Curriculum Map - ArtYear 7
Students begin to understand the role of Art in society, in exploring human’s unique behavior of shared culture, and in investigation of ‘the self’. We begin this learning journey via the study of Ancient Egyptian’s use of art for ritual and creating legacy, as well as the ways in which we continue this tradition today. Students create their own contemporary canopic jars to hold ideas instead of organs. Next, we analyze Pop Art: The birth of the teenager in the post-war world of consumerism, understanding how art reflects the collective consciousness whilst considering questions of accessibility. Students create reduction polytile prints to symbolize their own culture and the things they love. Finally, students move further into their inspection of their inner world, thoughts and feelings through the study of Abstract Expressionism, colour theory and synesthesia. Students produce Rothko-esque paintings inspired by their own creative writing and also creative writing inspired by their paintings, thereby blurring the boundaries between means of expression.
Why?
In Powell’s chapter on Art in What Schools Should Teach?, she discusses at length the importance of the history of art within the curriculum. This and other research demonstrates the benefits of historical context and a critical/theoretical understanding of art to students of all abilities. This thinking has informed the curriculum design at every key stage. Secondly, students have often had little/no formal training in Art at primary school, making the Year 7 curriculum paramount in creating solid foundations in students’ understanding of art as a discipline and its role within society, as well as building confidence in the subject. It is therefore pertinent to begin with observing links between art of ancient and contemporary times. Most students have learnt a little about Ancient Egypt at primary school and therefore are enthused in demonstrating their prior knowledge as well as viewing the familiar in a new context. The same model of drawing comparison between the art historical canon and the work of contemporary practitioners is used throughout the year, only expanding students understanding from the role of art within civilisation, to the role of art within the society of a specific time/place/political context and finally to the role of art within the self, the personal and individual expression.
Year 8
Students deepen their understanding of the role of Art for society, culture and ‘the self’, building on their learning in Year 7: the relationship between written and visual language through a cross-curricular project in line with their English studies to create illustrated book covers for Gothic Literature. The exploration of the relationship between text and image continues into students' study of the Dada movement. We then begin to move into portraiture, transitioning from Dada into identity through the work of Icelandic artist Erró. After creating a series of works in which he collages the human face with mechanical and industrial objects as a political exploration of the modernising western world around him, he begins his monster series in which he splices together notable historical figures with Hammer Horror villains. Students create their own spliced self-portraits in monoprint, combining themselves with pop-culture villains to explore their own identities and traits. Students then learn how to draw accurate portraits from observation in order to draw their role models to begin the year’s final project ‘Say Something’. In this project, students explore the things that matter to them and the ideas they want to express, hoping to make the world a better place. This results in a hand embroidered outcome inspired by contemporary practitioners Jeremy Deller, Tracey Emin and Rosanna McNamara.
Why?
Similarly to the rationale for Year 7, the Year 8 curriculum combines the study of art history with a development of practical skill, only covering appropriately more sophisticated content in terms of the political, historical and psychological motivations of practitioners in their art production, which is then equally nurtured in students' own ability to find their artistic voice.
Year 9
We begin Year 9 with a return to ceramics and their place in human history since ancient times before creating our own contemporary vessels which contain hopes for change. Our second project similarly reviews the history of a specific art medium, printmaking. Students learn and develop skills in a range of printmaking techniques and use these to illustrate a totem to tell their story and iconify their legacy. Finally, students explore the relationship of personality and place through a painting project that is in line with our Wren Academies Trust specialism of Design and the Built Environment. Students experiment with a variety of approaches to painting, looking at both art historical and contemporary practitioners, including John Piper, Patrick Heron, Giacometti and Maggi Hambling.
Why?
In the Year 9 curriculum, as well as following a similar model to that of the rest of Key Stage 3 where there are three projects investigating both different periods of art history and contemporary practice along with Art’s role within society, historical context and the self, there is also an intersecting model focused on workshopping different artistic mediums to achieve a higher level of mastery. All three projects, whether they be an exploration of pottery, printmaking or painting, are underpinned by rigorous practice of drawing skill as the foundation of all others.