Page 195 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

specific emotions to an audience (e.g., explore how variations in line, value, form, proportion, and emphasis can be used to convey various emotions; adapt their findings to enhance expression in their art work)
Teacher prompt: “How has Marjane Satrapi used black-and-white line drawings to enhance the emotional aspects of her autobiographical graphic novel Persepolis? How could you adapt aspects of her use of elements and principles and apply them to enhance your own works
of personal expression?”
A2.2 apply elements and principles of design as well as art-making conventions to create art works that comment and/or communicate their personal perspective on issues related to social justice or the environment (e.g., use line and value in a drypoint etching that integrates satire or symbolism to comment on an issue such as poverty, child labour, or discrimination)
Teacher prompt: “What type of symbols might you use in a work about poverty? Why do you think these symbols would be effective? How might you use conventions such as juxtaposition or exaggeration in the same work?”
A3. Production and Presentation
By the end of this course, students will:
A3.1 explore and experiment with media, including alternative media, and current technologies, and use them to create a variety of art works (e.g., use media such as digitally enhanced photo- graphs, transparencies, and/or found objects when creating a collage; create a mixed-media image reflecting their personal identity or cultural heritage)
Teacher prompts: “How might you combine alternative and traditional media to create a collage?” “How might you use digital technolo- gies to enhance the creativity of your art work?”
A3.2 explore a range of traditional and current materials, technologies, techniques, and tools used by visual artists (e.g., Claude Monet’s use of optical colour mixing; Andy Warhol’s use of silkscreens; George Segal’s use of plaster bandage; Jean-Paul Riopelle’s use of a palette knife for impasto application of paint; Daphne Odjig’s use of interconnecting black lines), and adapt and apply them to create original art works
Teacher prompts: “Explain how you can affect a viewer’s impression of your work by altering the materials, techniques, or media.” “How might you adapt some of the techniques used by Monet in his Giverny paintings to enhance your own landscape painting?”
A3.3 describe appropriate standards and conven- tions for the presentation of different types of visual art works, and apply these standards and conventions when preparing their art works for presentation (e.g., ensure that their work is signed, labelled, dated, matted, and/or mounted, that their three-dimensional work can be displayed safely, that the appropriate digital presentation technology is available and in work- ing order)
Teacher prompts: “How and why does the intended venue for your work change the way you prepare the work for display?” “In what ways can variations in matting or mounting affect the audience’s response to your work?”
A3.4 explain how variations in where and how art works are displayed (e.g., as public art, in private and public galleries, on the Internet, in the mass media, in virtual and traditional museums, as transient art works) can affect the impact and meaning of the works and the size and type of audience they reach
Teacher prompt: “In what circumstances would a traditional gallery be the best place to exhibit a work of art? When might a virtual gallery be more appropriate? Why?”
CREATING AND PRESENTING
193
Visual Arts
AVI3M