PUBLIC ART, SYMBOLISM, AND COMMUNITY: LESSON INSPIRED BY JEKS & MARKA27

Inspired by Jeks and Marka27, in partnership with Lynn Public Schools

Public Art, Symbolism, and Community

A mural on a building shows an elderly woman smelling a pink rose, a bird perched nearby, with LYNN written on the left. Trees, buildings, and a person standing on the roof are in the background.

GRADE LEVEL:

11/12th Grade.

DURATION:

50-55 minutes, 1-2 classes

CONTENT & TOPICS:

Students will learn about mural artists Marka27 and JEKS and understand the symbolism they use. They will also explore the intentions of the murals.

STANDARD(S) ADDRESSED:

Perceive and analyze artistic work. Analyze the style of an artist, and how it manifests itself in a given artwork. (e.g., examine influences on the artist). (F.V.R.07)

Interpret intent and meaning in artistic work. Identify specific elements in a work that connect it to a specific genre or style. (F.V.R.08)

Synthesize and relate knowledge and personal experiences to make art. Describe what has influenced changes in one’s own artistic style and preferences in visual art. (F.V.Co.10)

Relate artistic ideas and works to societal, cultural and historical contexts to deepen understanding. Identify the connections between historical and cultural contexts and define stylistic elements of artistic movements (e.g., how the impact of World War II influenced the western art world and shifted focus from Europe to New York City). (F.V.Co.11)

ESSENTIAL QUESTION:

Why do people make public, community-facing art? How do artists use symbolism to communicate ideas?

LEARNING (CONTENT) OBJECTIVES:

*Students will be able to: interpret and analyze murals by Marka27 and JEKS.

*Students will be able to: reflect on the murals and make connections to their personal experiences.

LANGUAGE OBJECTIVES:

*Students will be able to: answer the do now and exit tickets through written responses.

*Students will be able to: verbally discuss the murals with their peers.

INSTRUCTIONAL ACTIVITIES:

  • Before lesson activity:

Do Now: Students answer the following questions on a piece of paper

  1. What murals have you noticed in Lynn? What do you think about them?
  2. What do you think “symbolism” is in art?
  • During lesson activity:

Students view two murals on the board, with printed copies provided at their tables. Prompted by questions on the board, students discuss the art with their table groups:

  1. What do you see in the mural?
  2. What do you think the symbols and imagery represent?
  3. [After discussing both murals] Compare and contrast the two murals. What do they have in common? What differences do you notice?
  4. What do you think the purpose of these murals are?
  • After lesson activity:

Exit ticket:

  1. How does public art impact the community? How do you feel when you see these and other murals around the city?
  2. What symbols would you use to represent yourself AND/OR your community?

MATERIALS:

Slideshow on smartboard

  • Printed copies of the art
  • Paper/pencils for do now/exit tickets

VOCABULARY:

  • Mural art
  • Public art
  • Symbolism
  • Imagery
  • Portraits
  • Color
  • Pattern
  • Shape
  • Contrast
  • Value (light/shadow/shading)
  • Movement
  • Realism

ASSESSMENT METHODS:

Purpose

To evaluate students’ ability to observe and analyze public murals, interpret symbolism and artistic intent using visual evidence, compare works by JEKS and Marka27, participate in collaborative discussion, and connect public art to community and personal experience.

Formative Assessments

  • Do Now: Written responses establish prior knowledge of Lynn murals and students’ initial understanding of symbolism.
  • Guided Mural Analysis: Teacher listens for specific observations, use of visual evidence, and accurate use of vocabulary during table-group discussions.
  • Compare / Contrast Discussion: Students identify similarities and differences in imagery, style, symbolism, color, and purpose across the two murals.
  • Teacher Conferencing: Teacher prompts students to support interpretations with details visible in the artwork and clarifies vocabulary as needed.

Summative Assessment / Reflection

  • Written Exit Ticket: Students explain how public art can affect a community and identify symbols they would use to represent themselves and/or their community.
  • Evidence of Understanding: Responses are evaluated for observation, interpretation of symbolism and intent, connection to community, and clarity of written communication.

Critical RESPONSE (MACF)

  • Printed mural reproductions and projected images support close looking.
  • Guided questions move students from observation (“What do you see?”) to interpretation (“What might it mean?”) and comparison.
  • The Do Now and exit ticket provide written opportunities to respond to public art and connect meaning to students’ own experiences.

Rubric (4-Point Scale)

Criteria 4 – Exceeds 3 – Meets 2 – Approaching 1 – Beginning
Observation & Visual Evidence Identifies specific, nuanced visual details and consistently uses them as evidence to support ideas about the murals. Identifies relevant visual details and uses evidence to support interpretations. Notices some details, but evidence is general, incomplete, or only loosely connected to interpretations. Provides minimal observation or does not use visual evidence.
Symbolism & Artistic Intent Offers thoughtful, well-supported interpretations of symbolism, imagery, and purpose in both murals. Clearly interprets major symbols, imagery, and artistic purpose with reasonable support. Interpretation is partly developed or overly general; symbolism or purpose needs clarification. Interpretation is missing, inaccurate, or unsupported.
Compare, Contrast & Context Makes insightful comparisons between the murals and clearly connects similarities and differences to style, message, or community context. Identifies meaningful similarities and differences and connects them to the artworks’ purposes. Identifies basic similarities or differences but provides limited explanation. Provides little or no comparison between the works.
Discussion & Academic Language Consistently contributes thoughtful ideas, listens respectfully, builds on peers’ comments, and uses visual-arts vocabulary precisely. Participates appropriately, listens to peers, and uses relevant vocabulary during discussion. Participation is limited or vocabulary use is inconsistent. Rarely participates, is off-task, or does not use appropriate discussion language.
Reflection & Community Connection Exit ticket makes a thoughtful, specific connection between public art, community impact, and personally meaningful symbols. Exit ticket clearly explains a community impact and identifies relevant personal/community symbols. Reflection is brief, vague, or only partly connects public art to community or personal experience. Reflection is missing, incomplete, or does not address the prompts.

Student differentiation:

  • Tier 1 instructional supports/MTSS:
    • Multiple modes of engagement are available to students (writing, speaking, listening)
    • Teacher models art analysis
  • SEI strategies: (MLE: multi-language learners: what are the sheltered English immersion strategies used? Ex: Sentence frames, language objectives (formative assessments for the vocabulary such as 7Steps to vocabulary learning
    • Instructions and prompts will be written on the board and spoken out loud
    • Student responses could be written before they are asked to discuss verbally
  • SEL strategies: (Social-emotional learning: as applicable but all learners can access social emotional processes in art class)
    • Teacher will observe and facilitate peer discussions to ensure productive collaboration; behavioral expectations are made clear
    • Students have choice of seating
  • IEP/504 accommodations (special populations), as applicable to the group of learners:
  • Extended time for the Do Now or exit ticket.
  • Sentence starters, word banks, or reduced writing expectations while maintaining the same analysis goals.
  • Option to respond orally or through teacher scribing when required by a student plan.
  • Preferential seating, enlarged/individual mural reproductions, and repeated clarification of prompts.
  • Advance preview of discussion questions and additional processing time before whole-group sharing.

ARTIST BIOGRAPHY:

“JEKS is a renowned graffiti artist and muralist based in Greensboro, North Carolina, whose vibrant and dynamic works adorn building facades and public spaces in cities across the world. He has made a name for himself globally with his hyper-realistic monochromatic portraits as well as full-color portraits that feature meticulous detail, symmetry, smooth gradients, saturation, and emotion. His artwork stands out for its unique blend of realism and surrealism.

JEKS has dedicated himself to mastering the aerosol medium and has developed a self-taught mastery that few artists possess. His devotion to his craft is evident in the quality and depth of his work. His pieces are highly sought after by collectors and art enthusiasts alike, and he has participated in numerous exhibitions and public art projects.

Through his art, JEKS seeks to inspire and uplift people, using his skills to create beautiful and thought-provoking works that capture the essence of the human experience. His contribution to the world of street art and graffiti is significant, and his impact is felt by all those who have had the pleasure of experiencing his work.” (https://www.instagram.com/p/DaAuk8xOeHo/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==)

EXTENSION:

  • Students create symbolic self-portraits inspired by the symbolism in the murals
  • Students create murals in groups of 2-4 inspired by the themes in the murals and the intentions of public art

REFLECTION/FEEDBACK

Please reflect on the lesson and give feedback when possible.

  • What would you change?
  • What worked well?

REFERENCES:

Braziel, J. E. (2024). Caribbean and Latinx street art in Miami. Taylor & Francis.
Daichendt, G. J. (2010). Artist teacher. https://doi.org/10.2307/j.ctv36xw1vs

Daichendt, G. J. (2019). Editorial. Visual Inquiry, 8(2), 101-102.

https://doi.org/10.1386/vi_8.2.101_2

(2026). Google Search. https://beyondwalls.org

Manco, T., Neelon, C., & Art, L. (2005). Graffiti Brasil.

Neelon, C. (2008). Caleb Neelon’s book of awesome.

Wiggins, G. P., & McTighe, J. (2005). Understanding by design. ASCD.

APPENDIX:

JEKS reference photo:

An elderly woman gently smells a pink rose as a small bird perches nearby. The text LYNN welcomes you appears in the top left corner on a gray border.

Marka27 Mural:

A mural on a black brick building shows a young person in colorful clothing, eyes closed, holding flowers with petals and geometric shapes floating around. Rainbow stripes accent the art. Four windows are integrated into the mural.

JEKS

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