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The Advanced Placement® (AP®) Program offers high school students the opportunity to take rigorous coursework in high school and receive college credit for AP Exam scores that meet or exceed the requirements of their attending institution. Students receiving AP credit are typically exempted from an introductory level course or series of courses and are typically able to take more advanced courses in the same subject area. In this study, the authors compare the subsequent course performance of AP Exam takers who placed out of an introductory college course to students who did not take the AP Exam and completed the introductory course at their respective institutions. Results indicate that AP Exam takers, on average, earn the same or statistically significant higher grades in subsequent courses within the same subject area than do students completing the equivalent introductory coursework at their institution. Results provide evidence that AP Exam scores are valid indicators for course credit and placement decisions.

What percent of Americans have been exposed to arts education? Has it changed over time? How do demographic characteristics correlate with arts education? What is the state of arts education in U.S. schools? These research questions are the focus of this report, which is presented in two parts. Using data from the Surveys of Public Participation in the Arts, part one describes trends in arts education among adults over time and examines demographic correlates of arts education. Part two provides an overview of arts education in schools today. This report was contracted by the National Endowment for the Arts (C02-94) to evaluate arts education using the 1982, 1992, and 2002 Surveys of Public Participation in the Arts. This document presents the results of that effort. The findings should prove useful to researchers, arts educators, policy makers, and citizens interested in the state of arts education in America, the relationship between arts education and arts participation, and the state of arts education in public schools. Appended are: (1) Data Used in Analysis; (2) Methodologies; (3) Logistic Regression Models and Results; and (4) SPPA Survey Questions. (Contains 59 tables, 5 figures, 44 footnotes, and a bibliography.)

Murals created by Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros embody a time of change in Mexico. The murals they created were intended to educate an illiterate population. Today these murals embody national pride. The goal of this curriculum project is rooted in learning about the history, culture, and art of Mexico. The project contains four parts: (1) art history; (2) art aesthetics; (3) art making; and (4) art critique. Art history includes discussion of the images seen in the murals, historical information, examination of how the culture is projected in the murals, and the statement each artist is making. Art aesthetics examines how the artists use the elements of art and principles of design. During the art-making phase, students create their own compositions that communicate stories, perspectives, or histories of their community or country. The art critique phase gives students the opportunity to revisit the works of Rivera, Orozco, and Siqueiros for review and write a statement about their own compositions. The lesson plan poses key questions; provides background notes; identifies standards; cites objectives; notes materials needed; outlines strategies; discusses assessment; provides questions for small group and large group discussion; offers an artist's statement; suggests follow-up activities; and lists additional resources and references. (BT)

This guide to Utah's requirements for students in secondary visual arts is organized and based upon a student achievement portfolio for each course. Foundation I, the required junior high/middle school visual arts course, is designed to provide an overview of visual arts while studying various art tools and materials. With an emphasis on studio production, the course is designed to develop higher-level thinking, art-related technology skills, art criticism, art history, and aesthetics. After the introductory section, the guide contains 12 other sections: (1) "3-D Design"; (2) "Printmaking"; (3) "Drawing"; (4) "Painting"; (5) "Jewelry"; (6) "Photography"; (7) "Foundations II"; (8) "Art History and Criticism"; (9) "Ceramics"; (10) "Sculpture"; (11) "Film Making"; and (12)"Commercial Art and Electronic Media." (BT)

While Henri Rousseau's work was not easily classified into any definitive artistic style of the time--impressionism, post-impressionism, fauvism, or cubism--it has been considered a forerunner of surrealism because of its dreamlike sensibility. This teaching guide provides information about Rousseau and his work, focusing on "Tropical Forest with Monkeys." The guide also discusses the key concepts in Rousseau's painting. It provides photographs of five of Rousseau's works and suggests activities for elementary school, middle school, and high school. (BT)

In this lesson, students create an African Art Museum. Student teams research the culture and art history of particular regions in Africa. They collect art images for the museum, studying aspects of each artwork's creation and its relation to the culture. Each team will give the class a guided tour of its wing of the museum. Teams consist of researchers, designers, recorders, and tour guides. Students are provided with background information, detailed instructions, online resources, and reflection questions. The teacher's notes describe the unit's purpose, explain the application of history/social science standards, and suggest teaching strategies. (BB)

This curriculum framework presents a philosophy of arts education, synthesizes current research, and sets learning standards for students from kindergarten through 12th grade in the Commonwealth of Massachusetts. The curriculum framework's core concept is that experience in the creative process is essential for all learners, and that, in the arts, this process involves solving problems with skill and imagination, discovering new questions, ideas, and objects, or interpretations of existing works. The framework sets the expectation that all students in Massachusetts public schools will become proficient in understanding the arts and communicating in at least one arts discipline by the time they graduate from high school. According to the framework, learning in, about, and through the arts develops each learner's capacity to make meaning from experience, respond to creativity, and contribute to society. The curriculum framework is divided into the following sections: (1) "Introduction"; (2) "The Core Concept"; (3) "Guiding Principles"; (4) "The Content of the Arts: Strands and Learning Standards"; (5) "The Arts Disciplines: Dance, Music, Theatre, and Visual Arts Strand"; (6) "The Arts in Context: History and Criticism Strand"; (7) "Connections Strand, Learning Standard and Examples"; (8) "References"; and (9) "Resources: Performing Arts Organizations, Museums, Bibliography." The arts framework is designed to be used in conjunction with other Massachusetts curriculum frameworks. Its content parallels that of the federally-funded national "Standards for the Arts: Dance, Music, Theatre, and Visual Arts," developed by the Consortium of National Arts Education Associations under the guidance of the National Committee for Standards in the Arts. (BT)

The Peale family could be termed the "first family" of U.S. art. The patriarch, Charles Willson Peale, was an accomplished painter, scientist, inventor, founder of museums and art societies; his dynasty included his nine children and his younger brother, James Peale. This teaching guide discusses their diverse contributions to U.S. art and describes James Peale's best-known painting, "Fruit Still Life with Chinese Export Basket." The guide provides illustrations of 12 Peale paintings (6 by Rembrandt Peale) and suggests activities for elementary school, middle school, and high school. (BT)

This teaching guide gives a brief overview of The Netherlands during Johannes Vermeer's career and describes and discusses his painting "The Girl in the Red Hat." The guide presents illustrations of four of Vermeer's paintings. It suggests activities for elementary school, middle school, and high school. (BT)

This teaching guide discusses ancient Egyptian culture, the lithographs made by Napoleon's scientists in 1798-99 to study and record every aspect of Egypt, the world's subsequent fascination with Egypt, ancient Egyptian architecture, Egyptian writing, and archeologists' illustrations of Egypt. The guide suggests activities for elementary school, middle school, and high school. (BT)

Mary Cassatt's paintings and graphics depict the world of 19th-century women, mothers, and children. Her exploration of intimate domestic life is informed by an unsurpassed ability to capture the natural, sometimes awkward poses of her figures and her refusal to "prettify" her subjects. This teaching guide gives an overview of Cassatt's life, art training, and travel in Europe. The guide provides information on the Impressionists and the historical and artistic context of a U.S. woman as a professional artist in the 19th century. It discusses Cassatt's approach to painting and describes one of her most famous paintings, "Little Girl in a Blue Armchair." The guide features illustrations of 15 of Mary Cassatt's paintings and graphics and suggests activities for elementary school, middle school, and high school. (BT)

Guidelines are offered for creating content-based, English-language instructional units for a first-year introductory art history course at an international college. The guidelines are meant to help Japanese students at a low level of English proficiency in a course being taught by a native-English-speaking professor. curriculum focused on development of knowledge about art history while fostering information processing, critical thinking, and meaningful communication skills. The first step is to determine objectives for both art history and language skill development, by identifying key content-area ideas and concepts and analyzing texts used in the discipline. Instructional materials are then sequenced, linking content assignments closely to language exercises. Activities are also designed to balance an academic focus with affective objectives, including responsiveness to art and self-expression. Activities found to engage and maintain student interest include jigsaws, paired dictation, paired questions, and role-playing. Repeating activities in different units, structuring assignments to focus student attention, linking abstract to concrete with visual aids, incorporating multiple media, linking curriculum to current events, encouraging students to contribute personal knowledge to the curriculum, allowing student needs and interests to surface, and constant monitoring of student progress are also found to be effective techniques. (MSE)

This teaching guide discusses Edgar Germain Hilaire Degas (1834-1917), his paintings, and his sculpture. The guide focuses on his paintings of daily activities at the horse racetrack in Paris (France). The unit has a concise biography of Degas. It is divided into two parts: Part 1: "Paintings and Drawings" (Kimberly Jones); and Part 2: "Sculpture" (Shelley Sturman). Part 1 shows pictures of 10 Degas paintings and discusses the circumstances of their production. Part 2 uses the same strategy for nine Degas sculptures. The guide provides classroom activities for visual arts, advertising, journalism, and the depiction of French life during the time that Degas painted and sculpted. (BT)

The Edo period in Japan (1615-1868) saw the flowering of many forms of cultural expression, colorful and boisterous, muted and restrained, that today is thought of as typically Japanese. These include kabuki and no drama, the tea ceremony, martial arts, woodblock prints, and porcelain. This culturally diverse and vibrant period gets its name from the city of Edo, now known as Tokyo. This teaching guide to the art of "Edo" first presents a historical overview of the period. The guide is then divided into 11 sections: (1) "Edo Style"; (2) "Samurai"; (3) "Work"; (4) "Religion"; (5) "Travel"; (6) "Entertainment"; (7) "Glossary"; (8) "Chronology"; (9) "Activities"; (10) "Further Reading"; and (11) "Slide List." It includes many color illustrations. Activities are designed for beginner, intermediate, or advanced learners; curriculum connections are suggested for art, language arts, mathematics, or social studies. (BT)

This document consists of a two-page outline and seventeen photographs of Romanian art objects. This unit focuses on advancing the high school student from the art of Western Europe to the art of Eastern Europe. The curriculum projects are geared for the 11th and 12th grade student. Students begin with a study of Rodin and progress toward that of Eastern European artists. Students explore primarily sculpture and self-portraits in clay. The second part examines the works of Constantin Brancusi and Margit Pogany of Romania. The final section examines Bulgaria during transition and the way the changes are reflected in contemporary art works of Boyan Gospodinov Dobrev. Students complete two acrylic paintings incorporating the past with the contemporary world. (EH)

Early European and Euro-American artists documented the land, people, flora, and fauna of western North America. These artists gave Europeans and eastern Americans their first glimpse of the west. Because artists were important to the early explorers and topographers of the west, this document advocates study of western art and artists as an integrated part of studying the history of the North American west. The document presents a brief survey of important western artists from 1778 to 1975. Information is given regarding World Wide Web sites that allow visual access to western art collections. Contains a 44-item reading list. (MM)

This guide is intended to aid local elementary and middle schools in Idaho as they improve and expand art instruction for their students. This model is built around discipline-based art education and allows students to experience art aesthetics, art history, art criticism, and art production. This is a sample and is not considered to be comprehensive for all grade levels and in all areas. The guide includes scope and sequence of instruction and a core of art lessons. The sample lessons suggested in the guide provide a model to assist teachers in developing additional lessons for each of the art elements. Goals and objectives are provided for each grade level. Each lesson contains sample questions to guide the students in the evaluation of their own work and the works of others in relation to the objectives of the lesson. (Contains a glossary of art terms and a list of numerous and varied art resources for both teachers and students.) (EH)

This publication is a performance guide containing several brief articles for students to use before and after attending an Arts Exposure Program given by the Dance Theatre of Harlem (DTH). The first article, "Dancing," traces the origins and history of dance itself, and in particular, ballet. The second article, "Arthur Mitchell and Dance Theatre of Harlem," describes Mitchell's early education and achievement in ballet under George Balanchine at the New York City Ballet, and his work founding and building DTH. This article includes a description of DTH's dance mission as a neoclassical company. The next article, "Bones and Muscles," reviews human anatomy and dancer training. "Technique and Training" describes the training ballet dancers undergo and introduces many ballet terms."Basic Movements" illustrates the basic steps and positions with description and diagrams. "Making Dances" discusses choreography and dance recording. The final page, "Looking and Listening," suggests ways to make the most of viewing the performance. The publication is illustrated with several photographs of DTH dancers and at several points offers suggestions for further reading or viewing (videotapes). (JB)

This paper highlights how introductory textbooks on Egyptian art inhibit understanding by reinforcing student preconceptions, and demonstrates another approach to discussing space with a classroom exercise and software. The alternative approach, an active model for spatial representation, introduced here was developed by adapting classroom approaches to multimedia computer applications, and differs from textbook approaches in the following ways: (1) establishes connections between students' patterns of thought and those of Egyptian artists, rather than concentrating on comparisons which reinforce differences; (2) invites student participation in other methods of thinking; and (3) concludes with a comparison that reveals the limitations of a traditional approach. The classroom exercise involves an eye and hand exercise, and the interactive multimedia software, "Thinking Egyptian," which uses animation, interactive responses, and problem solving approaches to involve the user in the visual logic of Egyptian art. To help students stretch beyond the comfortable visual assumptions of a lifetime, instructors are encouraged to develop active methods for involving students in different approaches to visual thinking. The classroom exercise and software present methods for expanding visual thinking and helping students recognize the logic and limitations of both the familiar and the foreign. Twelve figures offer examples of Egyptian art and provide reproductions of screens of the "Thinking Egyptian" software. (Contains nine references.) (MAS)

This book presents art appreciation lessons to encourage students to see works of art in two ways, as objects that are interesting in themselves and as objects that spark further exploration. Organized with an introduction and 4 sections subdivided into 8 lessons, each lesson, based on an artwork from the Smithsonian Institution's collection, develops logically out of those works that preceded it. However, lessons also stand alone. A fold-out image is provided for every lesson. Each lesson begins with a close look at the aesthetic qualities of the presented art exemplar and gleans visual clues from this image. Further lesson suggestions include role playing, skits, and discussions or debates of social studies topics. Art production activities are given. Sections and lessons presented include "Section I: What's It All About?" with an accompanying lesson based on the image "Double Portrait of the Artist in Time" (Helen Lundeberg). "Section II: Extending the Frame" offers lessons on images using "First Row Orchestra" (Edward Hopper) and "Modern Painting with Clef" (Roy Lichtenstein). "Section III: "Two Women Who Shaped History" has lessons related to the images of "Rosa Parks" (Marshall D. Rumbaugh) and "Frances Perkins" (William Henry Cotton). Lessons in "Section IV: Objects Honoring Three Men" examine "Painting No. 47, Berlin" (Marsden Hartley); "Ritual Food Serving Vessel (Jing Gui)" (Unknown Chinese Bronze Workers); and "Male Beaded Figure" (Bamum Peoples of Cameroon). The document concludes with acknowledgments and a list of sources. (MM)

In addition to a historic overview of papermaking, this book explains the painstaking process of papermaking and details the results of actually making paper from samples of grass gathered from Arizona to Minnesota, and Maine to California, including 11 states and climates. The book describes how to teach papermaking and offers a list of equipment suppliers as resources for help getting started. A study of the effects of rainfall and altitude on the grasses used in making paper was conducted. The handmade paper shown in this book is only an example of what can be accomplished. Since there are so many different varieties of grass, this project has only scratched the surface of the potential for decorative paper made from grasses. The book is divided into the following sections: (1) "The Beginning of Papermaking"; (2) "Renaissance of Hand Papermaking"; (3) "Chemistry of Hand Papermaking"; (4) "A Little Bit about Grasses"; (5) "Papermaking from Grasses"; (6) "Papermaking Results"; and (7) "Teaching Hand Papermaking." (Contains 25 resources and 13 relevant Web sites.) (BT)

This lesson resource focuses on simple elements of design and composition and encourages uses of a variety of drawing techniques in the production of a one-color lithograph print. Materials suggested for use are simple and commercially available. The lesson incorporates a brief historic overview of the printmaking art. The prints of famous artists are to be used as inspiration and motivation for personal expression. This plan includes: lesson goals and objectives; background preparation; a glossary of terms; a list of supplies; optional supplies; and instructions for implementation of two lessons. Additional suggestions provide technical and cleanup tips. Follow-up ideas are given for lesson extension. (MM)

This book is a compilation of year-long thematic curriculum units developed and taught by teachers participating in the third Indiana University Artistically Talented Program (ATP). Units for artistically gifted and talented students, grade 4-12, are developed along guidelines which require that they: focus on complex ideas; use themes as organizers; include a variety of concepts not found in the regular classroom; incorporate resources including the study of the lives of creative people and how they solve problems; and employ methodologies used by professionals in the fields of art history, art criticism, aesthetics, sociology, anthropology, and psychology. Processes, products, and learning environments are differentiated to accommodate needs of the artistically gifted student. Two to five units are developed for each of the general themes. Each unit includes suggestions for activities, procedures, evaluation, and resources. The theme "Art and Environments" units are: (1) "Boxes: Private/Public Spaces" (Ursula Andrews); (2) "From Prehistoric Ritual to Present: A Hermeneutics of Prehistoric Symbology and Our Bodies, Our Environment, Our Traditions, and the Process of 'Ritualizing'" (Fonda Mullins); and (3) "Symbols in Sand" (Charlotte Paul). Units in "Arts and Multicultures" are: (4) "The Human Figure as Expressive Symbolic Form" (Janneth Amos); (5) "Passageways Linking Discoveries: Cultural Ties in the Americas, Inca Indians, Pueblo, Zuni, Navajo, and Mound Builders" (Ann Fetters); (6) "Native American Culture, Art, and Design" (Leah Morgan); and (7)"Understanding Different Cultures Through Their Pottery" (Donald Turner). "Metamorphosis in Art" presents the following units: (8) "Art from Earth" (Karen Chilman); (9) "A Metamorphosis of the Portrait" (Robin Johnson); and (10) "Metamorphosis: Changes in Growth" (Bridgette Savage). The "Social and Political Issues" section contains: (11) "The Power of the Artist" (Joyce Behnke); (12) "Questions About Public Art" (Diana Cole); and (13) "Communication, Ecology, and Social Influences" (Charlotte Schrock). The "Animals and Art" section contains: (14) "Folktales and Fables to See and Hear" (Daron Henry); (15) "Animals in Art" (C. Jane McCauley); and (16) "Birds in Flight" (Jeannette Meridew). The book concludes with two units of "Interrelated Arts": (17) "A Visual Interpretation of Music Through Study of the Violin" (Ania Beczkievicz; and (18) "Technological Influences in Art" (Raetta Patterson). (MM)

This teaching guide introduces students to early 20th century European and American art. Through critically viewing and discussing art images and participating in related activities, students are encouraged to explore the historical and cultural context within which the art was created. This guide includes background information and an overview essay about major art trends, including: Nonrepresentational Art; Fauvism; German Expressionism; Cubism; Futurism; Dada; Surrealism; and Social Realism. A description and artist's information regarding 20 slides is followed by discussion questions and lesson activities that explore general issues as well as: "Elements and Principles of Design"; "Expressive Use of Color and Form"; "Abstraction"; "Dreams and Fantasy"; "Art and the Machine Age"; and "Art and Social Issues." The lessons may be presented nonsequentially. Black and white reproductions of the slides are included in the text. Endnotes and a 5-item bibliography conclude the guide. (MM)

This lesson in multi-color printing utilizes a simple, commercially available printmaking technique. The lesson incorporates art history, aesthetics, criticism, and personal expression in reinterpreting the technique of a famous artist or artistic style. The plan includes lesson goals and objectives; background preparation; a glossary of terms; a list of supplies; optional supplies; needed equipment; and instructions for lesson implementation. Additional suggestions and follow-up ideas are given for lesson extension. (MM)

Written by teachers from the United States and Canada, these lesson plans focus on integrating the teaching of history and art history. Seventeen lesson plans cover the topics of (1) Slavery, Henry Ossawa Tanner, and His Family--Grades: Elementary; (2) Chinese Landscape Painting--Grades: Elementary; (3) Regionalism: American Art of the Great Depression--Grade: 3; (4) The American West: Real and Ideal--Grade: 3; (5) The Art of Navajo Weaving--Grades: Intermediate; (6) Making Paint and Prehistoric Painting--Grade: 5: (7) Survey of African-American Art--Grade: 5; (8) Edgar Degas: Images of Working Women--Grade 5; (9) Kuba Ndop Statues from Central Africa--Grades: Intermediate; (10) Greek Art and Culture--Grades: Middle or High School; (11) El Dia de los Meurtos (The Day of the Dead)--Grades: 7 to 10; (12) The Sun and Art in History--Grades: Adaptable, Grade 3 to 12; (13) Jacques-Louis David and the Evolving Politics of 18th Century France--Grades: High School; (14) Beyond High School History Textbooks: Examining Visual and Verbal Interpretations about Christopher Columbus--Grades: High School; (15) Art and the Protestant Reformation--Grades: High School; (16) Art Around Here: Avenues of Acquaintance--Grades: High School; and (17) The American West: Image and Reality--Grades: High School. Each lesson features a preview of main points, curriculum connections, objectives, opening the lesson, developing the lesson, concluding the lesson, evaluation, key artworks, a bibliography, and, when appropriate, a narrative. (DB)

This teaching packet, designed for students in grades 6 through 9, explores the role of rulers in ancient Mesopotamian society and examines the depiction of those rulers in Mesopotamian art. Students are encouraged to compare present-day political leaders with ancient Mesopotamian rulers. The guide includes: (1) background information for teachers; (2) introductory activities for students; (3) descriptions and discussions for each of six "Slides" included with the packet; (4) follow-up activities for students; (5) an annotated bibliography; (6) a glossary; and (7) a chronology of Mesopotamian dynasties. (MM)

Instructional goals and sample instructional objectives for art education in West Virginia's public schools are outlined. A comprehensive arts education program is basic to the general education of every child. Two guiding principles directed the programs' design. First, each student should have opportunities to acquire skills in the four disciplines of art education: art production, art history, aesthetics, and art criticism. Second, an art education program should provide a sequential series of required and elective offerings to enable students to develop perception, production skills, appreciation, critical thinking skills, imagination, and personal identity. Instructional goals are provided for three sequential programmatic levels, early childhood K-4, middle childhood 5-8, and adolescent education 9-12. These goals consider the learner, the subject, and the sequence of objectives as the most important elements of the instructional process. Recommended instructional objectives, based on the instructional goals, are provided for grades K-12 in the major areas of study within the art program: general art, studio art, and art history. At the adolescent level, studio art objectives are listed for the study of architecture, calligraphy, ceramics, computer art, crafts, drawing, fiber art, jewelry, painting, photography, printmaking, sculpture, and stained glass work. A visual arts glossary is provided. (KM)

This document is the secondary level visual arts component of the North Dakota Arts Curriculum Project. After a presentation of the philosophy, goals, and objectives for the visual arts program, the guide is organized into four sections. The first section, "Visual Arts Program Components," presents an overview of educational considerations, the criteria for a balanced program, and the required content areas: aesthetics, art criticism, art history, and art production. Explanations of these four content areas and other basic art knowledge information are provided. The second section, "Areas of Study," presents the selected subject areas to be covered: drawing, painting, ceramics, sculpture, printmaking, and art history/appreciation. Each subject area presented includes information regarding: (1) definition; (2) performance; (3) objective; (4) suggested media/material; (5) techniques and methods; (6) subjects of study; (7) suggested strategies; (8) terminology; (9) sample lesson plans; (10) learner outcomes, and (11) bibliography. The sample lesson plans include: performance objectives; time allotment; materials; procedure; assessment; exploration; and artists/art appreciation applications. The learner outcomes give expected results for both junior high and senior high students. The third section, "Curricular Concerns," includes curricular related information on: evaluation; students with special needs; careers in art; safety in the art studio-classroom; and management considerations. The guide concludes with a fourth section, "Resources," that lists materials, resources, and organizations necessary or helpful for implementation of this art program. (MM)

The eight units in this volume are designed for use by an art teacher/specialist. Thematic ideas are presented, while skills, techniques, and materials are not dictated. The lessons encourage students to compare and contrast cultures, understand their own cultural experiences, and explore differences and commonalities among cultures. The materials guide students to make art works based on contemporary experiences rather than imitative art of another culture. The eight units are structured to include: (1) "Student Notes," which give a broad view of the arts of the region under study; (2) "Questions Related to Student Notes," which serve as models for teacher developed question sheets, examination or assignments; (3) "Vocabulary"; (4) suggested "Slides and Visuals"; and (5)"Projects" relating student art to art of other regions and to their own lives. Unit 1, Introduction, addresses aesthetic questions concerning the definition and nature of art. Unit 2, Africa, includes student notes on "The Mask and Sculpture Traditions of Africa," and "The Influence of African Art on Western Art." Lesson plans cover topics: "The Relief Sculptures of the Benin"; "Clothes Inspired by African Designs"; "African Rulers, Kingdoms and Empires of the Past"; and "Candelabras and the Kwanzaa Celebration." Unit 3, Egypt, gives student notes on "Ancient Egyptian Art," and lesson plans for: "Egyptian Self-Portrait" and "Poetry-Illustrations-Egypt." Unit 4, the Middle East, includes notes on the "Development of Islamic Architecture in the Middle East," and "Middle Eastern Architecture." Lesson plans are: "Illustrating 'The Arabian Nights'"; "Geometric Patterns in Islamic Art"; and "Dream Palace--Islamic Architecture." Unit 5, Latin America, gives notes on "Pre-Columbian Art and Civilizations in Mexico, Central and Southern America" and "Modern Art." Lesson plans are: "Creating a Personal Visual Diary" and "Art as Political Comment (Political Cartoons)." Unit 6, India, gives notes on "India"; "Hinduism"; and "Buddhism." Lesson plans are: "Puppets--The Ramayana" and "Symbolic Sculpture." Unit 7, China, presents notes on "The Arts of China." Lesson plans are: "Sayings and Proverbs"; "Circular Visual Diary"; and "Good Luck Symbolism." Unit 8, Japan, discusses "The Arts of Japan," and offers lesson plans: "Environmental Issues and the Haiku"; "Surrealism and Japanese Music", and "Illustrations Inspired by the Tanabata Folk Tale." Each unit includes several black and white illustrations. The work concludes with a 92-item bibliography and information about ordering Global Art Slide Sets. (MM)

The focus of this teacher's packet is the bronze vessels made for the kings and great families of the early Chinese dynasties between 1700 B.C. and 200 A.D. The materials in the guide are intended for use by teachers and students visiting the exhibition, "The Arts of China," at the Arthur M. Sackler Gallery of the Smithsonian Institution in Washington, D.C. The packet, however, is also designed to be used independent of the exhibition and by those not visiting the museum. Using ancient Chinese bronzes as examples, these materials address the relationship between art history and archeology, and two major themes: objects as historical documents and artistic choices. The packet contains the following sections: map, background information for teachers, pre-visit activities for students, looking at slides, gallery activities, post-visit activities, selected bibliography, selected films and videos, glossary and pronunciation guide, and chronology. (DB)

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme. (1) "Art Touches the People in Our Lives" is a unit for primary level students that introduces children to basic concepts, and to selected elements and principles of art. They study ways artists use principles to express mood and meaning, learn about artists who have chosen emotional themes for their work, and express their own thoughts and feelings as they create artworks. (2) "Spaces and Places" is an elementary unit on architecture that shows how a topic might be articulated from one grade level to another. (3) "Many Ways of Seeing" is written for middle school students and investigates the concept of originality, the interpretation of visual language, symbolism, and the categories of fine art and folk art. (4) "Celebration!," also a middle school unit, investigates how different cultures use art for common purposes. (5) "The Word as Image: Symbol to Gesture" investigates relationships between words and visual images in paintings and graphic arts, and leads to an understanding of contemporary abstract and non-objective painting. (6) "Art Exploration--A Global Approach" is a general education, high school unit, that gives balanced consideration to content from each of the four art disciplines. The unit presents a study of ceramics, painting, and sculpture, which incorporates art exemplars from many times, places, and cultures. (7) "The Artistic Heritage of Clay: Survival and Revival of Traditions" demonstrates how an elective high school studio course can focus on the art production discipline with enrichment from the other three art disciplines. (8) The final unit, "Experiencing Original Works of Art in a Museum," provides a model for engaging students in response to original works of art. (MM)

This publication includes descriptions of arts programs, units of study, lesson plans, and course outlines submitted by Illinois arts teachers who answered the invitation to document their successful approaches to art edication. This compilation was not designed to be prescriptive, but to be representative of activities in Illinois. The articles are organized by categories: elementary--"Tempera Batik a la Rousseau" (Louise Hage); junior high/middle school--"Linear Perspective in the Renaissance" (Marie Samuel) and "Greek Vases: Form and Decoration" (Marie Samuel); secondary, including--"Art To Go" (Margaret K. Zielinski-Spinner); and higher education, including--"Aesthetics without Tears" (Suzanne Cohan-Lange). The material authored by K-12 teachers describes how the art program works at their schools and some elements of what goes on in their classrooms. The articles written by higher education teachers feature suggestions for classroom teachers and descriptions of what is taught to prospective art educators. (DB)

This publication defines and outlines the state of Oregon's common curriculum goals for art education, an area of study that addresses the components of art production, art heritage, aesthetics, and art criticism. An overall goal for each one of these four strands is established, and content specific knowledge and skills that students should possess by the time they complete a particular grade level are enumerated. A fifth strand addresses those essential learning skills viewed as necessary to a student's success in learning about art and not specifically addressed in the previous four strands. This fifth strand focuses on goals in communication skills. An evaluation form concludes the document. (DB)

For the 1990s and beyond, backgrounds, experiences, needs of all people, along with the appropriate context will provide significant bases for transforming the curriculum. This paper contends that the paradigm for art in the elementary schools must include the interplay of this context with a commitment to "re-viewing" the foundations for and contemporary developments in the four constituent disciplines of art making, art history, art criticism, and aesthetics. These four components of discipline-based art education (DBAE) will lead to more effective elementary-classroom teaching if students learn how to study and create art forms to be valued, in much the same way they should have value themselves for their independent form, for their membership in one of many histories of similar forms, and for their contribution to the multicultural intellectual history of a given period. Elementary teachers should enable students to establish the behavior and to develop the perceptual skills for learning to see visually and culturally. A 38-item bibliography is included. (Author/DB)

Henri Matisse (1869-1954) is recognized as one of the great artists of the twentieth century. The paintings and drawings that he executed in Morocco in 1912 and 1913 reveal a pivotal stage in the artist's career. His Moroccan paintings have been compared to an interior journey taking place side by side with the outer one. This packet includes background information on Matisse's life and travels; eight slide images that also are reproduced in black and white in the guide; descriptions of the exemplars and suggested student activities; selected references; and an abbreviated guide to Morocco with a brief glossary of Islamic and Moroccan terms. (MM)

The resources of this packet provide an overview of the career of Kazimir Malevich, (1878-1935), a Russian painter from Kiev (Ukraine) and a leader in geometric abstraction who developed a style called "Suprematism." Influences on and innovations of Malevich's art are examined, and his art is related to the historical and cultural context in Russia during the early decades of the 20th century. The guide accompanies 20 colored slides that are reproduced as black and white in the text. Contextual information, discussion questions and student activities are given for each slide reproduction. The guide concludes with a time line, time line discussion questions and activities, and a bibliography. A second booklet provides extensive information on the life and times of Malevich, gives excepts from historic writings about the artist, and includes an annotated chronology of his life, a description of "Malevich's Teaching Charts," and suggested readings. Six study prints are given. (MM)

Provides background information on the life and career of Nancy Graves focuses on her use of materials for her sculptures. Includes a list of learning activities and a reproduction of her artwork "Cantileve." Offers a discussion about the sculpture. (CMK)

Discusses how homage has been the subject of works of art throughout history. Provides examples of artists who used homage as inspiration for artworks, such as Raoul Dufy's "Homage to Mozart," Herbert Ferber's "Homage to Piranesi, I," and Jose de Rivera's "Homage to the World of Minkowski." (CMK)

Focuses on works of art that are serpentine, which means the artist either depicts snakes or use snake-like designs. Explains that the four examples given are to motivate students to search for more examples. Discusses different ways to help students learn about serpentine designs by observing real snakes. (CMK)

Provides background information on Arnold Newman focusing on his photograph of Theodor Seuss Geisel (Dr. Seuss) that was selected for its facial expression. Includes activities and a reproduction of the photograph. Offers information about the photograph. (CMK)

Discusses the role of the square in art and explains that students can study modern art. Includes background information and artwork by four artists: (1) Richard Anuszkiewicz; (2) Victor Vasarely; (3) Frank Stella; and (4) Bridget Riley. (CMK)

Provides background information on constructivism. Focuses on Alexander Calder and includes teaching activities. Offers a reproduction of Alexander Calder's work "Flamingo," information on Calder's life and career as an artist, and details of the featured sculpture. (CMK)

Provides background information on the art movement called "Minimalism" discussing why it started and its characteristics. Includes learning activities and information on the artist, Donald Judd. Includes a reproduction of one of his art works and discusses its content. (CMK)

Discusses art work that uses exotic decoration, and the problems with viewing examples of these types of art work due to the types of materials used. Offers examples of exotic decoration to help students create their own works of art. (CMK)

Presents background information on the Dutch artist, Frans Hals, focusing on his life and work. Includes classroom activities based on Hals works, such as a reproduction of his work, "Malle Babbe." Provides a discussion on the content of this painting and the techniques used. (CMK)

Focuses on the art movement, called Regionalism, discussing the painters involved and describing the characteristics of the art movement. Provides a set of learning activities and background information on John Steuart Curry. Includes a discussion of Curry's painting, "Tornado Over Kansas," and a reproduction of the painting. (CMK)

Provides information on the art movement, Abstract Expressionism, and includes learning activities. Focuses on the artist Jackson Pollock, offering a reproduction of his artwork, "Convergence: Number 10." Includes background information on the life and career of Pollock and a description of the included artwork. (CMK)

Discusses various art movements that include examples of artworks with movement, such as Romantic, Classic, Rococo, and Art Nouveau. Addresses ways in which students can learn to incorporate movement into their own works of art. Includes examples of artists who included movement into their artworks. (CMK)

Presents an instructional resource on Haitian art and provides historical information on Haiti. Features four artists: (1) Hector Hyppolite; (2) Edouard Duval-Carrie; (3) Paul Claude Gardere; and (4) Bien-Aime Sylvain. Includes background information on each artist, learning activities, and reproductions of their artwork. (CMK)