Teaching Contemporary Art Through A Living Evolving Theme-Based Curriculum Capstone Paper

Running head: TEACHING CONTEMPORARY ART 1
Andrea Catalina Rico
Teaching Contemporary Art through a Living, Evolving Theme-Based Curriculum
Capstone Paper presented to the Department of Art, Eastern Illinois University
2017
TEACHING CONTEMPORARY ART 2
Abstract
My capstone paper will investigate pedagogical strategies for incorporating contemporary
art concepts and methods into a middle school art curriculum. Some of the questions guiding my
research are: How should contemporary art be taught in schools? How can I ensure the
contemporary art is relevant and meaningful to my students? Why should contemporary art be
taught in schools? In an attempt to answer these questions, first, I discuss why the study of
contemporary art is relevant. Then, I review best practices for creating a living, contemporary
art curriculum that is evolving and theme based. Finally, I share how the study of contemporary
art benefits students and teachers.

Introduction
I was nineteen years old the first time I visited a contemporary art museum. I remember
feeling in awe of the artworks, but I also remember feeling as if I did not belong. I felt this way
because I did not know how to engage with the artworks. I could not decipher the messages
because the works spoke a language I never learned.
Contemporary art is still intimidating. It is a source of anxiety and trepidation for me as
an art educator. However, throughout my masters studies, I have been introduced to new ways
of thinking about art, what it means to be an artist, and how to teach art, which have challenged
me to reevaluate my artistic values and educational methods.
The ideas interwoven throughout my graduate courses created a sense of urgency. This is
an urgency to build upon the past, by teaching students about the now, as a means to better
prepare them for the future. I believe that creating contemporary art curriculum can serve as a
way for me to apply many of the important ideas I have learned throughout my masters studies.
Moreover, I have chosen to investigate contemporary art pedagogy because it is also one of my
areas of growth. How can I teach students about art and prepare them with the creative skills
they will need in our global world if I am insecure of my knowledge regarding contemporary art
practices?
After reading Olivia Gudes (2007) Principles of Possibility, I was inspired to create a
contemporary curriculum that is living, evolving, and theme-based. The curriculum must be
living so that it is available for students to help co-create and adjust as means to ensure
relevancy. It must be evolving, so that it is flexible enough to keep up with emerging
contemporary art ideas and methods, and it needs to be theme-based as a way to empower
students to explore a wide variety of ideas and media.

Through my research, I will investigate contemporary art themes and contemporary art
practices, as well as pedagogical strategies for incorporating contemporary art ideas and methods
into a middle school art curriculum. Some of the questions guiding my research are: How can I
successfully integrate contemporary art practices into a curriculum? How can I ensure the
learning is meaningful to my students? How can I stay on top of the latest contemporary art
trends? How can I overcome the challenges of teaching contemporary art? How can
contemporary art become approachable and practical to art educators?
By reflecting on my experiences as a student and a teacher, I have come to realize the
valuable learning opportunities contemporary art can offer. I have come to understand that it is
my responsibility as an art educator to design curricula that will give students the tools to
understand and participate in contemporary cultural conversations (Gude, 2013, p. 8). My goal
is to create a curriculum that presents the art world as an inclusive place. I want to empower my
students to use art as a way to participate in the discussions taking place within our global
community and I want them to be able to walk into any art museum and feel as if they belong.
Rationale
The study of contemporary art is vital to art education because it has the power fulfill
many art education goals and could provide an excellent way to foster 21st-century skills. This
topic interests me because I have personally never witnessed an art teacher instruct students
about contemporary art or contemporary art practices. Many teachers do not incorporate
contemporary art into their teaching because they feel uncomfortable with their level of
understanding of the topic (Joo, Keehn, Ham-Roberts, 2011). Furthermore, many of the
instructional resources readily available to art educators are based on old art education theories
and cannot be used to develop the artistic and creative thinking skills students will need to be
successful in our global society (Freedman, 2010). A basic Google search for contemporary art
education provides information regarding recent pedagogical methods for teaching art, but few
examples of contemporary art unit templates, sample frameworks or lessons for teachers. I have
found the lack of resources increasingly frustrating, which is why I have decided to investigate
the best practices involved in teaching contemporary art.
The findings from this research will guide me in creating my own contemporary art
resources and help to update my teaching methods. I hope to learn more about contemporary art,
artists, themes, and art making techniques, so that I may build a bank of contemporary art
information from which to source when creating art and when developing units and lessons of
instruction. Contemporary art is in a constant state of flux. Thus, I will also need to discover or
develop a strategy for staying informed of contemporary art news. Ultimately, I will use this
knowledge to create a flexible template that can be used to build future contemporary art units of
instruction.
I believe the study of contemporary art pedagogy will help me develop as an artist and as
an art educator. Learning more about contemporary art, contemporary art teaching, and how to
be plugged into contemporary art movements, themes, and methods will help to reinvigorate my
art making as well as my teaching. I view this research as an investment in my personal and
professional development. However, the information gleaned from this experience, will not only
affect me. It will also influence my students, fellow teachers, and the schools and the
communities in which I choose to teach.
According to Gaudelius and Speirs (2002), contemporary art can serve as "an important
source from which critical and meaningful explorations of contemporary issues and ideas can
take place (p. 3). For this reason, I believe the study of contemporary art has the potential to be
critically relevant to students. Through the study of contemporary art, I want to empower
students to investigate their world and create meaningful art as a means to positively influence
their communities.
In addition to helping to inspiring students to be agents of change, I believe it is also my
responsibility as an educator, to act as a source so of information and support to other teachers.
Therefore, I hope my research will help me to develop as an artist and teacher so that I may
empower students, assist other art educators and positively influence the greater community.
Background
Why is contemporary art relevant? How should contemporary art be taught in schools?
These questions have guided my study of contemporary art pedagogy. Scholars vary slightly on
which methods are best, however, most argue that contemporary art is critical to a meaningful
21st-century art education. This research paper will discuss the literature pertinent to creating a
living, evolving, and theme-based contemporary art curriculum. First, I will describe the need
for what I call a living contemporary art curriculum, and describe its beneficial learning
outcomes based on the research of Joo, Keehn and Ham-Roberts (2011), Page (2006), Gaudelius
and Speirs (2002), Marshall and Donahue (2014), Gude (2007) and Mayer (2008). After
establishing the need for the study of contemporary art, I will reference the work of Bain,
Newton, Kuster, and Milbrandt (2010), Freedman (2010), Wilson (2003), Ivashkevich (2012),
Gnezda (2009), Gude (2007), Lin (2009), and Mayer (2008) to discuss how a student-centered
curriculum can influence student learning. Lastly, I will review the ideas and resources of Mayer
(2008), Hickman (2000), Popovich (2006), Walker (2001), Robertson and McDaniel (2010), and
Joo, Keehn and Ham-Roberts (2011), which teachers can reference when developing of a theme-
based contemporary art curriculum.

A Living Contemporary Art Curriculum
According to Joo, Keehn and Ham-Roberts (2011), contemporary art is a field of
cultural production that is diverse in disciplines, content and form (p. 28). Thus, effective
contemporary art is difficult to understand and can be difficult to teach (Page, 2006). However,
this should not be an excuse for shying away from teaching the subject. Marshall and Donahue
(2014) assert that contemporary art by its very nature is ideal for student investigation because it
raises so many questions.
The study of contemporary art offers educational benefits to both students and teachers.
Contemporary art, according to Gaudelius and Speirs (2002) and Marshall and Donahue (2014),
prompts discussion and can serve as a way for students to investigate contemporary issues and
ideas beyond the classroom. Through this investigation, Gude (2007) asserts that contemporary
art can act as a way for students to practice democratic principles and develop the critical skills
that will empower them to become participatory citizens. In addition to instilling democratic
skills, contemporary art can help students build an understanding of their own place in history
(Joo, Keehn, Ham-Roberts, 2011). Furthermore, learning about contemporary art should serve to
highlight the value of all human beings, and allow students to speak from their own experiences,
while encouraging them to analyze their communities and confront social norms (Joo, Keehn,
Ham-Roberts, 2011).
Teaching about contemporary art also provides teachers with an opportunity to show
students how to be a lifelong learner. Mayer (2008) asserts that teachers who share with their
students the investigatory process involved in informing themselves about contemporary art and
ideas are not only modeling the joy of ongoing learning in visual art, but also are joining with
students as learners (p. 78). This type of modeling helps students develop a growth mindset that
is motivated to learn and try new things without the fear of failure or judgment (Mayer, 2008).
An Evolving Student-Centered Curriculum
The literature regarding contemporary art education highlights the need for instruction to
be student-centered to achieve meaningful learning. In a study conducted by Bain, Newton,
Kuster, and Milbrandt (2010), they found that the majority of teachers considered a curriculum
meaningful if lessons were connected to the lives of their students. Thus, the aim when
designing a meaningful contemporary art curriculum is to connect learning experiences to
students passions and cultural backgrounds (Freedman, 2010).
Furthermore, effective contemporary art educators, according to Wilson (2003),
recognize students as co-selectors of their educational content and create what Ivashkevich
(2012), called a more democratic teacher student relationship (p. 44). Together teachers and
students should collaborate to plan projects based on the interests and life experiences of
students. By doing this, Gnezda (2009) asserts, students are made responsible for generating
unique ideas and finding their own solutions to artistic problems.
Since teachers have the responsibility to make contemporary art relevant to their students,
instruction should include the study of visual culture. According to Gude (2007), teachers can
use the concepts of visual culture to help design contemporary aesthetic investigations of daily
life (p. 13). Wilson (2000) suggests teachers should create a space where the school and the
realms of contemporary art and popular visual culture meet (p. 225). In this space, students
would be encouraged play and create by mixing traditional art content with ideas from popular
visual culture (Freedman, 2010).

By incorporating visual culture into the contemporary art curriculum, teachers will be
fostering visual literacy skills. Visual literacy, or a persons ability to communication visually, is
one of the most significant skills to have in our global society (Lin, 2009). Technology and new
media have challenged and changed our definition of art. As Mayer (2008) explains, the study of
contemporary art now includes everything from visual art media to film, zines, anime, music
videos, and digital imagery, all which are vibrant in the lives of students (p.79). Thus, by
encouraging students to incorporate their visual culture interests to their artwork, we will not
only be fostering visual literacy, we will also be showing students how artistic thinking can be
used to inform and enrich every aspect of life (Gude, 2007).
A Flexible Thematic Curriculum
Due to what Joo, Keehn and Ham-Roberts (2011) call a built-in-uncertainty,
contemporary art cannot easily be taught because it includes a variety of techniques, materials,
and ideas (p. 28). As a result, according to Freedman (2010) and Gude (2013), teachers need to
reconsider a variety of artistic ideas and methods to help support contemporary art education.
Themes or big ideas found in contemporary art provide a clear avenue of study and fulfill the
requirements ordered by the art education standards (Hickman, 2000; Mayer, 2008). Designing a
contemporary art curriculum with big ideas or themes will provide a context for understanding
content which has the ability to prompt students to think more critically (Popovich, 2006, p. 35;
Walker 2001). This type of approach to contemporary art education also provides the curriculum
the flexibility to remain student-centered.
Teaching contemporary art through themes provides a way by which to explore current
local and global social issues. As educators, it is important to have a solid grasp of these
contemporary art topics before instructing students about them. Themes of Contemporary Art:
Visual Art after 1980 by Jean Robertson and Craig McDaniel and Rethinking Contemporary Art
and Multicultural Education edited by Eungie Joo, Joseph Keehn II and Jenny Ham-Roberts are
two books teachers can use to build their knowledge of contemporary art themes. Robertson and
McDaniel (2010) break down contemporary art into seven themes of study, which are: identity,
the body, time, place, language, science, and spirituality (p. xi). Whereas Joo, Keehn and Ham-
Roberts (2011) organize their study of contemporary art into the following big ideas:
negotiating space/negotiating self, activism and democracy, commodities, exchange, waste and
obsolescence, conflict: local and global, and history and historicism (p. viii-ix). Both resources
provide valuable insight into contemporary art ideas and learning experiences.
Application
I am convinced contemporary art can provide meaningful learning opportunities for both
students and teachers. The research shows how contemporary art can serve as a means to foster
critical thinking abilities, address social issues, encourage civic responsibility, and develop
democratic skills. Contemporary art also provides opportunities for teachers to challenge
themselves to keep learning. I am a life-long learner, and I do my best to show students that I am
always learning something new. Contemporary art can inspire and motivate me to continually
improve as an artist and a teacher.
The idea of the educator as a perpetual learner underlies much of the information I read
about contemporary art. For example, in addition to learning about and keeping up with
contemporary art, as teachers, we need to make an effort to learn about our students, their lives,
cultures, and interests in order to create meaningful learning experiences. Creating a student-
centered curriculum is interesting because like contemporary art, at first, it appears almost
impossible to achieve. However, I have learned that small acts such as inviting students to help
co-create create a lesson can set the stage for significant and meaningful art making.
From my research, I have learned that the study of contemporary art can be most
effective when it is student-centered and theme-based. I consider myself as a social
reconstructionist and I believe teaching contemporary art through themes can be a way for me to
teach students how to act as responsible citizens in our global society. Teaching contemporary
art through universal truths can help students appreciate differences and help to identify
similarities with others and build empathy. Contemporary art themes can help students
understand themselves as well as the greater world around them. More significantly, studying
contemporary art through themes will help students discover their place in the world and reveal
how we are all connected.
I believe the benefits of teaching contemporary art far outweigh the challenges involved.
Yes, researching and keeping up with contemporary art will involve rigorous planning and the
development of new habits. However, I am willing to do the work to ensure my students develop
the critical and creative thinking skills necessary to participate as responsible citizens and
innovative contributors in the global world.
Designing a Contemporary Art Curriculum Unit
In deciding what to research for my capstone, I was intrigued by how contemporary art
education can encompass various approaches to art education. When teaching about
contemporary art, one is almost forced to incorporate aspects of student choice, multicultural art,
visual culture, technology and media arts into the curriculum because contemporary art demands
effective modern methods of teaching. Thus, in designing my curriculum, I made an effort to

include methods from art education approaches I deemed most relevant in fostering creativity
and developing 21st-century skills.
From my graduate research, I have come to believe a contemporary art curriculum should
be theme-based for flexibility of content, living as a means to focus on contemporary concepts
and methods, and evolving to meet the shifting needs and interests of students. In the following
sections, I will describe my curriculum unit. First, I will discuss the basic organization of the
curriculum and define its goals and enduring understandings. Next, I will explain the importance
of classroom culture in fostering the study and making of contemporary art. Finally, I will
describe the student learning experiences and briefly explain how my research influenced each
lesson.
Curriculum Overview and Goals
I designed the curriculum using the backward design method referencing sixth grade
National Art Education Association (NAEA) visual art and Common Core language arts
standards. The unit is centered on five core lessons but is designed with the flexibility to span
from eight to ten class periods to provide students adequate time to explore, experiment and
create. The learning activities progress in the following order: introduction and play, artist
examples, brainstorming, concept development, production, critique, revision, and reflection (see
Appendix A). The overall goal of the unit is to allow students to experience as fully as possible
what it is to be an artist, to act and think like an artist, to try on the artists role (Szekely, 1988,
p. 16).
Theme Based: Contemporary Explorations through Big Ideas
Mapping the Self: Creating A Personal Geography is the title of my unit plan. Students will
explore how to investigate their identity and express themselves through maps and diagrams.
The big idea of my unit is the understanding of identity as a means to appreciate diversity. The
curriculum is based on the following enduring understandings:
Creativity can be developed.
Artists experiment when making art.
Artistic excellence is developed through practice.
We learn to understand the world and ourselves through artmaking.
Visual imagery helps us understand and communicate with the world.
We understand art through critique.
People make meaning through artmaking.
People develop and understanding of the world through art experiences.
Evolving: Student Centered Learning Environment
Before I explain the learning activities, which make up my unit, I think it is important to
describe the kind of learning environment that is conducive to contemporary art learning and
making. The learning space, class culture, and teachers role are all a part of the learning
environment. The teacher must consider herself/himself an artist as a means to confidently
model to students how artists think, investigate and create. Thus, the teachers role in the
contemporary art room is to be that of an artistic guide as well as a creative learner.
Classroom culture will also play a huge role in determining the extent of student
creativity. If a culture of caring, acceptance, and respect is cultivated and upheld within the
classroom, students will be free to take risks and be more expressive in their work. In addition,
the culture must be developed to promote student suggestions for independent learning and
direction of learning. Aside from making time for class discussions and one to one check-ins,
another way to incorporate this idea into a classroom would be to set up a private messaging
space for students to leave notes for the teacher. This type of collaborative relationship between
teacher and students sets the stage for authentic contemporary art learning.
In regards to physical space, the classroom should be organized to provide students with
space to get messy and experiment with a variety of media, a place to conduct independent
research and making using technology, and a designated quiet area for planning and processing.
Students should be encouraged to take pride and ownership of this space as means to foster
belonging as well as neatness.
Living: Investigating Contemporary Ideas and Methods
By choosing to design the curriculum around a big idea or theme, instead of an artistic
process or artistic period, students can be encouraged to explore their creativity more fully.
While developing my unit, I frequently referenced George Szekelys Encouraging Creativity in
Art Lessons and Olivia Gudes Principles of Possibility: Considerations for a 21st-Century Art
& Culture Curriculum and Postmodern Principles: In Search of a 21st Education. Szekelys
(1988) work helped me develop the mindset for fostering creativity, and Gudes (2004) works
provided me with a contemporary art instructional framework by which to follow.
Lesson 1 involves an introduction to maps, their history, and their functions. Students
will participate in small group, then whole class discussions regarding maps. Then, students will
be tasked with exploring various maps, map symbols, and map-making tools. I made a
conscious effort to begin this lesson with discussion and play instead of artists examples because
I want students to be able to explore and work with the idea of maps and map-making freely
without the influence of other artists or artistic styles. However, it is also important to show
students how living artists work. Thus, students will watch a video by contemporary artist Chris
Johanson, then, will experiment with map-making by creating a simple word diagram of their life
using various media (https://www.sfmoma.org/read/open-studio-chris-johanson/). Students
should be encouraged to be as creative as they can be. The teacher should be open to student
suggestions and appropriate modifications and extensions if students are interested in exploring
the assignment in a different way.
Students will be introduced to contemporary map artists such as Karin Ducroo, Paula,
Scher, Michael Druks, and Arthur Menton in lesson two. It is imperative when designing any
unit, but especially when developing a contemporary art unit to select artist examples from a
wide variety of cultures and backgrounds. Emphasis should also be placed on including artists
that represent the various ethnicities, races, and genders of students as well. Students will
analyze and discuss the works by referencing their notes on the postmodern principles of design,
elements of art and principles of design. After discussions, students will have time to review,
consider and record which artists and styles appealed to them the most and explore why in their
sketchbooks. Students will then, begin brainstorming for the creation of a hand map. Through
the hand map, students will explore and use imagery that symbolizes people or places that have
contributed to what they can do with their hands.
Lesson 3 will be focused on brainstorming and concept development. According to
Szekely (1988), for contemporary artists, there will be less emphasis in art class on the physical
construction of a work of art and more on finding art, planning art, and playing experimentally
with art ideas and materials (p. 13). Thus, for this lesson, students will think about their identity
and conduct independent research to create a Pinterest board of contemporary artists examples,
colors, patterns, symbols and techniques to reference when creating their personal geography
artwork.
Production is the focus of lesson five. Students will begin creating a mixed media
personal geography, or a narrative map. The map will need to tell a story about the students
identity or their life and will need to incorporate at least one postmodern principle. This lesson
can span two or three class hours, depending on student interest and progress. After completing
their work, students will be given time to think about their work and write an artist statement.
Lesson six, the final lesson,will require students to practice discussing, analyzing,
revising and reflecting upon works created in class. Students will analyze each others work and
leave feedback notes. After the critique, students will be given time to review feedback and
decide if revisions to their work are necessary. After revisions, students will be given time to
write a reflection regarding their artistic experience and evaluate their final work.
Reflection
The goals of my research were to investigate the value of contemporary art in schools and
the best methods for teaching contemporary art concepts and techniques. The literature indicated
that a curriculum for contemporary art should be adjustable for a variety of content, adaptable to
student interests, and focus on contemporary art ideas and methods. With these ideas in mind, I
proposed the idea of a living, evolving, theme-based curriculum for contemporary art.
Some advice I would make to teachers interested in incorporating contemporary art into
their curriculum is to start with time and space. What I mean is, grant yourself and your students
enough time and space to think creatively. Artistic thinking and planning are critical aspects in
developing contemporary artistic skill. In addition, devise ways to stay informed about emerging
contemporary art and the shifting interests and passions of your students. I have complied a list
of contemporary art website that can help keep art educators plugged in to emerging art (see
Appendix B). By modeling how to be life-learner and fueling your students interests you will be
emboldening them to reach their creative goals.
This experience has helped me overcome my fear of contemporary art. My research has
empowered me to engage with contemporary art. In the beginning, my plan was to nail down the
right way to teach contemporary art, but what I discovered is that there is no right way to teach
contemporary art, as there is no right way to create or understand contemporary art. Thus, the
biggest lesson I have come to learn is that as an art educator if I truly want to develop authentic
contemporary artistic thinking within my students, I must embracing uncertainty, and design
learning experiences that encourage unexpected results.

References
Bain, C., Newton, C., Kuster, D., & Milbrandt, M. (2010). How do novice art teachers define and
implement meaningful curriculum? Studies in Art Education, 51(3), 233-247.
Berry, K. Jill. (2011). Personal Geographies: Explorations in mixed-media mapmaking.
Cincinnati: North Light Books.
Freedman, K. (2010). Rethinking creativity: A definition to support contemporary practice.
Art Education, 63(2), 8-15.
Gaudelius, Y., & Speirs, P. (2002). Contemporary issues in art education. New Jersey: Prentice
Hall.
Gnezda, N. (2009). The potential for meaning in student art. Art Education, 62(4), 48-52.
Gude, O. (2004). Postmodern principles: A 21st century art education. Art Education, 57(1), 6-
14.
Gude, O. (2007). Principles of possibility: Considerations for a 21st-century art & culture
curriculum. Art Education, 60(1), 6-17.
Gude, O. (2013). New school art styles: The project of art education. Art Education, 66(1),
6-15.
Hickman, R. D. (2000). Art education 11-18: Meaning, purpose and direction. London:
Continuum.
Ivashkevich, O. (2012). Rethinking children: Power, pedagogy, and contemporary art
education practices. Art Education, 65(1), 40-45.
Joo, E., Keehn, J., & Ham-Roberts, J. (Eds.). (2011). Rethinking contemporary art and
multicultural education. New York: Routledge.
Lin, C. (2009). Beyond visual literacy competencies: Teaching and learning art with
technology. In Delacruz, E. M., Arnold, A., Kuo, A., & Parsons, M. (Eds.). Globalization,
art, & education. Reston, VA: National Art Education Association.
Marshall, J., & Donahue, D. (2014). Art-centered learning across the curriculum: Integrating
contemporary art in the secondary school classroom. New York: Teachers College Press.
Mayer, M. (2008). Invited commentary: Considerations for a contemporary art curriculum. Art
Education, 61(2), 77-79.
Page, T., Herne, S., Dash, P., Charman, H., Atkinson, D., Adams, J. (2006). Teaching now with
the living: A dialogue with teachers investigating contemporary art practices.
International Journal of Art & Design Education, 25(2), 146-155.
Popovich, K. (2006). Designing and implementing exemplary content, curriculum, and
assessment in art education. Art Education, 59(6), 33-39.
Robertson, J., & McDaniel, C. (2010). Themes of contemporary art: Visual art after 1980. New
York: Oxford University Press.
Szekely, G. E. (1988). Encouraging creativity in art lessons. New York: Teachers College
Press.
Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.
Wilson, B. (2003). Of diagrams and rhizomes: Visual culture, contemporary art, and the
impossibility of mapping the content of art education. Studies in Art Education, 44(3),
214-229.
Appendix A: Mapping the Self: Creating a Personal Geography Unit Plan & Assessment
Documents
Design Topic: Collage & Mixed Media Subject: Visual Art Grade: 6 Duration: 8-
10 Class Hours
STAGE 1 DESIRED RESULTS
Unit Title: Mapping the Self: Creating A Personal Geography
ESTABLISHED GOALS:
Connecting:
Through artmaking, people make meaning by investigating and developing
awareness of perceptions, knowledge and experiences (VA:Cn10.1.6)
People develop ideas and understandings of society, culture, and history through
their interactions with and analysis of art (VA:Cn11.1.6)
Responding:
Individual aesthetic and empathic awareness developed through engagement
with art can lead to understanding and appreciation of self, others, the natural
world, and constructed environments (VA:Re7. 1. 6)
Visual imagery influences understanding of, and responses to, the world
(VA:Re7.2.6)
People gain insights into meanings of artworks by engaging in the process of art
criticism (VA:Re8.1.6)
Creating:
Creativity and innovative thinking are essential life skills that can developed
(VA:Cr1.1.6)
Artists and designers experiment with forms, structures, materials, concepts,
media, and art-making approaches (VA:Cr2.1.6)
Artists and designers develop excellence through practice and constructive
critique, reflecting on, revising, and refining work over time (VA:Cr3.1.6)
Common Core:
CCSS.ELA-LITERACY.RH.6-8.7: Integrate visual information (e.g., in charts,
graphs, photographs, videos, or maps) with other information in print and digital
texts.
CCSS.ELA-LITERACY.SL.7.1: Engage effectively in a range of collaborative
discussions (one-on-one, in groups, and teacher-led) with diverse partners on
grade 7 topics, texts, and issues, building on others' ideas and expressing their
own clearly.
CCSS.ELA-LITERACY.L.7.1: Demonstrate command of the conventions of standard
English grammar and usage when writing or speaking.
CCSS.ELA-LITERACY.L.7.3: Use knowledge of language and its conventions when
writing, speaking, reading, or listening.
CCSS.ELA-LITERACY.RI.6.7: Integrate information presented in different media or
formats (e.g., visually, quantitatively) as well as in words to develop a coherent

understanding of a topic or issue.
Understandings: Students will understand Essential Questions:

that
(VA:Cr1.1.6)
Creativity can be developed How do artists work?
(VA:Cr1.1.6) How do artists determine if their work is
Artists experiment when making effective?
art (VA:Cr2.1.6) How do artists learn from trial and error?
Artistic excellence is developed (VA:Cr2.1.6)
through practice (VA:Cr3.1.6) How do artists experiment with media
and ideas?
We learn to understand the world What are some different ways we can
and ourselves through artmaking. use this medium?
(VA:Re7.1.6) How can we get different effects?
Visual imagery helps us How can we play with this idea?
understand and communicate What are some different ways of
with the world. (VA:Re7.2.6) communicating this idea?
We understand art through (VA:Cr3.1.6)
critique. (VA:Re8.1.6) How do get better at making art?
What are some ways you can improve
People make meaning through your art skills?
artmaking. (VA:Cn10.1.6)
People develop and (VA:Re7.1.6)
understanding of the world What have you learned about yourself
through art experiences. through making art today?
(VA:Cn11.1.6) What have you learned about other
students today?
Has the experience today changed the
way you think?
(VA:Re7.2.6)
What images or symbols help you
understand maps?
What images or symbols can you use in
your work to help communicate a
message?
(VA:Re8.1.6)
How can we understand art?
What postmodern principles are working
for this piece?
What other artistic elements help to
express meaning?
(VA:Cn10.1.6)
What is this artist communicating
through his/her work?
How can we start to understand what this
artist is trying to say?
What are some strategies this artist is
using to making meaning?
(VA:Cn11.1.6)
What does this work tell us about the
artist and his or her culture, environment
and life?
Students will know: Students will be able to:
Creativity can be developed. Demonstrate openness to trying new

Artists experiment when making ideas, materials and methods.
art. Experiment with concepts and a variety
Artistic excellence is developed of art making materials.
through practice. Practice making art.
We learn to understand the world Develop an understanding of the world
and ourselves through artmaking. through artmaking.
Visual imagery helps us Interpret and use visual imagery as a
understand and communicate way to respond to the world.
with the world. Constructively analyze art to interpret
We understand art through meaning.
critique. Make meaning through the artmaking
People make meaning through process.
artmaking. Interact with and analyze art.
People develop and
understanding of the world
through art experiences.
STAGE 2 ASSESSMENT EVIDENCE

Performance Tasks: Other Evidence:
Personal Geography Assignment: After Exit Ticket Reflections

researching contemporary map artists and Contribution to small group and class
techniques, students will create a mixed discussions
media identity map. They will use pencils, Life Diagram Creativity Rubric (attached)
markers, paint, color paper, maps,
Art analysis handout (attached)
newspapers, magazines, found items, and
to create their map. Students will also write Sketchbook
an artist statement to accompany their Pinterest Inspiration Board
work. Informal observations
Artist statement
Key Criteria:
Work shows original, experimental and innovative thinking.

Work incorporates visual imagery to communicate information about the artists
culture, environment and overall life.
Work shows evidence of student knowledge of and application of postmodern
principles, principles of design, and elements of art to make the piece interesting.
Artist statement demonstrates newly acquired insight and appreciation of self, others,
the natural world, or constructed environments.
STAGE 2 ASSESSMENT EVIDENCE
Performance Tasks: Other Evidence:
Personal Geography Assignment: Exit Ticket Reflections

After researching contemporary map Contribution to small group and class
artists and techniques, students will discussions
create a mixed media identity map. Life Diagram Creativity Rubric
They will use pencils, markers, paint, (attached)
color paper, maps, newspapers,
Art analysis handout (attached)
magazines, found items, and to create
Sketchbook
their map. Students will also write an
artist statement to accompany their Pinterest Inspiration Board
work. Informal observations
Artist statement
Key Criteria:
Work shows original, experimental and innovative thinking.

Work incorporates visual imagery to communicate information about the artists
culture, environment and overall life.
Work shows evidence of student knowledge of and application of postmodern
principles, principles of design, and elements of art to make the piece
interesting.
Artist statement demonstrates newly acquired insight and appreciation of self,
others, the natural world, or constructed environments.
STAGE 3 LEARNING PLAN

Summary of Learning Activities:
Lesson 1
Learners will:
- Investigate and analyze maps by viewing, discussing and take sketch
notes regarding how maps can communicate different types of
information.
- Watch Chris Johansons How about this: Diagramming your life.
- Play and experiment with a variety of art making materials (markers,
paint, paper, maps, crayons, wire, clay) to create a life diagram.
- Reflect on the days process in sketchbook
Assessment:
- Life Diagram Creativity Rubric (attached)
- Exit Ticket Reflection
Lesson 2
Learners will:
- Investigate and analyze map artwork by viewing, discussing and taking
sketch notes about how artists use maps to express meaning.
- Analyze artwork by referencing the postmodern principles of design and
complete an art analysis handout
- Brainstorm and map out ideas in sketchbook to begin exploring
- Create a mixed media hand map using imagery that symbolizes people or
places that have contributed to what you do with your hands.
Assessment:
- Art analysis handout (attached)
- Contribution to small group and class discussions
Lesson 3
Learners will:
- Independently research map artists of their choosing and investigate
various mapping techniques to create a Pinterest inspiration board
- Take notes in their sketchbook
- Begin drafting their personal geography
- Reflect on their process
Assessment:
- Informal observation and check-ins
- Pinterest Board
Lesson 4
Learners will:
- Reference their Pinterest board and sketchbook notes to create a personal
geography
- Work on personal geography
- Write an artist statement about their work
Assessment:
- Informal observation and check-ins
- Sketchbook
- Artist statement
Lesson 5
Learners will:
- Critique peers work by leaving feedback on a post-it next to their work
following tabletop twitter guidelines
- Discuss student work
- Review feedback and make any applicable changes
- Reflect on the process of making the work
Assessment:
- Personal Geography artwork
- Participation in critique
ASSESSMENT DOCUMENTS
Assessment Document 1: Creativity Rubric (Lesson 1)
2
1 3 4
ORDINARY/ROUTIN
IMITATIVE CREATIVE VERY CREATIVE
E
Ideas represent
Ideas represent Ideas represent a
important
VARIETY OF Ideas do not important concepts startling variety of
concepts from the
IDEAS AND represent important from different important concepts from
same or similar
CONTEXT concepts. contexts or different contexts or
contexts or
disciplines. disciplines.
disciplines.
Created product
Created product draws on a variety Created product draws
Created product
draws on only one of sources, on a wide variety of
draws on a limited
VARIETY OF source or on sources including different sources, including
set of sources and
SOURCES that are not texts, media, different texts, media,
media.
trustworthy or resource persons, resource persons, or
appropriate. or personal personal experiences.
experiences.
Ideas are
combined in ways Ideas are combined
Ideas are combined in
Ideas are copied or that are derived in original ways to
original and surprising
restated from the from the thinking solve a problem,
COMBING IDEAS ways to solve a problem,
sources consulted. of others (for address an issue,
address an issue, or
example, of the or make something
make something new.
authors in sources new.
consulted).
Created product is
Created product Created product is
interesting, new, or
Created product serves its interesting, new, or
helpful, making an
does not serve its intended purpose helpful, making an
COMMUNICATING original
intended purpose (for example, original contribution that
SOMETHING contribution for its
(for example, solving a problem includes identifying a
NEW intended purpose
solving a problem or or addressing an previously unknown
(for example,
addressing an issue). problem, issue, or
solving a problem
issue). purpose.
or addressing an
issue).
Assessment Document 2: Art Analysis Handout (Lesson 2)

Assessment Document 3: Artist Statement Questions (Lesson 4)

Assessment Document 4: Art Reflection Questions (Lesson 5)

1. What were your feelings like as you created the art piece?
2. What part of the process did you not like? Why?
3. What part of the process did you enjoy the most? Why?
4. What was frustrating for you? Why?
5. What have you learned from creating this art piece?
6. Are you happy with the result? Why or why not?
7. Have any of your art skills improved during this project? Did you learn new
skills? Which ones?
8. Is there anything you could have done to improve any of your work? Explain.
9. What rating between 1 and 10 would you give your artwork and why?
10. Did you enjoy the project? Why or why not?

Assessment Document 5: Rubric for: Personal Geography (Lesson 5)
Category Description Excellent Good Average Needs

Work
(4) (3) (2) (1)
CREATIVITY How original and

innovative is the
(VA:Cr1.1.6) work? Is there
(VA:Cr2.1.6) evidence of
(VA:Cr3.1.6) experimentation
and practice?
Does the work

FULFILLS
communicate
ASSIGNMENT
information
about the
(VA:Re7.2.6)
artists culture
(VA:Re7.2.6)
and life? Is visual
(VA:Cn10.1.6
imagery used to
)
express
meaning?
COMPOSITION Did the student

& DESIGN use the
postmodern
(VA:Cr3.1.6) principles,
(VA:Re8.1.6) principles of
(VA:Cn10.1.6 design, and
) elements of art
to make the
piece
interesting?
ARTISTS Does the artist

STATEMENT statement
(VA:Re7.1.6) demonstrate
new insight and
appreciation of
self, others, the
natural world, or
constructed
environments?
Appendix B: Contemporary Art Resources Online

Contemporary Art Curriculum
www.Art21.org
Art21 is a celebrated global leader in presenting thought-provoking and
sophisticated content about contemporary art, and the go-to place to learn first-hand
from the artists of our time.
http://teach.mcachicago.org/institute/
Museum of Contemporary Art Chicago Teacher Resources
http://www.gclass.org
The New Museum's mission is to promote New Art and New Ideas. The Global
Classroom (G:Class) utilizes the Museum as a resource to enhance learning and
engage high school students through the exploration of contemporary art connecting
to local, global, and cultural issues that affect their lives.
http://www.luther.edu/art/education-program/contemporarycurriculum/
Luther art educators will leave the program empowered to bring contemporary art
into their K-12 teaching. Our art educators meet the standards and are relevant by
incorporating Art of the Now into their lesson plans.
http://teachart.org
TeachArt.org exists to help teachers stay in touch with emerging trends in
contemporary art, and bring new curriculum strategies into the classroom. It is
curated by Karissa Ferrell and updated monthly.
Contemporary Art
https://ww2.kqed.org/artschool/category/visual-arts/
Art School is a KQED video series featuring contemporary artists working in fine
art, performance, digital art, and more. Meet professional artists and learn about their
work, then follow along as they demonstrate how to make all kinds of art, from
comics to beat-boxing rhythms.
http://artistaday.com
ArtistADay (AAD) features a top, emerging professional artist each day, giving you
the opportunity to discover, and if you wish, collect art from around the world.
http://www.thejealouscurator.com/blog/
Blog about contemporary art by creative director and author Danielle Krysa.
https://www.juxtapoz.com
Contemporary art magazine

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Running head: TEACHING CONTEMPORARY ART 1

Andrea Catalina Rico

Teaching Contemporary Art through a Living, Evolving Theme-Based Curriculum

Capstone Paper presented to the Department of Art, Eastern Illinois University

My capstone paper will investigate pedagogical strategies for incorporating contemporary

art benefits students and teachers.

because the works spoke a language I never learned.

Contemporary art is still intimidating. It is a source of anxiety and trepidation for me as

me to reevaluate my artistic values and educational methods.

relevancy. It must be evolving, so that it is flexible enough to keep up with emerging

students to explore a wide variety of ideas and media.

contemporary art become approachable and practical to art educators?

By reflecting on my experiences as a student and a teacher, I have come to realize the

the best practices involved in teaching contemporary art.

communities in which I choose to teach.

In addition to helping to inspiring students to be agents of change, I believe it is also my

responsibility as an educator, to act as a source so of information and support to other teachers.

based contemporary art curriculum.

A Living Contemporary Art Curriculum

According to Joo, Keehn and Ham-Roberts (2011), contemporary art is a field of

raises so many questions.

An Evolving Student-Centered Curriculum

be student-centered to achieve meaningful learning. In a study conducted by Bain, Newton,

designing a meaningful contemporary art curriculum is to connect learning experiences to

students passions and cultural backgrounds (Freedman, 2010).

Furthermore, effective contemporary art educators, according to Wilson (2003),

unique ideas and finding their own solutions to artistic problems.

visual culture (Freedman, 2010).

used to inform and enrich every aspect of life (Gude, 2007).

A Flexible Thematic Curriculum

Due to what Joo, Keehn and Ham-Roberts (2011) call a built-in-uncertainty,

the flexibility to remain student-centered.

improve as an artist and a teacher.

effective when it is student-centered and theme-based. I consider myself as a social

how we are all connected.

innovative contributors in the global world.

Designing a Contemporary Art Curriculum Unit

effective modern methods of teaching. Thus, in designing my curriculum, I made an effort to

and developing 21st-century skills.

be theme-based for flexibility of content, living as a means to focus on contemporary concepts

Curriculum Overview and Goals

Theme Based: Contemporary Explorations through Big Ideas

curriculum is based on the following enduring understandings:

Creativity can be developed.

Artists experiment when making art.

Artistic excellence is developed through practice.

We learn to understand the world and ourselves through artmaking.

Visual imagery helps us understand and communicate with the world.

We understand art through critique.

People make meaning through artmaking.

People develop and understanding of the world through art experiences.

Evolving: Student Centered Learning Environment

environment. The teacher must consider herself/himself an artist as a means to confidently

contemporary art room is to be that of an artistic guide as well as a creative learner.

belonging as well as neatness.

Living: Investigating Contemporary Ideas and Methods

While developing my unit, I frequently referenced George Szekelys Encouraging Creativity in

provided me with a contemporary art instructional framework by which to follow.

using various media (https://www.sfmoma.org/read/open-studio-chris-johanson/). Students

the assignment in a different way.

contributed to what they can do with their hands.

Lesson 3 will be focused on brainstorming and concept development. According to

emboldening them to reach their creative goals.