a slender boy and the head of a monkey. Hindu Lishii - a very hairy old man with rams horns and cloven hooves and claws like a bear. Russian. Whowie - head of huge frog, body of a lizard with six legs and human hands. Australia. Gurrangatch - half fish and half reptile. Australia. Moselantja - head and body of an old woman with scaly skin and dogs ears, a very long prehensile tail like a monkey with a serpents mouth and teeth

Think: This will include research, brainstorming, working together as a group to expand the thinking possibilities, this is best done more than once because some ideas take time and reinforcement to ferment into life. Keep thinking until you have some ideas. Get Ideas: An idea is a thought you can see; this is a quote by Sage, age 6. To help students see the thoughts in their minds have them describe to each other what the thought looks like. If they cant it isnt an idea it is only a thought. Some students may not have the words to describe their thoughts and a visual rendering is very appropriate. This is probably what visual art really means. Plan: Once students have narrowed their thoughts into ideas it is time to start drawing schematics of the idea. The idea tells you where you want to go. The plan will tell you how to get there. Jason, age 8. An effective way to firm up and formalize this kind of thinking and planning is for each student to make a planning page. This is a sheet of newsprint folded into four thinking spaces and each fold is drawn in with pencil to reveal a window pane page with four areas to do thumbnail sketches. These little schematic plans help to crystallize the ideas and demonstrate the

Dragon http://www.draconika.com/culture.php at the end of the tail. Africa. Dragons - lizards with reptilian wings. China. Mermaids - head and shoulders of a beautiful woman and lower body of a fish. . . . and what about those winged flying monkeys from the Wizard of Oz. To help students firm up their ideas, have them draw pictures of their imaginary beasts. Use the drawings as a blue print for sculpting their chosen creature. It is best to have more than one idea, otherwise your best is also your worst. Refer to the section on materials for a variety of sculptural medium.

ART IS A KIND OF THINKING Here we will discuss the process as an intellectual problem-solving thinking strategy rather than a step by step, how to follow instructions, technical project. We will follow a six-step process. Think, Get Ideas, Plan, Produce, Evaluate, Exhibit. 45

Turtle Squirtle, by Krista age 6 turtle head, bird body and wings, horse feet, elephant tail.

A Turtle Joke, by Breanne age 8 giraffe head, turtle shell back, horse legs and elephant tail.

Evaluate: If the purpose of school is to learn we must take the time to ask, What can I learn from this idea? If one of the purposes of art is to communicate, then the artist must take the time to ask, What have I said? This is the part of art know as criticism. This is not a negative stance. What we want to find out in a critical evaluation of our own art is, what are the significant elements of this production, what do they mean to me and what can I learn as a person and as an artist from this product? Here are three simple question to ask ones self: What succeeded here that I should keep? What failed that I should discard? What isnt here that I should add?

When evaluating another artists work we may feasibility or lack thereof in pursuing the idea want to adjust these questions somewhat. The further. If you only have one idea its not only trick in critical evaluation is consistency in the use your best idea but its also your worst idea. It of a repeatable model. takes two ideas to have one better and one worse. It takes at least three ideas to have your best one. Shelbi, age 9. So if you truly want to use the best idea, encourage your students to go beyond the obvious first impression even if you come back to as the best. It deserves some breathing room. These plans need not be detailed drawings but simple schematics to work out design, composition and even color scheme. Produce: This is the work mode. Just do it! There are a few tricks in this mode to help keep students focused. It is truly impossible for the human brain to focus on two things at the same time. It can switch back a forth quickly like a fluorescent light but other activities like talking and playing keep a student from being able to focus completely. A little talking also seems give some confidence and esprit de corps. So it is a fine line to balance. Somewhere in there is the sound of art being made and the other sound is of students just socializing in a nonproductive way. Students tend to stop working when they are bored and will tell you they are done. Done means, ready to take out of the oven. Ask the student, I can see you are done but is the artwork finished or does it need something more? How about... 46 Pikachu, by Mitchell, kindergarten. dinosaur body, horse legs, human head, elephant nose, lizard spikes, pikachu tail.

Exhibit: The last step in any successful art project is exhibition. There is a very good argument that if you do it in a closet where no one can see, it probably is not art. Kurt Vonnegut, the popular writer, says that art is a social experience. He writes that when somebody makes something and puts it out where people can see it, if anyone like it, thats art! Remember that you are someone too. Evaluation: Students should be given a chance to enhance the substantive quality of their project by giving it a name and creating a story about it. This story can either be written or presented orally.

It can be done in the genre of a mythological moral play or a purely child fantasy. Refer to bibliography for some examples of very short mythological stories. Do not try to copy existing stories but use them to inspire the students to create their own myths.

Materials: 35mm camera, telephoto or zoom lens, tripod, color or black and white 35 mm film and optional flash strobe. Process: Many schools organize field trips to local zoos and animal parks and wild life refuges. In Utah, we have Hoggle Zoo, Tracy Aviary, Wheeler Farm Petting Zoo and if your are not too concerned about the life part of wild life, the Bean Museum at BYU is an excellent source of mounted (taxidermied) animals from all over the world.

Exhibition: Students should make a title card to accompany the work. A brief explanation of the project can be displayed with the pieces. Each student should be encouraged to write some sort of explanation of their fantasy creature in which they list the animal parts they have combined or the Before the expedition have students prepare by mythological references they are making. looking at a variety of animal photography. Most any issue of National Geographic, Zoobook, Related Projects: Drawing, painting and relief Smithsonian, or Natural History will do. For more printing of mythological and made up creatures, specific photo techniques, there are a lot of howtraditional realistic animal sculpture, found object to books printed by Kodak and other commercial sculpture, puppet theater of make believe animals. photography companies. These are especially good for examples. Look at some famous wild Vocabulary: sculpture, model, cast, additive life photographers work. The point is to prepare and subtractive, found object, anatomy, armature, students with some idea of how to make a mythology, zoomorphic. photograph be more interesting than the traditional family vacation snapshot. Bibliography: The Worlds Mythology Series, Peter Bedrick Books, New York. Giraffe Words From The Myths, by Isaac Asimov. www.hoglezoo.org In The Beginning, Creation Stories from Around the World, by Virginia Hamilton. Encyclopedia of Legendary Creatures, by Tom McGowen. The Power of Myth, by Joseph Campbell. Children, Clay and Sculpture, by Cathy Weisman Topal. A Collaboration With Nature, and Wood, and Holes, by Andy Goldsworthy. Any set of Encyclopedia.

Lesson Two Accessible Animal Photography

Objective: Students will demonstrate an understanding of wild life photography by creating an original animal photograph using a 35 mm camera while on a field trip to the zoo. 47

What constitutes a successful photograph? PHOTOGRAPHY literally means DRAWING WITH LIGHT (PHOTO = LIGHT and GRAPH = DRAWING or WRITING). So the very same elements and techniques that create an interesting pencil or crayon drawing will result in an interesting photograph. Ask students, How can you make a photograph of an old lady be interesting if its NOT your Grandma? We all know that a poorly composed, semifocused, cliched snapshot of someone you know (especially yourself ) is interesting to you; not because it is an interesting photograph, but because the subject matter is of personal interest to you. The goal in art is make it interesting to someone who does not know the subject matter personally. If a photograph succeeds only because it documents a personal experience that has meaning only to you, we will call it a SNAPSHOT. If a photograph succeeds on the same level that a fine painting or drawing or sculpture, then we will call it a PHOTOGRAPH. These may be artificially prescribed definitions, but they become useful tools in teaching the ART OF PHOTOGRAPHY. In no way should this be misconstrued to demean the importance of family snapshots. They are an important part of other academic disciplines; history and genealogy. The following is a list of some ways to make your zoo animal photographs be more interesting: 1. Avoid the obvious or the cliche we have all seen. (think) 2. Use interesting lines, shapes, colors, values, and textures. 3. Use an interesting point of view. (camera angle or focus) 4. Fool the eye. (an illusion created by the camera or something that couldnt possibly happen in reality...the head of the giraffe that looks like it is directly on top of the 48

person in the foreground and appears to be a hat when in reality the giraffe is far in the background) 5. Say something interesting or maningful or thought provoking. (a visual editorial about feelings and ideas) 6. Use interesting lighting. (in the shadow, colored natural lighting like sunset or sunrise, shadow across the subject matter) 7. Use interesting composition. (movement, balance variation and repetition) 8. Use of interesting or unusual groupings. 9. Specific closeups of animal parts that may or may not suggest the nature of the whole animal or editorialize about the animal. 10. The use of interesting subject matter, doing something interesting and in an interesting way in an interesting place wearing interesting costumes.

Black and White Ruffled Lemur www.hoglezoo.org

If youre a little uncomfortable with a 35 mm camera and a telephoto zoom lens, here are some fail-safe ways to use this equipment and still have the students in control of the aesthetic decision making: Divide students into workable groups, about 5 -10. Use parents as helpers. Work with one small group at a time while the others are out looking for the animal and pose they want to photograph. Make sure that all on the Photo Safari get to shoot at least one idea before the more prolific thinkers shoot again. When a student has focused his or her attention on a specific animal and can explain briefly what kind of a photograph they want to take, set up the tripod. There are very inexpensive tripods available in many camera departments. By using a common zoom or macro zoom lens (70 mm to 200+ mm), the student can get very nice close ups and have many more compositional options that a traditional point-and-shoot camera eliminates. The simple point-and-shoot camera that most children have are fine to bring along. The photos taken with those cameras will show an interesting difference between a detailed and specific photograph and a generalized snapshot documenting the field trip. Many of the newer automatic cameras come with automatic zooms that usually go up to about 105 to 120 mm. That is enough. Use whatever you have. The best ideas work comfortably within the limitations of the medium or equipment and still create something interesting to say. After the student has chosen a shot, the camera is on the tripod, and the students can find the subject animal through the lens, the student photographer can use the zoom to crop in close or zoom back for a wide angle shot. Look through the lens and discuss briefly with the student the pros and cons of the shot and some possible other ways to get the same subject. Check carefully for focus. Let the student do the 49

www.manorfarm.info/default.asp focusing, but it is o.k. for you as teacher to make polite suggestions like, How about focusing the thing. If you use a camera with automatic focus and light setting, it is a done deal, and no adjustments need be made. If you are using a manual adjustment camera (preferable as a teaching tool), you must adjust the light setting or f-stop (most easily understood as the aperture settinghow big the hole is that lets the light through). Most cameras available today with the ability to change lenses have a through the lens metering system. That means there will be a circle and a needle or some equivalent, and when they are lined up you have a safe exposure setting. If you cant find enough light, then you must slow down the shutter speed (how fast the shutter allows light through the aperture). This is usually a knob somewhere on the top of the camera near the rewind handle, and frequently it is also the ASA setting knob. By adjusting the f-stop ring on the lens and the shutter speed setting, you can find a safe setting with the light meter as seen inside the lens somewhere on the outside edge of the picture format as a scale of numbers and a light meter needle. Match them up and you have a safe setting. Not all cameras work this way, but you as teacher should know your own camera. [if you want to buy a camera for your class but

cant afford it, volunteer to be in charge of the school yearbook. That means you will need to keep the school camera in your room]

use the shutter release when using a tripod mounted camera. For the zoo animal project use a relatively fast film like a 400 ASA (t-max or tri-x) for black and white The safe setting is not necessarily the best. Try and for color use an outdoor Ektachrome slide bracketing the shot. That means to shoot the film of about 200 ASA. The reason for using a exact same picture at several settings, usually one color slide film instead of a color print film is that slightly overexposed (one f-stop click for too much the slide makes a good proof to look at in class light) one right on and one slightly underexposed to decide which ones are good enough to print up (one f-stop click for less light). Somewhere in and about what size enlargement the exposure can there will be a more interesting exposure setting stand. (frequently sightly underexposed for more value contrast and deeper, lusher colors). After a few After the field trip is over and the film all shot, rolls of film, most students will start to develop a take it to a reputable film processing lab (try World preference and style of exposure setting all their Wide) and have black and white developed and own. Encourage this. a contact sheet or proof sheet made with it. The contact sheet will have all the shoots printed as Exposure log: Each roll of film needs to be positives the size of the negatives on one sheet, accompanied by a record of exposure settings, students name and subject matter matched to each frame on the roll of film. Dont try to rely on memory. The reason we need this record is to tell whose photograph it was and how to repeat a success and how to avoid a failure. A convenient little check list to verbally run each student through as they compose and shoot their picture might be like this: 1. zoom and composition 2. focus 3. f-stop with light meter 4. focus again 5. shutter speed 6. focus again 7. zoom and composition 8. focus again 9. CLICK the shutter.

Bactrian Camels www.hoglezoo.org easy to see and evaluate and easy to keep track of. Students should then engage in an evaluation of the shots to see which are worthy of printing and enlarging. Look for focus, contrast, density, and composition. Help students decide which should be printed. For the sake of expense, it is a good idea to have the school shoulder the cost of the film, the film processing, and the

In many cases, especially for indoor studio shots under artificial light, a very slow shutter speed is required. The use of a shutter release (an extension to the shutter button) is necessary to keep the camera still. It is a good idea to always 50

contact sheet (depending on the film and the lab, maybe about $10 per roll). If students want to enlarge their picture, have them pay for their own enlargements. Some traditional sizes are 4x6, 5x7 8x10, and 11x14. An 8x10 is a very good enlargement size and for black and white is usually under $5. A good reminder for children is that bigger is not necessarily better, it is only bigger. It may be hard to convince small humans of this idea, but it is nonetheless true. Size is quantitative while goodness or betterness is qualitative. A similar process can be done with the color slides. With slides the proofs can easily be previewed and critiqued by the whole class on a projection screen with a slide projector. If you can get the projector close to the screen it is easier to make the image smaller and denser and give a better idea of the print quality. Once again, the school can easily handle the cost of film and processing if students will accept the cost of enlarging and printing. If your budget allows, a set of 3x5 prints can be made from the black and white roll for about 40 cents each or less. These can be given to students so that everyone has a print of their work. A 3x5 is not a very good size to exhibit, but each student can own a documentation of her own photographic expertise. [If you have students whose families actually cannot pay for an enlargement, you may want to explore ways to fund them. One of the best ways is to find individuals who are willing to hire students to do odd jobs. This method allows the children to earn their enlargements instead of feeling like theyre charity cases.] Evaluation: A wonderful way for students to evaluate the quality of their photographs is to have them look beyond the subject matter. That is, to evaluate their use of line, shape, value, color and texture. If a student can identify these visual elements in their own photographic work, there is a good chance that they will be able to overcome the domination of subject matter the next time they take a photograph or the next time they draw or paint. 51

Have students identify one of the elements of visual art. Line (or point) is probably the best one to start with. Have them write a sentence or two about a specific line in their photo by describing where the line is found and what it looks like (not as part of the subject matter but like zig zaggy or curvy ) and by answering questions like, Which line in the most interesting? Why? How do you feel when you look at it? Exhibition: An important exhibition venue that should not be overlooked in photography are the photo processing labs and camera stores in the area. This is terrific public relations for the business especially if you can arrange a small opening with refreshments and invitations to families, friends and teachers. This is particularly easy if you are using the business for processing or for supplies and it wont cost them anything. Free advertising is a powerful incentive. Make sure that the work is matted and framed and titled and labeled in a very professional way so as to bring credibility to your school, the students and your contributing host. This is much easier than one might expect since nearly no one in Utah

is taking advantage of this strategy. Remember there are a lot of other options for exhibition in the community. Related Projects: A wonderful project in animal photography is to use one photo of the animal and then with a telephoto lens or cropped closeup enlargements have each student in the group

take a specific closeup on a part of the animal like a texture of hair or shape of the eye or a corner of the lip or a swish of the tail. These detail photographs can be mounted around an enlargement of the whole animal or put together in some semblance of the anatomical structure that in some general way reconstructs the animal by proximity of the details. If the zoo field trip is unavailable, bring in pets and do studio portrait work with back drops and inexpensive lights. Use the tripod, shutter release and for color use a tungsten sensitive Ektachrome 160 slide film for use under incandescent lights. If all this technical stuff seems to much, use a point and shot automatic camera with flash indoors or outdoors and try to figure out how to avoid making personally esoteric SNAPSHOTS. The most effective way to leave snapshots behind is to get as close as possible to the subject matter. Notice how many pictures in your family shoe box have a small picture of part of Uncle Somebody with lots of extraneous surrounding stuff that you cant exactly recognize and off somewhere is the person your are trying to capture by drawing with light. Vocabulary: photography, snapshot, exposure, tripod, lens, composition, value, contrast, content, subject matter, f-stop, aperture. Bibliography: Kodak Books: Photographing Your Vacation and Close Up Photography. My Camera, by George Ancona, The Solitude of Ravens, by Masahisa Fukase. FOCUS: Five Women Photographers, (Julia Margaret Cameron, Margaret Bourke-White, Flor Garduno, Sandy Skoglund, Lorna Simpson), by Sylvia Wolf. The Photographic Eye, by OBrien and Sibley. The Camera, by Time Life Books.

animals and plants, weather and ecology or any one of the proceeding issues by creating a large butcher paper mural of one of four natural habitats, Deserts, Mountains, Swamps and Oceans then making cutout renditions of animals and or plants and or weather and other ecological concerns and attaching the cutout to the habitat mural in the appropriate place. Materials: large sheets of butcher paper at least six feet long, masking tape, pencils for sketching, charcoal pencils and watercolor or tempera paint. (crayon, watercolor, colored pen or pencil and colored chalk and oil pastel) Process: Students will first be led in a study of various habitats. There are many habitats available including generic and specific ecological locales. Simple and general is probably best for younger

Lesson Three Science: Habitats

Objective: Students will demonstrate an understanding of HABITAT as it relates to 52

swamp habitat images from commons. wikimedia. org

students such as Desert, Mountains, Jungle, Swamps, and Oceans. With older students, more specific habitat might be more interesting and appropriate. After general habitats have been discussed including the over all biosphere of the terrain and the specific botanical and zoological bioforms in a particular habitat are listed, students will divide into the appropriate number of habitat groups and create a large landscape mural depicting the geology and geography of the chosen habitat. This landscape can be drawn from photographs or illustrations found in science books or generally made up to suit geological necessities. Remember that many of the plants and animals live above or below ground and water surface and mud. Part of the landscape can be a cutaway to show under the surface of the ground, inside of trees, under the surface of oceans and lakes. Remember also that much of the biology of a habitat is in the air so room needs to be left to include flying and floating biology. Another consideration is possible weather phenomenon. After the habitat is chosen and groups are organized students will first make a list of everything they think might want to be included in their mural. This list can be larger than space available so a prioritizing must happen. When a clear list of inclusions is made have students draw lightly with pencil some small schematics of the overall mural so that composition and placement can be predetermined. Compare the various sketch proposals and have the group come to some kind of consensus as to what and where to be included in the mural. At this point the medium for the final mural must be decided upon. It is all right for the teacher to decide on medium depending on what materials are available. Try watercolor as it is easily available and relatively easy to use with just a little instruction.

Animal Habitat, 4th Grade http://iseagle.sas.edu.sg:8068/art/Studios/Stacie/ Stacie.htm the seascapes by Winslow Homer. Another source of landscapes are the multitude of calendars with landscape photographs. These can be valuable resources because they demonstrate the Five Ways to make things look near and far in a landscape: 1. Overlapping, 2. Detail, 3. Size, 4. Placement, and 5. Contrast.

Make sure the students understand these basic perspective concepts. Have students draw the whole landscape lightly with pencil on the large butcher paper. This type of mural will work better if the students draw large general areas rather that trying to put a lot of intricate detail. After pencil drawing have students use a charcoal pencil to outlining the shapes and objects found in the landscape. Now it is color time. If students can not divide up the responsibilities on their own then make assignments either by subject matter parts of the landscape or by dividing the landscape into specific areas to which individuals are assigned. Do not overlook the opportunity to A careful look at some landscapes with plants and teach cooperation skills and how to achieve group animals might be appropriate at this time. Some consensus. prints to look for would include Stone City, Iowa Now it is color time. Watercolor is a great by Grant Wood, Peaceable Kingdom, by Edward medium to use but certainly not the only one. Hicks, any of the jungle and animal scenes by Here we will talk about color generically so the Henri Rousseau such as Virgin Forest, and any of 53

teacher must choose the medium which is most accessible and easiest for the teacher to model. Do not use a medium that intimidates the teacher. Before color is applied explain something about value. Insist that students avoid the temptation to let the watercolor set or crayon box tell them what color the sky is. This is their project and just because there is only one color of blue in the set doesnt mean that it is the right color. Students should discuss what color the sky in their habitat can be and mix the colors to get it. Notice that it is very rare in any environment that the sky or water or ground or rocks be one flat generic color that comes straight out of the art supply box. First, the artist must have an idea of the color they want and then go about mixing it. This is a very important idea concerning color so model to the students how to get variation in color. When color is finished spry it with a clear acrylic spray. This is to prevent the tape which holds the plants and animals on from sticking to and tearing the mural. When the landscape habitat background is finished (remember we are only creating a geological background for the rest of the plants and animals to be hung on) have students in each group make a list of animals and plants that are found in the habitat they have just rendered in their mural. Make sure the list is long enough. Too many is better than coming up short. Divide up the list and have students draw and paint the individual plants and animals. When each is finished and the object cut out spray it with a clear acrylic sealer so the attaching masking tape will not stick and tare the cutouts. These projects can be made on any kind of paper including butcher paper for very large objects but card stock is probably best because it is very sturdy and can be moved around during the processing of this project without much damage. For younger students it may be advisable to seal the plant and animal objects in a laminating machine. When the visuals of this project are finished have students discuss the balance and give and take of the plants and animals in this environment addressing such issues and predator and prey, camouflage, nesting and burrowing sites, night and 54

day behaviors and how seasons affect the balance and what each plant and animal do at various seasons. Remember that if the background habitat and the plants and animals can easily be moved about a variety of conditions can be simulated. Evaluation: An excellent way to evaluate the amount of learning experienced by the students in this project is to have them write a brief synopsis of what they have learned about specific habitat and its residents and occupants. The writing can be done individually or with each student doing a part of a larger report as a cooperative effort resulting in one large description of these relationships in nature of Who, What and Where. Exhibition: The product of this exercise is a valuable teaching tool. The work can be hung in a prominent place in the school with the report or reports displayed along side the visuals. Oral and dramatic presentations can be given in class about these locales with each student taking a specific part of the ecological relationship. These projects can be presented to different classes either as preparation for next years students or to divide up the project between classes with each class responsible for teaching their part to the other class. In this last instance have the students make a test to document how well the other class learned the habitat lesson and to see how well each class is at teaching an important lesson. When students create the test, the process losses some of its adversarial nature. Related Projects: There are a multitude of available spin off projects and variations on this theme. The habitat could be a specific place like the old pond or stream down the street from the school or for that matter the school grounds and adjacent vacant lots. Other more general specific areas could be along the Wasatch Front or Yellow stone Park or the West Desert or Utah Lake. Other interesting habitat can be used like Tropical Islands, Arctic and Antarctic, Above the Tree Line Mountain Tops, in Glacier Valleys, Along Rivers and in City Parks. It might be interesting to do the same habitat in different seasonal conditions. Perhaps one habitat with Night and Day. . .

Another interesting habitat mural could be made by including MAN as one of occupants of the natural setting, not only as a resident but by environmental impact factors like roads, air quality, farming (herbicides and pesticides and muddy run off from plowing and irrigation) water availability, noise pollution and simple trampling of terrain. These are interesting issues which impact all of us. Ask this question, Are humans and human made things part of NATURE? Is there any place on earth where humans are not part of the ecosystem? Vocabulary: Ecology, habitat, nature, zoology, biology, botany, landscape, geology, geography, perspective, value scale, mural. Bibliography: The Art and Science Connection, by Kinberley Tolley. The Magic School Bus, Looking for Liz (Habitats) The Salamander Room, by Anne Mazer. Our Planet Series, by Troll Books.

Jaguar Effigy/Incense Burner (6001200 A.D.) ceramic Utah Museum of Fine Arts Process: Depending on the age of students; explain, display and model how humans track time with sequential dating. When we make a large linear image of time sequence we call it a time line. It is a bit of an illusion since time is not simply linear but most of what we do in art is and illusion anyway (things arent really smaller the further away they get, they only look smaller). For our purposes here we will deal with the singular illusion that time is a thin straight line and all happenings in human experience can be found somewhere on this line. It is a useful image.

Lesson Four History; AN ANIMAL TIME LINE

Objective: Students will demonstrate an understanding of the chronological and sequential nature of history generally and art history specifically by documenting and dating how humans have drawn, painted and sculpted animals since earliest known prehistoric times and To introduce this concept to young students it displaying these images chronologically in a time must be made clear that the calendar used today line. in the United States is only one of the systems used in the world to track time. There is the Materials: School and community reference Gregorian Calendar, the Julian Calendar, the library, photocopier, a large space to display Hebrew Calendar, the Chinese Calendar, the images and writing and dates. Islamic Calendar, the Mayan Calendar and a Maya Calendar Glyphs whole variety of cosmologies that create schematic http://commons.wikimedia.org/wiki/Maya_calendar renderings of the sequence of time. This is of 55

course not mentioning all of those cultures and cosmologies that do not see time in any linear way or even track and document time the way we do. The Masi of East Africa keep track of time in each nomadic community separately from the next community and call periods of time by the natural phenomena that occurred to that particular community. For example: In the time of the big fire or the seasons when all the calves died.

be able to grasp this. If you can start with the present and push the time sequence backward to their birthday, then the year the school was built, their siblings birthdays, their parents birthdays and grandparents birthdays and so forth, keeping it personal, the image and vision become accessible. After all, a time line really is a visual picture of what time might look like if you could see it. Keep it personal and spread it out into community dates, state dates, and national dates until they run out. Then use exploration and discovery dates, first European around the world and other dates reaching back to the birth of Jesus. Keep the dates simple and explain the historical occurrences because they are easier to visualize than the simple numbers involved. Keep going with the aid of the time line in the back of a sixth grade Social Studies book, including the major cultures of the world.

Try to add some of the important dates from the cultures that Eurocentric Americans do not get Only community members knew what anyone was to learn about like the settlement of Polynesia, talking about. The periods of time in the Masi Melanesia, Micronesia, Australia, China, culture are not tracked in even increments but in South East Asia and some significant dates in very asymmetrical uneven lumps of time. Cave Paintings from Altimira Cave, France Or, take the Australian Aborigines sense of concentric circles of time and the ability to drift into and out of different times with different realities. Or take Albert Einsteins and Stephen Hawkings various versions of the relative nature of time. Anyway, not to confuse the issue but to give young students some hooks to hold on to, lets start our time line at what the Western World calls the Meridian of Time or the birth of Jesus. In historical vernacular we refer to BC, or the more politically correct, BCE as Before the Christian Era and AD which in Latin is anno Domini or the in the year of our Lord. The numbering system then starts with the birth of Jesus and moves backward into BCE and forward into AD and to the present. This is pretty hard for youngsters to grasp. Try explaining it this way: Last year was 1999, that meant that it was the 1,999th Christmas (not counting the shifts and anomalies in the dating sequence) and this year will be the 2,000th Christmas. Children seem to 56

Josephie Nalukturuk, soapstone carving 11.5 tall. http://flickr.com/photos/ 74113208@N00/1226127254

African history and South American and Meso American history. When the time line is generally established on the wall or ceiling of your room or out in the hall, it is time to start looking for animal images. You may want to limit this time line to a specific culture or geographic area. You may want to keep working on this project for a long time and include as much of world history and culture as your research can uncover. Give each student the assignment to find an image of an animal and photocopy it for your time line with appropriate information. You will want to have information like Who, Where and When. Give the students a format of information so they can collect specifics. When? is going to be very important because that will determine where on the time line it will appear. You may want to give a specific size to the photocopy. It can be color or black and white or b/w and hand colored with colored pencils and watercolor. Try to achieve some visual continuity. Have students place their findings in the appropriate place on the time line with some ceremony and bravado to help make their success a big deal. Note: The time line should probably be flexible enough to change its proportions to accommodate the fact that all time periods will most likely not be represented by an equal amount of room on the time line. Be ready to adjust the amount of space to the quantity of student responses. Your school library is undoubtedly full of images of animals made by famous artists from all over the world over a long period of time. Here are some things to look for: In Europe we can push the idea of rendering animals in art at least back to Head of A Neighing Horse, from France, c. 30,000-10,000 B.C.E., elk and bulls on the walls of ancient European caves like Lascaux and Alto Mire, c. 15,000 - 10,000 B.C.E., Sumerian bulls, Egyptian lions and birds, Chinese dragons and terra cotta horses and camels, Indian elephants, Native American masks and pottery designs, African animal fetishes and sculptures of antelope, Eskimo whale sculptures, Mayan feathered serpents, and Minoan sea creatures. This is a very short list but a place to start. 57
Albrecht Drer. Knight, Death and the Devil. 1513. Engraving. 24,6 ~ 18,9 cm http://commons.wikimedia.org/wiki/Image:Knight-Deathand-the-Devil.jpg Public Domain

For a more current grouping look up some Modern artists like Edward Hicks, The Peaceable Kingdom; Marc Chagalls, I And The Village; Pablo Picassos Bulls and his sculpture, Bulls Head; Albrecht Durers horses in The Four Horsemen of the Apocalypse, and horses and other creatures in The Knight, Death and The Devil; M.C. Eschers fish and birds in Sky and Water and other animals in his famous work Metamorphosis; Henri Rousseau, The Sleeping Gypsy; Constantin Brancusi, Bird In Space; and Paul Klee, The Seafarer (sometimes known as Sinbad The Sailor), and any of Deborah Butterfields horses. This is a very incomplete list but the idea here is to learn how to research without just looking up words the teacher gives. The world of visual art is so full of renditions of animals that it would be impossible to look through any general art history text without finding many versions of animals. Do not overlook the many different artistic styles

that have been use to render animals. See if you can find some very abstracted versions and some very photo realistic versions. Find some that are painted and some that are sculpted. Do not forget, Contested Meal, by Korry R. Bird. Evaluation: A written statement can accompany the photocopied art work if there is room and it seems appropriate. When an artist writes about someone elses art work it is called Art Criticism. This does not mean to find things wrong with the work but to find things that are important and significant to the art work. You may want to playfully call your critiques art signifs. Be careful! This is not the correct expression and should not be used to confuse the students. A short critical model to use might be: Who did it? What does it look like? How was it done? and Do you like it? Why? For older students, an Historical Statement about the importance of this art work or the culture it represents would be a nice addition to the time line. Exhibition: The time line is a self exhibiting project. The building of the time line is a kind of performance installation. Your time line can be large enough to actually walk though. Use your sense of drama and imagination to exhibit the work. Didactics (the little write ups that usually accompany exhibitions in a museum) are a wonderful teaching device. Hint: no matter what important things are said in a sign, if it cant be read, it says nothing. The most important thing about a sign is it readability. Related Projects: There is other subject matter in art that could work on a time line. Architecture is a natural because it is so visible and reflective of the culture even the long gone ancient cultures. Another twist on the time line is to do it biographically, focusing on a single artist or a school of art like Impressionism rather than the actual art print. A cross referenced time line showing what was happening simultaneously in different cultures makes for easy compare and contrast assignments. Vocabulary: history, prehistoric, cosmology, 58

time, time line, sequence, A.D and B.C.E, abstract, representational, nonrepresentational, symbolic. Bibliography: Artforms, by Duane and Sarah Preble. A Basic History of Art, by Janson and Janson. Art Through the Ages, Vol. 1 & 2, by Gardner. Looking at Art, by David Piper.

Lesson Five: Visual Elements Lines that Evoke Animals

Objective: Students will demonstrate an understanding the of basic visual element, line, by inventing and drawing a line which conveys and expresses qualities found in a specific animal without drawing any realistic picture of the animal. Process: Students will first be led in a discussion of line and the broad range of expressive variations available in a simple line. A short classroom presentation that will help students

see the qualitative nature of line follows: First draw two lines on the board. One is a smooth slightly rolling horizontal line. Label it no. 1. Draw a second line which is a jagged diagonal line somewhat reminiscence of the traditional symbol for lightening. Label it no. 2. Now ask students to choose which one of these

lines is quiet and which one is noisy, by suggesting that you as the teacher think that one of these lines is soft and quiet and gentle and that one is loud and noisy and dangerous. Have students choose by raising hands. Most will obviously choose line no. 1 as the quiet line. Some may not but reinforce that in art we do not all have to agree. When students have made and expressed their decision put your ear up close to each or ask a student to and tell the class what you can hear. You will not hear any noise for either line so how can anyone think that one line is loud and one quiet? Explain that we are hearing with our eyes! A whole other lesson is available here dealing with seeing, hearing and touching. . . see related projects. Why do most people see the horizontal, slightly rolling line as quiet and the diagonal, jagged line as noisy? Ask students what the second, noisy line reminds them of. Someone will say, lightening. Find a good large photograph of lightening. It will be in a book on weather in your library. Notice that lightening does not look at all like the diagonal saw blade line that you have drawn. It fact lightening usually looks like the branches of a dead tree or the way human circulatory systems

same emotional qualities of lightening. Ask if lightening is safe or dangerous. Then ask which line, 1 or 2 is dangerous. Ask if lightening is violent or peaceful. Then ask which line is more violent, 1 or 2. Then ask is lightening loud or quiet, soft or hard, nice or naughty, good or bad, passive or aggressive, wild or tame and so forth. What we have actually done is to draw a line that does not look particularly like lightening but which shares the same emotional, symbolic and metaphorically qualities. Line no. 2 reminds us of lightening because it brings up our emotional response to the phenomenon of lightening. Obviously we are using the lines symbolically and metaphorically and in fact, that is what we always do in the visual arts. The line works when drawing an animal not just because it conveys the shape of the animal but because the lines used also have captured some of the essential qualities of the animal. At this point have students look carefully at the slide image of Korry Birds Contested Meal to see if you can find lines the have the quality of an eagle or a fish or the quality of fighting over food. Blow the image up large on the screen and then shrink it down this will show your students general to specific. If you want you can window to isolate an area and loose the realistic illusion of the work or a light pointer can be used. Find the lines. They are there. This can also be done with shapes, textures, colors and values. You may want to ask, What does a fish line look like? An eagle line? A fighting line? A flying line? Use the other animal slides in the packet to discover other lines that belong to the quality of the animal rather than simple pictorial rendering. Have students choose an animal. This can also work as an excellent group project with room for discussion and group cooperation skills and consensus making. When students have chosen their animal have them make a list of five to ten characteristics of that animal. These should not only be physical characteristics but also emotional, symbolic and metaphorical attributes of the animal. For example, here are some animal attributes made by second grade students:

www.ozones.com/FTP/Lightning/lightning7.jpg look splintering off into capillaries or the way a river delta looks from space. These photos are all available. They look similar because they share the same physics. Now, why does the jagged diagonal line remind people of lightening? Because it shares the 59

SNAKE; long, slimy, slithery, skinny, curvy, wiggly, dangerous, poisonous, scary, mean, good or bad, naughty or nice and other moral options depending on the personal view of the artist. EAGLE (by sixth graders); fluffy, pointy, flying, hunter, aggressive, nasty, it can kill you, very fast, sharp beak and claws, dangerous, interesting, free, intense, graceful, independent, beautiful, unusual... When students have made their list (more than one or two is important) have them draw a line which conveys the same emotional sense that the animal possesses. If there are too many conflicting qualities listed about the animal, have students choose the one characteristic that they think is most important and then draw a line which embodies that quality. It may be helpful to have students first decide if the quality they are going to draw is diagonal, horizontal or vertical. (sounds

This is a line drawn by Nic, age 8. He chose Rhinoceros as his animal and developed a list of five characteristics: Strong, Wild, Big, Mean, and Dangerous. He then chose a slightly diagonal line, practiced a few lines and decided that the line above was right for the character of a Rhino. To turn this into a finished, exhibitable lesson and

Shark line by Stephen age 7 wet, sharp, smart, swimmer, neat. project, have students use a half sheet of drawing paper and draw a ruler width border around the edge. Students should then choose from the animal lines they have invented and drawn, the most successful idea. Remember that we are not drawing pictures of what the animal looks like but rather what the animal is like, what it feels like, what it sounds like, what it seems like: the emotional, intellectual and spiritual nature of the animal. Each student should choose one of the three directional movements of line, horizontal, diagonal and vertical (each has its own evocative quality) and scribe the line from border to border. The line need not be a true or straight horizontal or vertical but one that starts on one side and ends on the other (horizontal) or starts at the top and ends at the bottom (vertical) or starts at one corner and ends in the opposite (diagonal). Notice that each of these lines will have isolated a shape that has either two or three straight sides

like a whole lesson). The students may want to draw a lot of lines until they have found the best one that reflects the sense they are trying to communicate. Newsprint is cheap and experience is of great value. 60

and one very interesting qualitative line side.

the line and then match them up with the animal and see if there is any correlation. This kind of Have students choose which of the two shapes evaluation and processing of a project can be (positive and negative) communicates the qualities dangerous because the outcome is tentative. of their chosen animal and then fill it with a single, It is also real and even the very young are mixed color of their own devising which is the impressed with a teachers courage and faith in color that communicates the quality of their animal the eventual outcome. It is a way to model your that they are focusing on. Any color medium can own conviction that lines can show evocative be used but crayons are difficult to mix. Colored quality. pencils are especially good for this kind of work and watercolor or tempera work well for mixing Exhibition: Exhibit this work labeled with the colors. The only requirement about color should name of the animal and if possible a picture of be that no one uses a single color right out of the the animal and of course the name of the artist tube or box but creates their own by first thinking and the title of the piece. The work will become of the color and then making it. Do not let the somehow more professional and be taken more art supply company decide on the right color for seriously if you can mat the work or even use a cut you to use. Textures can also be added but do not out construction paper frame. Nice framing and matting are of course the best way to go but good layout and composition of the exhibition and some sort of matting and framing will give credibility to the work and take it out of the traditional child art genre of playing with art supplies and demonstrate that art production is cognitive and substantive. If you are looking for some good didactics to accompany this show, write up some definitional differences between, REALISTIC, Nonrepresentational, REPRESENTATIONAL, SYMBOLIC and METAPHORICAL styles of art. Examples are available. Related Projects: Diagonal, Horizontal and Vertical lines; Lines Can Show Feelings; Shapes, Textures, Colors and Values Can Show Feelings Vocabulary: emotions, vertical, diagonal, horizontal, realistic, nonrepresentative, representative, symbolic, metaphorical, expressive. Bibliography: Artforms, Parts 1 and 2, Chapters 1-5 by Preble and Preble. Drawing on the Right Side of the Brain, by Betty Edwards. Looking at Art, by David Piper, Part Two, The Language of Art, by Christopher Cornford. Artalk, by Rosalind Ragans.

Shark line by Eperanza age 9 mean, grouchy, hungry, fast, evil. lose the lesson about line in all the other decision making until the first element, line, is working to the students fulfilled expectations. These other elements may actually be complete separate lessons. Evaluation: A nice way to evaluate the quality of the line is to have each student present their line and have students list on the board the emotional and suggestive qualities they see in 61

62

ANIMALS IN ART
ARTIST: Korry R. Bird (1961 ) Mapleton, Utah TITLE: Sunny Day 1999 MEDIA: Bronze sculpture SIZE: 29 x 17-3/4 x 17

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What kind of artwork is this? What style is the artwork? (For very young students: Did the artist try to make the sculpture look real?) How can you tell? Why do you think the artist called this piece Sunny Day? How else besides titles might an artist tell us something about his artwork? (Read or tell some of the information from the biography.) Is this sculpture meant to look like a real pig? Real pigs arent this color and although theyre kind of lazy, they never sit still for so long. What else tells you this is an artwork and not a real pig? Do you think the artist wanted to make his sculpture look exactly like a real pig or did he want to make good art? Are these two different things or are they the same? Would you like this sculpture better if it looked even more like a real pig? Why? Compare this piece with Contested Meal, also by Korry Bird. He made one of them last year and one five years ago. Which one do you think he made first? Why? Has he gotten better or are the two sculptures just different? What makes you feel that way? ACTIVITIES Art Objective: Students will learn to draw animals by drawing the Basic Shapes first. This activity is based on the idea that Basic Shapes are the foundation for all form. 63

All objects can be broken down into these basic shapes. Principles/elements: line, shape Materials: posters with obvious shapes overhead projector transparencies of animals whiteboard or large sheets of paper dry erase marker and eraser Day 1 Show the class the slides of several of the artworks

featured in this packet such as Sunny Day, Big Boys, Yellow Bluff, and Lizard Relay. Ask the students how they think the artists got so good at painting or sculpting animals. (They observed and drew lots and lots of animals until they knew how those animals looked.) Tell the students they are going to learn how to approach a drawing of an animal by looking at the basic shapes of the animal. First, have the students look around the classroom at various objects and point out the basic shapes that make up the objects. Next, using a transparency to project images with multiple shapes on the whiteboard, choose students to trace the basic shapes of the image being projected. (Use the other students in the class to spot shapes which have been overlooked.)

8-1/2 x 11 newsprint or manilla paper. Review Day 1. Project a new transparency on the whiteboard for students to break down into basic shapes. Answer questions and clarify as needed from Day 1. Pass out watercolor markers and laminated pictures of animals to each student. The students will trace the shapes of the animal on their individual laminated handouts. Then, while the ink is still wet, the students will carefully lay an 8-1/2 x 11 newsprint sheet over the top of the shape drawing, and press down firmly. This will create a copy of the basic shapes the students have drawn. Next, have students turn the paper over and create a carbon by laying on graphite with the side of a pencil lead. They will place the carbon on construction paper and trace over each of the shapes in the picture. (Each shape should be given an individual color, traced individually, and then each shape should be cut out individually.)

Day 3
Materials: scissors colored construction paper glue pencils When the students have cut out each individual shape from their drawing, they should glue them in position on a solid-colored background in the shape of the animal.

After the basic shapes have been drawn, turn projector off and draw the Contour Line of the objects being studied. Add detail to give the drawing life. Once students can identify the basic shapes within an object, the process of drawing becomes a simple task.

Day 2
Materials: laminated pictures of animals pencils colored construction paper watercolor markers

Day 4
Materials: pencils white drawing paper good erasers Give each student a new sheet of drawing paper, 64

and have them lightly draw, freehand, the basic shapes on the paper. Then students will connect basic shapes with contour lines to form the outline of the animal being drawn and make and adjust as needed.

making things like tails lie along the animals back or leg. For example, a cat, curled up asleep, is a good shape.) 4. Keep clay moist, not wet or dry.

When students are happy with the contour lines, 5. Cover animal, so it dries out slowly. they can carefully erase changed lines and then Very simple animals can still convey the sense add detail and darken the lines within the drawing. or feeling of an animal. However, if you wish, students can add texture to their animals. (You Variation: Include other subject matter such as probably already know that you are likely to have buildings, people, objects, etc. students who spend only a few minutes and then want to be finished and also students who will not know when to stop. Encourage students to examine whether their artwork is completenot just decide they [the students] are finished. Encourage students who do not know when to stop to look at their artwork and see when it has just enough detail. ) Let the animals dry very slowly, or they will crack and additions such as legs will break off. Fire to bisque temperature. Again, this must be done slowly, especially in the first stages, because the animals are thick and if the water that is still in the clay after it is dry heats too quickly, it will expand and blow pieces off the animals. Glaze and refire or paint the animals and/or seal with a clear ceramic sealer. *If you buy a clay body that is a nice color, you can glaze the pieces with a clear glaze, to keep things simple and elegant. (Stores or ceramics catalogs will have samples or pictures of what the clay bodies look like under different firing conditions and with different glazes.) To attach legs, heads, etc, use the method below: Scratch the area, add slip, push leg piece on firmly, add skinny coil, smooth out. The legs may be reshaped somewhat after theyre attached. Do use sturdy legs. You may need to allow the animals to lie on their backs for a while until the legs will hold the weight of the body. However, sturdy legs will usually be fine; their ends will bulge slightly, which will give the feeling of feet or hooves.

Extension/Variation: SculptureAfter drawing animals by drawing their basic shapes first, give students clay to work with. If the students do not have much experience making objects with clay, give them oil-based clay first, to practice with. They should make animals by creating basic shapes from the clay, joining them, smoothing, and adding a few details. Materials: oil-based clay ceramic clay* glaze or paint Before the students are given the ceramic clay, remind them of a few rules for working with clay: 1. All joins must be made by scratching, slipping, and reinforcing. (See following page) 2. No part of the animal should be thicker than 1. 3. No skinny or thin parts can stick out. (Theyll break off. Avoid by choice of pose, by simplifying features, and by 65

(These sketches should be turned in as part of the assignment.) When they have decided what they are going to do, they should create a frame for the cartoon. For a one-cell cartoon, they can use the width of a ruler to create a border around a sheet of paper, erasing the lines where they overlap. For a three- or four-cell cartoon, they should divide the paper into the necessary number of rectangles, again, leaving a border. This is good practice in using rulers for young students. Students should lightly pencil in the drawings and then go over the lines with a pen or fine-tipped marker. Color can be added with colored pencils, if desired. Display the cartoons for everyone to enjoy. Tall as a Giraffe, by Alex ArtMaking, Expressing Objective: The students will create a cartoon featuring animals. Show the class some slides from this packet and briefly discuss the different ways artists have depicted animals. Then show the class some cartoons that feature animals such as Boyington, Mother Goose and Grimm, Calvin and Hobbes, Far Side, Peanuts, etc. Ask the students to look at how the animals are drawn: are they realistic, exaggerated, caricatures? Have students identify what they find funny in the cartoons. Have them think about what kinds of situations might be humorous or what animals could be saying to each other or to the people in the cartoon. Another possibility is to make cartoons of expressions involving animals such as sly as a fox, dog-tired, sleek as a cat. Have students complete the first day of the Basic Shapes activity. After they have grasped the idea of creating animals out of their basic shapes, they can apply the technique to cartoons, remembering their discussion about how animals appear in cartoons. To create their own cartoon, first, have students sketch some ideas on scratch paper. 66 Assessment: You can use a rubric to assess the cartoons on criteria such as 1. Did the student use at least one animal in the cartoon? 2. Does the cartoon show evidence of planning and thought in the sketches and the finished product? 3. Is the finished product neat and carefully done? 4. Did the student clean up after the assignment? Extension for advanced students: Look at cartoons as social comment. Have the students analyze how cartoons address social issues by lampooning, making us laugh at our own foibles, helping us see our weaknesses, etc. According to cartoonist Calvin Grondahl, editorial or political cartoons are often not funny; instead, they prick us. Have the students look at how different cartoonists use animals in their strips. For example, the animals may make the comments more acceptable than if a person had said them, the animals may use their distance from humans to highlight the humans weaknesses, the animals may symbolize a group of people, or the animals may just provide an additional twist. Have students create cartoons that comment on events, problems, situations, dilemmas, etc. in the students lives, using animals to make the observations, suggestions, or criticism. When the cartoons are finished, vote on the best cartoons and display them where the whole school can see. You may be able to get some of the cartoons published

in the school newspaper. Assess the student work using a rubric that contains items you have established as criteria. The list below gives some possibilities. 1. Did the student identify and address a current social issue? 2. Did the student use animals to convey the message? 3. Did the student exhibit some creativity in the cartoon, show some originality as opposed to copying a known cartoon or cartoonists style? 4. Is the cartoon carefully drawn and finished? 5. Is the cartoon appropriate for the school setting ? The following list offers a few suggestions for cartooning: 1. Use only the basic shapes of the animals. 2. Exaggerate or emphasize the identifying or unusual features. 3. Keep the cartoon simple. 4. Write the words before you make the word balloons.

Language Arts Objectives: 1. The students will write a story from the point of view of an animal. 2. The students will make connections between the visual arts and literature. Sunny Day is a natural pairing with Charlottes Web. If your class is just starting to read Charlottes Web, show the class the slide of the sculpture first, and talk about the artwork, using some of the QUESTIONS FOR LOOKING. If your class has already read Charlottes Web, after you have discussed the artwork, show the class other slides from the packet such as Yellow Bluff, Snowshoe Hare, Guest, The Colt, and have the students make up a story involving one or more of the animals. You may want to spend a few minutes discussing how having the story of Charlottes Web told from the point of view of the pig and the spider involve the reader and make the story very different than it would be if told from the point of view of a human.

Variation for older students: Use the slide of Sunny Day as a way to introduce a discussion You may also want to consult books on the subject, of point of view in which the students compare I found several even in our small public library Charlottes Web with A Day No Pigs Would Die. (Payson). They can write a story from the point of view of an animal, or they can write a short- short story from two different viewshumans and animals.

67

68

ANIMALS IN ART
Artist: Carel Brest van Kempen (1958 ) Salt Lake City, Utah Title: Lizard Relay: Jaguarundi with Green Iguanas and Banded Basilisks 1991 Media: acrylic on board Size: 32 x 42

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What do you see in this artwork? (See BIOGRAPHICAL INFORMATION) What style of painting is this? (Wildlife, Realism) What is different about this painting than most wildlife art you have seen? What is similar? What medium has the artist used? How has that choice of media affected the artwork? How has the artist created tension in the artwork? Describe the artists use of color. What aesthetic approach to art has this artist chosen to use? (Realisticart should look lifelike and imitate or copy the real object)) In what specific ways is this artwork true to the aims of realistic art? How has the artist created a realistic setting for the scene taking place? What other ways might the artist have chosen to represent this scene, and how would those changes have affected the artwork? Is wildlife art valuable? Why or why not? What elements and principles of art has this artist used effectively? What ineffectively? Where should this painting be displayed? Why? ACTIVITIES Art Objective: The students will demonstrate their understanding of SETTING by using a new technique to produce an artwork that establishes a sense of time and place. Show the class the slide of Lizard Relay and discuss how the artist has created a sense of a specific time and place for viewersthe SETTING. Use ideas from QUESTIONS FOR LOOKING and from the BIOGRAPHICAL INFORMATION to help you direct the discussion. Also see Tales to Tell, the Crayola DREAM-MAKERS 1997 teachers packet for more information on SETTING. The students may find a classmade list of ways to establish SETTING helpful. You may want to include paintings of 69

interior scenes such as Lou Jene Carters Mostly Flowers ( smofa.org), since they too establish a SETTING.

such as wallpaper samples, construction paper, cardboard, art paper, waxed paper, aluminum foil, gift wrap, tissue paper, cellophane, etc. Again, glue shapes cut from different papers to When you feel confident the class understands a backing (you may need to use poster board for some ways they can establish a sense of time and the backing). The different papers may be used place, teach them a new technique or the use of alone to create a sense of time and place or they a new medium. (If your students already have a may be combined with any method of coloring broad repertoire of techniques or you do not wish or texturing that works. For example, some to include new techniques in this activity, skip to papers have interesting textures by themselves the next section.) and others do when they have been crumpled and then flattened out. Some techniques particularly suited to use in establishing SETTING are as follows: For more complex techniques, see the ART TECHNIQUE GUIDE VOLUME III, a Crayola 1. Cutting shapes from construction paper, Creative Resource, which came with the 1997 coloring them with chalk, crayon, paint, ink, or by Crayola DREAM-MAKERS packets. This, and using a combination of coloring methods, and then previous GUIDES, provide excellent instructions applying the shapes to a background by gluing on for techniques that can be used by children from layers of shapes that overlap. The background can kindergarten on up. They also contain examples have been colored in some way before the shapes that demonstrate that even five and six year olds are glued on or can be a blank sheet of colored or can create attractive and complex artworks using white paper. these techniques. 2. Simple stamps can be made from cut pieces of sponge, potato, foam, cardboard, a carved eraser, any textured surface that will take ink or paint, dried Model Magic, or any kind of printing block. The stamps can be used to provide visual texture in the background, to color shapes, to stamp on top of shapes, or to create layers of subtle color and shape. As an alternative to or a natural pairing with stamping, use rubbings of textured materials. 3. Collect (with the students help) a large group of interesting papers or thin materials 4. Collect a selection of interesting fabrics for the students to use. As above, these fabrics can be used alone or colored before or after theyre applied to the backing. Use poster board or another sturdy backing. 5. Help the students collect items that can be used to create a collage that will focus on conveying setting. These items may include natural items such as leaves, grass, flowers, small pieces of wood or small stones, or they can be man-made items such as magazine pictures, ads, fabric, food labels or containersanything they can fasten on to a base. 6. Use collected or created items to produce a three-dimensional section or a three dimensional artwork. (See activity using Crayola WET SET) In addition, this activity may be used as a link or introduction to earthworks or installation art. You may choose to have the whole class create an installation, and then have the class invite other classes to visit the installation. The students may want to record other classes comments or reactions to the work or they may want to make 70

describe the setting of one of the poems or prose pieces in an artwork. A few possibilities are Stopping by the Woods on a Snowy Evening and The Road Not Taken by Robert Frost, poems from the collections A Brighter Garden, by Emily Dickinson, The Kite That Braved Old Orchard Beach by X. J. Kennedy (hes also written other childrens poetry books), and Ride a Purple Pelican by Jack Prelutsky. The initial description of the house in The Fall of the House of Usher, by Edgar Allen Poe, Jacqui Larsen, Cottage Industry Hills Like White Elephants by Ernest Hemingway, a presentation to the visitors that introduces That Time of Year by William Shakespeare (a installation art. This particular activity works well sonnet). for focusing on setting, but also is a natural for using SETTING, CHARACTERS, and EVENTS. A couple of favorite poems from Literature: An (See other activities in this packet as well as the Introduction to Fiction, Poetry, and Drama, by Crayola Teacher aids for other related ideas.) X. J. Kennedy are A Mongoloid Child Handling Shells on the Beach by Richard Snyder and Root 7. Use techniques such as crayon resist, marker Cellar by Theodore Roethke; they both establish and paint, colored pencil and ink, watercolor pencils on moist paper, watercolor pencils dipped setting marvelously. The anthology is published by Little, Brown and may be available in your in white paint, Crayola OVERWRITERS, and high school or public library. A few minutes others as described in the Crayola Guides. All these techniques yield richly textured and colored spent in the local library should provide you with many possible selections. artworks that are excellent for establishing SETTING. ScienceChoose an aspect of your science curriculum that lends itself to being described After you have taught the students how to use a new technique, have them think about a specific visually. Research or accuracy or both can setting they want to create. To help stimulate ideas be part of the activitys objectives. Show the and to correlate the art activity with other areas of students the slide of Lizard Relay and of other artworks to demonstrate how scientifically the curriculum, try one or more of the following accurate information can be used to establish ideas: SETTING. If you are interested in scientific accuracy, you may want to restrict the media. Musicplay one or several different pieces of music and have the children imagine a setting for The students may want to make a pencil drawing one of them. Then have them create an artwork of which they outline and fill in with some kind of coloring medium. that setting in some media. Science and Language ArtsAs an introduction Language Artsread the students poetry or to, as part of, or as the culmination to a lesson descriptive prose and have the students visually 71

on plants, insects, ecology, or habitat, have the students closely observe an appropriate area such as an ant hill, a flower, or a square yard of a field and list everything they see. In addition to the list, the students should write a paragraph that describes qualities of what they have observed. After the observations are finished, have the students share in small groups what they observed. Then have the students each create an artwork that demonstrates their observations. This activity can focus on scientific accuracy or the students can concentrate on producing a visual portrait that communicates mood, time, place, and a reaction they had to the particular area they observed. Or the students can create the SETTING from an appropriate point of view such as how a flower or field might look from an insects perspective. ScienceHave the students produce an artwork that is a visualization of a place most of them will never be, such as in space, down a volcano, at the bottom of an ocean, inside a thunderhead, etc. Social StudiesHave students read about a place from your social studies curriculum and produce an artwork that describes that place in terms of SETTING. This can be an individual or a group project.

Geography/GeologyUse the creation of an artwork as a way to help students understand the geography or geology of a particular place or time. Or, have students demonstrate what they have learned by creating an appropriate artwork. See page 7 of Tales To Tell booklet for some good ideas. ArtHave the students concentrate on a single aspect of SETTING such as mood, time, or place, and use the chosen medium or a mix to create that aspect. DramaAfter discussing SETTING in art, ask the students to apply what they have learned to drama. You may want to include a section in the activity that looks at different kinds of settings for plays. You can read examples from plays. You can also talk about set design as a way of creating SETTING. Show the class examples of sets ranging from very realistic, to those employing special effects, to those that use minimalist or symbolic sets. The activity can end there or you can have the students plan the set for a particular play or scene either as a class or in small groups. One interesting way to complete this assignment would be to give all the groups the same scene and have each design a set. The students would need to create a written and sketched version of the scene. Have the groups share their ideas for a set with the class and talk about why they made the particular choices they did. Drama for Young Students: Gather a variety of possible props, objects, furniture, and moveable panels. Have the class or small groups plan the set for a short play they have written, a short scene, or a professionally written childrens play. Or, give the class a brief outline of a scene and have them choose an arrangement for the set that will create an appropriate SETTING.

Outer SpaceBy Alex Age 8 http://web1.msue.msu.edu/cyf/youth/ michart04/space.htm

Drama for Advanced Students: Assign students to plan a certain kind of stage set and then share ideas. Out of the ideas, come up with a class plan 72

and then perform the scene as a memorized and choreographed performance on the stage set. Or, perform a one-act play. Another idea to consider is how to create SETTING for readers theater productions. Art Objective: The students will demonstrate their understanding of how details can contribute to SETTING by discussing and by creating an artwork that contains details that help establish a sense of time and place. This activity can be used after one of the activities outlined previously (it is a natural choice for a science activity that includes research and/or accuracy as one of the objectives.) If you havent done an activity on SETTING, you will need to discuss what setting is either before you start the activity or as you go along. Share some of the BIOGRAPHICAL INFORMATION with the students, including Brest van Kempens comment that he enjoys watching people see his paintings and be interested in them from across the room and be drawn in close because their attention is caught and they want to see the details. Show the class the slide of Lizard Relay and have the children identify details they can see. Then have the students create an artwork that will be interesting from a distance and also have details that will intrigue viewers into coming close to the artwork. Although Brest van Kempens work is full of detail, the childrens work could have just one or two sections with detail. (One example is given in the Tales To Tell booklet, page 5) Adapt any of the suggested activities previously outlined to focus on the inclusion of detail and how it helps create SETTING. Have the students critique their finished pieces and then display the works in the school library or hallway where other students can see them. Have members of the class watch to see if they notice students from other classes being interested in looking closely at the artworks. 73

Other detailed artworks you can use are the two Jeanne Leighton-Lundberg Clarke paintings from previous packets (PORTRAITS IN PAINTING, April 1993, and A NATIONAL VIEW, Mar. 1995 pkts.) or her painting in the Elementary Art Core Poster Set. You may have other slides or reproductions of artworks that use detail as an

Detail from Portrait of Sharon Gray Jeanne Leighton-Lundberg Clarke integral part of SETTING. Art Objective: The students will understand the use of timing in depicting events and will create an artwork that demonstrates that understanding. Show the class the slides of Dawn Patrol, Ropin Out the Best Ones, Deacon Jones Experience, and Lizard Relay. Have the students look at each artwork from the point of view of how the artist has depicted an EVENT. Ask the students questions as needed to spur thoughtful responses. For example: Which artwork is the most peaceful? Why? What elements and principles of art has the artist used to help create that feeling about the event depicted? Which artwork is the most exciting? Which artwork has the most tension? Why? How has the artist created that tension? The QUESTIONS FOR LOOKING and the BIOGRAPHICAL INFORMATION sections and the directions for each artworks activities should give you helpful information for leading the discussion. When the students have discussed an ageappropriate number and complexity of ways the

artists have depicted events, assign them to create an artwork that focuses on an event. Variations: Carel Brest Van Kempen often creates tension in his artworks by picturing an event that is just beginning to happen. Look at samples of other ways timing is used to create tension such as in photography (especially in sports or action shots), jokes, comedy, tragedy, horror movies, etc. There are a million ways to explore this idea and to link it to other arts and art-related fields. A few ideas follow: 1. Give the students copies of different kinds of magazines and let them find photographs that demonstrate how timing is used to create interesting visual images that capture a particular moment. Ask the students to think about the moment just before and after the one depicted. How would those moments be different? How has the choice of timing created a specific mood or

comedians. Show one or an assortment of clips or short videos and discuss and compare or just allow the students to enjoy the example(s). 3. After the discussion about timing in art, explore how timing is crucial in dance. You may want to include video clips of professional dancers or you may just want to have the class explore timing through their own movement. (Have students dance barefoot) Some ideas follow: a. Play several short selections of music that will encourage students to move at different speeds and in a variety of ways. Have a brief discussion of how the tempo and other qualities of the music made the students want to move in certain ways. b. Have students take turns being the movers and the watchers. Have the movers walk at normal speed across the stage or one end of the gym or lunchroom. Then have them walk quickly, then very slowly, and then race walk. Now assign different children in the group to walk at different speeds. Then add running and stopping. Stop periodically and ask the students for their reactions to what they have watched. c. After each child has had the chance to be both a mover and a watcher, divide the class in half. For young children you will need another adult or advanced student to help with this part of the activity. (If you have three who will come help so that each group has two helpers, thats even better.) You may have another teacher, an aide, a high school or college student, or a parent who has some dance experience or who is imaginative and can be the helper. Each adult will help (not do, but help) his or her group choreograph a short dance piece that is based solely on timing. If possible, perform the pieces on your schools stage. The limits of the dance are that the only movements allowed are walking, (at any speed) running, and stopping. If you have a stage with space behind the back curtain, also restrict the students to moving only in one direction. When they have crossed the stage they may go around

from Modern Times http://wso.williams.edu/~dgerstei/chaplin/gallery. html feeling? 2. After the discussion on events in art, move to how timing affects jokes. If possible, you could find examples of badly told jokes and well-told jokes. You may have teachers or friends who will come and demonstrate how critical timing is to humor. Many students of today will not be familiar with Charley Chaplin or other early film 74

behind the curtain and go across again. If you do not have access to such a stage, the students should be allowed to go across the stage or stage area and then turn around and go back. No music will accompany the dances, simply the sound of the students feet. Help the students choose an interesting mix of speeds and stops. They should keep in mind that their dance will be a kind of visual art and the viewers will want to see designs and relationships that are interesting. If the students are old enough, ask them to incorporate what they have learned about creating tension from discussing the artworks. Limit the dances to five minutes or whatever seems appropriate. Do be aware that just like in painting, its easy to go too farto make the dance too long. After time to choreograph the dances, have each group take turns performing for the other. Then discuss the experience. How interesting were the dances? What made them, or specific parts interesting? Extension: Incorporate what the students have learned about SETTING and CHARACTER into the dances. Divide the students into the same groups and have them add music, simple backdrops, lighting if available, and a few props to create a feeling of time and placeSETTING and to add variations to the way the students walk, run, and stop, as well as simple costume items to convey CHARACTER. (For example, some students could walk normally and others might walk as if they were very old, or were very energetic, or very tired.) Warn the students that too many additions may produce chaos instead of an interesting dance and help them limit their choices to produce some specific effects. Now have the students perform their dances and discuss their reactions and experiences. Extension: Have the students add one art element or principle to their dances such as the use of line or of balance. Again, discuss what the students 75

see happen and ask the students to relate the dance experiences to their knowledge of visual arts. Drama Objective: The students will explore their ability to take on characteristics of a role by discussing and exploring the movements of lizards and small wild cats. Show the class the slide of Lizard Relay and ask the students to describe the ways they think the two different kinds of lizards pictured move. (See BIOGRAPHICAL INFORMATION) Ask the students how the jaguarundi would move. How would its movements be different from the lizards? Then allow the students to explore ways of moving that have qualities of the animals actions. After exploring possible movements, divide the class into groups and have them act out the scene from the painting, giving each child a turn to be one of the lizards or the jaguarundi or let several children be jaguarundis at the same time.

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ANIMALS IN ART
ARTIST: Clark Bronson (1939 ) Provo, Utah TITLE: Big Boys 1984 MEDIA: Bronze SIZE: 22 x 28-1/2 x 14

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What kind of artwork is this? What is it made of? What are the Big Boysin the sculpture? How can you tell? Why do you think the artist made a sculpture instead of a painting? Which would you choose if you were making a wildlife artwork? What aesthetic approach is this sculpture? (Mimetic) How can you tell? How many elk do you think this artist looked at so hed know what they look like? Why do you think this artist makes wildlife art and not some other kind of art? Why do you think so many people like wildlife art that looks like the animalsis mimetic? How do you feel about this kind of artwork? Why? How do you think the artist wants you to feel when you see this artwork? Is he expressing any ideas? (See Biographical Information) How does this sculpture compare to other wildlife art youve seen? Tell why you think its an excellent artwork, good, or poor. ArtMaking Objective: Students will discuss and draw animals in motion, capturing the gesture of the animals Discussion: Show the slide of the Clark Bronson sculpture, Big Boys. Discuss what kind of animals are depicted and what their characteristics are. Discuss what the artist has done to make the animals appear to be in motion. Discuss what kind 77

of motion is being represented. Talk about what kind of story might be suggested by the motion in the sculpture. Suggested questions: What does it look like the elk are doing? Why does it look that way? (gesture) What is it about the structure of the surface in addition to the position of the legs and head, etc. that are clues? (facial expression, muscles, etc.) Activity: Using the slide of Big Boys or pictures of other animals in motion, demonstrate to the students how to block in major shapes. Starting with the major shapes will help the students capture the correct gesture. Then have students refine the shapes. When they are satisfied with the results of this step, have them add whatever details they wish to finish their drawings. You may also show the students the animal sketches by MahonriYoung, included on the CD, and point out how he practiced by making many quick sketches of animals to

get a feel for how the animals look and move. Conclusion: Let students discuss what they have learned from this experience. Have them comment on whether they found it harder to draw animals in motion than just standing still. Discuss whether they think a drawing of animals in motion is more interesting than one of animals just standing still. Show some of the drawings and talk about what story might be behind the drawing. Display the art.

them they must use the whole sheet of paper. Optional: Draw the elk and put a sci-fi or nonobjective background behind them. Conclusion: Let the students talk about the success of their work and what they learned about setting. Ask why they made the specific decisions they did about what to include in the background. Discuss what kinds of things artists might think about when they put animals in a setting. Display drawings. Variation: If you have talked about habitat in your science lessons or the students have in their science class, focus more on the idea of habitat by showing all the slides from the packet and asking students to identify which animals are in their natural habitat and which arent. Then assign students to choose one animal, write its name down on a piece of paper, and identify two or more items that belong in that animals habitat such as a particular kind of tree or plant. (Students dont have to be able to spell the words correctly to have made an appropriate choice, but include correct spelling if you wish.) When the student has had his choice okayed by the teacher, he can start his drawing. You will need pictures or books for research unless you have already covered specific habitats extensively. Ask students to use whatever art skills you have previously learned or introduce appropriate skills such as overlapping and size changes to create a feeling of depth in the drawing. When students are finished with their drawings, they can color them with crayons or colored pencils.

ArtExpressing, Making

Objective: Students will create a work of art with one or more animals and a setting. (background) The setting can be specified as appropriate habitat.

Mahonri Young, Deer by a Stream byu.edu Discussion: Show the Clark Bronson slide, Big Boys, and discuss the sculpture. Identify the animals. Discuss what the animals appear to be doing. Talk about the clues in the sculpture that are hints as to what the animals are doing. Discuss where elk live and what kinds of things are in their habitat. Discuss what kind of setting the students might draw as a background for the sculpture. Also show the students Deer by a Stream, by Mahonri Young, and discuss. Activity: Have the students draw the elk in the sculpture, (show them how to block in the gesturesee lesson 1) and then put background (setting) around them to create a complete picture. Tell 78

ScienceBiology

Objective: Students will learn the relationship between the physical attributes of animals and their lives and/or habitat. Discussion: Show the Clark Bronson slide, Big Boys, and discuss what kind of animal is the subject of the sculpture. Talk about where elk live and what they eat and what their lives are like. Discuss

whether the sculpture gives any clues about these Conclusion: Students should be given an opportuthings and whether the clues are realistic. nity to discuss what they have learned, especially to identify what information is new to them. Have students look at the feet and legs of the elk and talk about how their shape makes it possible Language Arts for them to live in their environment. Discuss the antlers and their use and shape. Discuss the build Objective: Students will write a story about the and any other physical attributes that make the elk elk depicted in the Clark Bronson sculpture, Big suited to his environment. Boys. Activity: Choose one or two animals and have students make a chart/diagram showing the connection between their physical attributes and their environment. They should show such things as fur color, build, ability to run, eyesight, hearing, etc. Have them make connections which show how the physical attributes make it possible for the animal to be successful in its environment. Activity: Show the slide of the Clark Bronson sculpture. Have the students describe the sculpture and discuss such things as what the elk look like they are doing, where they live, and what their lives are like. Include in the discussion such things as what they eat and where they get their food, who their enemies are, etc. Discuss some story ideas. Then have the students write a story about the elk in the sculpture. Conclusion: Have the students share their stories.

http://en.wikipedia.org/wiki/Image:USDA_Elk. jpg

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ANIMALS IN ART
ARTIST: James Christensen (1942 ) Orem TITLE: Fantasies of the Sea 1985 MEDIA: Acrylic on board SIZE: 36 x 24

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) James Christensen uses some of the following interesting ideas and symbols, which can be found in many of his paintings. First, the artist says that in his paintings there often is no division between water and air. In his world, a fish may come swimming through the door, sail under the teachers desk, and dart around the students heads. A man may use a leash to take his fish for a walk. Secondly, the artist says the hunchback men in his paintings represent Everyman. We all have imperfections and problems we carry around with us in our lives. His are just more visible. Finally, fish are another item commonly used in his paintings. Sometimes these fish represent a passage to a higher level of understanding or a search for knowledge. They can also symbolize magic. All of these things seem perfectly reasonable in the fantasy world of James C. Christensen. Have the students look at the painting Fantasies of the Sea for about five seconds. Have them turn around and look at the teacher. Ask them the following questions: What colors do you remember seeing? What was the main object you remember seeing? Have students turn and look at the painting again. Then ask where they think the artist 81 wanted viewers eyes to go (the focal pointthe woman and staff ). James Christensen is known for his creativity, but James says that creativity is not born out of nothing. Creativity and Imagination are about combining existing things or ideas together in ways that create a new thing or idea. For example, Fantasies of the Sea is a very imaginative fantasy piece and yet it shows almost all real subject matter. One thing that makes it creative is that some of the size relationships among objects are changed

from reality. Another creative change is the combination of real objects placed together where they normally wouldnt be found. For example, humans under the sea, or armor that is made of shells. Although mermaids are not real, they have existed as part of our lore for many, many years. Besides, women and fish both exist, and so Mr. Christensen used his creativity and knowledge of lore and combined a fishtail with the torso of a woman to create a mermaid. Objective: Students will combine real animals to create new and unique creatures. Photocopy pictures of real animals to use as SCRAP. (Resources such as photos, sketches, etc. to use as reference materials when creating an illustration or artwork) Have the students draw (as realistically as possible) various animal parts and combine them to create a new and unique animal. Many such creatures exist in mythology and lore. For example, see pictures of a GRIFFINhead of an eagle, body of a lion, tail of a snake; or a MANTICOREhead of a man, body of a lion, tail of a scorpion or dragon; or a SPHINXhead of a woman and body of a lion. These are all fantastic mythological beings, but all their parts are from non-creative real animals or humans. Now, have the students create their own fantastic animals.

Objective: The students will make connections between fantasy in art and literature.

http://commons.wikimedia.org/wiki/Image:Jabberwocky.jpg public domain Show the class the slides of Fantasies of the Sea, Rhinoceros, and Puffed Up Prince. Discuss briefly how the artists have chosen to depict a fantasy world or creature. Then read the poem Jabberwocky to the children. Discuss how the writer has created fantasy with language and compare that with the artworks. Let the students choose to illustrate one section. Or, read Jabberwocky to the class and then have students make up nonsense words that describe a creature and then draw that creature. Or, draw the creature first.

Language Arts/Art

http://commons.wikimedia.org/wiki/Image: Opinicus.gif public domain 82

Visual ArtsPerceiving

Objective: The students will demonstrate an understanding of focal point by using color to create the focal point in a design. Show the class the image of Fantasies of the Sea and discuss, using some or all of the QUESTIONS FOR LOOKING. When you are sure the students understand what the focal point is, introduce the following activity. Have the students fold a square piece of paper into four sections, and draw a geometric design in one section using a dark pencil. Then they will fold and trace the design onto the next section. Repeat until all sections are filled. Students then will choose one area to become the Focal Point. (Place where the artist wants the viewers eye to go.) Using watercolor, crayons, or poster paint, the students will color the design using pure, bright color only in the focal point area. In the remaining areas, the student will use colors that have been altered by adding a drop of black or a small amount of the complementary color to each color. Adding the complement dulls the colors a little, and the eye will be attracted to the Focal Point, which has the pure color. Complementary colors are, red/green, yellow/violet, blue/ orange. Display the finished work and have the students take turns pointing out the focal points on some of them. Extension: For older students, you may want to give a more complex original assignment or to follow up the above activity with a more complex variation that gives students an opportunity to explore the creation of focal points in more diverse ways or through more individualistic artworks.

and Rhinoceros, and discuss, using some or all of the QUESTIONS FOR LOOKING, above. Have the students create a fantasy drawing in their own personal style. They will make up or decide on two or three items, animals, or people to use as symbols in their painting. On a separate piece of paper, they will draw the symbols and write down the meanings or definitions of each one. This paper will be displayed along with the finished drawing so the viewer will be able to understand the drawing.

Art

Drawing from http://childrens-art.blogspot.com/ Objective: The students will demonstrate an understanding of wax resist by making an undersea picture using crayon wax resist. Show the class the slide of Fantasies of the Sea and discuss Christensens use of color and of sea creatures. Then have the students draw an underwater scene with several fantasy fish with bold designsstripes, dots, etc. They should also add a few fantasy plants. The students should use crayons to color fish and plants in bright colors. (Crayon must be put on heavily so its very waxy) Have the students mix up a large amount of blue-green (or desired color) watercolor and quickly cover the entire picture. The watercolor pulls away from areas painted with crayon areas if they have been painted

Art

Objective: The students will demonstrate an understanding of Fantasy Art by making a fantasy drawing that includes symbols. Show the class the slide of Fantasies of the Sea 83

solidly.

Language Arts

Objective: The students will explore character development and plot by writing a story about one or more of the characters pictured in Fantasies of the Sea or some other artwork. Show the class the slide of Fantasies of the Sea and ask the students to imagine they are one of the characters in the painting. Ask students the following questions: Which one would you be? What are the relationships each of the characters have with each other? Where are you going? Why? What will you do when you get there? Are there dangers on your journey? Then assign students to write a story telling of their adventures. Have the students share their stories. Variation: Show slides of several other artworks from the packets that lend themselves to the activity, and allow students to choose which artwork they will respond to or if they want to write a story that involves more than one piece. (For example, Christensens piece, Rhinoceros. And Gary Prices Puffed Up Prince.)

these people? How? Students should do some research on these questions or others that arise during the discussion. The topics can be student chosen, can be related to a specific area of science being studied, or can be chosen from a list that ensures that various related topics are all covered. Have the students make brief reports to the class about the information they discover. If desired, the reports can be illustrated with drawings or paintings, and these can be displayed with appropriate explanations as a class bulletin board. Extension: For older students or for use with gifted or particularly interested students, show the slide and discuss as above. Use the questions about water temperature to lead to a discussion of La Nia and El Nio weather patterns.

Science

Objective: The students will increase their understanding of ocean life by discussing and researching environmental factors that affect sea life. They then will demonstrate their understanding by writing a short report. Show the class the slide Fantasies of the Sea. Lead a discussion using the following questions: What part of the ocean do you think the picture is of? (bay, close to shore, lagoon, deep ocean) What would the environment be like if the ocean currents were very strong? How would the environment change if the ocean temperature increased by 20 degrees? Decreased by 10 degrees? Are the plants drawn realistically or are they fantasy plants? Would weather on the surface affect 84

Turtles Artwork Submitted by Patti Caiola, Reynolds Elementary School in Toledo, OH Unit: Art-Science Integration -Oceans http://www.princetonol.com/groups/iad/lessons/ elem/Patti-sea.htm

ANIMALS IN ART
ARTIST: James Christensen (1942 ) Orem TITLE: Rhinoceros 1981 MEDIA: Acrylic on board SIZE: 14-3/4 x 11-3/4

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What animals are in the picture? What is the difference between a bird and a mammal? List the objects you see in the picture. What kind of scene is painted on the wall? What could the Rhino do with the ball? Does he have enough space to play? Does the rhinoceros look crowded? How much can he move around? Do you think the rhino is happy in his crowded space? Why? Describe the eye of the rhino. Look at a picture of a real rhino. How does Christensen's rhino differ from a real rhino? List the similarities between Christensen's rhino and a real rhino. List the differences. Look at Albrecht Drers drawing of a rhinoceros. Do you think Drer had ever seen a real rhinoceros? Why? Why would Christensen want to have his art refer to someone elses artwork? Look at ancient armor worn by knights in the Middle Ages. How does Christensen's Rhino resemble that armor? Albrecht Drer, Rhinoceros http://commons.wikimedia.org/wiki/Image: D%C3%BCrer_rhino.png public domain Can you list things or people who might feel trapped? (Animals at the zoo, blind people, someone who is paralyzed, kids at school, someone who has had a stroke, someone with Alzheimer's disease, someone who is very old). How are these people/animals similar to Jim Christensen's rhino?

Look at the way the rhino is standing. Is he leaning ACTIVITIES or standing with dignity? Explain your ideas. Science What color scheme is used in the background? What color scheme is used on the floor? How does Objectives: Classify a rhino as a mammal. Compare a white rhino with a black rhino. Examine this emphasize the rhino? reasons that rhinos are on the endangered species list. Compare past and present range of the rhino. What human qualities does the rhino possess? What could the rhino represent? (Perhaps a noble Compare male and female rhino characteristics. soul entrapped in an aging body, confined, yet stoi- Use internet as a tool for gathering information. cally enduring to the end?) Help or assign students to discover information about the rhino from the internet. The following is Look at the bird. Is the bird trapped? Why? What makes the bird's situation different from that a great website with charts, color pictures, maps, and categories. of the rhino? 85

http://www.bergen.org/Smithsonian/BlackRhino/ Rene Magritte was a Belgian artist who amazfact.htm Another website is http://wildnetafri- developed his own style of surrealism based ca.co.za/rhino/extinction/index.html on absurd combinations of realistically painted objects. For example, in Time Transfixed, there Students could ask 3 fact, 3 thought, and 2 opinion is a detailed room with a fireplace and mantle. questions to the rest of the class, and then give Then coming out of the fireplace is a steaming classmates the website where they discovered the train engine. Each element is distinct, but the total information. work raises more questions than answers. In other paintings, Magritte painted an apple as big as a room, a car made of bricks, or a key and rock on Art and Art History fire. Core Standard 2--Apply knowledge of structures and functions (space and proportion). Standard Procedure 4--Understanding history, culture, personal Review drawing a room in one-point perspective. experience Show students how to draw a checkerboard floor in one point perspective. Objectives: Demonstrate knowledge of one-point perspective by creating a one-point perspective After examining Rhinoceros by James Christensen drawing of a room with a checkered floor (see and several paintings by Rene Magritte, tell directions on next page). Apply knowledge of students to fill their checkerboard floor rooms with surrealism by adding an object to the room that is something larger than lifesomething that takes larger than life. up the whole space of the room. They may want to draw their object or they may want to cut it out of Background information: Surrealism is an art a magazine (precisely) and glue it in their room. style of 20th Century art in which artists combine (It could be Xeroxed and they could then color it if normally unrelated objects and situations. Scenes you have Xerox facilities). are often dreamlike or set in unnatural settings. Led by Andre Breton, a poet, surrealist theory For evaluation, determine if students have was heavily combined with concepts borrowed demonstrated understanding of one-point from Freudian psychoanalysis. The original idea perspective by drawing their floor in perspective. was that a dream can be transported by automatic Also, evaluate whether students have filled the writing directly from the unconscious mind to space of their picture with an object larger than canvas, bypassing the conscious mind. Actually, life. some degree of control was unavoidable. Music and Dance Surrealism stimulated several novel techniques for Core Standard 6--Connect visual arts and other soliciting and exploiting chance effects, though. disciplines Early surrealism began with chance effects of rubbing a pencil over a paper to see what the grain Objectives: Use music to inspire movement. underneath would suggest. Or spreading random Listen to music about animals i.e. Grand Canyon paint on a canvas, squashing it together, and then Suite (donkey), The Firebird Suite, Peter and the trying to see what could result. These ideas were Wolf, or the Swan Queen in The Nutcracker. Move visual extensions of Bretons unconscious writing, in ways the music suggests. Imagine an animal, and like Rorschachs ink blot tests, were exercises and draw a picture of the animal imagined. Discuss in responding to and interpreting visual data freely. the music and discover what animal the composer Later extensions developed into sophisticated had in mind. Move to the music once again. presentations of logical subject matter in very Remind students that dance is not about mimicing illogical situations or weird associations. what an animal does, but moving in ways that suggest some quality of the animal. 86

Drawing a One-Point Perspective Tile Floor

1. Draw diagonal lines from two corners to establish the vanishing point. 2. Draw a rectangle to be the back of the room. 3. Place dots at an equal distance along the front edge to establish the width of tiles. 4. Draw a diagonal line from one front corner of the floor to the opposite corner of the floor. This line indicates the decreasing size of the height of the tiles. 5. Where the diagonal crosses a line, make a horizontal line. You have now established the tiles. 6. Fill in every other tile with your chosen color. 7. Erase guide lines. 8. The finished tile floor.

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Creative Thinking Objectives: Demonstrate flexibility in thinking by creating a drawing that combines at least two or more ideas.

Look at the rhinoceros in Christensens painting. Ask students to notice how the rhino is confined to a small space. Show the students a small box. Tell them that they are going to create an animal out of Crayola Model Magic (which is very easy Discuss Jim Christensens ideas in Rhinoceros. to work with, not dirty, and non-toxic). Let each Perhaps he combined some of the following ideas: student choose an animal or create their own a colorful, painted room with checkerboard floor, animal. Show them how to make one large shape a rhinoceros and a bird, old age, armor, jewels. for a body, a smaller shape for the head, and four Examine other works by Christensen or Rene very small shapes for legs. Let students experiment Magritte. Determine what unlike things have been with their animals and be creative. The animals combined. Choose an object, several objects, or can dry overnight and then they may be painted a person. (You may want to bring an object to with acrylics, tempera, or water paints. Have the class and have the entire class work with the same students display their animals in the box. They object i.e.. an old shoe, a telephone, a pineapple, a may even want to paint the space (their box) lizard, a pair of scissors). Then change the object with bright colors like Jim Christensen did. Ask in one of the following ways: students to talk about the animal they have created. magnify some part of the image much larger Imagine what the animal would be feeling. than the original multiply or repeat the image in some way substitute some object for another fragment or split the object or dismember part of the object distort some part of the image by masking, covering, or camouflaging it. use simultaneous presentation by showing the side, top, back, and bottom view of the image transfer the image to a different setting, an impossible setting. expand a two dimensional image into a three- dimensional form with some part jutting out into space. For evaluation, remember that it is the flexible thinking that is the goal of this lesson. Drawing ability is not an issue. Discuss ideas with students. Have them share ideas with each other. As a follow-up , ask questions i.e.. What if... elephants could fly, cars were made of bricks, etc. What would be the consequences of the impossible situation? Adaptations Objectives: After examining the animal in Christensens painting, students will create their own fantasy animal in a given three-dimensional space. 88

Language arts and Visual Arts CORE: Standard 6--Connecting visual arts to other disciplines. Concept: The mood in a work of art can inspire other creative expressions, such as poetry and writing. Objectives: Use poetic language to articulate one's response to a work of art. Procedure: 1. Display Christensen's Rhinoceros for one to two minutes. Ask students to write a phrase on a

strip of paper using carefully selected words that Procedure: The students will write a poem called a describe the "mood" of the piece. To help students diamante. get started, first generate a list of evocative adjectives as a class. Give instructions line by line: 2. Divide the class into groups of five or six students. Ask each student to share his or her sentence or phrase with other members in the group. 3. After all students have read their sentence or phrase, ask each group to arrange its sentence strips into a prose poem. The group may add a few words to improve the flow of the poem if they wish. 4. Ask someone from each group to read their group's poem to the rest of the class. Ask the students to listen for any similarities between the various poems, as well as the differences. Line 1. Give the work of art a one-word title. Line 2. Describe an action that you see. Line 3. Write a simile (a phrase using like or as) Line 4. Give the artwork another, longer title. Have students read their poems aloud. Use the poems as a point of discussion. What kinds of images arise? What are some similarities among poems? What are some of the differences? Language arts, cont'd. Artwork contains clues, including pose, gesture, expression, and props, that can lead to an interpretation and an understanding of the subject.

5. Consider any similarities, and then ask students to determine what it is about the work of art that Procedure: Divide the class into groups of 5-6 seemed to contribute to the similarities. students. Give each group a copy of an "interview with" sheet and pencil. Explain that by looking 6. Consider any differences, and then ask students closely at gesture, pose, expression, and props, how such differences could occur when everyone the interviewer can speculate about answers the was looking at the same image. subject would give. Imagine that the Rhino in Christensen's painting could talk. What would he 7. Have the students speculate on why the artist say to the following questions: might have created this work of art. 1. Three words that best describe me : 2. My favorite kind of music: Language arts and Visual Arts CORE: Standard 6--Connecting visual arts to other disciplines. Objectives: Students see how works of art can inspire images that can be translated into words. Students will notice how different people bring different things to looking at works of art, each student has a unique perspective and it is important to respect different interpretations. Task: Students will write a four line poem of their own. Each line of the poem asks students to use different language/writing skills. 89 3. My favorite way to get around town: 4. Three things always found in my food cupboard: 5. Some things I like to do on the weekend: 6. People may be surprised to know that I: 7. What did I want the artist to reveal about me in this portrait: 8. If I had a tattoo it would be: 9. Something I am thinking about right now: 10. If I had one wish it would be:

Extensions Objectives: Demonstrate flexibility in thinking that involves at least three unlike ideas. Ask students to choose three numbers between one and one hundred. Tell them that they will create an art form that involves the three items they have chosen.

1. mythology 2. microscopic size 3. a group in a series 4. automobiles 5. cityscape 6. birds 7. shadows 8. fusion 9. popcorn 10. omelette 11. birth 12. maps 13. chain 14. plants 15. coupling 16. paint 17. Mickey Mouse 18. words 19. penetration 20. eyes 21. personality 22. game 23. umbrella 24. math 25. joke 26. maze 27. slogan 28. X-ray 29. glue 30. knots 31. clouds 32. body parts 33. rainbows 34. machines 35. clusters

36. time 37. bionics 38. bug 39. banners 40. eating 41. buildings 42. torn paper 43. diary 44. movie hero 45. destruction 46. bird cage 47. poetry 48. anti-gravity 49. envelopes 50. tower 51. boxes 52. alteration 53. anti-gravity 54. love 55. light 56. violence 57. constellations 58. dream 59. alienation 60. imprisonment 61. fluids 62. grids 62. freedom 64. astrology 65. identity 66. chance 67. portrait 68. hostility 69. mutation 70. growth

71. conflict 72. conformity 73. wood 74. compression 75. linking 76. labels 77. ritual 78. pleasure 79. illusion 80. symmetry 81. tubes 82. war 83. window 84. boxes 85. theft 86. calligraphy 87. fingers 88. junk 89. insignia 90. jail 91. jars 92. headlines 93. wheels 94. wings 95. science fiction 96. trap 97. scissors 98. transparency 99. puzzle 100. phone

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Making an Ecology Statement

"Mirrors are symbols of vanity. Jaar combines that self-centered concept with the symbol of After reviewing ecological problems facing extinc- consciousness and conscience, hoping to bring his tion of the Rhino in the world today, examine other viewers to an examination of the responsibility of social and ecological problems. Work in teams and 'First World' to 'Third World.'" decide on a statement you can make. DIRECTIONS: Create an ecology artwork. Form teams and discuss environmental problems. Decide The twenty-first century will have to be an ecolon one you can express as a multi-art statement. ogy-focused era. The entire world is facing the rapid depletion of natural resources through pollu- Some ideas include: 1. Collect newspaper and tion and waste, mismanagement and neglect. There magazine articles and photographs about problems are many artists who use these problems as subject of the environment or animal extinction. Make a collage or poster. 2. Make a robot out of discarded for their artwork. Some include collage, performance art and installations. Alfredo Jaar is an artist plastic foam and paper from the cafeteria or fast whose concern for ecology reaches into the prob- food restaurants. 3. Make a pollution poster by cutting out trash from around the school. 4. Choose lem of Third World "Us and Them" attitudes of the wealthy industrialized nations. He was born in any other way to express your ideas. Chile in 1956, but has also lived in New York. He says, "I feel I am both Us and Them." One piece by Jaar ,called Geography = War makes a silent and powerful statement about this problem. It is based on an actual event in the 1980's when Italian freighters dumped 35,000 tons of toxic waste on a farmer's land in Koko, Nigeria. They paid him 25 cents a ton for permission. Not knowing the contents of the thousands of steel drums, Koko townspeople began emptying them and using them for food storage. Children played in the dump. The diseases that followed were horrendous. Alfredo Jaar went to Koko and photographed the dump, and the people. He used these photos for an installation piece. The photos were made into large transparencies placed in light boxes. Several were hung face down from the ceiling of a darkened room. The photos reflected into rows of black steel drums filled with water. Viewers looked into the drums, seeing their own reflections merging into the reflections of the dying people in Koko. The best site for viewing this artwork is http:// it.truveo.com/Alfredo-Jaar-Geography-War/ id/2478914092 This site has a short video of the piece (Nov. 2008). However, since web sites change frequently, you may need to use an image search engine to find a good copy. 91 THE DIFFERENCE BETWEEN WHITE AND BLACK RHINOS There are two main kinds of rhinos in Africa, black and white. In spite of the names, they arent different colorstheyre both gray. Either kind may take on the color of the locl dirt because they like to wallow in the dirt. Some black rhino look dark because the soil where they live is black volcanic soil. Although different sources claim the term white comes from a variety of Dutch or Africaans words, they all agree white was a misunderstood word for wide, referring to the white rhinos wide mouth, which helps them graze on grass. On the other hand, the Black rhino has a prehensile lip (it can grasp, like your thumb) that helps them feed on the trees and shrubs in their native habitat. In addition, Black rhinos stand straight, with their head forward, so they can easily feed at head height, while white rhinos heads are down, perfect for grazing on grass. The two rhinos are also called broad-lipped and hook-lipped. You can tell which name goes with which kind of rhino. (see sources at end of lesson)

Photo from: en.wikipedia.org/ wiki/Image:Ostafrikanisches_ Spitzmaulnashorn.JPG public domain

Fast Facts
Common Name Class Order Family Genus Species Size Weight Description Rhino Mammalia Perissodactyla Rhinocerotidae Diceros (Two horned) bicornis 1.5 to 1.9 meters (5-6 ft. tall at shoulder; 3.1 to 3.7 meters long (10-12 ft.) 454 to 1362 kg (1000 - 3000 lbs.) Females are sometimes lighter Large stocky animal, naturally gray in color, but will often take on the color of the local soil: two facial horns and a prehensile lip 25 to 40 years Males: 7 - 9 years, Females: 4 - 6 years 15 months Bushy plains, rugged hills, and scrub lands in isolated areas of central and southern Africa Herbivore that browses on bushes, leaves, and seedlings Listed on the ten most endangered species list by CITES http://www.bergen.org/Smithsonian/BlackRhino/amazfact.htm 92

Life span Sexual Maturity Gestation Habitats Diet Status

Distribution map from International Rhino Foundation http://www.rhinos-irf.org/en/cms/?345 accessed November 25, 2008

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The following quotes summarize the problems the a result, there are now about 3,000 black rhinos in rhinos face. Africa, a pitiful number compared to the 65,000 to 100,000 that roamed the continent in the 60s. Thus, all species of rhinoceroses are threatened by West African Black Rhino Feared Extinct extinction and urgently need all possible protection. ScienceDaily (July 7, 2006) While most subspecies of Africas two rhinos, the black and white (http://www.american.edu/TED/rhinoblk.htm) rhino, continue on the road to recovery, this is not true for two of Africas most threatened rhino sub- Since about 1994, some progress has been made in protecting and even restoring the populations species: the West African black (Diceros bicornis longipes) and the northern white (Ceratotherium of rhinos both in the wild and in captivity. You may want to do research as a class to find out simum cottoni). The West African black rhino is now feared extinct and numbers of the northern the current state of rhino populations and what measures are having success. white rhino have reached an all time low in the wild. In both cases, poaching for rhino horn is the Web sites: main cause of their demise. http://en.wikipedia.org/wiki/Rhinoceros (http://www.sciencedaily.com/releases/2006/07/060707150841.htm) http://www.kidsplanet.org/factsheets/rhinoceros. The rhinoceros lives on the cusp of extinction due html to poaching and a booming illegal trade in sales of its horn. Since the 1960s the rhinoceros (rhino) http://www.awf.org/content/wildlife/detail/ rhinoceros has been conservations beacon of despair. The black rhino has gone through the biggest deliberate http://www.panda.org/about_wwf/what_we_do/ assault on a single species of mammal in the species/about_species/species_factsheets/ worlds history. It is the black, the hook-lipped rhinoceros/index.cfm beast of thick African bush, that has suffered the biggest decline. Their extermination was the result of large-scale destruction of habitat, http://kids.nationalgeographic.com/Animals/ especially by deforestation, ruthless hunting, and CreatureFeature/Black-rhinoceros the rise of illegal trade in rhinoceros products. As Compare this image of the Indian Rhinoceros with the image of the black rhino on page 92. Now look at Drers print of the rhino on page 85. People have assumed that Drer only heard a description of a rhino, and if you look at the photo of the black rhino, his rendering seems very fanciful. Does seeing what an Indian rhino looks like change how you feel about Drers view of rhinos? 94

ANIMALS IN ART
ARTIST: TITLE: Guest MEDIA: SIZE: Silvia L. Davis (1957 ) Salt Lake City, Utah 1994 wood sculpture 28-1/2 x 15 x 19

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What is the sculpture made of? What is your first response to the sculpture? How do you think you would respond to it if it were made of other materials? How does the sculpture make you feel? Is the sculpture realistic in size, shape, color, proportion? Does the painted wood enhance or detract from the overall effect of the piece? What do you think the artist is trying to express? Is there energy and movement inherent in the sculpture? How does the artists knowledge and use of proportion and balance contribute to the overall impact of the sculpture? Proportion is a principle of concerned with the relationships between parts to the whole and parts to other parts. Examine Guest. What proportions have been used in this sculpture? For example, individual parts to the whole, parts to other parts, pieces of wood to the whole, areas left with paint in relationship to those without. ACTIVITIES Arthistory Objective: The students will learn about the Golden Mean and how it has been used in art and architecture. as the Great Pyramid of Giza, the temple of the Acropolis, da Vinci paintings, the Cathedral at Charte, etc. Explain what the Golden Mean [often called the Golden Section] is and help the students see those proportions in the buildings and artworks.

The Golden Mean is a ratio that is most easily Show the class the slide of Guest as well as demonstrated by looking at a line, AC, where AB slides or reproductions of other artworks that demonstrate proportion. Lead a brief discussion is to BC the same as BC is to AC. about the use of proportion in each of the artworks. Then show some artworks and architecture from the Greeks, Romans, and Egyptians such 95

A rectangle with sides proportioned in accordance with the Golden Section is known as the Golden Rectangle. It can be constructed as follows: The side AB of the square ABCD is bisected at E, see diagram below. Then, using E as the center and EC as the radius, an arc is drawn that meets the extension of AB to create F. Then FG is drawn perpendicular to AF to meet an extension of DC to create G.

marker to draw in the examples of proportion that match the Golden Mean or Rectangle. Have groups share their discoveries with the rest of the class. If you have older students, you may want to assign them to research an artist (such as Michelangelo or da Vinci, both famous for their use of the Golden Mean), an artwork, or a building. Have them draw the proportions on the copies of the item(s) they researched and share that information with the class.

Science Extension: After completing at

If the rectangle BFGC itself becomes a Golden Rectangle and the rectangular extension of that Golden Rectangle becomes a Golden Rectangle, and so on, a spiral can be drawn following the descending sizes of Rectangles which has the proportions of spirals found in nature.

least the section of the previous activity that explains the Golden Mean, move to ways the same proportions exist in nature. Spirals based on the Golden Mean are seen in the shape of the Andromeda Galaxy, shells spirals, the flight patterns of fire flies and other insects, the helixical shape of the human gene, the whorl of some flower petals, and the proportions are evident in the distances between leaves on the stems of some plants. You can find many more examples. You may want to have students research individual examples of the Golden Mean in nature. Have the students make sketches or find illustrations and make short reports to the class or make a class bulletin board display.

Geometry Extension: Explore the proportions

of the Golden Mean in mathematics. Many web sites have information as do geometry and other math texts. (See information about the Golden Mean and books and web sites at http://galaxy.cau.edu/ tsmith/KW/golden.html.) Chambered Nautilus blog.lib.umn.edu/myee/architecture/2006/11/ post_1.html You may want to limit the art activity to a class presentation/discussion. If not, divide the class into groups and give each one a photocopy of a piece of artwork or architecture and have the group discover where the Golden Section has been used. Students should use a bright-colored 96

Art

Objective: Students will apply their knowledge of proportion in creating a three-dimensional figure. Show the slide of Guest as well as other slides of sculptures of other animals. If possible, bring in several animal sculptures or live animals for the students to observe and touch.

Have students measure parts of the sculptures, animals, or photographs of animals to determine typical proportions of different animals and different breeds of dog. See the Science activity for Guest. The measuring step and the whole idea of proportion is likely to be easier if you have done an activity with typical human proportions. If you havent, you may want to start with one. Use calipers, if possible, and have several children of different heights come to the front of the room. (Calipers can be made out of cardboard, the two arms joined with a brass fastenerthe kind with two flat prongs that can be poked through paper and the prongs folded flat, so the cardboard is held together but can rotate.) Measure from the top of the head to the chin. Then measure other parts using the head size as the measurement. If your students are very young, they may not quite fit the standard, which is 7 heads tall, 4 heads from hip to heel, 2 heads wide at the shoulders, and 1-1/2 heads across the hips. However, the students will come close, and different students are likely to be similar in proportion. Have the students choose an animal to sculpt out of soap, clay, wood, or found objects. The sculpture may be a representation of the mythical dog the students wrote about, the breed of dog they chose to investigate in the science project, their own pet, or another animal. (Have good photographs of various animals available.) First, students will sketch their chosen animal, measuring its proportions and trying to reproduce them. They should make sketches from several angles since the sculpture will be threedimensional. Then the students should sculpt the dogs (animals) using the measured proportions as best they can. Display the dogs and the stories; invite another class or parents to listen to the stories written by the students and to see their artwork. Variation: have students use photocopies of 97

animals and measure the proportions, writing them down on the paper. Then have students sketch the animal freehand, trying to reproduce the proportions correctly.

Language Arts

Objective: Students will show they understand what a myth is by creating a myth about a dog(s) and sharing it with the class. Show the slide of Guest and ask for student reactions. Create a background for the piece: Where did it come from? Whose dog was it? Does it possess any magical or mystical qualities?, etc. Ask the class to listen to discover what a myth is as you read or relate several myths to them. For example, the myth of the phoenix, the myth of Persephone, or a creation myth involving the dog, such as Ulgen the Creator, a Russian creation story, found in a collection edited by Virginia Hamilton entitled In the Beginning. Discuss and list the components of a myth. Discuss and list the components of a good story. What is the proportion of the beginning and end to the middle of a story? How much description versus dialogue balances a story and makes it interesting? How much detail about character and setting is needed? How does the ratio of illustrations to text change the story? Have each student develop a myth (perhaps about how the dog was created or what part the dog played in the creation) and share it with the class. Students also can work with a partner or in a small

group to develop the myth.

Drama

Objective: Students will participate in role play to develop an understanding of the relationship between pets and their owners.

And down the sugar goes! (The poems are taken from The Arbuthnot Anthology of Childrens Literature, compiled by May Hill Arbuthnot and others, Scott, Foresman and Company, 1976, page 35.)

Discuss how each of the dog owners must have Students will show their understanding of proportion by creating objects with their bodies in felt about their pets. Then have the students, working individually, show how they would feed, groups. pet, bathe, walk, play, etc., with their dog. Use the following poems or other similar As a class prepare and recite the poems together as poems you may have or prefer. Look for poems a choral reading. Use solo, small group, high, low, containing character and action. and medium voices with appropriate expression to give dramatic impact to the reading. Vary the tempo and timing of the reading appropriately as well. MY DOG by Marchette Chute Act out the poem(s): As the teacher/leader reads the poem slowly His nose is short and scrubby; students may: His ears hang rather low; a) role play the dog And he always brings the stick back b) role play the owner No matter how far you throw, c) work in partners: one partner is the dog, one the owner; then switch roles. He gets spanked rather often For things he shouldnt do, Divide the class into groups of eight or nine Like lying-on-beds, and barking, students each; have each group cooperate to form And eating up shoes when theyre new a dog using their bodies (one person is one leg, a foot, the head, the body, the tail) Can the dog He always wants to be going walk, wag its tail, eat, etc.? Where he isnt supposed to go. He tracks up the house when its snowing Create a puppet show based on the creation story Oh, puppy, I love you so. or one of the poems (or students can write their own poems about their pets to act out). Or, create readers theatre scripts based on the creation Toms Little Dog by Walter de la Mare stories written by the students in the language arts activity. Have the students practice and perform Tom told his dog called Tim to beg, And up at once he sat, His two clear amber eyes fixed fast, His haunches on his mat. Tom poised a lump of sugar on His nose; then, Trust! says he; Stiff as a guardsman sat his Tim; Never a hair stirred he. Paid for! says Tom; and in a trice Up jerked that moist black nose; A snap of teeth, a crunch, a munch, 98

the internet; one good site is the American Kennel Club homepage: http://www.akc.org/bredgrp.htm (limit your search of dog breeds by specifying only sources with images) Display a drawing and have students name as many parts of a dog they can. Add as much information as seems appropriate. Then compare the proportions of size (height/length) to weight for several different breeds of dogs. Ask students to examine how the different proportions are related to appearance. For example, do dogs with broad faces generally weigh more for their height than dogs with narrow faces? You also may want to relate size, build, coat, etc., to specific roles dogs have been bred to fill such as Portuguese water dogs which were bred to herd fish and help with nets. Each student (or partners) will choose a breed of dog and research its unique physical and temperamental features. They will present their findings in an illustrated report. If your classroom has access to the internet, this assignment can be used as practice in researching techniques for the web.

Boy with Doberman Pinscher www.hoytt.com/NextGeneration/Heath.htm for the rest of the class.

Science

Objective: Students will identify the general characteristics of the dog family. Students will identify and explain the unique characteristics (physical and temperamental) of a particular breed of dog and share this information in an illustrated report. Show the class the slide of Guest and discuss the general characteristics of domestic dogs: -appearance -habits -uses in society -traditional ways of characterizing dogs List as many breeds of dogs as the class can think of. If possible, display some pictures of these different breeds as well as others that may not have been mentioned. Good information is available on 99

Math

Objective: Students will create and explain a graph based on an in-class poll. Students will demonstrate their understanding of ratios by interpreting their graph.Explain how graphs are created and discuss what kinds of information they best communicate. Take a class poll (structure this as you see fit): -how many students own dogs? -how many students own pets? -what breeds of dogs do students own?

After tabulating the results, have the students create graphs based on the information from the poll. For more advanced students, have them design and administer individual or group polls, create a graph with effective labeling, and display

the graphs. Have students calculate the ratio of students with dogs opposed to those without. Then they can calculate the ratio of the most popular breed to the least.

Social Studies

Objective: Students will investigate the use and treatment of dogs (or other animals) in a particular culture and share the results of this research. Each student (or team of students), with the guidance of the teacher, should select a world culture to investigate. The students should use the following questions to guide their research: -how are dogs used in this culture? -how are they cared for? -how are they (or have they been) depicted in the art of the culture? -do they contribute to the economy of the culture?

Andromeda Galaxy, shells spirals, the flight patterns of fire flies and other insects, the helixical shape of the human gene, the whorl of some flower petals, and the proportions are evident in the distances between leaves on the stems of some plants. You can find many more examples. You may want to have students research individual examples of the Golden Mean in nature. Have the students make sketches or find illustrations and make short reports to the class or make a class bulletin board display. Geometry Extension: Explore the proportions of the Golden Mean in mathematics. Many web sites have information as do geometry and other math texts. (See information about the Golden Mean and books and web sites at http://galaxy.cau.edu/ tsmith/KW/golden.html.) groups.

Photo by Charles Austin http://www.pinetreeline.org/photos/p17-48.html -does one breed predominate?

Science Extension: After completing at least the section of the previous activity that explains the Golden Mean, move to ways the same proportions exist in nature. Spirals based on the Golden Mean are seen in the shape of the 100

ANIMALS IN ART
ARTIST: Silvia L. Davis (1957 ) Salt Lake City, Utah TITLE: The Colt 1995 MEDIA: bronze sculpture SIZE: 26-3/4 x 52 x 42

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, History) What does the pose the artist selected for the horse tell us about a horse? How old is the horse in this sculpture? Why do you think the artist created a sculpture about a horse of this age? Why do you think the artist wanted to create a sculpture of a horse? Was the artist who created The Colt a man or a woman? What makes you think this? When do you think this artwork was created? What are some clues that can help you know? Why do you think the artist just called the sculpture The Colt? How do you think this artist feels about animals? Do you like the artwork? How does it help you to remember things about a horse you have seen before? ACTIVITIES ArtPerceiving/Social Studies Objectives: Students will expand their knowledge of art history by examining images of horses from various art periods. Students will extrapolate from the images ideas about the cultures that produced the images. Show the class the slide of The Colt and allow students to respond to the image. Show them other images of horses. Mix these images up time wise, so the students have to rearrange them to create a timeline of the images. Show them several examples from among the following list: cave paintings clay sculptures from Egypt clay sculptures from South America 101 Have the students comment about what each kind of image tells viewers about the culture that made it. Then have students arrange the images from oldest to most modern. ArtMakingPerceivingContextualizing Objective: Students will learn about two contemporary artists, compare ones Postmodernist works with the others more Realistic work, relief stone carvings from Syria paintings of horses on Tepees and notebooks by Native Americans paintings of horses from England by artists such as Alfred Munnings, George Stubbs, Raoul Millais paintings of fox hunts paintings by Remington or Russell or other Cowboy artists Deborah Butterfields abstract horse sculptures folk art wood carvings Merry-Go-Round horses the mechanical horses outside stores pony rides at the fair

criticize the works, and/or create a found-object sculpture or drawing.

About the Artist

Deborah Butterfield creates sculptures of horses. Show the class slides of Riders of the Range, Paul With each one she manages to convey a distinct Salisbury and Ropin out the Best Ones, Grant presence, with a down stretched head or paunchy Speed and/or other western artworks that feature girth. Yet her sculptures are stripped of all but horses. Explain that in the 20th Century, at least the most basic anatomical characteristics. Some in the United States, the image of a horse became are life-size and made of discarded industrial so associated with western art and so trite it lost materials, like Horse #2-85 in the ASU Art credibility as a worthy image in the rest of the Museums collection. Others are smaller and artworld. (In Great Britain, Horse Racing was made of mud and sticks. More recent ones are cast a more common theme) One artist who helped in bronze. Butterfield uses this mix of materials take the horse out of its triteness corral is Deborah to explore her own fascination with horses, but Butterfield. See artworks below and then a short she also uses the form of the horse as a vehicle to biography, which follows. explore the human experience. Butterfield was torn between pursuing art or veterinary medicine in college, but decided on the former and received a Master of Fine Arts Degree from the University of California at Davis in 1973. She bought her first horse and worked and lived on a thoroughbred farm, while still a student. In 1976 she moved to Montana to teach and started making horses out of natural materials. Using a wire armature, her horses became abstract sketches in mud and sticks. Following in the twentieth-century tradition of assemblage art, Butterfield began working with found objects which she gathered at dumps and on her ranch. The sculptures are skeletal in construction or dense like Horse #2-85, composed of barbed wire, pipes, fencing, an old tire, and corroded scraps of metal and wood. Although the Museums horse seems quiet and still, there is a great deal of movement in the combinations of materials, solids and voids, colors and textures. Patches of rust look like paint, and light plays over the beaten, corroded metal as it would over a twitching flank. Horses have a long tradition as political and philosophical symbols in the history of art. Butterfields horses counteract the Western tradition of masculine, military equestrian statues. Her horses are vulnerable and fragile rather than mighty. They are made of materials that continue to rust and decay. Butterfields horses are standins for us and pose pointed questions about our

Deborah Butterfield, Horse #2-85 (1985) 33-3/4h x 48w x 109l

Arizona State University Museum Lobby Gift of the Graham Foundation and the Art Heritage Fund Deborah Butterfield, Ferdie artmuseum.org/Openings/deborah_butterfield.htm

102

history rather than glorifying it. Art writers have interpreted these sculptures as new images of the American West, echoing ghost towns and junkyards in their materials, and reflecting changes in our way of life. Horse #2-85 incorporates a tire in its rump pointing out the replacement of the horse by the car and the changes to our environment in the process.

diverse visual quality.2 Butterfield was greatly influenced by the junk automobile sculptor, John Chamberlain, and reminders of David Smiths early work also may be observed in her recent pieces.

You know, horses actually changed the history of the world. Up to World War I, the horse was used as a weapona way of exercising power over Butterfield finds inspiration in the art of Africa people who didnt have it. The horse conquered and Asia, and most importantly in her experiences the world. But now, in the 20th century, we think as a horsewoman. Butterfield rides and trains of the horse for sport, for pleasure or for art. . . horses for dressage, a discipline in which the while horses are not intelligent at doing things that horse and the rider work together to perform a people do or that dogs do, they are very intelligent specific set of tasks. She describes this process as at doing things that horses do, and Im interested a kinetic language and as her attempt to try to in what that has to teach me. I want to try to communicate with another species. Butterfield communicate with another species, which happens continues to live on a ranch in Montana, dividing to be the horse, and perhaps to gain more and her time between her horses and sculpting. different information.3 Biographical Information taken from http:// asuam.fa.asu.edu/butter References: 1. & 2. The New West. exhibition catalogue, Colorado Springs Fine Arts Center, CO, 1986. 3. Marcia Tucker, Equestrian Mysteries, Art in America, June 1989, p. 203. Show the class the slide of The Colt and then several of Deborah Butterfields horses. In addition to those here, you can find images of her works at http://www.artcyclopedia.com/artists/butterfield_ deborah.html This site has a list of museums and galleries that have images of her work on the web with links to each. One of the links is to the Boise Art Museum and it has a section on her especially for kids. That address is http://www.boiseartmuseum.org/content/fr_kidsite. html Then complete one or more of the following activities: CriticismDescribe, Analyze, Interpret, Come to an Informed Judgment about The Colt and one of Butterfields works. (See pages 133-135 for more help with a criticism model and for a model for

Deborah Butterfield, Horse More Biographical Information The artists earliest works were huge plaster mares, then came a series of horses made of sticks and mud, reminiscent to her of log jams. She used horse images as a metaphysical substitute for herself, translating personal body measurements into measurements within the horse form.1 She gradually eliminated the mud, evolving to junk sculpture, and finally, now to true welded, constructivist work, utilizing found materials, each with its own history and 103

Aesthetics/Art HistoryCompare and Contrast the realistic approach of Silvia Davis in The Colt (see also Filly, right) to Butterfields approach. Have the students read (or you read to them) about the two artists and what they each say about the ideas and purpose behind their approaches. For older students, after they have compared and contrasted the two approaches and works, show them Davis The Guest, which is less realistic than her sculpture The Colt and ask if seeing the other artwork changes their opinion or reaction. Variation: Give the students information from the biographies of each artist and then have a panel debate the merits of the two artworks or the two approaches, as represented by these two artists. For advanced or motivated students: Making Create a found-object sculpture of an animal. Have students choose an animal they are familiar with to make a sculpture of. Have pictures of common animals available for the students to look at. Exhibit the finished works. For inexperienced students: MakingStudents will create a drawing of an animal by an unusual method such as using scribble lines, torn paper, scraps of fabric, etc. Do not give the students Xeroxed animal shapes to fill in; this activity consists of creating a drawing/painting by assembling items on a 2-dimensional surface to create the sense of a specific animal. Be careful not to turn it into a coloring book- type activity.

[There was an article on this in the Deseret News on Sunday March 5, 2000, A1, continued on A14 ] You may be able to get someone who works with horses in some capacity to come talk to the class about their work with horses.

ScienceBiology

Objective: The students interest in animals will be engaged by their viewing slides of artworks featuring animals. Use any or all of the artworks to introduce a biology lesson on animals. Show the slides, and ask how the artists knew how to use lines, paint, shapes, clay, etc. to create an artwork which we recognize as being about an animal(s). The answer, of course is they studied animals, looking closely at real animals and learning the bones, muscles, skin or fur and other physical characteristics that make up those particular animals. (See Biographical Information of artists Clark Bronson, Carel Brest van Kempen, and Jason Wheatley.) If you have access to the video Animals & Art which shows Clark Bronson out sketching and photographing animals in the wild, show selected clips. To order the video, write to Picture Animals, P.O. Box 50776, Provo, Utah 84605.

Social Science

Objective: Students will examine or compare the economic impact/role of horses in Utah in the present time or in the 1800s. Show the slide of The Colt to start the activity. Show other artworks that feature horses such as those listed in the activity on page 93. Ask the students to name all the ways horses are used in Utah and make a list on the board. Or, look at the ways horses were used in the early days of the state, or do both and then compare the two. 104

ANIMALS IN ART
ARTIST: Dan G. Hildreth (1964 ) Pleasant Grove, Utah TITLE: Snowshoe Hare 1996 MEDIA: bronze sculpture SIZE: 9 x 8 x 5

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) Compare Albrecht Durers The Hare (research in an art history referencebooks or internet) with Hildreths Snowshoe Hare. They are both realistic, with variations. What are the similarities? (The subject; realism; the composition--neither are jumping, standing, etc.; ) Can you think of others? What are the differences? (The media, the texture, the dimension Durers is two-dimensional, Hildreths is three-dimensional.) A major difference is in detail. Durers very every hair drawn detail is totally different from Hildreths illusion of a rabbit with the thumbprints left in to remind one of the processsculpture. the body, the tail (visible in Hildreths but not in Durers!) Which art work is more realistic? Why? Analyze how each uses various elements of art: line, shape, space, value, texture, color, and form. (Note how Durer gives his drawing the illusion of form by using value, and Hildreth of course creates form by producing a three-dimensional work.) Which do you like best as an art work? Why? (With a lot of discussion, students will probably determine that they like certain aspects of each work.) Have students explain why each is a successful or non-successful work of art to them. ACTIVITIES Art History/Language Arts Objective: Students will demonstrate the ability to research a famous artist, and compare a current artist with a famous one from the past. Read the biography of Dan Hildreth, and compare his life to Albrecht Durers, noting similarities and differences. Write an essay comparing their lives, interests, and the two Hare art works. Hildreth was born in Portland, Oregon, September 30, 1964. Durer was born in Nuremberg, Germany, in 1471. Both became artists at a young age, and both were apprentices to other artists. Durer was apprenticed from the age of 15 until he was 19 to the artist Michel Wolgemut in Nuremberg, Germany. Hildreth at 18 worked with Stan Johnson in Mapleton, Utah, creating bronze sculptures, later with Gary Price of Springville, Utah. Durers marriage was arranged by his parents to

Look further for similarities or differences as you compare parts of each animals body: the ears, the head, the eyes, the nose, the legs, the hair, 105

a coppersmiths 15 year old daughter. Hildreth married a girl he had previously met in high school; Durers style was greatly influenced by the Italian Renaissance painters; Hildreth idealized the great sculptor, Rodin. Using these kinds of comparisons helps to make great artists from the past more real to students, and gives a different twist to a historical look at artists.

Close up of a clay bear made by a student at the Utah School for the Blind ca. 1942 Students should research their selected animal, making thumbnail drawings from all angles to be sure how to present the art work in a threedimensional form..Create the animal using a water-based clay medium, remembering to hollow out the body to about 1 thickness. Give just enough texture to create softness as Hildreth did, or whatever texture the animal requires. Some suggestions are a porcupine, a reposing cat or dog, a reclining lion, etc. If pieces are attached (like the head to the body, etc.) , be sure and score each piece and attach firmly with slip (a mixture made by thinning clay with water). Keep the clay artwork tightly covered with plastic until completed. Cover it loosely for several days to allow it to dry slowly, uncovering it after two or three day to allow thorough drying. The clay will feel very cold to the palm if it is not completely dry. When thoroughly dry, fire in a kiln. The students may choose to paint with acrylics and spray or paint with a finish, or glaze and refire in the kiln. Display each art work individually. Have the students orally critique their own work, evaluating their composition, texture, shape, and form. Have them acknowledge at least one thing they have done well, and at least one thing that could be improved.

Albrecht Durer, Young Hare http://commons.wikimedia.org/wiki/Image: Durer_Young_Hare.jpg PublicDomain

Art

Objective: Students will demonstrate an understanding of form by creating an animal from water-based clay. They will vocalize their use of elements and principles of design in a critique when finished. Create a sculpture of an animal using the Hildreth approach: the illusion of the animal without too much realistic detail. Plan the animal in a compact form: lying down, curled up, head curled into body, etc. Brainstorm ways an animal might be created with clay, preserving the compactness of form. 106

Art

Objective: Students will demonstrate skill in producing a finished art work from their own sketches and photography. A FIELD TRIP TO HOGLE ZOO OR THE BEAN MUSEUM Plan a bus trip for an art class to the Hogle Zoo or the Bean Museum to draw animals. Depending on distance, budget, and time, allow a full school day or half day. Time of year and weather will be factors, as the Hogle Zoo is outdoors and the Bean Museum indoors. Make a check list to help students prepare for the outing: Wear appropriate clothing, including a hat if outside and sunny Bring a lunch if a full day outing, or money to buy lunch if appropriate Bring sketch pad and pencil/pen Do not bring cumbersome, unnecessary

books, bags, etc. Bring money for bus fare if department budget doesnt cover fees (if the outing is booked ahead with Hogel Zoo as an educational field trip, entrance into zoo is free for students and teachers.) Bring a camera, if desired, to take photographs of animals that may be used

later to create assigned art work Require students to make at least five to ten sketches of animals while at the zoo or museum. These will be used later to create a finished artwork. If the art work will be in color, encourage the students to make notes about color, or bring colored pencils for their sketches. When they return to school, they will have the assignment of creating an art work from a selected sketch or sketches. They may also refer to their own photography if done. The completed assignment should be turned in with sketches attached. Exhibit the finished works and have students do an oral or written critique. (See an example of a finished artwork above, giraffe, done by a student.) 107

Sketches done at the zoo

of that animal. Rationale: In the world of design, knowing how to simplify is a valuable tool. Materials: pencil, eraser, paper, illustration board, black fine-tip felt pen, pictures of animals Time frame: 2-4 days (class periods) Activities: brainstorming, thumbnailing, sketching, presenting, drawing, finishing, testing Art Objective: Students will give context to a drawing by adding something to a sketch of an animal drawn with pen. Cant Slow Down Have the students sketch an animal from life (or taxidermy) with pen. When they return to the class, have them put it into context by adding something in the picture (such as the stereo in the illustration on the next page: Cant Slow Down.) 108 1. Brainstorming Students need to first decide which animal they want to design. This step is simply a narrowing-down process. Students should come up with a few (probably no more than three) animals to work with. Using pictures of animals will help in this process. 2. Thumbnailing Thumbnails are small, quick sketches which serve the purpose of sparking more ideas. Students should cover a few pages with different ideas. They will find that one design may create another idea, then another, and so on. Each thumbnail should differ at least slightly from the previous ones. 3. Sketching After drawing a few pages of thumbnails, students now should narrow the choices down. They should pick 4 or 5 thumbnails to work with. On separate sheets of paper, they should do a large mockup of each choice (large-size sketch). 4. Presenting At this stage, students need to finalize their choice. A good way to do this is with input from fellow students. They can discuss which drawing is the most effective. The artist can discuss why he or she chose to draw his or her animal that way, why certain

Graphic Animal Designs

Age group: 9th grade (Commercial Art Class) Objective: Students will create a design of an animal, focusing on simple lines and shapes. The object is to create a suggestion of an animal as simply as possible without creating an illustration

choices were made, and what the strengths and/or weaknesses are of each one. The artist will then find out what the other students perceive. Sometimes, what may be obvious to the artist may not be obvious to the observer, and vice versa. Tactful suggestions can be made, and the artist can choose to implement them or not. 5. Drawing Now that the final choice has been made, the artist can start the final drawing. This should be done on a piece of hot-press illustration board. A light drawing should be made with pencil, paying attention to placement.

better. Once this project is finished, students can put it in their portfolios. *all artwork courtesy of Jessica Glassford, a student at Lakeridge Jr. High School, Orem, Utah.

Language Arts Application:

Objective: Students will write an ad for a company which uses the animal design as their logo. Rationale: Writing ads is an integral part of Commercial Art. Materials: paper, writing instrument, finished drawing Time Frame: 1-2 days (class periods) Activities: brainstorming, prewriting, writing, revising, finishing, presenting 1. Brainstorming Students will come up with a company, a slogan, and possible ad campaigns. This is the equivalent of thumbnailing for a drawing.

6. Finishing

2. Prewriting

Students should create a rough draft of their ad and Now that the pencil drawing is finished, slogan. that the drawing can be identified from a distance. Once the ink drawing is completed 3. Writing and the ink is dry, students should erase any pencil lines which still show. Once the rough draft is complete, students should work on the final product. They should check 7. Testing for spelling, punctuation, grammar, sentence correctness, and message clarity. The way to test whether or not the design works is to photocopy it at a very reduced 4. Revising size (about an inch across). If the animal is still readable or recognizable, it worked. If Using peer review, students should exchange their it isnt, the student can still rework it to make it ads to have them checked for the same items in 3, 109

above, then make any necessary changes. 5. Presenting Once the ad is finished, the student presents the ad with the drawing to the rest of the class. The drawing is shown, and the ad is read. Comments are made, suggestions given, and changes made, if necessary.

110

ANIMALS IN ART
ARTIST: Joseph Ostraff (1957 ) Provo, Utah TITLE: Albino Trout 1989 MEDIA: acrylic on board SIZE: 48 x 24

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, History) Do you know what albino trout are? (Explain albino if they dont know) Does anyone know why trout fisheries deliberately raise albino trout and what they use albino trout for? (If no one knows the white fish are easily seen and fish hatcheries use a certain percentage in releases because they are easy for fishermen to see and know that the hatcheries have released fish in that stream or lake. They are marker fish.) What kind of paint has this artist used? How might the painting have been different if he had used watercolor or oil paint? What style is this painting? What other artworks do you know that are a similar style? Would you judge this painting the same way you would judge Big Boys or Sunny Day? What would you use as criteria? Why do you think the artist chose to call the painting Albino Trout? How would it feel to be an albino trout or an albino person? Do you think that had anything to do with why the artist painted albino trout? If the painting makes you think about what it would be like to stand out and be different from other people, does it matter whether the artist wanted you to? Why? Do you think the artist approves of fish hatcheries breeding albino trout? What about the painting makes you feel that way? What do you like about this artwork? Do you think it is a good painting? Would it be a better painting if the fish looked more like real fish? Why or why not? 111

ACTIVITIES ArtMaking, Expressing, and/or Contexualizing Objective: Students will demonstrate their understanding of texture, color, value, or unity by creating a collage or a sculpture of a fish. (This activity can also include science knowledge such as the parts of a fish or can focus on the environment and how changes in the environment impact fish.)

Materials: magazines, books, various kinds of paper sturdy paper for the backing scissors YES paste, acrylic medium, or thinned white glue (paste and medium can be purchased at craft and art supply stores) plastic wrap

Materials: pictures of fish found objects trash such as tuna fish cans or other clean food containers wood scraps or flattish items for displaying or mounting fish wire, twine, sturdy thread nails or an awl for punching holes Show the class the slides of Albino Trout and A drill (optional) Tension to Detail. Discuss the way the artists have pliers, scissors, large needles depicted the fish in their paintings. Then assign glue students to create a fish out of pieces of images paint cut from magazines, maps, encyclopedias or other kinds of old books. This activity can focus on creating visual texture, on color, value, unity, Students should make a sculpture out of the found or can be focused on creating art which makes objects, attaching items to each other or to the item a statement about something. For example, the chosen for backing in whatever way works. The illustration below accompanied an article in Sierra, items can be mounted on a sitting base, a base that the magazine published by the Sierra Club. The will hang on a wall, or can be hung with wire from article was on how to reduce your chances of the ceiling. catching and eating fish that contain hazardous chemicals. Set up an exhibit of the completed fish.

Extension: For advanced students, offer them the option of adding paint to the collage after the papers have been glued down. Use oil or acrylic paint. The paint is particularly effective if thinned so it is transparent and looks like a wash, allowing the papers to show through. Sculpture Variation: Have students bring assorted found objects to class and create sculptures of fish using those found objects. 112

Science/ArtMaking, Contextualizing

Objective: Students will demonstrate their understanding of ecosystems by creating accurate visual representations of various kinds of habitats. (Ecosystems, State Core) Materialschoose from among the following suggestions: large sheets of construction or other sturdy paper large pieces of cardboard

large shallow boxes large pieces of styrofoam small scraps of styrofoam claysalt dough, ceramic, air-hardening, or oil base (oil-base clay has the disadvantage that if bumped, it will deform)

rocks and pieces of wood.

Another possibility is to provide some kind of modeling clay for the students to use. (If you use ceramic clay for this activity, it can either be allowed to air dry and be used as is, or you can fire it and allow students to paint the fired clay.) Show the class the slides from this packet and ask Or, students could draw animals and objects on them which animals are shown in their natural paper and then cut them out. To make them stand habitats. (Some clearly are, some clearly arent, upright, create a base out of sturdy paper, a small and some are depicted in isolation and therefore, piece of clay, or a scrap of styrofoam; or tape the arent clearly one way or the other.) Ask students items to bamboo skewers, which can be stuck into to identify what kind of habitat each of the whatever students are using for a base. (A large animals would normally live in. If they dont scrap of styrofoam sheeting makes a good base know, encourage them to think through what and can often be gotten for no cost by asking for they do know and to make reasonable guesses. scraps at construction sites.) (The students may be interested to know that Clark Bronson, who sculpted Big Boys, which depicts natural habitat, spends a lot of time in the wild, getting up very close to the animals he photographs and later sculpts. Another artist who included accurate habitat is Carel (pronounced Carl) Brest van Kempen. He too has spent a lot of time in the kinds of tropical forests he depicts.) Then divide the students into groups. Each group is responsible for researching what kind of plant and animal life can be found in one specific habitat such as the desert, a tropical forest, mountains, plains, etc. After completing their research, each group will create an accurate habitat including animals, plant life, and nonliving components. When the habitats are completed, the students in each group should explain the habitat to the rest of the class so all the class members learn about http://www.positiveplanet.net/2003-ryan-phoeach kind of habitat. You can choose to have tos1.shtml students identity the consumers, producers, and decomposers in each habitat as well as to describe the different food chains in the habitat. (See Third Because the ecosystem project is a complex and Grade Science Core Curriculum, Ecosystems) time-consuming project, it would be a good showcase for student work for parent teacher Provide the students with several possible ways conferences or other times parents will be to create the habitats. For example, a tropical coming to the school. You also may be able to forest habitat could have a complex mural as the arrange to have other classes visit your classroom background, with a few items in front, while it and have the students explain the habitats to might work better to use a large shallow box for a the visitors, giving students another chance to desert habitat. Let students bring items from home demonstrate their knowledge and providing such as small animals appropriate to the habitat or added reinforcement of the students learning. 113

114

ANIMALS IN ART
ARTIST: Gary Lee Price (1955 TITLE: Interlude 1989 MEDIA: Bronze SIZE: 61 x 22 x 19 ) Springville, Utah

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What kind of birds are depicted in this sculpture? (Herons) Do you need to know what kind of birds they are to appreciate the sculpture? What types of lines do you see in this sculpture? What shapes are the negative spaces? Where do you see shapes repeated? Point out some examples of contrast such as rough/smooth, light/dark, large/small shapes. How did the artist use texture to give the appearance of feathers on the birds? What types of tools do you think he used? What mood has been created through the use of lines, textures, shapes, etc.? Do you think this sculpture is beautiful? What makes it beautiful or not beautiful? Where do you think this sculpture was designed to be displayed? Why? What about the sculpture is successful? ACTIVITIES Art Objective: The students will demonstrate their understanding of texture by exploring texture in clay and then creating a relief sculpture of a bird that incorporates texture. Have some items with varying textures available. (See HELPS at the end of the activity) Blindfold some or all of the students or have them shut their eyes and feel the different objects, paying attention to the 115 texture of each object. They should find as many words as possible to describe the different textures; list these words on the board. When the students have had a chance to touch the various objects, show them the slide of Interlude , Snowshoe Hare , The Colt, and Sunny Day, and ask the students what kind of textures the objects and the sculptures have. Then give the students some clay and various

tools and objects and have them experiment with creating a variety of textures. Some of the items you brought for them to feel can be pressed into the clay to make interesting textures and different tools and their fingers can also create a wide variety of textures. Encourage

methods before demonstrating for the students.) The following list contains ways to create relief designs in clay. 1. Scratch or cut into the clay. Different tools will produce very different results. For example, a not-very sharp pencil makes a gentle line; a knife or needle tool, a thin sharp line; the end of a pen, a soft, wide line; the handle of a utensil an even wider, soft line; fork tines make parallel sharp lines; the broken end of stick makes a line with uneven depths and edges. Loop sculpture tools can be used to scoop out gentle depressions or to make sharp-edged troughs. Tell the students to scratch or cut no deeper than halfway into the clay, or the relief may crack apart.

students to experiment with a broad range of textures. If you have access to oil-based clay, use it for this part of the activity since it can be used and reused. When the students have had a chance to experiment with texture, assign the students to make a relief sculpture of an animal that has texture. Have pictures of different kinds of birds for the students to look at, or better yet, bring some birds to class. After the children have decided on the subject of their relief sculpture, they should look at their texture experiments and decide how they can best use texture in their sculpture. You may want to review the reasons for using texture in sculpture. Have the students make at least three sketches of possible designs and then choose their favorite to use. For this part of the assignment, use pottery clay or self-hardening clay. If you use pottery clay, purchase one that has a fairly smooth texture, so the students can have sections that are smooth. If your students have not worked much with clay, give them a short demonstration on ways to create relief sculptures. (If you have not worked much with clay, experiment with the suggested 116

2. Stamp or press into the clay. Small parts to kitchen items often make good stamps, so do the ends of pens or markers, and many objects with naturally occurring textures such as tree bark or leaves, can be pressed into the clay. Rope, twine, or yarn can be laid in a design on the clay and pressed into the clay by gently rolling a smooth tube of heavy cardboard over the design. Lace, ribbon, and bits of material can be pressed in the same way. Carefully pick the end of the material up and pull it gently away from the clay. If the class is using pottery clay, the material can be left in place: it will burn out when the piece is fired. Students can also push fingers or the handle end of a fork or similar object a little ways into the clay, repeating the same motion in a pattern, so the clay develops a repeating textured design. 3. Add clay shapes, coils, balls, etc. To add shapes, first scratch the surface of the clay where the shape will be applied, and moisten the scratched area with water. If possible, do the same with the piece to be appliqued. Press the applique firmly onto the back piece. A flat shape can be pressed on with something flat like a small piece of wood, which wont

distort the shape. Appliques can also have the edges blended to the background with the back of a small spoon or other tool. Shapes can be attached by stamping the edges of the shape or the center, using a tool, a finger, or a stamp.

even slab. The students may want to use a needle tool or kitchen knife to make an exact shape, or they may want to leave the clay in the shape it naturally takes. (If they want to leave the edge as is, they will need to reserve some clay for creating the relief.) To make an exact shape, the students can use rulers or small pieces of flat wood for straight edges and can use a compass or a tracing of a round object for partial or complete circles, or can make a paper pattern of a more complex shape. Students making round shapes can be given a cube of clay instead of a thick slab. They pat the cube into a ball, then a flattened ball, and then continue to flatten or roll until the slab is 1/2 thick. Have a piece of sturdy cardboard or heavy cloth for each student to work on. Once the shape of the sculpture has been completed, the students should decide whether to smooth the outside edge with a moistened finger or small sponge or to leave whatever cracks or cutting marks exist. Now the students are ready to create the relief using the techniques shown to them.

After the students have created their textured reliefs, move the clay slabs on the cardboard, or slide the material onto cardboard or The important part is that the shape be securely wooden drawing boards, bending the clay attached, preferably by scratching and slipping as little as possible. If you have used self(moistening) both the background area and the hardening clay, follow the directions for shape that is being attached. Discourage the students from making skinny, raised shapes; even hardening that come with the clay. with care, they are likely to break off during the If you have used pottery clay, place the drying or firing process. sculptures where they can dry slowly, undisturbed. For the first day or so, cover To make the relief sculptures, cut the clay the pieces with lightweight plastic, then lift into 1 slabs using a purchased cutting wire the plastic slightly, and then take it off. Make or one made from strong, thin wire fastened sure the sculptures are completely dry before around two short pieces of dowel or pencil firing them, or they may break or explode for handles. Have the students pat or roll during the firing. You can tell if the clay is the clay into a 1/2 thick slab. If they are drying at an appropriate rate by checking the using rolling pins or heavy cardboard tubes pieces in the morning and the afternoon. It as rollers, the students can roll the clay out is easy to look at the clay and see which parts between two 1/2 thick boards to produce an 117

Both images from a clay relief created by students at Box Elder High School

are dry and dull and which are still moist. As clay drys, it shrinks; so you do not want the edges of the clay to dry long before the center of the piece because that will cause shrinkage cracks around the outside. After the sculptures have been fired, have the students glaze the pieces in a solid color, so the texture of the relief is emphasized, have the students paint the pieces or stain them with commercial stains or with dyes made for leather or with liquid shoe polish and then spray them with a ceramic sealer. Have both glossy and flat sealers available so the students can pick the one that best matches the textures of their artwork. Glazed pieces will need a second firing. If you have never glazed clay before, get some instruction. HELPS Suggestions of textured items rocks of various kinds, including one that has been smoothed by tumbling in a stream or a rock tumbler bark from different trees fabrics sanded, finished wood sticks leaves plastic bowl glass window screen smooth leather, suede hemp string, pearl cotton heavy rag paper slick paper from ads hair or fur fired clay wet clay cornstarch mixed with water oil seeds fruits and vegetables yarns bottle caps and so onuse your imagination! Supplies 118

Self-hardening clay probably can be purchased most cheaply from a crafts and art supplies catalog through your school or district office. Art teachers will have catalogs if you dont. Pottery clay can be purchased from stores such as Interstate Ceramics in Orem. You can look under Ceramics in your local phone book, or check with a local high school or college teacherthey may be able to point you to a good source or may have extra studio clay made from scraps, which you can purchase for a reasonable price. Just make sure you know what conethe clay fires to. (The cone indicates the temperature the clay matures at. It will appear as a symbol followed by a number, like 5. The numbers [and temperatures] go up from 110 and down from 01 014.) If you dont know what temperature the clay should be fired to, you may end up with extremely porus and brittle sculpturesunderfiredor you may end up with distorted or even melted sculpturesoverfired. You can expect to pay about $5.25 for a 25-lb bag of ready-to-use clay, although many stores give discounts for purchases of 50 lbs or more. One 25-lb bag of clay will be enough for 12, 1 x 6 slabs, which will make sculptures about 10 x 10, with leftover clay for adding the relief. Glazes and sealants can be purchased at any local crafts store or may be ordered. Prices of glazes vary widely because the cost of the colorants varies widely. Small boards may be available at local cabinetry shopsin their scrap barrels usually free. Skinny pieces of fine-grained woods like maple and birch can be made into modeling tools using a belt sander. A parent may be willing to make these for you. For ideas on useful shapes, look at the wooden tools sold in craft stores or talk to someone who is experienced in working with clay. Tongue depressors and popsicle sticks

are useful as is and the ends can be sanded straight by hand. Buy round wooden tooth picks or bamboo skewersthey make fairly good cutting tools and are very cheap. Cellulose sponges are good for cleanup, and they can be cut into 2 x 1 pieces that, when moistened, are useful for smoothing edges and blending joined parts. Pieces of sturdy cardboard can be cut from cardboard boxes. Furniture and appliance stores generally have the biggest boxes; and if asked, store owners may save boxes for you. Material stores or clothing manufacturing plants throw away heavy cardboard tubes all the time. Use a band saw or hand saw to cut to size. Use some parents or the students to collect items with texture; ask for donations of materials, share supplies with another teacher. Yard sales and thrift stores may have items useful as stamps as well as rolling pins, spoons, forks, and knives, and may be a source for heavy cloth at low prices. An art teacher at your school or in your district may be willing to loan tools, give advice, provide firing, recommend a place that will fire the pieces, or to provide advanced students as helpers. Ceramics students from a local college may also be willing to help, as may parents or local potters or sculptors. Variation for young students: You can simplify the activity by shortening the texture discovery section. Just pass a few textured items around for the students to touch and look at. Then have them try some textures in oil-based clay. Then have them make a small slab, lightly draw a bird in the slab, and give the bird some texture. For this variation, you will need to read the directions for the longer activity, but you will need fewer items for the students to feel and work with. Choose items that will make 119

small textural marks or impressions. Dry slowly and fire. Glaze and refire, or spray with a clear, low-gloss ceramic sealer. Science Objectives: 1. Students will learn about the migration of birds and will learn to identify several waterbirds that make their summer homes in Utah wetlands. 2. Students will learn what wetlands are, how they are important for waterbirds, and where the wetlands preserves are in Utah. Show the class the slide of Interlude and ask if any of the students know what kind of birds they are. (Great Blue Herons) Ask the students if any of them have ever seen a heron. Ask them what other kinds of water birds they have seen. Make a list on the board. The following list contains some of the kinds that appear in Utah: A good bird book such as Utah Birds will give you a more comprehensive list. You may

Great Blue Herons Night Herons American Avocet Canadian Geese Ducksmany kinds Forsters Tern White-faced Ibis White Pelican

Eared Grebe Wilsons Phalarope Red-Necked Phalarope Black-necked Stilt Marbled Godwit Snowy Plover Western Sandpiper California Gull

also be able to get information from the Utah Division of Wildlife Resources or from one of the conservation groups involved with protecting the wetlands such as The Nature Conservancy of Utah or the Great Salt Lake Chapter of Audubon. Check on the web at http://svr1dutslc.wr.usgs.gov/birds/birds. html http://www.tnc.org/involved/nstorms/ welcome.html http://www.audubon.org/chapter/ut/gsl/ birding/brdspot.htm (excellent information including maps, habitat, specialty birds, and the best times to go. The information provided would be useful in class even without going to a site.) School programs at the Tracy Aviary: http://www.xmission.com/~aviary/edu/ school.html Call the Utah bird line at (801) 538-4730 for the hottest bird sightings around the state. Use a map of Utah to have the students learn where the important wetlands are in Utah. You may want to have the students explore the various threats to wetlands which range from development, pollution, to invasion of

the waterways by non-native species such as Tamarisk. Variation: If you live in an area without significant wetlands, dont restrict the activity to waterbirds. Include the slide of Contested Meal in your introduction. There are many other interesting facts and ideas related to birdlife in Utah. For example, the Colorado River corridor is an important resting site for many species on their way to northern nesting sites. Research is currently being done to determine whether the invasion of tamarisk and the subsequent decline of native willows and cottonwoods is having an effect on migratory birds. You may be able to get involved in the research or just use it to spark interest, a discussion, or research into the complexities of our environment. Science Use the slides of Interlude and Contested Meal to introduce a science lesson on birds from your curriculum.

Tamarisk (salt cedar) growing along the Colorado River (photo: William M. Ciesla, Forest Health Management International). http://www.tcnj.edu/ ~bshelley/images/TamariskAlongRiver.jpg

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ANIMALS IN ART
ARTIST: Gary Lee Price (1955 TITLE: Puffed Up Prince 1996 MEDIA: Bronze cast SIZE: 35 x 28 x 28 ) Springville, Utah

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What do you see? What kind of lines, shapes, forms, colors, and texture are in the sculpture? What style is this artwork? How can you tell? Where do you think the idea for this sculpture came from? Do you know other artworks based on fairy tales or fantasy ideas? Since the artist obviously wasnt trying to make his sculpture appear like a real frog, how can you decide whether it is good art or not? This sculpture is a bronze cast that was made from a mold of the original sculpture. That means the sculptor can make many casts of the same piece. This particular sculpture comes in four sizes: 5, 10, 22, and 35 high. What would be different about the sculpture if it were 5 tall or 35 tall? Where might each size of sculpture go? Who might own them? Which would you want to own? Why? ACTIVITIES Language Arts Objective: The students will write a fairy tale about an animal that steps out of an artwork.

Dance Objective: The students will make connections between visual art and dance by dancing a fantasy scene or a fairy tale.

Show the class the slide of Puffed Up Prince, Rhinoceros, and Fantasies of the Sea. Briefly discuss them as Fantasy Art. Then divide students into groups. Each group should choose one of the Show the class the slide of Puffed Up Prince, artworks (you can include other artworks from this and discuss it using the QUESTIONS FOR packet or elsewhere) and dance a scene based on LOOKING. Talk about what the qualities of a fairy tale are. Then show the other slides from the the visual image. Or, if you have completed the packet and ask students to choose an animal from Language Arts activity above, students may dance one of their fairy tales. Include whatever dance one and make up a fairy tale about that animal stepping out of an artwork or coming to life. Ask skills your class is working on. Look at some of the music activities for ideas for appropriate students to use whatever writing skills you have music. been working on in class. 121

ArtExpressing Objective: Students will make connections

between literature and the visual arts by creating an artwork for their fairy tale or another appropriate story. This activity is a continuation of the Language Arts activity although you may choose to use the activity with any folktale or fairy tale. Show the class the slide of Puffed Up Prince and ask the students whether this is an illustration or an artwork. Ask them why they feel one way or the other. Ask students if some illustrations are artworks. (For example, are Norman Rockwells Saturday Evening Post covers art or illustration.) You will want the students to understand that some illustrations may be art and some probably arent, but it is a question each person will decide for herself. Then have students create an artwork based on their fairy tale or other story. Ask students to make this an artwork that can stand on its own, without needing the story to make the artwork valid. Display the artworks with the fairy tales.

Procedure: 1. Make visuals to show, if possible purchase Oaxacan book to show more examples. Crizmac also has a video for $39.95. The book is $18.95. 2. Tell students about the History of the Carvings: Oaxacans have carved toys for children and masks for religious fiestas for hundreds of years . . . But, the style that is dominate today can be traced back to one man Manual Jimenez from Arrazola. . . Most carvers today started after 1985. Motifs change monthly, driven by competition, quality also varies. The carvers rarely refer to themselves as artists.

Paper Animals

Inspired by OAXACAN wood carvings Objective: Students will be given a pattern of an animal and will decorate the paper animal using pen, colored pencils, and tempera paint using repetitive patterns to show texture, rhythm, and variety. (Objective of course can be adjusted to personal needs) Materials: Pattern of animals colored index card stock or construction paper black fine point pens colored pencils, white tempera paint (just put in small containers and only put out a few.) dotting tool (Straight pin with head on it, stuck in the end of a pencil eraser) (Patterns are included in the appendix) 122

http://commons.wikimedia.org/wiki/Image:Pabloantelope.jpg Permission to use image granted under GNU Free Documentation License The wood of the copalillo tree is used. (It is carved when green because it is soft and doesnt split easily. When sanded, its has a smooth, porcelain-like finish. It doesnt absorb paint very well though. It is susceptible to bugs, which can destroy entire collections in a short amount

of time, so special care has to be taken in the cutting and care of the wood.) The carvers use a variety of knives. No one is idle in a successful carvers family: the father and sons carve; mother and daughters paint; smaller children and elders sand. Most figures are carved in a day or two. The shape of the branches usually dictates what the animal looks like. 4. Talk about and demonstrate how to do repetitive patterns and textureshave the students practice before they work on their animal. 5. Have them choose animals to do, draw on the decoration lightly in pencil, and then outline the design with a fine black pen. Then color the design with bright colors. The colors dont have to match the real animal.

Oaxacan-style animal made using the alligator pattern that is included in the packet.

References: 6. White dots can be added after all the coloring is OAXACAN Wood carving: The Magic of complete and before animal is put together. Have Trees By Shepard Barbash, 1993, PB ISBN 0students plan where the dots will go before doing 8118-0250-7 them! 7. Think about add-ons like fins for the fish or a fin on a lizard, extra feathers on a bird. Color and attach when gluing animal together. 8. Carefully fold where needed and use small amounts of white glue to hold together. Be sure figures are 3-dimensional, and that the students dont flatten them out. These figures could be used so many different ways. Enlarge them, and you could make a whole scene in nature. Have the students choose a favorite artist and have them decorate their animal as that artist would. Decorate the animals in a particular mannerismlike Baroque Lizards or Impressionistic Fish. You could make mobiles with them. Make a personalized version. Be Creative!! (I purchased mine through Crizmac Art and Cultural Education Materials Tel 1-800 913-8555 Web: http://www.crizmac.com) Papercraft Projects with One Piece of Paper By Michael Grater, 1987 Dover Press PB ISBN 0486-25504-2 (I purchased my copy from Reuels in Salt Lake. They have a huge selection; it was $3 or $4.)

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124

ANIMALS IN ART
ARTIST: Mark Robison (1957 ) Orem, Utah TITLE: House Cat 1997 MEDIA: oil on board SIZE: 7-1/2 x 5-1/2

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What style of artwork is this painting? (Realism, Impressionism, Fantasy, etc.) What other artists paint in a similar style? (The students may know James Christensen. If not, show his two paintings from this packet: Rhinoceros and Fantasies of the Sea.) How is House Cat unique; how is it similar? What kind of aesthetic approach could you use to talk about this work? Is it beautiful? What else can an artwork be besides beautiful? Where should this painting be hung? Why? This is a very small painting, 7-1/2 x 5-1/2 (If you have young students, get them to figure out how big that is.) What effect would the size have on how the painting makes you feel? What if the painting were 36 x 48 ? What kinds of colors and lines has the artist used? How do they contribute to the feeling the painting inspires? Do you like this painting? Why? ACTIVITIES Art Standard ThreeSelecting and evaluating subjects, symbols, and ideas Objective: Students will discover that it takes time to see a work of art and to think about it by participating in an activity of observation. 125

The THIRTY SECOND LOOK: PROCEDURE: Ask students to estimate the average amount of time they spend when looking at a work of art. Record their responses and discuss why there may be differences. Explain that the average time that adults spend looking at one object in a museum is less than half a minute, or thirty seconds. Are thirty seconds ample time to spend with a work of art? Why or why not? Try the following experiment to test their answers.

Show the slide of House Cat from this packet to the students for thirty seconds. Then turn off the slide projector. Ask students to answer questions based on what they recall from memory alone. Below are some sample questions. 1. List all the colors you remember. 2. How many windows were in the picture? 3. What time of day was the scene? 4. Describe the door of the house. 5. List living objects in the painting. 6. List inanimate objects in the painting. 7. What was the most prominent part of the painting? 8. Where was light coming from in the painting? 9. Describe the animal in the painting. 10. How was the animal propped up on the roof so that it did not fall off? 11. What is the theme or subject of the painting? 12. What kind of mood or feeling is depicted? 13. How many people are in the painting? 14. Describe one aspect of the work you remember most vividly. Encourage all students to share and debate their answers. Does everyone have the same recollections? Comment on the variety of responses. Ask the students if they all looked at the artwork for the same amount of time. Have students look at the artwork again. Guide them through a careful reexamination. Ask them how they might change their answers to the questions asked earlier. Encourage students to speculate on the story being communicated. Ask them to explain how the detailed observations allowed them to determine what the work depicts. Ask students to consider how much longer they spent looking at the image the second time. Was their first glance sufficient? Ask students if discussing and comparing 126

observations with other people helped them understand the work of art. Have students explain their answers.

Art

Standard TwoIdentifying and using structures Standard ThreeChoosing and evaluating a range of subject matter, symbols, ideas Standard FourUnderstanding visual arts in relation to history and cultures Standard SixConnecting visual arts to other disciplines Objectives: Identify narrative artart that communicates a story. Interpret setting and mood in a work of art in order to develop a story line appropriate for it. Interpret a work of art through a oneminute skit or presentation. PROCEDURE: 1. Students divide into groups of four. Each group examines a work of art about an animal(s) in this packet. Students should consider setting, mood, body language, expressions, and gestures. Complete the worksheets on the following pages entitled THE STORY LINE. Once the worksheets are completed, ask each group to create and present a one-minute skit, which demonstrates their own groups interpretation of the story presented in their work of art. 2. Students present their skits. See if the class can identify the appropriate animal and the work of art. Be sure that students can back up their interpretations with physical evidence from the work of art. 3. Write a short story based on an artwork. Ask students to look at an artwork and develop a story based on the visual evidence present in the work. What genre would it be? (drama, romance, mystery, comedy) Who are the main characters? What are they like?

Who are the supporting characters? What is their role? Describe the setting. Identify who is telling the story. Describe the events taking place. Create some dialogue for each of the characters. Use the image as a jumping-off point. Add to the story by imagining what came before and what will happen next.

2. Have students draw an object and then monumentalize it by changing its surroundings. For example a q-tip would be monumentalized if it were found poking up out of the Eiffel tower. A baseball bat would be monumentalized if it were as tall as a telephone pole. 4. Assess whether students have changed scale in their drawings.

Art

Standard OneApplying media, techniques, and processes Standard FourUnderstand history, culture, and personal experience Objectives: Create a work of art which includes scale changesan object is monumentalized or made larger than lif size. Examine styles of pop art and surrealism that change scale. PROCEDURE: 1. Show House Cat by Mark Robison, surrealist work by Rene Magritte, and sculpture by Claes Oldenberg (i.e. Spoonbridge and Cherry). Examine how the scale has been changed in these works of art. (Scale is a standard reference.)

Art/Literature

Standard SixConnecting visual arts to other disciplines Objectives: To recognize a poets comic exaggeration. To recognize the use of repetition, emphasis, and effect. To identify personification in a poem. To debate and write about animals. PROCEDURE: 1. Think of some unique or interesting personality traits you or your friends have. But what about cats? In Old Possums Book of Practical Cats, T. S. Elliot catalogues many types of cats by occupation and character traits. Some of them include the following: a. Growfingerthe roughest cat that ever roamed at large b. Rum Tum Tugger c. The Curious Cat d. Old Deuteronomythe ancient village cat who sleeps in the sun year after year e. Mungojerrie and Rumpleteazer f. The Cat Burglars In each case, Elliot uses a common type of recognizable cat for his fanciful biography. Macavity is The Mystery Cat. You find traces of his mischief everywhere, but you never catch him actually doing anything! Do you think Macavity committed all the crimes the poet says he is guilty of? What crimes could he really have committed and what crimes are probably impossible?

127

MACAVITY THE MYSTERY CAT by T. S. Elliot Macavitys a mystery cat: hes called the Hidden Paw For hes the master criminal who can defy the Law. Hes the bafflement of Scotland Yard, and the Flying Squads despair: For when they reach the scene of crimeMacavitys not there! Macavity, Macavity, theres no one like Macavity, Hes broken every human law; he breaks the law of gravity. His powers of levitation would make a fakir stare And when you reach the scene of crime, Macavitys not there! You may seek him in the basement, you may look up in the air But I tell you once and once againMacavitys not there! Macavitys a ginger cat, hes very tall and thin; You would know him if you saw him for his eyes are sunken in. His brow is deeply lined with thought, his head is slightly domed; His coat is dusty from neglect, his whiskers are uncombed. He sways his head from side to side, with movements like a snake; And when you think hes half asleep, hes always wide awake. Macavity, Macavity, theres no one like Macavity, For hes a fiend in feline shape, a monster of depravity. You may meet him in a bystreet, you may see him in the square But when a crimes discovered, Macavitys not there! Hes outwardly respectable. (They say he cheats at cards). And his footprints are not found in any file of Scotland Yards. And when the larders looted, or the jewel case is rifled, Or when the milk is missing, or another Pekes been stifled. Or the greenhouse glass is broken, and the trellis past repair Ay, theres the wonder of the thing! Macavitys not there! And when the foreign office finds a treatys gone astray, Or when the admiralty lose some plans and drawings by the way, There may be a scrap of paper in the hall or on the stair But its useless to investigateMacavitys not there! And when the loss has been disclosed, the Secret Service say: It must have been Macavity! But hes a mile away. Youll be sure to find him resting, or a-licking on his thumbs, Or engaged in doing complicated long-division sums. Macavity, Macavity, theres no one like Macavity. There never was a Cat of such deceitfulness and suavity. He always has an alibi, and one or two to spare: At whatever time the deed took placeMACAVITY WASNT THERE! And they say that all the Cats whose wicked deeds are widely known (I might mention Mungojerrie, I might mention Griddlebone) Are nothing more than agents for the Cat who all the time Just controls their operations: The Napoleon of Crime! 128

www.poetry-online. org/eliot_macavity_the_mystery_ cat.htm

Creative Writing Activity

Write an imaginative or humorous poem that exaggerates the personality of your pet (or an imaginary pet).

Debate Activity

Have the class debate the relative merits of cats and dogs (or some other animals) and encourage mock seriousness like T. S. Elliots.

THE STORY LINE WORKSHEET

PART I Answer each question on this sheet by LOOKING FOR EVIDENCE in the work of art. You must be able to explain what evidence IN THE WORK OF ART led you to your conclusions.

SETTING Where and when is this scene taking place?

MOOD What is the mood of this scene?

PLOT Comment on each of the following: What just happened?

Comment on the following: Time period: (10 minutes ago)

Comment on how each of the following influences mood: Facial expression:

Time of year:

Body language:

Time of day:

Gestures:

What is going to happen?

Location:

Props & costume:

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CHARACTER DEVELOPMENT WORKSHEET

CHARACTER DEVELOPMENT What are the qualities of these characters (animals)?

DIALOGUE What would these characters say to one another?

MORAL What is the moral or the lesson of this scene?

List 4 adjectives to describe the character of one animal.

Write 3 lines of dialogue for the first animal.

List 4 adjectives to describe the character of another animal or someone the animal might talk to.

Write 3 lines of dialogue for the second animal.

PART II As a team, create a one-minute skit designed to present your ideas about the setting, mood, plot, characters, and moral of the story presented in this painting. 130

ANIMALS IN ART
ARTIST: Jason A. Wheatley (1973 ) Bountiful/CA TITLE: Yellow Bluff 1999 MEDIA: oil on board SIZE: 42 x 46

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING
(History, Aesthetics, Criticism) Is this a real scene ? How can you tell? Why do you think the artist painted this scene and not a traditional still life? What function do the animals serve in this painting? (You may want to share some of the information from the Biography at this pointhow the artist uses animals instead of people) This piece is fairly tonal, meaning the colors are very similar to each other. How would the piece be different if the artist had used bright colors? How would that change the ideas the artist is conveying? Would you normally think of a painting of a dog and a rabbit as beautiful? What about this painting is beautiful? This painting is realistic in some ways and not in others. What makes it realistic? What is not realistic? What would be a good name for this version of Realism? Is this painting better or worse than it would have been if it were strictly realistic? Why? How would you rate this painting as an artwork and why? dents several examples of poems written in the voice of an animal or about animals. Have each student choose one of the animals from this packet or from other artworks featuring animals. Then they should write a poem in which the animal speaks, so the writing is from the animals point of view. Have students share their poems with the class. Exhibition: Have students mount their poems on colored construction paper and post the poems in an area of the school where other classes can read the poems. If possible, include some of the artworks which the children chose in the exhibition. You can scan the slides of the artworks into a computer, blow up the size, and print copies. (You may wish to do this for the activity.) Or, have the students draw their own version of the animal to accompany the poem.

ACTIVITIES Language Arts

Objective: The student will write a poem in the voice of an animal. Show the class the slides from this packet and discuss them briefly. Read the stu131

[This activity has been used successfully in public schools by Springville poet Lance Larsen]

Theater

Objectives: Kindergarten: Plan and imitate the sounds and movements of animals, create appropriate animal sounds for a familiar story; 1st Grade: pantomime changing from one animal to another, create animal-sounding dialogue; 2nd Grade: Improvise comic scenes of strange creatures meeting for the first time in a public place, talk like animals; 3rd Grade: Show characters experiencing tension. Choose appropriate artworks from this packet for the particular activity you want to do. Any of them would do for the K-2nd activities. For the 3rd Grade activity, Yellow Bluff (dog and rabbit) and Lizard Relay (lizards and jaguarundi) are particularly well suited.

Dance Objectives: Students will explore movement ideas from animals, make connections between dance and art, create a dance project from another dance form, or explore the universal language of dance. Students will create a dance pattern with a clear beginning and end. (Utah State Core, elementary) This activity can be linked with either of the music activities. Show the class the slides from this packet. Ask them how some of the animals might move, and if the students can, have them find words for how the animals might move. For example, elephants walk slowly, swaying from side to side, ponderously, while lions are graceful, they stretch and pounce, etc.

Theater

Objective: Students will make connections among the arts by examining the use of animals in visual art and theater. Show the class slides of whatever artworks fit the focus you have chosen. Discuss them briefly. (See QUESTIONS FOR LOOKING for the specific artworks.) Then read all or part of plays or theater productions that use animals. Some possibilities are Cats, The animal choruses in Greek plays such as The Frogs and The Birds by Aristophones. (The complete text of both these plays are available on the web at http://www.geocities.com/Athens/Acropolis/6681/ aristoph.htm Students could learn the animal sounds the choruses make and then make up their own sounds for the animals in the artworks. Or, if students are writing fairy tales, they can make up fun animal sounds to be used as a chorus or a repeating line for a character(s). Extension: Students can also use the sounds they make up in a dance. (See dance activities) 132 You may have better luck getting the students to identify and dance qualities of movement as opposed to trying to pantomime movement if you have them first complete the art activity about creating lines with the feeling of an animal. Then have the students choose an animal from the artworks and explore ways they can create the feeling of the animals movement. Divide the class in three or four groups and have each group show the rest of the class their ideas. See if those watching can tell which animal each student choose. To continue the activity, have the students divide into small groups. Each child should choose a way to begin that suits her animal, a pattern of movement, and a way to end. You may want to ask the students to have a part where they move, at least one time when they are still, and at least two levels. Suit these demands to the experience your class has had and their age. (See the state core for ideas on age-appropriate requirements. On the Web at USOE.)

Another possible continuation of the activity is to have the students divide into small groups but then choose one animal per group. All the students do not have to move the same, but all should be trying to create the feeling of that particular animals movement. The group should then create a group dance that fits the specific criteria you have chosen such as having a clear beginning and ending, etc. For music to move to, try one of the following ideas: choose several selections of music beforehand that suit different kinds of movement use a hand drum allow students to make their own sounds use music from the activity on page 128 use the ideas from the music activity on page 130.

The Voice of the Whale Crumb And God Created Great WhalesHovhaness (The Crumb and Hovhaness pieces are fun because one uses actual whale sounds mixed in with the orchestra sounds and the other uses only the orchestra to produce whale-like sounds.) To find more whale music, search for whale on http://www.cddb.com/. I found 252 matches. You can also search for any other topic or by composer or album and it will give you a list of CDs that have those pieces. You may have a parent or other teacher in your school who can help you find some appropriate pieces. You can also look in Jennifer Goodenbergers SUBJECT GUIDE TO CLASSICAL INSTRUMENTAL MUSIC, available in BYUS Music Reference Library and, Im sure, other large libraries. The call number: Mus Ref ML 128.165 G59 1989.

If your students have made animal masks, they may want to wear the masks in their dances or use them to decorate the stage area. The following is a list of some animal-related music from the section of solo and chamber music which was compiled for a library patron. (You will probably find other, easy-to-find selections in the Music Objective: Students will listen to music related to animals. Although the following activity can be used alone, it will probably have more impact if used with a dance activity or an art activity. Collect several pieces of music which feature animal or animal-inspired sounds or themes. The following list contains a few ideas: I Bought Me a CatCopland Carnival of the AnimalsSaint-Saens Malcolm Arnold supplementary work also called Carnival of the Animals. It has cows, sheep, mice, elephants, and bats (and at least one other). Cuckoo Daquin The BirdsMessiaen Dancing BearPetronshka (one section of a piece) Pines of RomeRespighi (Birds) The Trout QuintetSchubert 133

William H. Beard, Bears Dancing fionnchu.blogspot.com/2008_06_01_archive. html symphony section.) ANIMAL MUSIC BEARS Bartok, Bela. Bear dance, from Ten easy pieces.

 piano Villa, Lobos. The cotton bear, from Prole do bebe, v. 2. piano ANIMALS Bartok, Bela. Song of the Fox, and Dragons Dance, from Mikrokosmos, book 3. Piano Copland, Aaron. The cat and the mouse. Piano Villa-Lobos, Heitor. Prole do bebe, v. 2: Little toy animals. 9 movements, piano: 1. Little paper bug 2. Cardboard cat 3. Toy mouse 4. Rubber dog 5. Wooden horse 6. Tin ox 7. Cloth bird 8. Cotton bear 9. Glass wolf Oliver Knussens Songs Hums of Winnie-the-Pooh Walking the Dog from Promenade--Gershwin The Waltzing CatLeroy Anderson INSECT MUSIC Britten: Two Insect Pieces CD Meridian 84119 A. Bryant: Insect Takeover (electronic music) CD CRI 699 Shewan: Of Animals and Insects CD Albany 149 Crumb: Black Angels (Images I) for Electric String Quartet: first part and finale Night of the Electric Insects ANT Fowler: Ants Can Count CD Terra Nova 9002 Shostakovich: 2 Fables by Krylov, Op.4: The Dragonfly & the Ant (soprano & orch) BEE Arlen: A Sleepin Bee (song) CD New World 272 Pasculli: Le api (the bees) for oboe & piano CD Accord 149 042 Nyman: Where the Bee Dances CD Argo 433 847 Couperin: Les Abeilles (Bees) harpsichord LP MHS 766 Berlin: The Apple Tree and the Bumble Bee (early song) CD Oakton 01 Gershwin: Buzzin the Bee (piano roll) CD Nonesuch 79370 BEETLE Mussorgsky: The Nursery: The Beetle BUTTERFLY 134

Ketelbey: Sunbeams and Butterflies CD Pearl 9968 Grieg: Symphony in c, Op.43 No.1: adagio molto Butterfly Hubbell: Poor Butterfly (Kreisler, Prihoda) CD Prompt 50090 Herbert: Butterfly Waltz CD Newport 85572 Nordgren: Butterflies Op.39 for guitar CD BIS 207 Martinu: The Butterfly that Stamped (Ballet in one act) CD Supraphon 11 0380-2031 Chopin: Etude in G flat Op.25 No.9 Le Papillon Faure: Papillon (cello, piano) Faure: Le papillon et la fleur (Sutherland, Bonynge) LP London 13132 Yannatos: Prayers from the Ark: Priere du papillon LP Sonory 4628-1 CRICKET Josquin des Pres: El grillo (cricket) Ravel: Histores Naturelles: Le GrillonMacKenzie: Overture to the Cricket on the Hearth Op.62 CD Hyperion 66764 Prokofiev: 10 pieces for piano from Cinderella: Crickets and Dragonflies DRAGONFLY

Josef Strauss: Die Liebelle (Dragonfly) Polka GRASSHOPPER Prokofiev: Music for Children Op.65: Grasshoppers Parade MOSQUITO Donald H. White: Five Miniatures: Mosquito Dance (Boston Pops) Time-Life 0013 MOTH Johann Strauss: The Moth CD Dorian 80102 Ravel: Miroirs: Noctuelles (night moths) piano SPIDER Roussel: Le Festin de lariagnee Op.17 (The Spiders Feast) FOLK SONGS Nick Seeger: Bed Bug (gtr/voice) Eric Anderson: Bumblebee LP Vanguard 7/8 Jim Kweskin: Never Swat a Fly LP Vanguard 13/14 Big Bill Broonzy: Black Widow Spider (1930s blues) Steven Titra: Be Nice to Spiders (Roxanne & Dan Keding)

louder or softer. Variation: Collect and/or make with the students help, instruments that have the feel of animal sounds. Ideas: String together some short lengths of vinyl blind piecesbird wing sounds. Coconut halveshoof beats. Can also generate sounds with mouths and bodies. This activity can be used as an extension of the previous music activity, alone, or in conjunction with the dance activity.

Music

Objective: The students will sing and learn folk songs of various cultures that talk about animals. Show the class the slides of the artworks from this packet and introduce the idea of animals in various kinds of art. Then sing a folk song that is about an animal(s) to the students. If the song is familiar, have them sing with you. If the song is new to most of the students, sing a verse, then go back and sing one phrase or line several times, encouraging the students to join in as soon as they can. Go through the whole song. Some of the folk songs are also simple games or naturally use gestures.

Music

Objective: Students will explore sound and rhythm by creating an Animal Sound Orchestra of animal sounds with varying rhythms. Students will also learn about entrances and exits and about volume by conducting the orchestra and by responding to conductors directions. Show the class the slides of artworks from this packet and allow students to comment on the artists varied representations of animals. If you have not done the preceding music activity, play one or two short excerpts from musical selections featuring animal sounds or themes.

To make the activity more than just a fun time, choose a simple concept from the song(s) and after the students have learned the song, teach them what the music concept is. To do more than hit and miss, you will need to work out a logical progression of concepts to teach the students. If you do not have a music background, you can learn along with the students, get someone with more experience to help, or use a text such as The Kodaly Method by Lois Choksy. Englewood Then divide students into five groups and help Cliffs: Prentice Hall 1988 (There may be a more each group find an animal-type or animal-inspired recent edition) This method of music instruction sound and figure out a pattern. Each group needs is based on learning music concepts through folk to choose different sounds. Have sounds that songs. The book is available at BYU Bookstore, vary in pitch, beat, and length. Have each group Text Department; or it can be ordered through practice until they can make their sound and make most bookstores or on the Web. The name is proit against the other sounds. Now invite student nounced Co-di e, all long vowels. conductors to take turns conducting the Animal Sounds Orchestra. Conductors should indicate The following are folk songs found in a quick look when a specific group enters and when it exits and through one book. Any folk song book should should indicate when separate parts should get have many songs from different cultures to 135

choose from. I Bought me a Cat I had me a Bird (a version of the same song) The Cat Came Back The Tailor Had a Mouse Mr. Rabbit The Snake Baked a Hoecake The Fox Went Out The Birds Courting Song Fiddle-Dee-De The Squirrel Who Killed Cock Robin Big-Eyed Rabbit A Kangaroo Sat on an Oak The Frog Went a Courtin Jason Wheatley, Buddhas Delight, from the Spring Salon Chicken on a Fence Post Exhibit 2001, Springville Museum of Art Swapping Song Fed My Horse in a Poplar Trough Goodby Old Paint social and cultural life of the artists and not just Shanghai Chicken the visual images. The Farmer in the Dell Therefore, it is not surprising that some contempoOld Gray Goose rary artists are expanding the boundaries of RealThe Old Gray Mare ism and creating their own interpretations of what The Old Sow Died with the Measles in the Spring is real in art. Sometimes, this realistic

Art HistoryRealism in the 20th Century

Objective: The students will learn how Realism is being adapted by contemporary artists and will demonstrate that knowledge by discussing, critiquing, writing a report, and/or making a presentation. Materials: slides of artworks reproductions of artworks Research materials such as magazines, books, the internet http://www.danielsprick.com/ Background Information: Although Realism (A representation of real and existing things, usually non-idealized, although at certain time periods works often now labeled realist were romantic or idealized.) has been out of vogue at various times, it has never disappeared from the art world. Art historians and critics have been quick to point out that arts Realism tends to reflect the 136

reproduction of objects is coupled with an approach which, while not quite real is not as strong as surreal, and often, more playful. Examples of this are Jason Wheatleys still-life paintings which depict animals in unnatural settings. Another such artist is Daniel Sprick, whose still lifes feature items like milk cartons, bones, and flowers, often with one of the flowers appearing to float in midair. These works have been labeled Magical or Ethereal Realism for their elements of fantasy. In addition to an air of fantasy, the paintings often containthought-provokingjuxtapositionsandboth overt and cryptic symbolism. For more information on these two artists and on contemporary Western American Realism, see the following articles in Southwest Art. (I was able to obtain free back copies of the issues of Southwest Art simply by calling their offices.) Gangelhoff, Bonnie. The Nature of Beauty, Southwest Art. May 1999: p. 69 73, 149. (Other photos of Daniel Spricks art appear in

the contents and on pages 17 and 44.) Gangelhoff, Bonnie. The Idiosyncratic World of Jason Wheatley, Southwest Art. December 1999: p. 40-44, 124. (Other photos of Wheatleys work can be found on the cover, the contents, and page 21.) Other excellent articles are, Editors. New Directions in Realism. Southwest Art, December 1999: pp. 52--59, 124 Gangelhoff, Bonnie. Mystery and Resonance. Southwest Art, March 2000: pp. 112- 117 Wesley Pulkka. Contemporary Realism. Southwest Art, March 200: pp. 118-124 How in-depth your exploration is will be determined by your students ages and the time you want to invest in this area of art history. The following activities are geared for several different age groups: For young children: Show the class the slide of Yellow Bluff and discuss it with the class, using the QUESTIONS FOR LOOKING. If possible, show the class other reproductions or photos of Wheatleys work and that of Daniel Sprick. [Wheatleys works can be found at http://www.codagallery. com/artist1.asp, and Daniel Spricks work is at http://www.danielsprick.com/] Have the children talk about what the artists may have tried to say or what they hoped viewers would think about when viewing their art. Ask the students how these artworks may represent what is the real world to the artists, and how these artworks represent or relate to the students lives.

work as will slides from past Evening for Educator packets.) Ask students to consider how each kind of realism may or may not represent the contemporary worldwhat is currently real. Criticism: Lead the students in a critique of Yellow Bluff as a Realist artwork. For young students, use the following model, or whatever you have been using in class. AN ELEMENTARY WAY TO TALK ABOUT ART A Four-Step Critical Model The following is a list of four questions for discussing and evaluating art. These questions can be used by any grade level. 1. What do you see? The students should tell you what they see in the artwork. For example: a yellow flower, a cowboy, lots of blue, geometric shapes, fuzzy lines. Some of the responses will identify concrete objects like a yellow flower. Ask the students questions that will help them realize the objects are represented by color, shape, form, etc., and are not really the objects. For example: Can you smell this flower? Why is it so flat? Ive never seen a flower this flat. Ive never seen a horse that stands this still. Is the horse dead?

You can have fun with the questions and comments as long as your tone is not critical or negative. Soon, you should be getting answers like Extension: Show the class several more traditional big black lines, etc. realist works and have the students compare and contrast the artworks. (If you have a copy of the Dec. 1999 Southwest Art, you can use art from 2. Who made it? the article New Directions in Realism. From the SMA Elementary Poster series, Cyrus Dallins Who is the artist? Give the students some biosculptures, J. T. Harwoods Boy and Cat, Salisgraphical information and tell them anything interburys Riders of the Range, and Youngs Factory esting you know about the artist. Worker are possibilities. Several of the artworks from the UMFAs Elementary Poster Series will 137

3. How was the artwork made? Have the students tell you all they know or can guess about how the piece was made, For example, an oil painting on canvas or a bronze cast of a sculpture. Go into as much detail as seems appropriate. You may want to add to what the students know. 4. Did you like the artwork? Why? The students can share their feelings about the meaning of the artwork. Encourage students to share not only their feelings and ideas but also to think about why they have a particular response. The above questions will provide students of any age a framework for talking about art. If you use the questions several times during the year, the students will become familiar enough with the questions to use them on their own. For more advanced students, the critique can be either a class discussion or can be written. For a written critique, start with a sentence that tells the artists name, the title of the artwork, the date the artwork was completed, the media, and the size. The rest of the critique will consist of four paragraphs, one on each of the following topics: Descriptionuse vivid descriptive language including similes and metaphors. You can better convey the experience of viewing the art if your language evokes reactions in the reader. The aim is to convey the experience of viewing the artwork rather than just telling the reader where specific colors have been used or what shapes make up the object or painting. AnalysisUse the elements and principles of art to analyze the formal elements of the work. Use all the ones which apply, usually most of them. Include what the effects of those elements and principles are. Again, use vivid language. InterpretationWhat can you find out about the artist and his or her work that tells you something about the intentions of the artist? How is 138 Compare Jason Wheatleys painting Yellow Bluff and William Kendalls The Artists Wife and Daughters

the context the artwork was done in related to the artwork? How does this artwork relate to other artworks youre familiar with? Remember, a good interpretation tells the reader more about the artwork than about the writer.

Informed preferenceConsider the following ideas when deciding on content and writing this section: What is well done in the artwork? How successful has the artist been at using the formal elements to create a unified work of art? What aesthetic theory or theories apply to the artwork and how? Does this artwork fit the standards of the theory even if you arent particularly attracted to it? In addition, think about whether your examination of the artwork and the artist has changed or strengthened your initial reaction to the work. Remember that this section is about your informed preference and not just your gut reaction.

not very good mimetic works, or should they be discussed and examined another way? Ask students to decide on an aesthetic approach that better includes the not-so realistic artworks. Students must be specific about defining the approach and how it is judged. The activity can end with this discussion, can switch to a production activity, or can result in a written response. If you want to include a written critique as part of this assignment, do one of the following:

Have students write out a short response to one of End a written critique with a summarizing or con- the artworks used in the activity. They may choose cluding sentence. to examine one of the artworks using the mimetic theory, specify why the mimetic theory is not the Variation: The same approach can be used for a best way to look at a specific artwork, or they may class critique and can include comparisons with write out a definition of a new aesthetic theory, other artworks. One important point to remember justifying it in relationship to one of the artworks. is that an art critique is not just about how you Have students use whatever model you have used instinctively react to a given artwork, it should in- in class or use one from the activity on page **. clude specific references to the artwork and should include decisions based on your knowledge of art Art Production: After finishing the Aesthetics as a subject. activity, assign students to create a work of art that fits the new aesthetic approach that has been Aesthetics: The Mimetic approach to aesthetics arrived at as a class or as individuals. Provide is based on the premise that art should look like, students with a variety of media. You may want to or mimic, what it is depicting. Value is assigned have still-life type items available as well as picaccording to how well the artist has mimicked the tures of animals. When the artworks are finished, look of what has been portrayed. If your students exhibit them with a short written statement by the are not yet familiar with this approach to student-artist, explaining how this artwork fits the aesthetics, first explain what aesthetic approaches new aesthetic approach. areideas about what art should be like. Children, and adults, for that matter, are usually very Variations: Many of the other production activicomfortable with the mimetic approach because it ties can be focused on the idea of an aesthetic is so prevalent in our society. When you are sure approach. the students have grasped the idea, ask them to look at the slides from this packet. Have them, on a piece of paper, decide what percentage of each Art Production artwork fits the mimetic approach. When you have Objective: The students will create a still life shown them all or several of the slides, go back to incorporating at least one animal. each slide and have students say what percentage they assigned to each work and why. One of the interesting facets of Jason Wheatleys work is that he creates still-life paintings that Next, ask the students to consider the pieces that incorporate animals, which arent still. In doing are least mimetic. Are they less good then the so, he includes both fantasy and also symbolism in other artworks? Should they be considered as his paintings. Show the class the slide of Yellow 139

Bluff and discuss the possible ideas the painting could refer to or provoke. (See the BIOGRAPHICAL INFORMATION) for help.) If possible, show the class reproductions of some of his other artworks. See the following article: Gangelhoff, Bonnie. The Idiosyncratic World of Jason Wheatley, Southwest Art. December 1999, p. 40-44, 124. (Other photos of Wheatleys work can be found on the cover, the contents, and page 21.) Have photographs of various animals available as well as a variety of interesting objects the students can arrange for their still lifes. You may want the students to work in small groups, creating an arrangement each is pleased with. The students can choose to draw their still life from a number of views, each of which will result in different arrangements. In addition, their choice of what animal to include and where will make the finished artworks all different. Another possibility is for students to bring their own items to arrange or to supplement the class items.

When the students are pleased with the way the sketches look, they should firm up the contours of the objects and add shading, or, use color to finish the artwork. Art Production Objective: The students will demonstrate their understanding of composition by making an artwork by arranging xeroxed items in an interesting composition. Have magazines available for students to use, or xerox copies of a wide variety of items, including animals, for the students. After talking about composition, have the students cut out and arrange various items on a sheet of paper. The students should try several arrangements, checking their composition with questions such as the following:

1. Is the composition balanced? 2. Does the composition suggest movement? 3. Have I used proportion in an interesting way? 4. Do I have enough variety? 5. Does my use of the elements of art contribute As students work on their arrangements, remind the unity of the artwork? them of how Wheatley creates meaning in his (Look at the Elements and Principles of Design, artwork by what objects he pairs with the animals page 140 for ideas) and how he arranges them. Ask them to try to create some meaning in their arrangements. (They When they are satisfied with their composition, may have a harder time creating meaning if they they should use a glue stick or clear tape to attach have to share arrangements, but it can be done.) the cutouts to a sheet of blank paper. Then the sheets are xeroxed onto sturdy paper. Have the [Its a good idea to keep a variety of interesting students use colored pencils to finish the artworks. items available for art projects. These can be If your students are not familiar with layering found objects such as stones, small tree branches, color with colored pencils, demonstrate to them shells, mechanical parts, old boxes or tins, items and have them try layering on scrap paper. Layersalvaged from the dump; also include plain cups, ing makes rich colors although it is also possible bowls, vases, and glasses as well as some with to choose to create simple colors by coloring with patterns; plants and flowers; etc. You can scrounge single pencils too. Choose the technique you some of these, get others cheaply at garage sales want the students to develop or allow students or thrift shops, or you can ask the students to bring to choose. Remind students to use short strokes, donated items from homejust make sure their all in the same direction. If your class is more parents know the items are being donated.] advanced, you may want to allow the students to experiment with or use cross hatched strokes or When the arrangements have been made, have other kinds of lines. the students lightly sketch in the objects on their paper. They do not have to draw exactly what is Materials for collage: there, but should use it as the basis for their work. a wide variety of materials such as 140

 newspapers, magazines, old maps, music, photocopies of photographs, photocopies of animals, trees, plants, insects, etc. A good source for drawings and photographs to copy are old encyclopedias, family photos, old newspapers or magazines. The papers work best if they are fairly neutral, so you may want to limit magazine pages to black and white. The papers are more likely to be interesting and to have meaning as design elements and not just as the objects they are, if they are old and show wear or use. However, some students may decide new items fit their ideas or feelings better. In addition, paint, varnish or stains may be brushed on after the papers are attached to the backing to add interest and to emphasize parts of the arrangement. YES paste or acrylic painting medium to glue papers on with. (can be bought from craft stores, art supply stores, or from catalogs) inexpensive brushes for applying medium sturdy paper for the backing of the collage scissors cheap or scrap paper for planning If you have not made collages yourself, make a couple so you are familiar with the techniques. Making a couple samples will help you understand the complexity of design possible and the unique characteristics of collage as well as giving you examples to show the class.

and principles of design that apply to any given activity.) When students have checked their designs, they can begin gluing. They should start with the undermost layers, and spread the paste on carefully or brush an even coating of medium across the backing, place the chosen item on the backing, smooth it carefully, and then brush a coating of medium over the item. (Students can make notes, and they can take the items off the planning paper one by one and place them face down on their desks, so they will be in reverse order.) After the items have been glued to the backing and allowed to dry partway, place plastic wrap and heavy items over the collages and allow them to dry overnight. Weighting the collages prevents severe buckling. Have students critique their own artworks. Then display the artworks and have the class discuss the many ways the artworks show unity. Students should create an exhibit of the collages somewhere the whole school can see the works. Include a poster telling viewers about collage. The poster can explain what collage is and can incorporate comments from the students about their experience making collages.

Extension: For advanced students or for students who have created collages previously, show Yellow Bluff and discuss, using QUESTIONS FOR LOOKING and the BIOGRAPHICAL INFORMATION. Then have students create a multi-media artwork. You may choose to supply the makings Give each student a piece of cheap paper and let or have students gather their own. The students them choose several items from the variety of can be asked to bring interesting items, some of media available. Student should plan out their col- which they plan on sharing, to increase the variety lage by placing the individual pieces on the cheap of materials available. paper, arranging and rearranging them until they have a composition they like. The items can be If possible, provide access to a few tools such as trimmed to whatever size or shape suits the design. a drill, a band or jig saw, pliers, hammers, etc. Remind the students to create a sense of unity, or These tools can increase the complexity and qualwhatever else you are concentrating on, in their ity of student work. If you are not comfortable artwork. If you are having the students focus on with the tools, you may have a parent or another other principles as well, put a list on the board and teacher who can come help. Any object that is not have students run through the list before attach- too heavy can be attached to the work. Some posing any pieces to the good paper. (Even if some sible additions to the items suggested for collage activities have a specific focus, students should try are the following: to use everything they know about the elements 141

 fabrics of all kinds and textures string, yarn, rope, thread, wire small plastic animals, cars, other toys thin sheets of wood nuts, bolts, nails wheels, handles, machinery or appliance parts dishes or other kitchen items dolls, doll clothes, army men, robot type toys boxes, containers, packaging, cardboard tubes dried plants, plastic or silk plants and flowers small stones, branches, natural objects frames, art objects anything else you or the students find interesting

To attach the items to the backing, have students spread a thin layer of acrylic medium over the backing, arrange the first layer of items, spread them with another thin coat of medium, and so on, until all the layers are attached. Each student should place a piece of plastic wrap over the collage and place a heavy book on it. Display the finished collages. If desired, after the collage has dried, the students can use oil or acrylic paint to the collages. The paint works best if it is thinned so it creates a wash effect rather than being opaque.

This activity can focus on composition or can be used to introduce students or to allow them to explore the possibilities of combining items in unusual ways so the relationships create symbols, prompt ideas, express ideas, and give meaning Students should be given plenty of time to exto the artwork. If you want your class to explore periment with the items they choose and with the creating meaning, use the introductory part of the organization of the work. Encourage students lesson on Contemporary Realism, focusing on to explore a wide range of possibilities and to be the artists like Jason Wheatley and Daniel Sprick. creative in attachment of materials. Multi-media (See page 133) works often are intricate and complex in meaning as well as in physical design. However, multiVariation: Include three dimensional items in the media works can be abstract in nature. Display artworks such as small plastic animals, natural the finished works where other students can see objects, etc. These can be assembled and attached the artworks. Include artists statements with the to cardboard with hot glue, wire, etc. The way the artworks and have some kind of open house to items are attached can become part of the design. invite the parents to. Students should be prepared Or, arrange the items so they stand up on the cardto discuss their individual works with viewers at board or in some kind of shadow box. the open house. Variation: Have magazines, newspapers, old cards, postcards, and old books that can be cut up, including pictures of animals. Give the students a sheet of sturdy paper for backing. Have the students compose collages. When they have achieved a composition they like, They should use the checklist above. (If you have too many students wanting to find one quick solution, you can specify that they have to make at least three, before they can choose one.) Have them make a quick sketch of the composition. Then they should take off the top layer and put it face down on a sheet of paper, and then the next layer and the next, until all the items are in opposite order on the extra sheet of paper. 142

THE ELEMENTS AND PRINCIPLES OF ART The elements of art are the basic visual symbols artists use to communicate. These elements are line, shape, color, value, texture, and space. * LineA mark drawn with a pointed moving tool or the path of a dot through space. Although lines can vary in appearance (they can have different lengths, widths, textures, directions, and degree of curve), they are considered one-dimensional and are measured by length. A line is used by an artist to control the viewers eye movement and to create shapes. There are five kinds of lines: vertical, horizontal, diagonal, curved, and zigzag. Shapea two-dimensional area clearly designated in some way, generally by one or more of the other five visual elements. Although a form has depth, a shape has only width and height. Shapes are either geometric or free form(organic). Colorwhat the eye sees when light is reflected off an object. The sensation of color is aroused in the brain by the eyes response to different wavelengths of light. Color has three properties: hue, value, and intensity. Valuethe lightness or darkness of an object. Value depends on how much light a surface reflects. Value is also one of the three properties of color. Texturehow things feel or look as if they might feel, if touched. Texture is perceived by touch and by sight. Objects can have innumerable versions of rough or smooth textures and matte or shiny surfaces. Spacethe emptiness or area between, around, above, below, or within objects. Shapes and form are defined by these spaces. Positive space is the area within an object and negative space is the area around the objects. The Principles of Art are guides that govern or are descriptions of how artists organize the elements of art. These principles are proportion, balance, variety, rhythm, emphasis, and unity. * Proportionprinciple of art concerned with the size relationships of one part to another or to the whole. Balanceprinciple of design concerned with equalizing visual forces or elements in a work of art. If a work of art has visual balance, the viewer feels the elements have been arranged in a satisfying way. Visual imbalance makes the viewer feel the elements need to be rearranged. The two types of balance are called formal or symmetrical and informal or asymmetrical. Varietyprinciple of design concerned with difference or contrast. Combining one or more elements of art to create interest by adding slight changes. Rhythmthe principle of art that indicates movement by repetition of elements. Visual rhythm is perceived through the eyes and is created by positive spaces separated by negative spaces or by repetition of motifs. There are five types of rhythm: random, regular, alternating, flowing, and progressive. 143

Emphasisprinciple of design that makes some parts of the work more powerful than other parts. The element noticed first is called dominant; the elements noticed later are called subordinate. A Center of Interest is created when one area of the artwork is clearly dominant. Unitythe quality of wholeness or oneness that is achieved through the effective use of the elements and principles of art. Unity is created by simplicity, repetition, proximity and continuation. *Some textbooks and teachers use slightly different lists of elements and/or principles. However, the ideas are basically the same. Bibliography Mittler, Gene, Rosalind Ragans, Jean Morman Unsworth, and Faye Scannell. Understanding Art. Woodland Hills: Glencoe/McGraw-Hill, 1992. Mittler, Gene, and Rosalind Ragans. Introducing Art. Woodland Hills: Ragans, Rosalind. ARTTALK Mission Hills: Glencoe, 1995. Theater Objective: Students will explore animated cartoons and will create an animated sequence on the computer or a flip book. (This activity requires access to the internet and computers that will run programs with movement in them. You can download Flashit and Shockwave for free.) Show the class some clips from animated cartoons featuring animals. Discuss what makes particular cartoons effective. Then have students go to internet sites such as http://members.tripod.com/ ~Toonhead/clip.html, which have animated clips you can use. Although these clips are designed for web page design, they can be used for anything. Students will make their own short sequences. Share the shorts with each other. For flip books, try Http://www.haring.com/master2.htm Literature/Writing Objective: The students will listen to one of the Just So Stories and will write their own story featuring an animal dealing with the consequences of its actions. 144 Read one of the Just So Stories by Rudyard Kipling to the class. A good one for this assignment is The Elephant Child. Then show them the slides from this packet. Have them choose one animal from the artworks to write a story about. The story must say what the animal used to look like, how it was changed, and what it looks like now, and what it can do because it changed. If you have talked about techniques and poetic/ writing devices such as similes and metaphors, conflict, etc., have them incorporate those techniques into the stories. When the students are finished, allow students to share the stories with the class. You may want to display the stories in the library or another place where other students can read them. Art Extension: Have the students draw the most dramatic point in their stories. Display the drawings with the stories. Extension: If the children really enjoy the activity, you might consider copying the stories and illustrations and making your own book of stories. Have the class choose a title for the book. Glencoe/McGraw-Hill, 1999.

ANIMALS IN ART
ARTIST: Roger D. Sam Wilson (1943- ) Salt Lake City, Utah TITLE: A Tension to Detail 1982 MEDIA: watercolor on paper SIZE: 22-1/2 x 29-3/4

SUGGESTED CLASSROOM ACTIVITIES

QUESTIONS FOR LOOKING (History, Aesthetics, Criticism) What is the first thing your eyes are drawn to? What does the title do to your thinking about this painting? Did you notice the ghost fish at first? Why do you think its there? Why do you think the artist put the dots and lines above the central fish? What do you notice about the tail on the right? This artist likes puns: How is the title a pun? The painting? How does this panting make you feel? What do you think it means? What do you think the numbers stand for along the bottom? Does this painting make you think? Do you feel it is a successful piece of art? Why or why not? Do you like this painting? Why or why not? ACTIVITIES Science Objective: The students will learn about native and introduced species of trout in the state of Utah and explain how they fit in their biomes. Have an officer from the Division of Wildlife Resources come to your class and show posters and mounted fish of the different species of fish we have in Utah and explain how to tell them apart. Have the officer explain 145 the fishs role in the food chain of its biome and its importance in the overall ecology and economy of our state. Discuss how the cutthroat replaced the rainbow as our state fish. Have the students learn the parts of the trout and then label them on drawings. Arrange for a field trip to the fish hatchery in Springville or the one in Midway. You can also tie this activity into specific science lessons by including pertinent information for that lesson. ArtMaking Objective: The students will improve in their skills of drawing and paying attention to detail.

Bring in guide books to fishes, posters, and models (mounted fish) and have the students practice sketching from them. They can label the different parts of the fish (type of fins, etc) on their completed drawing. Allow the students to experiment with paints, pastels, and colored pencils. There are examples of beautiful paintings of fish in the book Joe and Me. ArtMaking Objective: The students will demonstrate their knowledge of trout by making a correctly formed paper mache fish. The artist Bri Matheson (Park City) does residencies in schools and leads the students through the whole process of making paper mach. Each student produces a final product at the end of the two weeks. He starts with a styrofoam body which the students sand into shape. The fins are made from coat hangers and stuck into the styrofoam (with a little glue to hold them in). The students then begin the paper mache a layer per day. After 3 to 4 layers, the students sand out the rough spots and then paint their fish white. Then the fish are ready to have color applied. Language Arts Objective: The students will successfully write a story patterned after the old folktale, The Magic Fish. Share different versions of The Magic Fish (can be found in many collections most schools have the Scholastic version by Freya Littledale). Brainstorm the things different people would ask for today. Ask the students if they think their list would be different than their parents lists. Their grandparents? What would a very rich person ask for? Lead them through the writing process to a finished product. You could possibly bind these as a collection for your classroom library. Your discussions can, of course, include how their wishes would impact the environment and their own lives. 146

Be sure to allow your students to illustrate their stories. ArtPerceiving, Contextualizing, and Expressing Objective: The students will discuss the use of masks in various cultures and then create animal masks. Show the class the slides from this packet and discuss the different ways animals have been portrayed in the variety of art works. Then ask students to help you make a list of the ways different peoples have and do use depictions of animals. (religious, cultural, mythological, magical, theater, entertainment, etc.) Then choose whichever area fits other class curriculum such as Social Studies, Language Arts, etc. Or choose an area of interest to you and gear the rest of the activity to it. The following are several ideas. 1. Explore a cultures use and styles of animallike masks. Have images for the students to look at. Talk about how the masks were used and what qualities different animals were believed to confer on the wearer. Students will probably need help to understand that for many indigenous peoples, day-to-day survival

depended on their ability to personally confront and defeat their environment, which was usually hostile, or at best, indifferent. Many cultures have folktales or myths that can be used to set the stage for the art activity. Then have students brainstorm about what qualities different animals might convey on mask wearers such as a cheetah mask could make the wearer run fast, a wolverine mask might make the wearer fearless, and a mouse mask might make the wearer be able to hide from his enemies. Then have students choose an animal to make a mask of. Use a media and method from the following pages. Ask students to write or tell what properties their mask can impart to the wearer.

Sources: http://www.animalmasks.net/ http://www.novica.com/art/sculpture/ balinese-animal-motif-masks/index. cfm?c=641&l=4 http://www.princetonol.com/groups/iad/ lessons/middle/mark-tona.htm Variation for older students: Have students combine two animals that have contrasting qualities. Extensions Language Arts: After the students have made their masks, have them write a short story about someone who wears the mask. Theater: Choose a myth, fable, or folktale to preform as a class. Or do several, so each students has a part. Have the students create masks to wear in the production. Art: Focus on a particular style of folk or native art such as Oaxacan, and make animal masks in that style. (See page 117 for some designs and ideas) Art: Focus on a specific art media and use animal masks as a way to learn additional techniques in a creative setting. (See following pages) Social Science: Explore a particular culture and make masks suitable for that culture. (The culture doesnt need to be one that necessarily makes masks. Use ideas from other art and artifacts to suggest suitable designs.) Social Science/Art: After presenting some information and images about one or more cultures use of masks, ask the students to create an animal mask they feel could play a role in their culture. Students should accompany the mask with a written statement about the how the mask is representative of or fills a role in their culture. Younger children can either say their ideas aloud or the teacher or a helper can write them down.

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Healthy Lifestyles: After discussing how some cultures believed that a mask could transfer specific qualities to the wearer, ask students to create animal masks that have qualities they would like to have. Ask for volunteers to share what qualities they want to gain from their mask. (Some children may not want to tell the class, which is okay.) Extension: Have students act out impromptu scenes with their masks, demonstrating the qualities the masks have given them. You may want to include a discussion of how the students felt when acting differently. Ask them what it would take for them to permanently acquire the traits they assigned to the masks.

http://www.doe.mass.edu/edtech/practices/manchester/intro.htm

http://www1.ccs.k12.in.us/cte/academics/student-projects

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Mask-Making Possible Projects Students will study a cultures use of masks and make a mask in a similar style. Show the class the slides from this packet and discuss the different ways animals have been portrayed in the variety of artworks. Next, ask the students to name all the ways they can think of that masks are used. (Religious or cultural rituals, celebrations such as Halloween and Mardi Gras, theater, movies, as disguises, etc.) Then narrow this down to animal masks. Then concentrate your presentation on the particular area you wish to focus on with masks. Some possibilities follow: Native AmericansNorth West Coast, Inuit (Eskimo), Iroquois, Navajo, Hopi, Zuni, Apache African Polynesian Shamans or sorcerers

students to find and bring appropriate items from home. Several kinds of masks are explained below, but many other kinds are possible. (See Resources, p. 147 for additional help.) Ceramic Clay Masks supplies: ceramic clay, approximately 2 lbs. per student. tools for cutting, shaping, etc. heavy material, pieces of cardboard or hardboard for each student acrylic paint and spray-on sealer or ceramic glazes beads, feathers, leather scraps, material, paper, found objects, etc. After completing the historical portion of one of the suggested approaches, have students make their own masks. Structure this part of the activity so it enhances the learning of the earlier section. (For example, the students can make masks that represent the spirit of a specific animal, or masks a shaman might wear, or masks for a theater production, see Extension, below.) To make the masks: If you have purchased clay in bags, cut a 1 thick slice for each student. Before beginning, students should sketch at least three possible designs. Have the students evaluate the designs for the criteria you have established. Once students have decided on a design, they can roll or pat their slab of clay into a 1/4-1/3 slab. Using a cutting tool, students should cut the shape of the outline. Then use a small moistened sponge or a damp fingertip to smooth the cut edge. Features can be cut out or added on. Discourage students both from using small, delicate pieces, which rarely stay on and also from cutting out so much that the mask can break apart. No part of the main mask should be smaller than 1/4. Attach additions by scoring (scratching into the surface of the clay) and slipping (adding enough water to the scored area for it to form clay paste) both the piece to be added and the spot it will be added to. Do not attempt

http://www.theclaygroundofvestal.com/animal_ mask001.jpg After your presentation, if desired, assign students to research further information. Then introduce the maskmaking portion of the activity. Have items suitable to your chosen emphasis available. You may want to assign 149

to add things like hair or ears by butting the edges togetherthey wont stay. Instead, score and slip and overlap the additions onto the base part of the mask, and smooth the excess clay into the back, stamp the join; or simply score and slip well and press the piece on with fingers or a flat object larger than the addition. Features can be built up with one or more layers of the slab, or can be molded and then attached. If any areas are very thick, students should allow the mask to harden somewhat so the clay is the pliability of heavy leather and then carefully scoop out excess clay from the back of the mask using a loop tool. (Thick clay can be successfully dried and fired, but the drying and the early stages of the firing must be very slow to prevent cracking.) If any features are created by cutting sections out, they should have the edges smoothed. The mask can be given some curve by placing it over crumpled layers of newsprint. When designing and creating the mask, students can plan ways to attach objects to the mask after it has been fired. For example, holes around the edge allow raffia, string, yarn, rope, or fabric strips to be attached for hair or fur. Holes above cut outs for eyes can have beads strung in them to be eyes. Students also should create some way for the mask to be displayed or used. Two holes, one on each side, with wire, sturdy twine, or a leather thong strung between works well. So does one centered hole, or a small piece of clay attached to the inside near the top, with an indentation that will hook on a nail or dowel. Other, more decorative ways are also possible, as is a small support for table display. Encourage students to incorporate texture in the surface of the masks. (See Sept. 1998, The Elements of Art packet, Gary Price Activities, for suggestions for teaching and creating texture.) When the students have completed their masks, 150

Stiff Paper Animal Mask hiartteacher.blogspot.com allow them to dry slowly and then fire them. Students can paint the masks. Again, have students make preliminary design decisions by sketching their masks and trying colors with crayons. When the paint is dry, spray the masks with nonglossy sealer. (Make sure you do this in a well-ventilated areaoutside, if its not too cold.) The sealer drys quickly. Beads, feathers, and other ornaments can then be added. Display the masks with appropriate historical information and visuals, or use the masks in an appropriate activity. Students should write a critique of their mask using the critical model you use in class. Even first graders can do this. Stiff Paper Masks. Use stiff paper for the mask base. Cut out exaggerated features from colored paper or poster board and glue on. Add beads, feathers, small found objects, lightweight material, or fake fur. Fabric Masks

Buy stiff cloth Halloween or theater masks and have the students decorate them to look like animal faces. They can glue and sew beads, sequins, feathers, gauzy material, net, paper, felt, etc., onto the masks. Other simple methods for making masks are papier-mch, paper bags, paper plates, buckram, wire, wire frames covered with paper strips, material, or found objects. Other kinds of masks are also possible. For example, see transformation masks in the Crayola DREAM-MAKERS teacher booklet Tales To Tell, 1996. Resources: Sivin, Carole. Maskmaking Davis Publications, Inc. Worcester, Massachusetts: 1986 (This book contains good directions for many different kinds of masks) Casey, Kevin K. Masks. Rouke Publications, Inc. Vero Beach, Florida: 1996 (A childrens book from the Customs, Costumes and Cultures series. Has excellent historical information on a childs level about 14 kinds of masks with at least one picture for each type.) InternetI used AOL and got the best search results using masks and art. A few good sites follow: http://www.huichol.com/ (Great images of beaded masks from Mexico (traditional Huichol) with some explanation and history. Also has sculpture.) http://www.wiu.edu/users/mfwc/wiu/ form,html (Cast paper masks. Good images, describes process.) http://www.alaskagifts.com/masks.html (Alaskan native (Inuit) carvings, masks, sculptures.) www.coastalimports.com (African Art. Good images, variety, lots of masks from different tribes. They sent me a color catalog with nice 151

Totem Poles at Stanley Park, Vancouver

http://www.flickr.com/photos/pmgrah/130479564/

pictures, about three days after I asked for itall you have to do is click on a button and type in your address.) VariationTotem poles: Show the class the slides of the artworks and briefly discuss the different ways the artists have portrayed animals. Then move into other ways animals have been used in art. One of the most interesting ways is in totem poles. Show the class some examples. To make totem poles:

Have pictures of real animals available. Divide students into groups of three to five. Ask students to choose animals that can symbolize something important to them or that have qualities they want to have or can provide them some sort of protection. They should each choose one animal and make a sketch of their animal. When each student has a sketch the student is happy with, the group should decide how best to order them. Then the students will make the totem pole using the following method: 1. Materials: heavy cardboard tubes (These can be found in garbage cans at fabric stores and sewing factories. Or, if you dont want to scrounge from garbage cans, just go in and ask.) wood scraps for base cardboard and stiff paper paint scissors, exacto knives, shears, hacksaw twine, feathers, buttons, beads, etc. Glue, hot glue, wire The cardboard tubes can be cut to lengths with a band saw. If you dont have access to one at school, ask a parent for help. Since this activity will take more than one class time, have the students plan their totems one day so you can get approximate measurements for the tubes; or, cut a variety of sizes of tubes and let students choose. Stiff paper, cardboard, material, etc. can be attached to make animals. When the totem is finished, use hot glue to attach it to the base.

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Animals in Art
Appendix

Anasazi Animal Symbols Oaxacan Animals Paper Patterns: Alligator, Coyote, Fish, Frog, Cat

Anasazi Animal Symbols

II

Oaxacan animal patterns

Alligator
1. Cut alligator out of cardstock. 2. Decorate, then fold on center line. 3. Fold two front teeth down. 4. Fold flaps between legs and glue. 5. Bend legs as needed. 6. To curve tail, carefully roll folded tail around fat pencil.

III

Coyote
1. Cut coyote out of cardstock, including ears, and decorate. 2. Fold on center line and then fold under on all dotted lines except base of tail, which folds up. 3. 3. Glue where neck and chest pieces overlap. 4. Fold and then glue ears, matching dotted lines. 5. Put one dot of glue at base of tail, on body, and press together.

IV

 Fish
1. Cut fish out of cardstock 2. Decorate 3. Fold down center line 4. Fold in on dotted lines 5. Glue overlays 6. Hang by a string or sit on surface

 Frog
1. Cut out frog and decorate. 2. Fold belly flaps under. 3. Fold down center back line. 4. Fold legs up at hips. 5. Fold legs down at knees. 6. Glue belly flaps.

VI

Shelf Cat (sits on the edge of a shelf, with back

leg hanging over) 1. Cut out cat and decorate. 2. Fold flaps to back of cat. 3. Fold flap 1 down and then to the inside. 4. Fold flap 2 up and then to the inside. 5. Glue a washer or nut to the inside back of flap 2 as shown in the illustration below the cat pattern. 6. Glue short ends of flaps to the back of the cats front paw and back of the bodysee illustration, figure 1.

figure 1

Side view of cat with flap two in place. Glue small weight such as a washer or nut as shown.

VII