Note: This lesson was originally published on an older version of The Learning Network; the link to the related Times article will take you to a page on the old site.
Teaching ideas based on New York Times content.
Overview of Lesson Plan: In this lesson, students will consider “The Gates” and other environmental art projects, and create an original public art project for their local community. They then draw sketches and write proposals outlining their ideas.
Michelle Sale, The New York Times Learning Network
Andrea Perelman, The Bank Street College of Education in New York City
Suggested Time Allowance: 1 hour
1. Consider various public art projects and the definition of environmental art.
2. Learn about “The Gates,” a public art project for Central Park, by reading and discussing the article, “Central Park Makeover: Reality Show, in a Way.”
3. In pairs, develop their own public art projects for a local space and render drawings and sketches of how it would look.
4. Prepare proposals defending their artistic creations, including benefits to the community, and explaining how it would be implemented.
Resources / Materials:
-copies of the article “Central Park Makeover: Reality Show, in a Way,” found online at http://www.nytimes.com/learning/teachers/featured_articles/20050211friday.html (one per student)
-resources about public art projects (art history textbooks, periodicals, computers with Internet access)
Activities / Procedures:
1. WARM-UP/DO NOW: Prior to class, prepare to make examples of environmental art accessible to students by either projecting them onto a screen or copying them into a handout for students to share. Examples can be found at:
-Richard Long, “Paddy-Field Chaff Circle”
-Robert Smithson, “Spiral Jetty”
-Walter De Maria, “The Lightning Field”
-Michael Heizer, “City”
-Christo and Jeanne-Claude, “The Gates” (a collage illustrating the final project)
After giving students a few minutes to examine and consider the images, lead a brief discussion about these art projects. Start with the following definition and questions for each example of art shown: “Environmental art can be described as: “1. Art that is large enough for viewers to enter and move about it. 2. Art designed for display in the outdoor environment. 3. Art that actually transforms the natural landscape. How does each art project you have just viewed fit this definition? What might it be like to experience this project? Why? What do you think was the goal of the artists who created this art?” (source: www.askart.com)
2. As a class, read and discuss the article, “Central Park Makeover: Reality Show, in a Way” (http://www.nytimes.com/learning/teachers/featured_articles/20050211friday.html), focusing on the following questions:
a. What had teams put into place on Monday?
b. How much will Christo and Jeanne-Claude’s public art project cost?
c. How tall are the gates?
d. How many gates are in the entire exhibit?
e. Where are the gates located?
f. What color adorns the gates?
g. How many volunteers are working on the project?
h. How many gates did one team install on the first day?
i. Who is Ann W. Richards? How did she describe the experience of putting up the gates?
j. What “Gates”-related exhibit was shown at the Metropolitan Museum of art in 2004?
k. What superlative will “The Gates” achieve?
l. How many gates in total were installed on Monday?
m. What does the team working in Area One, Section 10, have in common?
n. What responsibility do the “levelers” have?
o. How were volunteers trained to put up the gates?
p. What is the hardest part about putting up the gates?
q. What makes it easier or more difficult to put up a particular gate?
r. What complaint did a man walking through the park have about “The Gates”?
s. When was the idea for “The Gates” conceived?
t. According to Arvin Garay-Cruz, what do the gates look like separately?
3. Divide students into pairs. Explain that they are working in pairs as Christo and Jeanne-Claude did to create designs and proposals for a public art project for their school grounds, local community or park.
To help student pairs organize their ideas for this assignment, instruct them to follow these steps (written on the board or copied into a handout for easier access):
Choose a location for your project. Consider a space you and your partner are both familiar with. Imagine what it feels like and looks like. Explore how aspects of it can be accentuated or changed to create something new. Consider the relationship the public currently has with this space.
Questions to consider:
-What space have you chosen? Will you be using the whole location or a piece of it?
-How does it currently look?
-Why did you choose this place?
-What about it is interesting or special?
-Who passes through this space on any given day? Consider the times it is most and least busy and the purpose(s) people have for passing through this space.
-What do you hope to achieve by installing your art project in this location?
Develop an idea for your project. Consider how you and your partner can alter or enhance the space, or accentuate an existing feature. Think about the experience you would like people to have when they walk through this space, as well as how they might consider this location after your project is no longer there.
Questions to consider:
-What is your project?
-What is the purpose of your work?
-How do you want people to feel when they are in that space? What will make them feel this way? Why?
-How will people experience your art? Will they walk through it, around it, etc? Why did you make this decision?
-What materials will be used? Why?
-What colors and/or prominent shapes will be used? Why?
-What lasting impressions might your project leave after it is gone?”
Once their ideas are fleshed out, pairs should create sketches and diagrams demonstrating how their project will appear when completed.
4. WRAP-UP/HOMEWORK: In pairs, students develop proposals for the proper authorities responsible for giving permission to install a public art exhibit. (You may want them to divide responsibilities or plan ways to collaborate.) They should consider how their work will affect the site and the people in the location’s community. Finally, proposals should actively persuade the audience (potential investors, municipal officials, the public, etc.) why this project should in this location and how it will benefit the community. In a future class, students should present their proposals for public art projects, perhaps in an exhibit format.
Further Questions for Discussion:
-Why do items often have more meaning or impact when they are shown in multiples? For example, there are 7,500 gates in “The Gates.” Why might that be more effective than erecting a single gate, or a handful of gates?
-Should volunteers helping on public projects be compensated in some way? Why or why not?
-Why are people interested in public art projects?
-What are the benefits of public art projects?
Evaluation / Assessment:
Students will be evaluated based on completion of journal entries, participation in class and group discussions, thoughtful ideas for original public art projects, illustrative sketches, and carefully planned written proposals explaining how their work will be brought to fruition.
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1. Prepare an annotated timeline illustrating the evolution of “The Gates” from its inception in 1979 to its realization in 2005. How was it conceived? What setbacks has it faced? How has funding affected its creation? What location changes, design changes or other decisions have occurred? To begin your research, look at past articles from The New York Times at http://www.nytimes.com/ref/arts/design/GATES-REF.html.
2. What public art projects have appeared in your hometown? What was the rationale behind these projects? Give an oral report on your findings. Include visuals to show the works involved, and maps to show their location.
3. Write a report on an installation artist. Choose from a listing of artists at http://dir.yahoo.com/Arts/Visual_Arts/Installation_Art/Artists/Masters/.
4. Create a poster explaining environmental art. What is it? How is it done? What are some famous examples?
Journalism/Language Arts – Imagine that you have the opportunity to interview Christo and Jeanne-Claude. Create a list of questions and then work with a partner to role-play an interview and create mock answers. Write up your interview as an article for your school’s newspaper. Be sure the audience is aware that this is a mock interview, not a real one.
Teaching with The Times – Read the Opinion and Arts sections of The Times for pieces about “The Gates.” Clip them and organize them on a large sheet of construction paper or poster board to create a collage of opinions about the project. To order The New York Times for your classroom, click here.
Technology – Examine the Web log, or blog, about “The Gates” found at http://nycgates.blogspot.com/. What is a blog? How does it work? What features are available on this particular blog? How does this blog enlarge the community aspect of this art?
Other Information on the Web:
The New York Times has a compilation of articles chronicling the history and work of bringing “The Gates” to fruition at http://www.nytimes.com/ref/arts/design/GATES-REF.html.
To learn more about Christo and Jeanne-Claude, creators of “The Gates,” visit http://www.christojeanneclaude.net/index.html.en.
The Public Art Fund (http://www.publicartfund.org/) is a New York-based fund supporting public art projects and has examples of current exhibits.
A list of environmental and installation artists can be found at http://dir.yahoo.com/Arts/Visual_Arts/Installation_Art/Artists/Masters/.
Academic Content Standards:
Grades 6-8 Visual Arts Standard 2- Knows how to use structures and functions of art. Benchmarks: Knows some of the effects of various visual structures and functions of art; Understands what makes various organizational structures effective or ineffective in the communication of ideas Visual Arts Standard 3- Knows a range of subject matter, symbols, and potential ideas in the visual arts. Benchmark: Knows different subjects, themes, and symbols (through context, value, and aesthetics) which convey intended meaning in artworks Visual Arts Standard 4- Understands the visual arts in relation to history and cultures. Benchmarks: Understands the historical and cultural contexts of a variety of art objects; Understands how factors of time and place influence visual, spatial, or temporal characteristics that give meaning or function to a work of art
Grades 9-12 Visual Arts Standard 2- Knows how to use structures and functions of art. Benchmark: Understands how the characteristics and structures of art are used to accomplish commercial, personal, communal, or other artistic intentions Visual Arts Standard 3- Knows a range of subject matter, symbols, and potential ideas in the visual arts. Benchmark: Understands how visual, spatial, temporal, and functional values of artworks are tempered by culture and history Visual Arts Standard 4- Understands the visual arts in relation to history and cultures. Benchmark: Understands relationships among works of art in terms of history, aesthetics, and culture