Art Education in the United States

1
Art Education in the United States ???????

• Dr. John F. Siskar
• ???????
• Buffalo State
• State University of New York
• ?????????

2
United States Constitution????

• Anything not expressly written into the
  Constitution is recognized as the rights and
  responsibilities of the states
• ???????????????????????
• Education falls under this category
• ????????

3
New York State Visual Arts Learning
Standards???????????

• Standard 1 Creating, Performing and
  Participating in The Arts
• ??1??????????
• Standard 2 Knowing and Using Arts
  Materials and Resources
• ??2????????????
• Standard 3 Responding To and Analyzing
  Works of Art
• ??3?????????
• Standard 4 Understanding the Cultural
  Dimensions and Contributions of The Arts
• ??4??????????????

4
Possible Roles of Education?????????

• Should schools help individuals develop their own
  strengths and interests??????????????????????
• Do schools have a responsibility to develop
  people that will be able to contribute to
  society, and if so, does that mean that schools
  should help ???????????????????????,???????????
• create an effective workforce, ????????
• citizens ready to participate in democracy, or
  ????????
• simply a literate populace? ???????????
• Should schools create people who are healthy and
  physically fit?
• ????????????????????

5
2001 No Child Left Behind Act and the 1918
Cardinal Principles of Secondary
Education2001????????????1918??????????

• No Child Left Behind????????

• Cardinal Principles????

• (1) Ensuring high-quality academic assessments
• ??????????
• (2) Meeting the educational needs of
  low-achieving children
• ????????????
• (3) Closing the achievement gap between high- and
  low-performing childre
  ????????????????????
• (4) Holding schools, local educational agencies,
  States accountable
• ????,??????,????
• (5) Distributing and targeting resources
  sufficiently to make a difference
• ???????,????????
• (6) Improving and strengthening accountability,
  teaching, and learning
• ??????,?????

• 1. Health. ??
• 2. Command of fundamental processes. ??????
• 3. Worthy home membership.
• ??????
• 4. Vocation.??
• 5. Civic education ????
• 6. Worthy use of leisure. ????
• 7. Ethical character.????

6
Art Education is a Young Field????????????
7
Major Ideas Have Not Been Worked Through
????????
8
Boundaries Between Educators and Practitioners
Are Not Clearly Delineated???????????????????
9
Classroom Teachers Decide the Curriculum????????
10
1700s The call for art in the schools18????????
??

• Benjamin Franklin calls for art to be added to
  the curriculum
• ???????
• ????????

11
1700s The call for art in the schools
18??????????

• Building on the work of Jean Jacques Rousseau,
  Johann Pestalozzi, foster the idea that children
  are not merely flawed adults but that they have
  their own unique developmental needs that
  requiring nurturing.
• ???????????????????????,????????,?????????
  ????,???????????

12
1800 1850 Drawing to Foster the
Imagination18001850???????

13
1850 1900Vocational Training????
14
1850 1900Social Refinement????
15
1850 1900Child Art????
16
1900 1939Formalism in Art ????
17
1900 1939Art to Teach Morals ??????????
18
1900 1939Beginnings of Creative
Self-development
???????
19
1940 -1959 Creative Self-development

• This photograph first appeared in the ATA
  Magazine (December 1954) and accompanied an
  article by Jessie Todd entitled "Art and the
  Classroom Teacher." In the article, Todd warned
  that spelling and reading programs alone could
  not succeed without the influence of schools art
  programs. "Childrens art is wonderful. It hasnt
  been spoiled by too much academic teaching. It is
  often close to the work of artists," Todd wrote.
  Photo from ATA Archives
• http//www.teachers.ab.ca/SiteCollectionDocuments/
  ATA/Quick2520Links/Publications

20
???????

• ?????????1954?12???ATA???,???????Jessie
  Todd????,??????????????????, Jessie
  Todd???,????????,?????????,?????????????????????,
  ???????????????????????????? Jessie
  Todd??????ATA??

21
1960 1969 Art as a Discipline
????????????
22
1970 1979 The Decade of Growth
?????
23
1980 1989 Discipline-based Art Education and
the Getty Center
DBAE???????
24
1990 1999 Arts and the Standards
Movement???????
25
2000 No Child Left Behind
????????
26
Three Philosophical Directions
???????????
??????????? ??????????? ?????????

• Creative Self-development
• Discipline-based Art Education
• Social Reconstructive Art Education
• Visual Studies ????
• Multiculturalism ????
• Feminist Art ??????
• Social Critical Theory ??????
• Place-based Art

27
The Disciplines of Art????

• Artists who make art ???
• Critics who judge art ???
• Historians who categorize art ?????
• Aestheticians who debate art ???

28
Creative Self-development
29
(No Transcript)
30
(No Transcript)
31
Discipline-based Art Education???????????

• 8th Grade Student work
• ???????

• Robert Rauschenberg
• ???????

32
Exploring the questions that artists
explore???????????
33
Talking About and Looking at Art?????????
34
New York State Visual Arts Learning
Standards??????????

• Standard 1 Creating, Performing and
  Participating in The Arts
• ??1??????,?????????
• Students will actively engage in the
  processes that constitute creation and
  performance in the arts and participate in
  various roles in the arts.
• ????????????????????????????,
• ??????????????
• Students will make works of art that explore
  different kinds of subject matter, topics,
  themes, and metaphors.
• ?????????????????????????????

35

• Students will understand and use sensory
  elements, organizational principles, and
  expressive images to communicate their own ideas
  in works of art.
• ??????,?????????????????????????????????????
• Students will use a variety of art materials,
  processes, mediums, and techniques, and use
  appropriate technologies for creating and
  exhibiting visual art works.
• ??????????????????,???????????????????????

36
New York State Visual Arts Learning Standards

• Standard 2 Knowing and Using Arts Materials and
  Resources
• ??2??????????????
• Students will be knowledgeable about and make
  use of the materials and resources available for
  participation in the arts in various roles.
• ??????,???????????????????,????????
• Know and use a variety of visual arts
  materials, techniques, and processes.
• ?????????????????????

37

• Students will know about resources and
  opportunities for participation in visual arts in
  the community (exhibitions, libraries, museums,
  and galleries) and use appropriate materials (art
  reproductions, slides, print materials, and
  electronic media).
• ?????????????????????(?????????????)????????(?
  ?????????????????)?
• Students will be aware of vocational options
  available in the visual arts.
• ???????????????????????

38
New York State Visual Arts Learning
Standards???????????

• Standard 3 Responding To and Analyzing Works of
  Art
• ??3???????????
• Students will respond critically to a variety of
  works in the arts, connecting the individual work
  to other works and to other aspects of human
  endeavor and thought. Reflect on, interpret, and
  evaluate works of art, using the language of art
  criticism. Students will analyze the visual
  characteristics of the natural and built
  environment and explain the social, cultural,
  psychological, and environmental dimensions of
  the visual arts. Students will compare the ways
  in which a variety of ideas, themes, and concepts
  are expressed through the visual arts with the
  ways they are expressed in other disciplines.
• ????????????????????????????????????????????
  ??????????????????????????????????????????????????
  ??????????????????????????????????????????????????
  ?????

39
New York State Visual Arts Learning Standards
???????????

• Standard 4 Understanding the Cultural Dimensions
  and Contributions of The Arts
• ??4?????????????
• Students will develop an understanding of
  the personal and cultural forces that shape
  artistic communication and how the arts in turn
  shape the diverse cultures of past and present
  society. Explore art and artifacts from various
  historical periods and world cultures to discover
  the roles that art plays in the lives of people
  of a given time and place and to understand how
  the time and place influence the visual
  characteristics of the artwork. Students will
  explore art to understand the social, cultural,
  and environmental dimensions of human society.
• ????????????????????,????????????????????????
  ??????????????????,???????????????????????,???????
  ??????????????????????????????????????????

40
Social Reconstructive Art Education????????

• Three VCAE traits that repeatedly appear in the
  literature
• ??VCAE??????
• 1)VCAE recognizes all forms of visual arts in
  popular and fine art should be studied in the art
  class.
• ???????????????????????????????
• 2)VCAE rejects the notion that understanding
  artistic form and technique alone can create
  understanding. It emphasizes the social and
  cultural meanings found in visual arts.
• VCAE????????????????????????????????????????
  ??????????
• 3)VCAE is predicated on a constructivist view of
  education where the learner is an active
  participant in the learning process.
• VCAE ????????????????????????????

41
All Forms Of Visual Arts Should Be Studied In The
Art Classroom??????????????????????
42
Including Social and Cultural Context???????????
Michelangelo Merisi da Caravaggio, Judith
Beheading Holofernes c. 1597-98, oil on canvas,
Galleria nazionale d'arte antica (Italy) ????
????????? (??????????????)
Artemisia Gentileschi, Judith and
Holofernes circa 1620,oil on canvas, Uffizi,
Florence ???? ????????
43
How did each artist portray Judith as a heroine?
???????????????????????
44
Francisco de Goya, The Third of May, 1808, 1814,
oil on canvas, Museo 1808?5?3???? 1814?
??????? ???? ???????
45
David, Jacques-LouisPortrait of Napoleon in His
Study 1812, National Gallery of Art (U.S.)
??????? 1812? ??.????? ???????
46
Cindy Sherman(??.???)

• Sherman, Cindy, Untitled Film Still, 10
• Photograph, 1978
• ??10 1978???
• ??.???

• Sherman, Cindy, Untitled, A
• Photograph, 1975
• ?? 1975? ??
• ??.???

47
Anselm Kiefer

• Kiefer, Anselm, Osiris and Isis
• 1985-1987, mixed mediums,
• San Francisco Museum of Modern Art
• ???????? 1985-1978 ??.???
• ???? ??????????

• Kiefer, Anselm, Resurrexit
• 1973, oil, charcoal, acrylic, cloth
• ??.??? 1973?
• ??????????

48
A Holistic Structure of Art(???????)

• Context(??)
• Content (??)
• Form(??)

49
Map of Artistic Literacy
??
Metaphor
Analogy??
??
Vision
????
??
Subject Matter
Interests
??
??
Perceiving
Allegory
??
??
Symbols
??
??
Norms
Narrative
Personal
??
??
Irony
??
Descriptive
Influences
??
??
Theme
Social
??
????
Environment
Content ??
Context ??
Artist
???
??
Impact
Expressive
Historical
Feeling/Mood
??
??
Artwork
Understanding Art ?????
??
??
??
Setting
Viewer
??
??
Style
??
Knowledge
??
??
Movements
Artistic
Form ??
??
??
Tools
Reactions
???
Artists
??
Technical
??
Media
Composition
??
Principles
??
??
Techniques
??
Elements
50
What Are You Trying to Express About
Horse?(?????????????)
51
Active Learning(?????)
52
Knowing and Understanding(?????)
53
Understanding Pollock
54
Pollock Studies c. 1934
55
Social and Contextual Student Art
56
Pollock, Going West 1934 - 35
57
Pollock Flame 1937
58
Pollock The She Wolf 1943
59
Pollock Full Fathom Five 1947
60
Pollock, Convergence 1952
61
??/??
History/context
Intention
??
Artist(???)
Meaning
?????)
Viewer
Artwork
??
????
Idiosyncratic
?? ?? ??
??? ???? ??
Form
Prior Knowledge
Content
beliefs
Context
62
Social and Contextual Student Art (???????????)
63
Social and Contextual Student Art
(???????????)
64
Social and Contextual Student Art (???????????)
65
Multiculturalism
66
Multiple Intelligences(????)
67
Learning Styles
68
????
69

• I am talking about a culture of
  schooling in which more importance is placed on
  exploration than on discovery, more value is
  assigned to surprise than to control, more
  attention is devoted to what is distinctive than
  to what is standard, more interest is related to
  what is metaphorical than to what is literal. It
  is an educational culture that has a greater
  focus on becoming than on being, places more
  value on the imaginative than on the factual,
  assigns greater priority to valuing than to
  measuring, and regards the quality of the journey
  as more educationally significant than the speed
  at which the destination is reached. I am
  talking about a new vision of what education
  might become and what schools are for. (Elliot
  Eisner, 2002b, p. 16)

70
Buffalo StateArt Education Program??????????

• Preservice Bachelor of Science in Art Education
• Post-baccalaureate in Art Education for
  Certification
• Masters of Science in Art Education
• ????????
• ???????
• ??????

71

• ??????????????????????, ???????????,
  ???????????????????, ?????????????. ??????????
  ?????????????, ???????????, ??????????????????????
  ????????????????????????????????????????????????
  ???????? ? (Elliot Eisner, 2002b, p. 16)

72
The organization and content of the Art
Education Programare driven by the following
beliefs

• 1. That focusing on contemporary ideas and
  trends in art are the best starting points for
  art instruction students can best relate to and
  become excited about the art of their own time
  and place.

73
???????????? ????????

• 1. ??????????????? ??????????
  ?????????????????????????,????????

74
The organization and content of the Art
Education Programare driven by the following
beliefs

• 2. That Constructivist approaches to
  instruction, where students construct
  understanding instead of memorizing facts and
  mimicking techniques, best serve students By
  organizing instruction around big ideas and
  essential questions, students develop not just a
  knowledge of art, but they build a rich and
  enduring understanding of art.

75
????????????,???????????

• 2. ??????????,?????????,?????????????????????????
  ???????,??????????????,????????????????????

76
The organization and content of the Art
Education Programare driven by the following
beliefs

• 3. That for students to acquire an enduring
  understanding of art, they must do more in an art
  classroom than experiment with materials and
  practice making good designs. The focus of the
  program must be on the making and experiencing of
  meaning through real, authentic art making and
  thinking about the art they are seeing through
  the interplay between content, context, and form.

These three fundamental principles, if
consistently applied, will garner the greatest
possibility for successful learning in your art
classroom.
77
????????????,???????????

• 3. ???????????????????,????????????????????,?????
  ??????????????????????????,???????????????????????
  ????????,????????????,????????????????

?????????????,?????????????????
78
Map of Instructional Planning
Curricular Connections
Cognitive Affective Applications
Societal Needs
Why
Learners Needs Learning Theory
Learning Styles Developmental Capabilities
Content, Context, Form
Conceptual Basis for the Lesson
National or State Standards
National or State Performance Indicators
What
Relation to Life
Relation to Domain Project or Unit
Performance Task
Assessment
How
Resources
Vocabulary
Art Materials
Instructional Strategy
Instructional Equipment
Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
79
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80
Map of Instructional Planning
Curricular Connections
Cognitive Affective Applications
Societal Needs
Why
Learners Needs Learning Theory
Learning Styles Developmental Capabilities
Content, Context, Form
Conceptual Basis for the Lesson
National or State Standards
National or State Performance Indicators
What
Relation to Life
Relation to Domain Project or Unit
Performance Task
Assessment
How
Resources
Vocabulary
Art Materials
Instructional Strategy
Instructional Equipment
Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
81
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Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
???? ????????
???? ????
82
Map of Instructional Planning
Curricular Connections
Cognitive Affective Applications
Societal Needs
Why
Learners Needs Learning Theory
Learning Styles Developmental Capabilities
Content, Context, Form
Conceptual Basis for the Lesson
National or State Standards
National or State Performance Indicators
What
Relation to Life
Relation to Domain Project or Unit
Performance Task
Assessment
How
Resources
Vocabulary
Art Materials
Instructional Strategy
Instructional Equipment
Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
83
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Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
???? ?? ??????
???? ????
84
Map of Instructional Planning
Curricular Connections
Cognitive Affective Applications
Societal Needs
Why
Learners Needs Learning Theory
Learning Styles Developmental Capabilities
Content, Context, Form
Conceptual Basis for the Lesson
National or State Standards
National or State Performance Indicators
What
Relation to Life
Relation to Domain Project or Unit
Performance Task
Assessment
How
Resources
Vocabulary
Art Materials
Instructional Strategy
Instructional Equipment
Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
85
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86
The Heart of the Matter
Curricular Connections
Cognitive Affective Applications
Societal Needs
Why
Learners Needs Learning Theory
Learning Styles Developmental Capabilities
Content, Context, Form
Conceptual Basis for the Lesson
National or State Standards
National or State Performance Indicators
What
Relation to Life
Relation to Domain Project or Unit
Performance Task
Assessment
How
Resources
Vocabulary
Art Materials
Instructional Strategy
Instructional Equipment
Instructional Sequence Motivation Student
Learning Activity Culminating Activity Looking
Ahead
87
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88
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89
Conceptual Basis

• At its simplest level, the conceptual basis of
  the lesson is whatever the main idea of the
  lesson is about. The conceptual basis could focus
  on skill development. However, a critical job of
  the art teacher is to identify the big ideas in
  art and be able to distinguish them from basic
  information and skill development like formal
  properties and painting techniques.

90
????

• ????????, ???????? ?????????.
  ??????????? ??, ?????????? ???????????????,??????
  ??????????

91
Conceptual Basis

• How does an art teacher identify a big idea in
  art? David Perkins who gives us four
  characteristics of big ideas or what he defines
  as a generative topic.
• The four characteristics of a generative
• topic
• Central to the discipline
• Connected to other disciplines
• Accessible to the student
• Interesting to the teacher

92
????

• ?????????????? ???????????????
• ??
• ????????
• ?????????
• ???????
• ?????????

93
Conceptual Basis Central to Art

Adapted from Sydney Walkers 2001 book, Teaching
Meaning Through Artmaking published by Davis,
Publication.
94
???? ?????

??? ?? ??2001???, ????????? ?Davis?????.
95
Conceptual Basis Accessible to the Student

• While these ideas addressing the major
  conditions of the human experience are important,
  they are also too broad to easily translate into
  useable subject matter for the scope of a lesson,
  or even a unit.
• Asking students to search for beauty in the
  world or trying to design lessons or units that
  have as their primary focus the search for beauty
  is too broad. However, having students explore
  groups of marginalized people or taking a look at
  how different groups are treated in their society
  can be a powerful learning experience if designed
  thoughtfully and with sensitivity to the complex
  issues that come with such a topic.

96
????????

• ?????????????????????????,????????????????????
  ????????????????
• ??????????,??????????????,???????????????,?????
  ???????????????????????,????????????????,?????????
  ??

97
Conceptual Basis Accessible to the Student

• Two Strategies for Finding the Big Ideas
• Researching Artists
• Big Ideas (Key Concepts)
• Key Strategies
• Looking at State and National Standards

98
?????????

• ??????????
• ??????
• ???(????)
• ????
• ?????????

99
Comparing Dali and KahloKey Concepts and Key
Strategies

• Salvador Dali
• The Weaning of
• Furniture --
• Nutrition, 1934
• Key Strategies
• Juxtaposition of unrelated objects
• Defying natures laws
• Realistic painting style
• Key Concepts
• Attempt to describe/create a fantasy world that
  did not exist

• Frida Kahlo
• The Dream
• Key Strategies
• Juxtaposition of unrelated objects
• Defying natures laws
• Realistic painting style
• Key Concepts
• Attempt to describe the physical, social and
  psychological realities of her world

100
??dali?kahlo?????????

• Salvador dali?????-??,1934
• ????
• ????????
• ????????
• ????????
• ????
• ??????????????????

• Frida kahlo ?
• ????
• ????????
• ????????
• ????????
• ????
• ??????????????????

101
Louise Nevelson
Donald Lipski
Sky Cathedral, 1958 Wood, Painted Black, 115 X
135 X 20" George B. And Jenny R. Mathews Fund,
1970
Untitled, 1991 Book, Metal, Glass 8 1/2 X 9 X 9
1/2
102
Louise nevelson Donald lipski

• ?????,1958
• ??,??

• ??
• ??,?????

103
Comparing Nevelson and LipskiKey Concepts and
Key Strategies

• Nevelson
• Key Strategies
• Used found objects
• Cut and assembled objects based on physical
  traits (art elements)
• Painted sculpture monochromatically
• Key Concepts
• visually unify disparate items and shapes into
  grand constructions

• Lipski
• Key Strategies
• Combines no more than 2 - 3 objects
• Uses low tech methods (tying, twisting, wrapping,
  weaving)
• Joins objects in visually persuasive ways
• Key Concepts
• Combines unlikely objects to change our
  perceptions of the world and the meanings of the
  objects
• Makes visually convincing combinations of objects
  that are aesthetically pleasing

104
??Louise Nevelson ?Donald Lipski

• Nevelson
• ????
• ??????
• ????????????????
• ????????
• ????
• ?????????????????????

• Lipski
• ????
• ?????2-3???
• ???????(??,?,??,??)
• ????????????
• ????
• ????????????????????
• ?????????????????

105
Comparing Nevelson and LipskiNYS LEARNING
STANDARDS FOR THE ARTSStandard 1 - Creating,
Performing, and Participating in the
ArtsIntermediate Students

• Nevelson
• Found Object Sculpture Assignment Create a
  sculpture from different, unrelated objects in a
  visually convincing way.
• New York State Performance Indicator
• 1c. use the elements and principles of art to
  communicate specific meanings to others in their
  art work.

• Lipski
• Found Object Sculpture Assignment Make a
  sculpture that unites two to three different
  objects and changes the meaning of the objects.
• New York State Performance Indicator
• 1b. know and use a variety of sources for
  developing and conveying ideas, images, themes,
  symbols, and events in their creation of art.

106
??Nevelson?Lipski???????

• Nevelson
• ??????????
• ???????????????,?????????????????????
• ???????????????????????????????????

• Lipski
• ??????????
• ??2-3????????????????????
• ?????????????????????????????????????????????????
  ???????

107
Performance Task

• Performance tasks should call upon students to
  demonstrate the knowledge and skills in a manner
  that reflects the world outside the classroom.
• Does the task require a sophisticated
  understanding of required content?
• Does the task require a high degree of
  intellectual skill and performance quality?
• Does the task simulate or replicate authentic,
  messy, real-world challenges, contexts, and
  constraints faced by adult professionals,
  consumers, or citizens?
• Is the task worthy of the time and energy
  required to complete it?
• Is the task challenging--an appropriate stretch
  for students?

108
????

• ????????????????????,?????????????????????
• ??????????????????????
• ??????????????????????????
• ??????????????????????????????????????????????
  ????
• ?????????????????????
• ??????????????????????????

109
Performance Task

• Good performance tasks are
• Clear and concise
• Directed to the student in action form
• Focused on the big idea
• Identify specific strategies that empower
  students to explore the idea for personal meaning
  and understanding
• ???????
• ??????
• ?????????
• ???????????
• ??????????????????????????

110
ANDY GOLDSWORTHY
111
Performance Task

• Beth Rogan
• Artist Andy Goldsworthy
• Grade Level mid/high
• Conceptual Basis Art does not have to be
  permanent to create a lasting impression on its
  viewer. Goldsworthys original works, created
  from materials found in the natural environment,
  rarely endure a full day and can be as fleeting
  as tossing sand into the breeze. It is not
  physical permanence in art which he seeks but the
  idea that one can create something beautiful, as
  fleeting as it may be, everyday within ones own
  environment.
• Performance Task Consider how Andy Goldsworthy
  creates art with things he finds within his
  environment. Think about the things that
  surround you in your environment and use these
  things to create a meaningful, non-permanent art
  work (without the use of adhesives or fasteners)
  each day for one week. Photograph your creations
  to share with your classmates and to turn in for
  a grade. You should have seven photos in all.

112
BARBARA KRUGER
113
Performance Task

• Sarah Francis ??????
• Artist Barbara Kruger ?????????
• Grade 10-12 photography ??10-12 ??
• Conceptual Basis Barbara Krugers work is about
  power within our culture. The power society both
  gives and takes away from women. Her messages
  demand an instant response from the viewer that
  are derived from everyday images.
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  ???,?????????????????????????
• Performance Task You will be creating
  multi-media images that contain strong political
  messages that they want to relay to their peers
  about social pressures in their school and social
  community. After creating preliminary sketches
  for your ideas, you will shoot a roll of black
  and white film and scan one of the images into
  Photoshop. Once the selected image is
  manipulated, the message you decided upon will be
  inserted using layers and one color that will
  help convey the message you are trying to convey.
  You will participate in a class critique and
  produce a two-paragraph artists statement about
  your work.
• ???? ??????????????????,??????,???????????????,??
  ??????????????????????????,?????????,????Photoshop
  ????????????????,??????????????,??????????????????
  ?,?????????????,????????????????

114
Shirin Neshat
115
Performance Task

• Alysse Cottle
• Artist Shirin Neshat
• Grade Level mid/high
• Conceptual Basis Through her photographic
  images Shirin Neshat has portrayed Iranian women
  beyond the stereotypes usually identified with
  them. She has tried to show the true images of
  women struggling for a place in a society run by
  men and deeply based on the religion of Islam.
• Performance Task You will try to identify how
  you feel you are seen and portrayed in our
  society today, based on your age, gender, and
  personal beliefs. You will create a visual
  representation in the form of a mixed media
  collage. You will then determine how you see
  yourself and how you would like to be seen by
  society, visually representing this idea through
  a series of three self-portrait photographs.

116
????

• ??? ???
• ???????
• ?????
• ????????????Shirin Neshat ???????????????????????
  ??,???????????????????????????????????????
• ????????????????????????,?????????????,??????????
  ?????????????????????????????,????????????????????
  ???

117

• ESSENTIAL QUESTIONS.
•  
• Have no simple right answer they are
  arguable, intended to lead to more questions or
  to unobvious understandings.
•  
• Raise other important questions, often across
  subject boundaries.
•  
• Often address philosophical or conceptual
  foundations of a discipline.
•  
• Naturally and appropriately recur to highlight
  big ideas and issues.
•  
• Can effectively provoke and sustain student
  inquiry, while also focusing learning and final
  performance(s).
•  
• Can be overarching and topical, convergent and
  divergent.

118
????

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• ????????????????,??????????????
• ?????????,?????

119
Distinguishing Essential from Nonessential
Questions

• Essential Questions

• Nonessential Questions

• What did Picasso mean when he said Art is a lie
  that tells the truth.?
• What is art for?
• Was the art of the Renaissance better than the
  art of today?

• What are the three secondary colors and how do we
  make them?
• When we refer to Western Art, what cultures are
  we referring to?
• How would you describe what you see in the George
  Segals Self-Portrait With Head and Body?

120
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• ????
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• ?????
• ????????????????
• ??????????????,?????????
• ???????george Segal???????????