Page 210 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

Grade 12, University/College Preparation
B1. The Critical Analysis Process: demonstrate an understanding of the critical analysis process by examining, interpreting, evaluating, and reflecting on various art works;
B2. Art, Society, and Values: demonstrate an understanding of how art works reflect the society in which they were created, and of how they can affect both social and personal values;
B3. ConnectionsBeyondtheClassroom:demonstrateanunderstandingofandanalysetherequirements for a variety of opportunities related to visual arts.
B1. The Critical Analysis Process
B. REFLECTING, RESPONDING, AND ANALYSING
OVERALL EXPECTATIONS
By the end of this course, students will:
THE ONTARIO CURRICULUM, GRADES 11 AND 12 | The Arts
SPECIFIC EXPECTATIONS
By the end of this course, students will:
B1.1 demonstrate the ability to support their initial responses to a variety of art works with informed understanding of the works’ artistic form and function (e.g., describe their initial response to an art work, and explain in detail how specific aspects of the work’s content, formal qualities, and media inform that response)
Teacher prompt: “What informed your initial understanding of the meaning of A Sacred Prayer for a Sacred Island by Jane Ash Poitras? In what ways have Poitras’s artistic choices affected your initial response to this work?”
B1.2 deconstruct with increasing skill and insight the visual content and the use of elements and principles of design in their own art work and the work of others (e.g., extend their skills in identifying individual elements and principles and aspects of the visual content in an art work, interpreting their function, and analysing their effect; compare and contrast the use of shape,
form, line, texture, space, and balance in Frank Lloyd Wright’s Falling Water and Moshe Safdie’s Habitat)
Teacher prompt: “What are the differences in the way Wright and Safdie used shape and balance in their structures? What elements or principles have they applied in a similar way? What effects do they produce?”
B1.3 explain in detail, with reference to a variety of historical and contemporary art works (e.g., the social scenes painted by Pieter Bruegel the Elder; Joseph Paxton’s Crystal Palace; works by Canadian war artists, such as Alex Colville’s Bodies in a Grave or Molly Lamb Bobak’s Private Roy, Canadian Women’s Army Corps), how knowledge of a work’s cultural and his- torical context, achieved through extensive research, has clarified and enriched their understanding and interpretation of a work’s intent and meaning
Teacher prompts: “How has your research
on the social context of the photography of Edward Burtynsky informed your under- standing of his work? In what ways is his work reflective of contemporary concerns and issues?” “Why did the Canadian government appoint official war artists during World War II? How might their status as government appointees have affected these artists’ approach to their subject matter?”
B1.4 describe in detail and reflect on with increasing insight the qualities of their art works and the works of others, and evaluate the effectiveness of these works using a wide variety of criteria (e.g., provide an informed explanation of why a work of art is, or is not, suc- cessful with respect to its ability to communicate a message or emotion, its technical and aesthetic conventions, its form and stylistic qualities, its originality)
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