HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
JUDY ONOFRIO BIOGRAPHY
	While recovering from back surgery and unable to create large artworks, Onofrio started making jewelry from her collected beads, buttons and other bits. Bracelets and pins led to small shrines often using images relating to her personal experiences. She became interested in blurring the lines between traditional art categories like fine art, crafts and kitsch. Following the inspiration of Aunt Trude and outsider art spaces created by self-taught artists such as the Dickeyville Grotto in Wisconsin and Simon Rodia's Watts Towers in Los Angeles, her artwork began to change. Onofrio explains, "Although I've been acquiring objects, images, and ideas all of my life, it seems that only recently that everything - my art, environment, and life - has come together and merged into a wonderful oneness." By 1991 she had pushed her assembled shrines into large sculptural and architectural artworks encrusted with everyday objects, from buttons to broken dishes, mirror pieces to seashells. Onofrio's backyard assemblages have become Judyland, an amazing garden of her unique and expressive art that continues to grow. She is an avid garage sale and thrift store shopper. Onofrio continues to fill her studio with a highly organized collection of found art materials used to create her unique sculptures. Onofrio's work is noted for its spirit of play and humor. She states, "I've always tried to enjoy the good times in my life, revel in the humor and, like Rapunzel, have taken the bad times and tried to spin something good out of them. I think the magic of my work is the natural inclination of most people to do the same. So, humor and playfulness being the fabric of my life, continues to inform my work." Judy Onofrio's artwork is exhibited at several galleries and museums including the Minneapolis Institute of Arts and the Frederick R. Weisman Art Museum at the University of Minnesota. Onofrio Vocabulary Terms Architectural --The art of creating buildings and spaces, or the built structure and its elements. Assemblage --Work of art made from natural or pre-made objects; usually a three-dimensional wall hanging or freestanding work. Ceramic -- Art made from kiln-fired clay. Dickeyville Grotto -- Built between 1920 and 1931 in Dickeyville, Wisconsin by Father Mathias Wernerus. The grotto consists of a number of freestanding structures made of cement encrusted with the homely objects of domestic life, from souvenir plates and commemorative statuary brought to him by his parishioners and by visitors. The structures are dedicated to a variety of themes including the Virgin Mary, Christopher Columbus, George Washington, and Abraham Lincoln. Grotto -- an artificial cave, or special space created using stone or cement and often used as a shrine. Judyland -- Begun in the 1980's by sculptor Judy Onofrio, this ongoing garden artwork extends out of her Rochester, Minnesota garage studio and into her surrounding garden. Kitsch--Cheap decorative objects or souvenirs. Outsider artist -- Self-taught artists who create artworks for their own joy and desire rather than to be a part of the established fine art world and market displayed, protected and/or celebrated. Sculpture--Artwork with three dimensions: height, width and depth. Self taught artists who create artworks from their own personal visions and desires, often creating unique and obsessive imagery. Sculpture -- Artwork with three dimensions: height, width and depth. Self taught artists who create artworks from their own personal visions and desires, often creating unique and obsessive imagery. Shrine -- A container, space or site made sacred by association with venerated objects or persons. Site-specific installation -- Art built to fit and be experienced in one particular place. Site-specific installation art is often temporary. Watts Towers -- Amazing cement and tile towers up to 38 feet tall in south Los Angeles, California were built by Italian immigrant Simon Rodia between 1921 and 1954. He titled his work "Nuestro Pueblo", Our Town. Visionary artist -- Self-taught artists who create artworks from their own personal visions and desires, often creating unique and obsessive imagery.

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
REFLECTIVE JOURNAL ENTRY #1
	Name: _________________________________ Period: ___________ 1. List the three URLs you researched.
	2. Define “Outsider Art”
	3. Briefly summarize what you learned from each website.
	4. Viewing other’s art frequently promotes germs of ideas for your work. Did you get any new ideas for your project?

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
REFLECTIVE JOURNAL ENTRY #2
	Name: _________________________________ Period: ___________ 1. Conceptual sketch proposal of group project.
	2. Image Map (label the meaning of the objects in your sculpture)
	3. Descriptive paragraph.

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
REFLECTIVE JOURNAL ENTRY #3
	Name: _________________________________ Period: ___________ Duty Assignments Task Person Responsible Materials Needed

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
REFLECTIVE JOURNAL ENTRY #4
	Name: ___________________________________ Period: _______________ Web Board Activities The Web Board is a meeting place, supported by ArtsNetMN, for artists, teachers, and students on the Internet where they can share art related ideas. Follow the instructions below to gain access to the web board. Then, ask a question related to Judy Onofrio or her work. Record your questions and the responses you receive. Repeat this activity three times; each time with a different question. How to get on the Web Board if you are a new user: Go to the ArtsNetMN website at www.artsnetmn.org and click on Join the Discussion. Click the New User button. Read the instructions on the screen and fill out all the required boxes as directed. Write your login name and password in a safe place (perhaps this worksheet). You will need them every time you visit the discussion board. Click the Create button to submit your registration and enter the board. How to get on the Web Board if you are already a registered user: Go to the ArtsNetMN website at www.artsnetmn.org and click on Join the Discussion. Type in your login name and password and click the Enter button.
	What question did you ask?
	What responses did you receive?
	What question did you ask?
	What responses did you receive?
	What question did you ask?
	What responses did you receive?

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
UNIT VOCABULARY STUDY GUIDE
	Assemblage: the 3-D counterpart to collage; a sculptural art form in which pre-existing elements are assembled to create a work of art Found object: any natural or manmade object aesthetically chosen and displayed or incorporated into an artwork Deconstruct: to investigate and pull apart – in this lesson – act as symbol detective Outsider art: art created, often not intentionally as art, by one who has no formal or conventional training in art Grout: a thin mortar or fine plaster used, e.g., for filling the spaces between objects in a mosaic Armature: framework providing skeletal structure to a sculpture Memoryware: objects or containers, usually functional, created using bits of personal memorabilia as surface decoration. *In an article by Donna Sapolin (Metropolitan Home 1990) it says … “Throughout the ages – from ancient African funerary vessels assembled from the dead’s beloved objects, to our century’s majestic Watts Towers, a Los Angeles folk monument of crockery, glass and sea shells – ordinary people have found fulfillment in grafting fragments of their lives into sculpture and vessels. It goes by many names: in France, pique assiette (“stolen from plates”); here, bits-and-pieces, or the more memorabilia-laden memoryware.” Visionary: one who creates mold breaking, forward-thinking art, leading the way to new viewpoints. Mosaic: technique for surface decoration in which small pieces of glass, ceramic, stone, or other materials are set in a mortar. Relief: a three-dimensional work of art (height, width and depth) that is not free standing, it is often attached to a wall. Sculpture: a piece of art that is three dimensional (height, width, depth), free standing, completed on all sides, and meant to be viewed “in the round.”

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
ONOFRIO PROJECT VOCABULARY QUIZ
	Name: __________________________________ Period: ___________________ Match the following terms to their definitions below: a. visionary b. maquette c. armature d. found object e. grout f. Outsider Art g. mosaic h. sculpture i. assemblage j. relief 1. _________ 3-D counterparts to collage; a sculptural art form in which preexisting elements are assembled to create a work of art. 2. _________ Art created by individuals with no formal training and very little cultural influences; often the art is not thought of as art by the artist. 3. _________ The skeletal structure of a sculpture, which offers support and strength to the forms around it. 4. _________ One who creates mold-breaking, forward-thinking art, leading the way to new viewpoints. 5. _________ Three dimensional artwork which is meant to only be viewed from 180 degrees and usually hangs on a wall. 6. _________ Three dimensional artwork, which is meant to be viewed in the round, 360 degrees and is usually free standing. 7. _________ An object not originally created as art but used in or appreciated as a work of art. 8. _________ Thin mortar used for filling spaces (as the joints in masonry); also: any of various other materials (as a mixture of cement and water or chemicals that solidify) used for a similar purpose. 9. _________ A mural technique formed by placing colored pieces of marble or glass, small stones, ceramic tiles, or other objects in a layer of adhesive material. 10. _________ Sculptural equivalent to a sketch; a model version of a larger sculpture

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
ASSESSMENT AND EVALUATION
	1. Comparing and Contrasting Name __________________________________________ Period ________________________ Remembering Like Judy Comparing and Contrasting for Evaluating and Revising Answer the following in your journal/sketchbook... 1. How is your sculpture like or unlike Onofrio’s? Use all applicable art vocabulary found in your “key terms” glossary or sensory/organizational vocabulary that was used when you were describing, analyzing, interpreting, judging art. 2. Describe the visual cues (symbolic) you used to tell the viewer about your world. Deconstruct the symbols. 3. Do you see a need to make any changes (revisions) to your work that would enhance the impact it could have on the audience. Is your work reflecting your intent? Is the relationship between your message and your choice of materials and form clear and thoughtful?

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
FINAL SELF-CRITIQUE RESPONDING TO PERSONAL WORK
	Name __________________________________________ Period ________ 1. Describing
	What is the title of this work? What is its size? When was it completed? Where is it located?
	Describe the materials used.
	Describe any recognizable or realistic images you created.
	Describe the shapes you included in your sculpture.
	Describe the colors you used.
	Describe the surface; discuss the textural quality that your artwork has.
	Describe anything else you were not asked about and feel is important.
	2. Analyzing What is the center of interest in this work of art? How do you know?
	Where do you see pattern/repetition in this sculpture?
	Is there anything in the work that is exaggerated? Simplified? If so, what?
	What type of movement was the artist trying to express through line?
	What are the most important and largest shapes in this work?
	3. Interpreting Have another student/teacher in the class fill out the interpreting part of this activity. The name of the student/teacher who is doing this part is: _____________________________
	What is the sculpture about? What is the artist trying to say?
	How does the title help you understand the artist’s intended meaning?
	How do you think the artist felt about the subject of this work? What do you see that supports your idea?
	Is there anything playful or humorous in this piece of art?
	Look carefully at some of the objects that the artist chose to cover the surface of this sculpture. How do these materials relate to the sculpture’s meaning?
	Does the title of this work reveal anything about the story this sculpture is about?
	4. Judging Judge your own work. Do not have a friend/teacher fill this out.
	Describe your personal reaction to this sculptural piece. What part of this project was your favorite? Why?
	Do you think your sculpture is successful in narrating a personal story or memory or paying tribute to an event? If so, give three reasons why.
	What is the best aspect of your sculpture? Why?
	What part of your sculpture would you change or redo? How?
	*Be prepared to share your answers on analyzing/judging in a small group setting.

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
RUBRIC (SCORING GUIDE) FOR EXPRESSIVE USE OF MEDIUM
	Rubric (Scoring Guide) for Student Interpretation Name ______________________________________ Period _________________ Description 1- Inaccurately describes the work without detail 2- Describes the work with limited detail and some inaccuracies 3- Accurately describes the work in detail 4- Accurately and consistently describes the work in elaborate detail Analysis 1/2 - Provides no analysis of how the artist organized the structure of the art work using elements and principles with references to evidence in the work. 3 - Provides a limited, sometimes inaccurate analysis of how the artist organized the structure of the art work using elements and principles with few references to evidence in the work. 4- Provides a clear, accurate analysis of how the artist organized the structure of the art work using elements and principles with references to evidence in the art work. 5.- Provides clear, accurate, in-depth analysis of how the artist organized the structure of the art work using elements and principles with extensive references to evidence in the art work. Interpretation-Historical & Cultural Context 1/2 - Constructs no interpretation of the work supported with evidence in the art work. Applies no cultural or historical knowledge of the region and the artist 3 - Constructs a limited interpretation of the work supported with little or no evidence from the work of art. Applies limited, sometimes inaccurate cultural and historical knowledge of the region or artist 4 - Constructs a convincing interpretation of the work supported with evidence from the artwork. Applies accurate cultural and historical knowledge of the region and the artist 5 - Constructs a well-developed, convincing interpretation of the work clearly supported with evidence from the artwork. Applies accurate, in-depth cultural and historical knowledge of the region and the artist. Rubric (Scoring Guide) for Technical Skill & Structure Name _________________________________________ Period ________________ 1/2 - No demonstration of knowledge of structure: visual and organizational qualities (e.g., color, line, texture, contrast, pattern, movement, balance) No technical skill in the taking advantage of the medium to render symbols and images to communicate meaning. 3- Limited, sometimes-inaccurate demonstration of knowledge of structure: visual and organizational qualities (e.g., color, line, texture, contrast, pattern, movement, balance). Minimal technical skill in the taking advantage of the medium to render symbols and images to communicate meaning. 4- Convincing, mostly accurate demonstration of knowledge of structure: visual and organizational qualities (e.g., color, line, texture, contrast, pattern, movement, balance) Proficient technical skill in the taking advantage of the medium to render symbols and images to communicate meaning. 5- Clear, convincing, consistent demonstration of knowledge of structure: visual and organizational qualities (e.g., color, line, texture, contrast, pattern, movement, balance) Advanced technical skill in the taking advantage of the medium to render symbols and images to communicate meaning Rubric (Scoring Guide) for Expressive Use of Medium Name ________________________________________ Period _________________ 1/2- No expressive use of medium to communicate meaning as evidenced by images and symbols. 2- Minimal expression in use of medium to communicate intended meaning as evidenced by stereotypical images and symbols 3- Expressive use of medium to communicate intended meaning mostly evidenced by predictable images and symbols. 4- Highly expressive use of medium to communicate intended meaning as evidenced by engaging, innovative images and symbols, integrated into a whole composition

HIGH SCHOOL STUDENT WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE
WRITING YOUR ARTIST STATEMENT
	The artist’s statement can be used by viewers to learn more about the artist’s background, inspiration, and ideas. This information can be very helpful when interpreting works of art. Being invited into the artist’s psyche, learning more about the work and its creator can make the experience even more remarkable for the viewer. Developing an artist statement: Assume you are a professional artist and a gallery that represents your work has asked for a personal artist’s statement about your work. Try to incorporate information that you think would interest a viewer. What should an artist’s statement include? It should include what you like to make art about, what you like to depict and why. The “who, what, when, why, and how” concept is a god place to start. Give some information about your background, where you attend school, where you have studied art and why you chose this medium to express yourself artistically. Sit in a quiet place and write or record the essence of why you love making art. Write in the first person. Remember you are reflecting a personal piece of your life when you create your art. People want some intimate details about that life. Passionately conveyed information brings the viewer closer to you and your work. The creative process (what was the thought process behind producing this work?) is of great interest to the viewer. Your goal is to share your personal ideas about art and creativity. State what makes your art unique and interesting to you. What are you trying to convey through your art to the audience who is viewing your work? Be honest and passionate about yourself and what you have to say through your art. Us historic quotes that you relate to as an artist to validate you or your work. Mention well known artists who have influenced you and your work. List competitions you have participated in as a student. Be creative with this statement!! Remember you are using this as an important tool to engage the viewer about yourself and your work.