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Back to the Future (Identity)

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by

Amore Pretorius

on 26 May 2014

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Transcript of Back to the Future (Identity)

Back to the future
Why identity?
Ideas for the classroom
Learning Affirmation
Everybody needs a break!
Examples of other artists using their identity in their art
Using art history as a time warp for future innovative creations
Icebreaker
Choose FIVE words that represent your values
Observing a picture
Thumbnails
SURPRISE ELEMENT
Look
at the object
Feel
the object
Discover
the object
Remember
the object
Objects
In search of your own identity
Choose any personal object
Put the object out of sight! Close your eyes and draw the object as well as you can remember it.... WITHOUT LOOKING ON THE PAPER!
Write down 3 words that describe Mona-Lisa and her uniqueness
Write down 3 different words while listening to the music
Family
Friends
Ethnicity
Language
Religions
History
Possessions
Creations
Choices
Values
Objects collections
Appearance
Interests
Hobbies
Draw at least TWO thumbnail-sketches for each word you choose
To become situated in yourself and who you are
Teach by doing and seeing
The process for creating an artwork
Learn from the History of Art
By doing and seeing the work that teacher give them, learners remember better
Timeline Project for 3d year students 2012
Back to future and the Connectivity Theory
Fun with the History of Art
A short summary of the Modern Period
19th century
Romanticism
Realism
Impressionism
Post-Impressionism
Symbolism
20th century
Fauvism
Cubism
Expressionism
Futurism
World War 1
Abstract Expressionism
Pop Art
Op art
Minimalism
Dada
Surrealism
After World War 2
Argitecture of the 20th century
Identify different themes in the artists' work for example: Identity, and make that a theme for a project in class
Use more than one Period of art for example: South-African art, Renaissance and the Classic period

We are on a quest for humanity
We are on a quest for our own identity
The questions asked in the Connectivity Theory:
How are learning theories impacted when knowledge is no longer acquired in the linear manner?
What adjustments need to be made with learning theories when technology performs many of the cognitive operations previously performed by learners?
How can we stay current in a rapidly evolving information ecology?
How do learning theories address moments where performance is needed in the absence of complete understanding?
What is the impact of networks and complexity theories on learning?
What is the impact of chaos as a complex pattern recognition process on learning?
With increased recognition of interconnections in differing fields of knowledge, how are systems and ecology theories perceived in light of learning tasks?
What are the principles of the Connectivity Theory?
Learning and knowledge rests in diversity of opinions
Learning is a process of connecting specialized nodes or information sources
Learning may reside in non-human appliances
Capacity to know more is more critical than what is currently known
Nurturing and maintaining connections is needed to facilitate continual learning
Ability to see connections between fields, ideas, and concepts is a core skill
Currency is the intent of all connectivist learning activities
Decision-making is itself a learning process
Ideas
Planning
Process
Presentation
Evaluation
Gather your ideas for the project by collecting pictures and photographs and present them in your Visual Diary
Planning consists of all your preliminary sketches, thumbnail-sketches and all the ideas you had put on paper
Your process should include photographs of how you produced your final project. There should be a summary o what you did where to get where you are
Present your artwork or final project in a manner you should be proud of. Organize an art exhibition or a public showing of your work
Depending on the type of evaluation decided upon by the teacher, you now get the marks for your project.
Using Panofsky:
Iconography
This level of interpretation in the Panofsky method studies the identification, description, and the interpretation of the content of the artwork chosen.
This level of interpretation is related to the “factual,” elementary, and easily understandable aspects of a work. The learner would identify the pure forms, lines, colors, and volumes represented in the painting.
Pre-iconography
Iconological
This level of interpretation is where the learner is interested in identifying those principles which reveal the basic attitude of a nation, a period, a class, a religious or philosophical association.
Two examples for projects in the classroom using the History of Art as a underlying theme:
Using the artists of the Modern Period, their work and the themes seen in Modern art, ask the learners to use a classic artwork (for example: The Gleaners, Millet) and then they have to modify the artwork by adding an element of themselves or highlighting problems in die modern world.
Using the themes that the artists used during the Modern Period (identity, industrialization, nature, truth and accuracy, form), ask the learners to create an artwork using one of the themes and lead the project in such a manner that the learners discover themselves in the process.
Anselm Kiefer, Nigredo, 1984. Oil, acrylic, emulsion, shellac, straw on photo
Zhang Huan, Family tree, 2000. Photography
Ron Mueck, Boy
Anton Kannemeyer, J is for Jack Russell, 2005. Black ink and Acrylic paint
Ai Weiwei, Sunflower Seeds, 2010. Installation of more than 100 million porcelain sunflower seeds
Jeff Koons, Puppy. Spring 2004
Andrew Putter, Bessie, 2009. photograph
Richard Hamilton, Just what is it that makes today’s home so different, so appealing, 1956. Collage
Jaune Quick-to-see Smith, Trade (Gifts for trading land with White people), 1992. Oil and mixed media on canvas.
Cai Guo-Qiang, Head on, 2006. Installation
SadeghTirafkan, The loss of our identity, 2007. Montage
Shirin Neshat, Women of Allah – series, 1993 – 97. Photographs
Beezy Bailey, Fallen Angel, 2006
Anton Kannemeyer, R is for Rainbow Nation, 2008. Black ink and Acrylic paint
Andrew Putter, Joao the Portuguese, 2009. photograph.
Andrew Putter, lydia Logie, 2009. photograph
Araminta de Clermont, Chrystal, Mannenberg: Matric queens, 2008 – 2009. Lambda print
Araminta de Clermont, Nambla, Khayelitsha: Matric queens, 2008 – 2009. Lambda print
The Last Supper
How do you confirm that learning was successful?
The task will be successfully completed
The learner will have the confidence to exhibit their work
The learners will be empowered for self-reliance (they will be independent)
The learners will be hybrid and connected individuals
They will comply to high evaluative standards
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