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Archive for the ‘Teaching with ARTstor’ Category

AP Annual Conference
July 26-30, 2017
Washington, DC

Dana Howard, Artstor’s Senior Education & Outreach Manager for Secondary Schools, will be leading two sessions alongside fellow experts:

Enhancing Common Skill Sets among Studio and Art History Students
Saturday, July 29th, 10:15–11:30 AM

Dr. Virginia Spivey, Adjunct Professor of Art History, Theory & Criticism at the Maryland Institute College of Art, and Artstor’s Dana Howard will show how art history and studio art instructors can benefit from a process of critique that brings the two practices into focus. In this session, participants will practice using critique as a method of art historical instruction and learn to design frameworks that show art history as an evolving body of knowledge rooted in European tradition and now understood in a global context.

Making Time to Teach: Curate and Organize Content for AP Art History
Saturday, July 29th, 2:30–3:45 PM

Rebecca A. Stone-Danahy, Upper School Visual Arts Educator at Ashley Hall, joins Artstor’s Dana Howard to discuss and demonstrate the process of curating research, images, websites, and resources for instructional use. Participants will learn how to use a variety of organizational tools in Google, Evernote, and Artstor to gather and store teaching content with tips on how to use with any LMS platform.

Learn more at the AP Conference website.

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In our previous post I introduced our new Principles and Elements of Design resource (which you can find in Teaching Resources under Studio Art) and spoke about the elements of design; in this post, we look at the principles.

As with the series of Elements of Design image groups, each of these includes an explanatory essay with helpful links to further reading. It bears repeating here that my approach is but one of many; since an image group can be copied and then altered as needed, we thought it might serve as a valuable starting point for studio teachers.  

Once students can identify the elements of design, the next step is articulating how those elements support different principles of design. Seeing an element and being able to say how it functions in a composition requires an understanding of the principles of design. (more…)

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One of the most daunting challenges I faced teaching in a high school art program was developing a common language to articulate the principles and elements of design. Helping students hone those communication skills made critique easier but took a lot of time up front. When our faculty began to use the same terminology across the curriculum, students developed a comfort level with those terms and began using them more naturally in discussing their own work and the projects of their peers and heroes from the art world.

Long before I knew I was going to be building resources for teachers in Artstor, I was gathering images to help my own students “see and say” what they noticed in a work of art. My goal was to get them to articulate what principles were in effect and what elements supported those principles. After about ten years, I had a pretty robust image group to use for each. When I came to Artstor, I was determined to make ten functional groups of fewer than 24 images that other teachers could use to highlight specific elements or principles. I added favorites that colleagues suggested and included term definitions. Now, with Artstor’s alliance with JSTOR, I can also include further reading about teaching Art and Design. These groups can be found in Teaching Resources under Studio Art. My approach is but one of many; since an image group can be copied and then altered as needed, we thought it might serve as a valuable starting point for studio teachers.   (more…)

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Sample lesson plansHearing the call from Artstor teachers for sample lesson plans, we revisited some favorite lessons from our teaching days and borrowed from JSTOR Daily and the Philadelphia Museum of Art’s School and Teacher Program. The results, covering a variety of subject areas and grade levels, can be found in Artstor’s Teaching Resources.

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Reliquary of Sainte-Foy, ca. 1000

Reliquary of Sainte-Foy, from Conques, ca. 1000, with gothic additions. Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y., artres.com

Join Heather Madar, Chief AP® Art History Reader and specialist in the Art History of the Northern Renaissance, and Artstor in a conversation  about best practices in the teaching of AP® Art History.

This year brought us a completely new exam, the first produced in accordance with the revised AP® Art History Curriculum Framework, and Heather will be looking at how students have performed, with a focus on understanding the nature of the exam, its relationship to the curriculum framework, and the scoring methodology used. The session will conclude with audience questions and the opportunity for informal discussion.

This free webinar is scheduled for Wednesday, October 26 at 6 PM EDT. Sign up now!

Advanced Placement® and AP® are trademarks registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this website.

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Home   K 12 Artstor Student Guide   LibGuides at Artstor

After a laborious summer, we’re thrilled to announce our new K-12 LibGuides! These guides will help students, faculty, and school librarians get started–or become experts–using the Artstor Digital Library. Find them side by side with the higher education LibGuides at artstor.libguides.com. As with all our guides, we encourage you to reuse them!

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We are introducing a new resource featuring more than 75 images on the topic of biomimicry. Find it in the Artstor Digital Library’s Teaching Resources area: Teaching Resources > Case Studies > STEM to STEAM > Stem to Steam: The Anatomy of Design

 

Title: Flying Man, Model of Leonardo's Invention; Image ID: SCAL

After Leonardo da Vinci; original design: c. 1488; Museo nazionale della scienza e della tecnica “Leonardo da Vinci”. Image and original data provided by (c) 2006, SCALA, Florence/ART RESOURCE, N.Y.; artres.com; scalarchives.com

Throughout history we have looked to nature to define and devise systems of design. Leonardo’s Vitruvian Man embodies the dominance of the concept of anthropomorphic balance during the Renaissance. The perfect proportions of man are contained within the ideal geometric shapes of the square and the circle, as if the artist had given graphic proof to the metaphysical declaration of the Greek philosopher Protagoras: man is the measure of all things. Consider our units of measurement, such as the foot and the cubit (from the Latin for forearm) established by the ancients, the braccio (Italian for arm), the pouce (French for thumb, meaning inch), whereby mathematical ratios in architecture were based on the proportions of the human figure.

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