Who's Afraid of Abstract Art?

(Note - The following lesson plan is for the two-day instructional event - January 26 - James Bockelman & January 27 - Pat Jones)

Presenter Information
Lesson Information
Pre-Lesson
Tele-Lesson
Post-Lesson
Standands & Assessment

Presenter Information

Presenter: James Bockelman

Email Address: jbockelman@seward.cune.edu

Presentation Date: January 26, 2005

Web site URL: http://www.karolynsherwoodgallery.com/JamesBockelman.htm

Meet Your Presenter:James Bockelman, Professor of Art at Concordia University in Seward, Nebraska, utilizes graphite, oil crayon, acrylic, and modeling paste to create heavily textured, expressionistic paintings/drawings. The works historically begin with a non-objective form, the pinecone, which allows the artist to take full liberties in assigning his experiences, beliefs, and emotions to the subject and surface.

Presenter: Pat Jones

Email Address: pmwjones@hotmail.com

Presentation Date: January 27, 2005

Web site URL:

Meet Your Presenter: A native of Nebraska, Pat Wiederspan Jones is best known for her watercolor landscapes, but she is also interested in handmade paper, handmade books, collage, mandalas and spiritual art, and jewelry design. She holds a B.A. in Art Education from Hastings College, and a M.A. Ed. from the University of Nebraska-Kearney. With a background of teaching art in the public schools and working in advertising, Pat is now serving as adjunct faculty at UNK.

Pat has exhibited her work throughout the state, including MONA, the Noyes Gallery in Lincoln, Creighton University, the Minden Opera House, Peru State College, the Columbus Art Center, Kearney's Art in the Park, and the Walker Art Gallery. She is a member of the Nebraska Women's Caucus for Art, and the Kearney Artist Guild.

Top of Page

Enrichment Information

Grade Level Audience
6-12
Curriculum Targets

Visual Arts

Math/Science

Reading/Writing

Social Studies

Lesson Description:

Students will invent a new look at the world. Using theories of abstraction, students will consider alternative ways of expressing themselves about an object they are contemplating.

On the first day, James Bockelman talks about his work and life as an artist/painter from the gallery where his art is displayed. James Bockelman, Professor of Art at Concordia University in Seward, Nebraska, utilizes graphite, oil crayon, acrylic, and modeling paste to create heavily textured, expressionistic paintings/drawings. The works historically begin with an objective form, the pinecone, which allows the artist to take full liberties in assigning his experiences, beliefs, and emotions to the subject and surface.

On the second day, artist/teacher Pat Jones leads an abstract art production lesson based upon James Bockelman and Piet Mondrian.

Objectives:

  • Students will recognize the theories of abstraction by participating in group discussions, writing reflections of their own artwork, and defending their opinions of the subject matter.
  • Students will invent an abstracted object while creating with mixed media.
  • Students will simplify an object by deductively breaking down the structure, systems, order, and organization of the object to create an art piece.
  • Students will compare / contrast events in history with the evolution of abstract art by creating a time line of important periods in history during the onset and duration of abstract art.

Top of Page

Pre-Lesson

Description:

Taught by classroom teacher prior to the tele-lesson. Students need not be experts on abstract art but should know the basics prior to starting this component of the distance education event.

  1. Share background information on James Bockelman and examples of his mixed-media art pieces with students.(See Resources/Websites section).
  2. Present the chosen works of art to the students (see Resources/Websites section).Other than viewing the works, share only the name of each piece, the artist, as well as discuss the medium that was used on each piece.
  3. Identify and differentiate between realistic and abstract art pieces available in your school. Discuss what makes something realistic verses abstract.

Resources and Websites:

James Bockelman - By introducing newer images with older, more familiar ones this exhibition gives me the opportunity to reconsider the work in detail and to discover essential features between them. For the past several years, I have made observational depictions of pinecones within zones of abstract, surface treatment. Due to it's near symmetry and predictable order; I find the pinecone to be a visually friendly form. However, I also understand the pinecone to be a point of departure metaphorically: though banal and easily accessible - one can purchase a decorated Christmas pinecone at Wal Mart I see the cone latent with life, caught in a stage of dormancy. In addition to this older work, I have recently begun to collect an assortment of images that include chandeliers, honeycombs, and aerial photography. In particular I was struck by the reconnaissance photographs of Cologne, Germany after it had been fire bombed during World War II. Here, in the midst of this decimated city stood the medieval cathedral, relatively unharmed. About two years ago I had a dream that my brother and I were flying as bombardiers over some unknown enemy position - I can't even remember whose side we were on. However, I do recall the overwhelming feeling of power I experienced while observing the topography below. As we approached our target, we were given the signal to commence bombing, which we did by furiously scratching through wax markings on a hand held card.

  • Piet Mondrian - (1872-1944) Artist bio and Likewise the early romantic landscapes are rarely at all panoramic: they usually take in something like a couple of cows and a tree, three or four trees in a row, a group of farmhouses.
  • Mondrian, Piet, Gray Tree, 1911, Oil on canvas, 78.5 x 107.5 cm (30 7/8 x 42 3/8 in), Haags Gemeentemuseum, The Hague
  • Mondrian, Piet, Avond (Evening); Red Tree, 1908, Oil on canvas, 70 x 99 cm (27 1/2 x 39 in), Haags Gemeentemuseum, The Hague
  • More Mondrian Images
  • Mondrian, by Jose Maria Faerna. From Abradale's Great Modern Masters Series, hardback, and a very economical introduction to Mondrian's life and work.
  • Mondrian: On the Humanity of Abstract Painting, by Meyer Schapiro. Shapiro responds to critics who find Mondrian's work cold and overly analytical.
  • Natural Reality and Abstract Reality: An Essay in Trialogue Form/1919-1920, by Piet Mondrian. Mondrian was quite literate in explaining his artistic theories, as you will find in this volume.

Pat Jones - Students will need the following materials to support the hands on activities on January 27.

  • some realistic photos of trees (examples are listed at the bottom of the page)
  • paper, 11 x 14" or larger, white or color - doesn't matter
  • pencils (#2 or softer)
  • oil pastels or crayons or colored chalk
  • perhaps watercolors (small 8 color box is fine) plus brush, water, water
  • container
  • perhaps some glue
  • perhaps scissors
  • extra scrap paper to make a small viewfinder

    Pat Jones will present a few "What if" scenarios

Vocabulary:

http://dictionary.reference.com/

http://www.scribbleskidsart.com/generic.html?pid=5

  • abstract adj 1: existing only in the mind; separated from embodiment; "abstract words like `truth' and `justice'" [ant: concrete] 2: not representing or imitating external reality or the objects of nature; "a large abstract painting" [syn: abstractionist, nonfigurative, nonobjective] 3: based on specialized theory; "a theoretical analysis" [syn: theoretical] 4: dealing with a subject in the abstract without practical purpose or intention; "abstract reasoning"; "abstract science"
  • realistic- adj 1: aware or expressing awareness of things as they really are; "a realistic description"; "a realistic view of the possibilities"; "a realistic appraisal of our chances"; "the actors tried to create a realistic portrayal of the Africans" [ant: unrealistic] 2: representing what is real; not abstract or ideal; "realistic portraiture"; "a realistic novel"; "in naturalistic colors"; "the school of naturalistic writers" [syn: naturalistic] 3: of or relating to the philosophical doctrine of realism; "a realistic system of thought"
  • non-objective - adj : not representing or imitating external reality or the objects of nature; "a large abstract painting" [syn: abstract, abstractionist, nonfigurative]
  • deductive - adj 1: relating to logical deduction; "deductive reasoning" 2: involving inferences from general principles [ant: inductive]
  • graphite - A soft, steel-gray to black, allotrope of carbon with a metallic luster and a greasy feel, used in lead pencils, lubricants, paints, and coatings.
  • pastels -Pastels are sticks of color used for drawing. The texture of pastels can be chalky or oily depending on what the pigment is mixed with. They are bright, portable colors with no drying time.

Art Exemplairs:

 

  • Title: Scattered Pine Cones
  • Artist: James Bockelman
  • Media: 30 various sizes, graphite, acrylic, modeling paste, oil crayon
  • Plate/Date: 2005
  • Title: Severed Sapling
  • Artist: James Bockelman
  • Media: graphite, acrylic, modeling paste
  • Plate/Date: 2005
  • Title: Cathedral
  • Artist: James Bockelman
  • Media: graphite, acrylic, modeling paste
  • Plate/Date: 2005

 

  • Title: Honeycomb
  • Artist: James Bockelman
  • Media: graphite, acrylic, modeling paste, beeswax
  • Plate/Date: 2005

Top of Page

Tele-Lesson

Description:

Day 1: James Bockelman will present his artwork on display in the museum.

  1. He will discuss the meaning within it and the inspirations behind creating it.
  2. Four image categories are paired together within this gallery: The scattered pinecones are hung directly across from the severed sapling; and the cathedral among ruins is sited opposite the honeycomb. Though each of these drawings stands on its own as a completed statement, the axial orientation of the drawings and minimal character of the installation are meant to encourage speculation on both the nature of the images and their relationship with one another.

Day 2: Pat Jones will present this lesson.

  1. This lesson will be introduced by comparing what is and is not abstract. Piet Mondrian's tree paintings will be considered alongside James Bockelman's work to observe reduction, rearrangement, displacement, and simplification of an object.
  2. Students will be lead through an art-making activity that will require them to abstract an object through transformation.  Manipulation of the materials in response to viewing an object will be the primary influence of the abstraction choices.

Top of Page

Post-Lesson

Students will use the experience with James Bockelman and Pat Jones to understand how abstract art is based on experiences, emotion, and representation of objects.

Students will create a time line representing the duration of abstract art and important events / inventions. Using the time line, discuss any correlations / contributions of events in the world and the presence of abstract art.

As a class, discuss the art works that were shared at the web cast. Allow students to view all the works of art again, this time, sharing their new understanding of the works.

Closure:

  1. Through discussion, have students line up their art pieces from the most realistic to abstract to non-objective.
  2. Have students compare and ask questions of one another about the different influences in their own abstractions.
  3. Students will display their abstraction with a written description of what influenced their ideas and decisions to modify the original object.

Extension/Related Activities:

Art Activity Ideas

  • Choose a personal dream or item of interest to create from? Remind them of James Bockelman‚Äôs inspirations: pinecones, chandeliers, honeycombs, and aerial photography. Create original art inspired by and utilizing similar techniques as the artist / piece they most connected with.

Reading / Writing Ideas

  • Descriptively write about an object in an abstract way. Utilize similar techniques of deductively breaking down the structure, systems, order, and organization of the object.
  • Introduce other writing styles similar to deductive thinking.

Social Studies Ideas

  • Debate opposing sides of abstraction and realism as related to historical events / inventions.
  • Reflect on how history is affecting art today and in the future.

Math Ideas

  • Create a flow chart to show the deductive thinking steps used when creating the artwork.
  • Create a T-chart paralleling events in history and phases of abstraction.

Science Ideas

  • Using a living system, break it down deductively to understand the systems, order, and organization.

Research Ideas

  • Research more artists from the same movement or time period. How are their works similar / different to the piece that they connected with most?

Top of Page

Standards Connection

Assessment:

  • Students will actively question, discuss, and input during group discussions.
  • Students will create an abstract representation of an object using deductive thinking.
  • Students will write a description of the deductive sequence when creating their abstraction.
  • Students will deductively take apart / reduce / simplify / an objects system, order, organization, or structure to represent it abstractly.
  • Students will create a time line with historical events / inventions correlated with styles of abstract art.

Identify Nebraska L.E.A.R.N.S. that apply to this lesson:

Nebraska Reading/Writing Standards:

  • 8.2.2; 12.2.2 Students will write compositions with focus, related ideas, and supporting details.
  • 8.2.4; 12.2.4 Students will demonstrate the use of multiple forms to write for different audiences and purposes.
  • 8.3.1; 12.3.1 Students will participate in group discussions by asking questions and contributing information and ideas.

National Visual Arts Standards:

  • Understanding and applying media, techniques, and processes.
  • Using knowledge of structures and functions.
  • Choosing and evaluating a range of subject matter, symbols and ideas.
  • Reflecting upon and assessing the characteristics and merits of their work and the work of others.
  • Making connections between visual arts and other disciplines.

Nebraska Math Standards:

  • 8.4.6 Students will use geometric terms and representations to describe the physical world.

Nebraska Science Standards:

  • 8.1.1    Students will develop an understanding of systems, order, and organization.
  • 8.4.1    Students will develop an understanding of the structure and function in living systems.

Nebraska Social Studies Standards:

  • 12.1.5 Students will summarize causes and effects of the Industrial Revolution.
  • 12.2.7 Students will analyze the scientific, political, and economic changes of the 16th, 17th, 18th, and 19th centuries.

Top of Page