Teacher Packet:  Common Objects: Debora Oropallo

Deborah Oropallo was born in 1954 in Hackensack , New Jersey . She produces large-scale paintings using images of common objects from her surroundings, such as buildings, children's toys, clothing, furniture and other household items. By altering their natural appearances – blurring edges, adding color and texture – she transforms mundane objects into luminous depictions that cause us to take notice. Deborah Oropallo combines the mediums of traditional painting, computer technology, and photography to create large-format digital prints on the forefront of new art media. She reveals the beauty and meaning inherent in everyday objects by producing stunning large-scale works using images of common objects from her surroundings.

Art Talk

Please view the two reproductions with your class and lead a discussion using the following questions as guidelines. There are no “right” answers. The questions are meant to guide the group discussion. Students will re-visit and discuss the original works at BAM. The vocabulary in this packet will aid discussion.

Research and experience have shown that students feel more comfortable when they can connect with something familiar once they arrive at the Museum. The students are excited to find “their” works of art while they are at BAM. They enjoy sharing their insights from the classroom discussion with the docent and making valuable comparisons between the textbook-like reproductions and the original works of art.

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Deborah Oropallo Snow White, 2005 Pigment, digital print and acrylic on canvas 58” x 78” Courtesy of the artist

Do you see anything you can recognize? What? How is this work different from Fall Out? How is it the same? What is the difference between the big strips and the little strips? What do you think the artwork would look like if we could only see the little strips? The artist titled this piece Snow White. Does this look like Snow White and the Seven Dwarfs? Why or why not?

Vocabulary

Background: The part of a picture or scene that appears to be farthest away from the viewer, usually nearest the horizon. This is the opposite of the foreground.

Digital Prints: Computerized images that can be printed on various materials (canvas, paper, felt).

Foreground: The area of a picture or scene, often at the bottom, that appears to be closest to the viewer. This is the opposite of the background.

Manipulate: To change something (like an image) by additive or subtractive techniques.

Curricular Connections
Layering Oropallo into Your Curriculum

• Discuss the use of photo manipulation in history, media, advertisements, entertainment, and propaganda. Visit http://medialit.med.sc.edu/isb.htm for examples.
• Have students make their own manipulated photography by inserting a picture of themselves into a photo documenting an historic event. This can be done by “high-tech” methods using Adobe Photoshop or another computer program or by “low-tech” methods by cutting themselves out of one photo and pasting the cutout piece into the photography of the event. Students should get the historic image first, determine how they should pose, and then have their picture taken. ( Photo Fakery – See Bibliography)

• Use Adobe Photoshop or another computer program to manipulate images by applying new textures, colors and backgrounds to a photograph. This works best if the original image has a prominent, single subject. Have students focus on retaining the shape of the original object, but not the original look of it.
• Discuss copyright, censorship, and other current issues concerning digital art.

• Writers often blur the line between fact and fiction by manipulating the truth. Find a common story (like Deborah Oropallo's common objects) and manipulate some of the details. Example: Asope's Fable The Tortoise and the Hare . Instead of the hare falling asleep while the tortoise keeps going, students can have the hare take a wrong turn and head into the forest for a strange adventure. Maybe he is so tired after his adventure that he takes a nap, thus losing the race.
• Have students write a story with a common object as the main character (a chair, for example). Have students create a plot chronicling the life of the object and the changes it encounters through its journeys. Students could illustrate the story to show the evolution of the object.
• Merge two seemingly unrelated stories together like Deborah Oropallo does with her layered images with background from comic strips and foreground images of manipulated common objects. For example, maybe Cinderella sits on a tuffett to cry about her dress. Then along comes a spider who sits down beside her and helps her make a new one that she then wears to the ball.
• Have students discuss layers, texture, and color in language and story. Find examples to share and have them pick out each element in their own chosen stories.

• Use common objects to help students with division, multiplication, and problem solving. Example: How many notebooks will fit into this space if they are all the size as the one you have?
• Use common objects as manipulatives for solving mathematical equations.
• Measuring – Have students measure a variety of common objects you provide or that they bring from home. Have them graph their results.

• Learn about the scientific manipulation of plants and animals through tree grafting, genetic engineering, or plant and animal breeding.
• Explore the history of the photographic process.
• Discuss the use of macro and micro photography in scientific fields.
• A Drop of Water by Walter Wick; Scholastic Press, April 1, 1997 . ISBN: 0590221973
• Snowflakes in Photographs by W. A. Bentley; Dover Publications, September 18, 2000 .
• ISBN: 0486412539
• Plants and animals are made of millions of little parts. Using several found images, have students collage a new object from many common objects. Start with a light, pencil outline of the final object on construction paper. Then fill in the object with found images. (See Deborah Oropallo, Fall Out ) Example: A student can cut out pictures of t-shirts from magazines and newspaper ads and glue them together to form a flower or a tree.

Related Web Sites

For Teachers

www.dam.org ( Digital Art Museum , images and information about early artists in the digital arts)

http://school.discovery.com/schrockguide/gadgets.html (Guide to digital gadgets and projects)

http://www.lauriefowler.com/digphoto.html (Extensive site of lesson plans, links, and tips)

http://teacher.scholastic.com/polaroid/pdfs/visuallit.pdf (Article about visual learning and integrating photography into early learning classrooms)

http://www.cssd.ab.ca/tech/dropshadow/lessonplan.html (Intense web-based digital lesson – for the technologically savvy teacher)

http://www.princetonol.com/groups/iad/lessons/middle/Sarah-faculty.htm (Lesson plan for photo collages, includes a “low-tech” variation)

For Teachers and Kids

http://www.adobe.com/education/digkids/lessons/main.html (Digital Kids Club, through Adobe)

http://tlc.ousd.k12.ca.us/~acody/digi7.html (Self-guided lesson plans, easy to read examples)

http://www.cap.ac.uk/pdf/cappack.pdf (“Children as Photographers”, a great way for kids to see photographs taken by their peers – big file to print)

http://medialit.med.sc.edu/isb.htm (Resources for teaching about the history of photo manipulation, great comparison images and lessons)

Post-Visit Activity: MAKE IT!

To extend the museum experience and connect the tour to your curriculum, please consider using or adapting this suggested lesson

Common Objects
Combine Two Objects

This activity focuses on combining two different images into a single piece of artwork. The instructions are simple, but the project can be adapted to require more pre-planning and student involvement. It can be applied to several different subjects and helps students of all ages build decision-making and organizational skills.

• Newspapers, magazines, photocopies, or anything that can be cut and pasted
  
• White construction paper
• Scissors
• Glue
• Ruler

Students use two found images of approximately the same size to create a single image. The images should be of objects that have meaning to the student. This meaning can be as simple as “something you like” or more complex like “something that reminds you of a specific person.” First, images are glued onto white construction paper for stability. Then, students cut a strip (vertical, horizontal, or diagonal) from picture A and glue it to another piece of white construction paper. Next, a strip is cut from picture B in the same direction as picture A (vertical, horizontal, or diagonal) and glued next to the first strip. Students continue alternating strips of images until both images are cut and glued. The result is a “meshing” of two images that, depending on the width of the strips, leaves both images recognizable as individual subjects or blends them into a seemingly single mass of colors. (See Deborah Oropallo image, Snow White ) Note: If no pieces of either image are left out, the final piece will be twice the length of the images. However, the size can change if older students wish to leave out strips or place a smaller image within a larger one.

Applications and Extensions:

Reading and Writing

• Write a poem about each image, then cut and paste the lines of the poems in the same alternating pattern as your artwork. Students could also use just one image and alternate it with strips from the poem, resulting in a meshing of the poem and the object that inspired it.
• Use two images that represent two different characters in a story. Glue the strips of the images according to how those characters interacted. Example: If the characters met later in the story, the strips could be larger on the left and then smaller on the right to represent more interaction near the end of the story.
• Students can choose two images of animals to mesh together to create a fantasy creature then write a story or a short paragraph about the new animal's characteristics.

Math

• Have students measure and calculate how many strips, what size, etc., it would take to start with one image and end on the same image in a given space.
• Students can use a ruler or a compass to create different geometric arrangements other than strips. This type of arrangement takes two images of different sizes (one larger/one smaller) for it to work properly. In order to prevent the different shapes (circle, square, triangle, etc.) from overlapping, students will have to omit certain parts of their images and carefully measure the shapes. This variation takes good problem solving skills, spatial awareness, and patience.

Visual Art

• Have students use their own images taken with a digital camera or printed images from a 35 mm camera scanned into the computer. Students should take two different shots of the same subject (different angles, near and far, dark and light, etc.). While the images are in the computer, students can make some changes to them by using Adobe Photoshop or another program. The images can then be printed on regular paper and mounted or printed on cardstock. Follow the rest of the instructions for cutting and pasting.
• Students can use black and white photocopies of images to create this artwork. Then, using colored pencils, students can color the piece according to the new shapes made by the adjoining black and white lines of the photocopies. This process allows students to use individual images to create the work and then color it as a whole. The result from this variation is much more abstract.

Bibliography

• The Complete Guide to Altered Imagery: Mixed-Media Techniques for Collage, Altered Books, Artist Journals, and More by Karen Michel; Quarry Books, September 2005. ISBN: 1592531776
• Digital Art Studio: Techniques for Combining Inkjet Printing and Traditional Artist's Materials by Karin Schminke, Dorothy Simpson Krause, Bonny Pierce Lhotka; Watson-Guptill Publications, June 2004. ISBN:0823013421
• Digital Photo Art: Transform Your Images with Traditional & Contemporary Art Techniques by Theresa Airey; Lark Books, May 1, 2005 . ISBN: 1579905803
• I Wanna Take Me a Picture : Teaching Photography and Writing to Children by Wendy Ewald, Alexandra Lightfoot; Beacon Press, September 17, 2002 . ISBN: 0807031410
• Photo Art: In-Camera/Darkroom/Digital/Mixed Media by Tory Worobiec, Ray Spence, Tony Worobiec; Amphoto Books, May 2003. ISBN: 0817453725
• Photomontage: A Step-By-Step Guide to Building Pictures by Stephen Golding; Rockport Publishers, October 1997. ISBN: 156496289X
• Picture This: Digital and Instant Photography Activities for Early Childhood Learning by Susan Entz, Sheri Lyn Galarza; Corwin Press, November 9, 1999 . ISBN: 0803968876

• Arlene Alda's ABC: What Do You See? by Arlene Alda; Tricycle Press, August 1993. ISBN: 1883672015
• Dog Food by Joost Elffers, Saxton Freymann; Arthur A. Levine Books, September 1, 2002 . ISBN: 0439110165
• Shapes, Shapes, Shapes by Tana Hoban; Harper Trophy, March 29, 1996 . ISBN: 0688147402
• What is That? by Tana Hoban; Harper Festival, September 15, 1994 . ISBN: 068812920X

• Did You Say Pears? by Arlene Alda; Tundra Books, January 10, 2006 . ISBN: 0887767397
• Find a Face by Jane Gittings, Francois Robert, Jean Robert; Chronical Book LLC, July 1, 2004 . ISBN: 0811843386
• Food For Thought by Joost Elffers, Saxton Freymann; Arthur A. Levine Books, February 1, 2005 . ISBN: 0439110181
• Hands Off! by Mario Mariotti; Kane/Miller Book Publishers, September 1990. ISBN: 0916291294
• Hanimations by Mario Mariotti; Kane/Miller Book Publishers, July 1998. ISBN: 0916291847
• How Are You Peeling? by Joost Elffers , Joost Elffers, Saxton Freyman; Arthur A. Levine Books, October 1999. ISBN: 0439104319
• Is It Rough? Is It Smooth? Is It Shiny? by Tana Hoban; Greenwillow, August 20, 1984 . ISBN: 0688038239
• Shapes and Things by Tana Hoban; Simon and Schuster, August 1970. ISBN: 0027440605
• Snowflake Bentley by Jacqueline Briggs Martin and illustrated by Mary Azarian; Houghton Mifflin, September 28, 1998 . ISBN: 0395861624

• Picture This: Fun Photography and Crafts (Kids Can Do It) by Debra Friedman; Kids Can Press, January 2003. ISBN: 1553370473
• Photography (Make it Work! Science) by Andrew Haslam, Kathryn Senior, Jon Barnes; Two-Can Publishers, May 2000. ISBN: 1587283581
• Unlikely Pairs by Bob Raczka; Millbrook Press, November 1, 2005 . ISBN: 0761323783

• The Kids' Guide to Digital Photography: How to Shoot, Save, Play With & Print Your Digital Photos by Jenni Bidner; Lark Books, September 1, 2004 . ISBN: 1579906044

• Adobe Photoshop Master Class: Maggie Taylor's Landscape of Dreams (Master Class (Adobe)) by Amy Standen; Adobe Press, May 18, 2005 . ISBN: 0321306147
• The Art of Handpainting Photographs by Cheryl Machat Dorskind; Amphoto Books, January 1998. ISBN: 0817433104
• Atlas: Of the Photographs Collages and Sketches by Gerhard Richter, edited by Lenbachhaus Munich; D.A.P./Anthony D'Offay Gallery, October 1997. ISBN: 1881616886
• Gerhard Richter: Image After Image by Gerhard Richter, Michael Juul Holm, Anders Kold; Louisiana Museum of Modern Art, August 15, 2005 . ISBN: 8791607094  
• Photo Fakery: The History and Techniques of Photographic Deception and Manipulation by Dino A. Brugioni; Brassey's Inc., August 1, 1999 . ISBN: 1574881663
• Photography: Preserving the Past (The Encyclopedia of Discovery and Invention) by Bradley Steffens; Lucent Books, September 1991. ISBN: 1560062126
• Photomontage (World of Art) by Dawn Ades; Thames and Hudson , October 1986. ISBN: 0500