| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| DECONSTRUCTION WORKSHEET | |
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Elect a scribe and a speaker for the group. |
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Questions to answer first. |
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| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| JUDY ONOFRIO BIOGRAPHY INFO SHEET | |
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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. 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. |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| ONOFRIO BIOGRAPHY WORKSHEET | |
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Name ________________________________________________
Period _________________________ Use the following links to answer the following questions. 1. Who was Judy Onofrio’s childhood mentor? ________________________________________________________________ ________________________________________________________________ 2. What does Judy mean when she says her work is additive? ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 3. What material is used for the skeletal structure armature of her work? ________________________________________________________________ ________________________________________________________________ 4. What materials does she use to embellish her work? ________________________________________________________________ ________________________________________________________________ 5. What kind of effect does this embellishment give to her sculptures? ________________________________________________________________ ________________________________________________________________ 6. What did Judy Onofrio study in college? ________________________________________________________________ 7. Where does Judy Onofrio live? ________________________________________________________________ 8. What is Judyland ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ Vocabulary: Using the Internet, locate and define the following terms: 1. Assemblage ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 2. Outsider Art ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 3. Armature ________________________________________________________________ ________________________________________________________________ 4. Visionary ________________________________________________________________ ________________________________________________________________ 5. Relief Sculpture ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 6. Sculpture ________________________________________________________________ 7. Found Object ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 8. Grout ________________________________________________________________ 9. Mosaic ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ 10. Maquette ________________________________________________________________ ________________________________________________________________ 11. Symbol ________________________________________________________________ ________________________________________________________________ 12. Narrative ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| PROJECT PLANNING FORM | |
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Name: __________________________________________________
Period _________ 1. Using your journal/sketchbook, write about a memory that is important you. Use this memory as a starting point to draw and plan a sculpture about it. Show color, dimensions and multiple views. What images will be important to use and why? |
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2. Why did you decide on this idea? |
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3. Which elements of art and the principles of design will you be selecting to effectively communicate your intent and to create a sense of unity to your project? |
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4. What new information will you need in order to be successful with this artwork? What might you need help with? What experience and knowledge do you already have that will allow you to work independently? |
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5. What materials will you need to find or collect? |
| 6. Using a calendar, in your journal/sketchbook write out a schedule that includes the deadlines of some major goals/activities in your project. | |
| REFLECTIVE JOURNAL ENTRY #1 | |
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Name: __________________________________________________
Period _________ We are studying a genre of art known as “Outsider Art”. Sometimes, this genre is also known as “visionary”. What does being an “outsider” imply? Discuss below. Why would the tem “visionary” be associated with this type of artwork? |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| REFLECTIVE JOURNAL ENTRY #2 | |
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Name: __________________________________________________
Period _________ Discuss Below How is work created by outsider artists the same as mainstream artists? (Consider creative process, tools and techniques, theme, sensory and organizational elements.) How is it different? (Again, consider the various artistic qualities.) Why would someone say that Judy Onofrio is an outsider artist? Why would they say that she is not? What do you think? |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| REFLECTIVE JOURNAL ENTRY #3 | ||||
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Name: __________________________________________________
Period _________ Go to Arts Net Minnesota 1. Judy uses “jewels” on the surface of her sculptures. What kind of jewels are these? ___________________________________________________________________ 2. What is Judy’s narrative or story in her work Big Catch? ___________________________________________________________________ 3. Is Outsider Art real art or is it just funny stuff? Why or why not? BEGIN to plan the narrative for your sculpture. 1. Make a list of ideas for your narrative (story). ___________________________________________________________________ ___________________________________________________________________
2. What images could be used in your sculpture to tell about your narrative? ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ 3. What kind of a pedestal or base could you use for your sculpture? ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ 4. What kinds of “gems” could you collect for your sculpture? ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ SKETCH, PLAN, GATHER, AND CREATE YOUR ASSEMBLAGE SCULPTURE!!!! |
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| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| REFLECTIVE JOURNAL ENTRY #4 | |
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Name: __________________________________________________
Period _________ Discuss Below Reflect on the work of Judy Onofrio. Reflect on personal memories that could possible work as art content. Explore the criteria or narrative, symbolic representation, shrine, etc. “Find the Topic.” |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| REFLECTIVE JOURNAL ENTRY #5 | |
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Name: __________________________________________________
Period _________ Criteria: How does this idea reflect your intent to address either a symbolic representation of a fond memory, a shrine to something that is important to you, a celebration of a triumph, or a personal object that is embellished as a symbolic representation of who you are? |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| UNIT VOCABULARY STUDY GUIDE | |
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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.” |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| ONOFRIO PROJECT VOCABULARY QUIZ | |||||||||||||
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Name: ____________________________________
Period:________________ Match the following terms to their definitions below:
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 |
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| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| ASSESSMENT AND EVALUATION | ||
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Name: __________________________________
Period: ___________ 1. Comparing and Contrasting Name __________________________________________ Period ________________________ Remembering Like Judy
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? |
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| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| STUDENT SELF-ASSESSMENT | |
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Name _____________________________
Sculpture Title _______________ Date _____________________ Period ______ Y=Yes N=No S=Sometimes _______ Did I express a personal story or memory? _______ Did I clarify or add criteria of narrative, symbolic representation, etc. to unify? _______ Did I use my original sketch to guide me through my work? _______ Did I use appropriate processes and techniques to create my work? _______ Did I master these processes and techniques? _______ Is my work interesting from all sides? _______ Did I apply surface embellishment neatly and carefully? _______ Did I choose appropriate objects, colors, textures to create mood and effect? _______ Does my work stand securely and not wobble? _______ Did I teach anything I learned to another student in the class? Explain. What do I like most about my sculpture? What would I change if I were going to start over? What have you learned about “Outsider Art”? What have you learned about Judy Onofrio? |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| FINAL SELF-CRITIQUE RESPONDING TO PERSONAL WORK |
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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 tree 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. |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| RUBRIC (SCORING GUIDE) FOR EXPRESSIVE USE OF MEDIUM | |
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Rubric (Scoring Guide) for Student Interpretation
Name ______________________________________ Period _________________ Description 1- Inaccurately describes the work without 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. 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 |
| MIDDLE SCHOOL WORKBOOK AND JOURNAL REMEMEBERING LIKE JUDY: STUDYING THE WORK OF JUDY ONOFRIO USING OUR OWN MEMORYWARE |
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| WRITING YOUR ARTIST STATEMENT | |
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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: 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.
Be creative with this statement!! Remember you are using this as an important tool to engage the viewer about yourself and your work. |
