Before I had developed a clear vision of the project, I started the hunt for chairs. I began by telling students, faculty, and neighbors that I was looking for old wooden chairs. It did not matter if the chairs were broken; all were acceptable. Unfortunately, after six months of searching, I had only three chairs to show for my efforts. I then realized that I needed to redefine the project. If different chairs were not available, maybe chairs that were the same could be located. Finally, I found seventeen identical chairs in the basement of a local church.The chairs hadn't been used in years, and for a small cash donation they were mine.

Problem:
Students will select a famous artist to research. They will learn enough about the artist's style to apply that style to a chair that they will transform into a sculptural artwork. Students will work cooperatively with another student to paint the entire surface of the chair.

Time Frame:
One week for research and writing. Approximately four weeks to paint and four days for presentation.

Materials:
chairs white primer selection of oil or acrylic paint various size brushes

Startup:
Have students prepare the chairs by cleaning them thoroughly and applying white latex paint to them as a base. Direct students to give each chair two coats of paint.

Give students a typed prospectus for the project. The outline should cover the overall concept, working time line, writing element, painting tips, final presentation, and evaluation. Divide the project into three parts: research and writing, actual painting, and verbal presentation. Instruct students to choose one famous artist on whom they will focus. They will work to understand the essence of that artist's style (i.e., the artist's use of design elements and principles), and then work in groups of two to paint those stylistic qualities onto one white wooden chair.

Process:
To discourage students from picking an artist just by name, select examples of fifteen artists whose works represent a variety of styles.

Number each artist, and post examples of their work onto a large display board. Selected artists might include: Claude Monet, Vincent van Gogh, Paul Gauguin, Marc Chagall, Georgia O'Keeffe, Paul Cezanne, Salvador Dali, Rene Magritte, Pablo Picasso, Frida Kahol, Piet Mondrian, Paul Klee, Gustav Klimt, Mary Cassatt, and Georges Seurat. Spend a few minutes explaining the unique style of each of these artists.

Give students a blank sheet of paper and ask them to write their own name and the names of two artists they would like to investigate. Allow students a first and second choice as students are paired based on the artists they want to investigate.

Because students are paired, limit the total number of chairs. Try to have only one chair per artist in each class as this will increase the number of artistic styles represented. There may be a few students who want to pursue an artist that no one else has chosen. These students need to agree to meet the same requirements as other students who are working in pairs.

Have students begin by researching their chosen artist. Tell them to find out when the artwork was done and to investigate major influences on the artist in terms of color, composition, and concepts of artistic expression. Suggest that students answer the question, "Why is this person famous?"

Require that students provide at least three reference sources for the artist whose work they will explore. It is essential that both students in each group do the work and then combine the information each has gathered. Partners need to decide which person will type the final presentation. Tell them to plan on approximately two pages of writing. The research and writing takes place during the first five class periods. Students should save their writing for the presentation.

Encourage students to combine their talent to create a painted chair that embodies the essence of the chosen artist's style.

Have students begin their work slowly, using pencil on the chairs and developing images by combining the artist's subject matter chosen from a variety of works. As they move into the painting stage, stress the importance of having the artists' work in front of them. This reference will enable them to understand the artist's use of color, brushstrokes, and overall composition. Ask: "What is the essence of this artist's style?" "How are you achieving it?"

Remind them to paint all surfaces with a concern for color, composition, and style. Use acrylic or latex paint, and apply a clear varnish spray finish when the project is completed.

Finally, have each pair of students present their work to the rest of the class. Suggest that they explain who the artist was, what his or her influences were, and the style in which he or she worked. Their presentation should also address why students created what they did and how their finished work reflects the chosen artist's style. Allow groups approximately ten minutes each for their presentations.

Choices:
famous artist development of images interpretation of style Evaluation: Tell students that each element of the project (writing, painting, and presentation) will be evaluated and that each member of the student pairs will receive the same grade. Hopefully, this will motivate each student to take responsibility for his or her share of the work. Have students respond with verbal critiques. Ask: "What aspect of our work best represents the style of the artist?" "What did you find most challenging about working in pairs?" "What elements of your work demonstrate success in this project?"

Results/Observations:
Students completed the written portion of the project within the time frame allotted. Many added visually exciting covers to their reports. I read through their first drafts, made suggestions, and then asked a member of the English department to read through final submissions and make comments. The painting aspect took twice as long as projected-approximately four weeks. But with the end of the marking period a deadline was enforced. Consequently, students put in extra time and chairs, paint, and brushes were taken home.

Some students were challenged by having to work cooperatively. For example, they were trying to combine their individual painting styles, and at the same time, matching their styles with the style of their chosen artist. Throughout the project, students and faculty periodically visited the art room to see students' progress, make comments, and decide which chairs they liked the best.

The inclusion of a written element, a hands-on painting experience, and a verbal presentation gave the project balance. Students learned about painting, artistic expression, art history, and gained a sense of real accomplishment. In the end, the completed chairs functioned as a metaphor for a group of artists sitting together-all similar in structure, yet remarkably different in expression.

Conclusion:
Because I was curious about how difficult the project would be and what pitfalls it might entail, I couldn't resist picking an artist to work with myself. Paul Gauguin was my choice primarily because no one else picked him, but also because I wanted to see if I could duplicate his rich use of color. by participating myself, I soon realized that wrapping imagery around the form of a chair was not as difficult as I imagined. What proved challenging was trying to achieve color and unity in an object viewed from a distance. Gauguin worked on some fairly rough surfaces, which showed in the texture of the paint. Whereas, the chairs we used were smooth and a sense of texture was difficult to achieve. A rougher coat of gesso would have helped overcome this difficulty.

This project focuses on a problem that develops thinking skills and ability to work together cooperatively. these projects stressed the importance of artist/teacher participation. In this project, my personal involvement made it easier for me to dialogue authentically with students. Out of all my projects three required reflective writing and the others focused on cultural connections (Yumi Sculpture Garden), valued concepts (tower of Freedom), and art history (Famous Artist Chairs).

These projects forced students to work cooperatively to create a final product. Traditional artistic expression focuses on the individual. These projects encouraged students to think beyond traditional categories by working together to complete a work of art. Students learned that engaging more than one mind results in the creation of something far greater than what students had anticipated.

To the extent that technology and global business relationships continue to bring society closer together, our students need to understand the importance of establishing cooperative relationships. We can help students learn to work cooperatively by creating problem-solving experiences thad the acceptance of individual differences. t require group decision making an