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I found the Bob Dylan exhibit to be very inspiring. To see someone achieve so much throughout a lifetime astonding. I noticed the way that Bob Dylan signed his records with quotes from songs along with his signature. In 1964, Irwin Siber wrote a letter to Bob Dylan that expressed concerns with the way that Bob once claimed not write about politics and then his records started to portray politics. This concerned Irwin because he did not want Bob to get caught up in struggles of fame. Irwin also stated that he believed that Bob was becoming withdrawn and only hanging out with an elite group of people. His old friends missed him. This letter was very intriguing because it got me questioning: Is it possible to escape the problems with fame??? Overall, I really enjoyed seeing the Bob Dylan exhibit. Listening to Bob Dylan tracks that I have not heard in a while brought back very deep memories and has inspired me to dig up my Dylan tapes and listen.

Rosalyn McWatters:


The Bob Dylan exhibit easily met my expectations. The show focused on what he was in the early sixties. In addition, they included interesting background information about Dylan’s childhood, high school years, and early musical influences. They had an essay he wrote in school with comments by his English teacher (“I think you could have done more with this, don’t you?”) A bit further on in the show, they had the original lyrics to “Blowin’ in the Wind,” which had been typed and annotated by Dylan. He spells well. I wondered if my Fifth Grade boys would be impressed? Would it motivate them to point out that good writers get the chicks? An FBI memo documented his and Phil Och’s civil rights activities. In a video taped interview Dylan explains why he walked off the Ed Sullivan Show. Censors said his song was too radical and asked him to sing something by the Clancy Brothers. Dylan says that always he regretted it. In another interview, he emphatically denies that he does “folk rock.”

 

HOW DOES ART REFLECT OR CHANGE CULTURE?

FORMS OF ART

COLOR

Color Wheel with handout of wheel

www.sanford-artedventures.com/create/tech_paint_wheel.html 

Go to Create Art link, then to Color Techniques, Paint a color wheel, click on the Web Page link in the yellow box to get color wheel handout

 

Warm & Cool Colors ­ Abstract flowers

         http://www.kinderart.com/arthistory/abstractflowers.shtml
VALUE

Name tags

         www.trschools.com/staff/d/kdefibaugh/temp/artmay2000.html
LINE
Line & color www.kinderart.com/arthistory/kandinsky.shtml 
Geometric shapes/line www.kinderart.com/painting/mondrian.shtml

 

SPACE
Horizontal & vertical lines www.kinderart.com/arthistory/monetsgarden.shtml
Fore-mid-background http://www.kinderart.com/arthistory/rousseau.shtml
SHAPE

Geometric Design  (A Handbook of Arts & Crafts, p. 206)

MATERIALS:  Colored paper, scissors, paste or glue stick

1.     Cut geometric shapes that are varied in size and color.  Cutting some of these shapes into halves or quarters not only offers more variety of shapes but also correlates well with teaching fractions.
2.     Group a number of geometric shapes together until they form a picture.
3.     When satisfied with the arrangement, paste the shapes in place on background paper.
Cut Paper Design (A Handbook of Arts & Crafts, p. 209)

MATERIALS:  Thin paper, scissors, thick white glue

1.     Fold the paper into eighths
2.     Cut numerous small shapes out of the paper until there is more paper cut away than there is remaining.
3.     Carefully unfold the paper so as not to tear it when opening.
4.     The design can be mounted on a contrasting colored paper.  Numerous designs can be created through an inventive approach using variously colored, shaped pieces under the cut design
Paper Quilling (A Handbook of Arts & Crafts, p. 210)
MATERIALS:  Round toothpick, paper cut into 1/4” strips, white glue, acrylic media, wax paper
1.     Draw design on paper
2.     Tape design to hard surface with wax paper taped over design
3.     roll piece of strip (approx. 3” long) around toothpick.  Glue end to coil to keep it from unrolling.
4.     Make additional quills, shaping them as desired
5.     Place quills on wax paper over design and begin gluing quills together using a toothpick or pin to apply glue.  Do not glue to wax paper
6.     Glue from the center of the design out to the edges of the design
7.     When complete, seal the finished quilling shape with clear acrylic media.

Pulled String Design (A Handbook of Arts & Crafts, p. 234)

MATERIALS: String, paper, paint or ink, heavy cardboard or magazine, brush or sponge
1.     Place a sheet of paper on a flat surface
2.     Coat the string thoroughly with pain or ink.  If tempera paint is used, make sure it is thin.
3.     Arrange the paint-soaked string on the paper.  Twisted loops in the string will make interesting effects.  Allow one or two ends to extend beyond the same edge of the paper.
4.     Place another piece of paper over this string arrangement
5.     Cover this paper with a firm piece of cardboard or magazine, and hold it in place lightly with one hand.  With the other hand, grasp the ends of the string and pull it gently from between the papers.
6.     Carefully peel the two papers apart.  The design will be duplicated on the second sheet of paper.
VARIATION:  Arrange several paint-soaked strings on the paper.  Use different colors.  Try to arrange them so that they fill the space.  The strings may overlap each other.  Use a roller to press down on the top paper.  Remove the top paper and carefully remove the strings.
TEXTURE/PATTERN
Chalk or pastel textures (A Handbook of Arts and Crafts, p. 104, 150)
MATERIALS:  Chalk or pastel, think drawing paper, pencil or crayon, textured surfaces, glue stick, scissors
1.     Hold a think paper against a surface that has a definite texture and rub the chalk over the paper.  The texture will be transferred to the paper by the chalk.
2.     Place the paper against another texture and transfer it to another portion of the paper.  Textures may be overlapped.  Unusual effects can be obtained by using several colors.
3.     The textures may be fixed and cut in shapes to be used as part of a design and/or picture.
Nature print  (A Handbook of Arts and Crafts, p. 241)
MATERIALS:  Natural objects that can be flattened with relative ease, such as leaves, grasses, ferns, or blossoms; oil-base or water-soluble printers’ ink (for easy clean-up); fairly stiff brush, scrap paper (newspaper is OK), printing paper
1.     Place the natural object on the scrap apper (a leaf should have the veined side up)
2.     Brush or roll over the object with ink
3.     Place the printing paper over the object
4.     Hold the top paper securely with one hand, and press and brush the paper with the other hand
5.     Lift off the printed paper, turn it face up, and allow to dry
Foil sculpture (A Handbook of Arts and Crafts, p. 276)
MATERIALS:  Foil, gummed or transparent tape, brush, liquid detergent, tempera paint
1.     Crumple the foil into individual forms that, when assembled, will create a piece of sculpture
2.     Join these forms together with tape or straight pins
3.     Color can be added to the surface by painting with a drop or two of liquid detergent mixed in the tempera paint
God’s Eye ­ Ojo de Dios (A Handbook of Arts and Crafts, p. 323)
MATERIALS:  Yarn (variegated yarn will make an automatic pattern ­ even short scraps of yarn can be used), Popsicle sticks/tongue depressors/dowel sticks, white glue
1.     Glue sticks together in a crossed position
2.     Cut a piece of yarn about 6’ long
3.     Hold one end of the yarn next to the center on one of the spokes.  Bring the long end of yarn around the same spoke on top of the yarn end to hold it in place
4.     Turning the crosspiece in a counterclockwise direction, wrap the long end of yarn around the next spoke, going under and around
5.     Turn and wrap under and around the next spoke
6.     Turn and wrap under and around the next spoke
7.     At the place of beginning, lay the next wrap beside the first wrap so that the yarn will build up toward the end of the spoke
8.     Continue wrapping, always in the same direction
9.     When the spokes are filled almost to the end, put the end of the yarn through the last string and make a knot near one of the spokes.
·      Ojos de Dios ­ BACKGROUND:  The god’s Eyes come from the Huichol tribe which lives in the Sierra Madre mountains in Mexico.  The God’s Eyes are also called b the Spanish term “ojo de dios”.  The ojo de dios is meant to be a “wand” (the eye) through which the eye of god will see the supplicant (asking for health and long life for children).  The cross of the ojo de dios is that of the legendary four directions:  earth, fire, water, and air.  It is not in any way the cross of Christ.  Huichol art is directed to the gods of nature.  Only two other places in the world weave these pieces:  Chile and Tibet.
http://www.trschools.com/staff/d/kdefibaugh/temp/artmay2000.html#may00a
http://www.proteacher.com/090167.shtml  link to Pro Teacher’s Community then God’s Eyes
BALANCE/SYMMETRY
Positive and negative design (A Handbook of Arts and Crafts, p.216-217)
MATERIALS:  Colored paper, paste, glue sticks or white glue, scissors
         Younger students: 
1.     Select one sheet of colored paper and one half sheet of a contrasting color
2.     Fold the small sheet in half
3.     Cut a design directly out of the folded side.  The cutout section is the positive part and the section containing the opening is the negative part of the design
4.     Unfold both parts, laying the negative section on the uncut sheet of contrasting color paper, squaring it up on one end.  Paste in place.
Older students:
1.  Select one sheet of colored paper and one half sheet of a contrasting color
2.     Cut the smaller sheet into four or eight equal parts
3.     Fold one part in half, and cut a design directly from the folded edge.  The cutout section is the positive part of the design, the section containing the opening is the negative part of the design.
4.     Unfold all the positive and negative sections and cut along each fold so that each section is divided into two parts
5.     Paste one half of the negative part in the upper left-hand corner of the full sheet
6.     Paste one half of the positive part so the original design is completed
7.     An allover pattern can be completed by alternating the positive and negative sections until all the sections are used and the paper is filled.

Positive/Negative shapes ­ Shamrocks         http://www.kinderart.com/arthistory/shamrock.shtml

Positive/Negative space ­ Monet & Impressionism         http://www.kinderart.com/arthistory/monetandimp.shtml

COMPOSITION
http://www.artsconnected.org/toolkit/index.html
http://www.kinderart.com/arthistory/matissecutouts.shtml

 

GENERAL TOPICS

MOOD & FEELINGS

http://www.kinderart.com/arthistory/express.shtml

TIMELINE OF ART with LINKS/ARTISTS/LESSON PLANS

http://www.sanford-artedventures.com/study/timeline.html

HOW TO “READ” A PAINTING with WRITING ASSESSMENT

http://www.kcsd.k12.pa.us/~projects/critic/index.html

STUDENT ART ON-LINE

http://www.artsonia.com

VIRTUAL MUSEUMS ­ General Website

http://www.princetonol.com/groups/iad/lessons/middle/museum.htm#Virtual