Archive for the ‘Teaching with ARTstor’ Category

By Joseph Costello, Medical Librarian, Western Michigan University Homer Stryker M.D. School of Medicine

Head of Laocoon, c. 100. Foto Reali Archive, National Gallery of Art, Department of Image Collections.

Head of Laocoon, c. 100. Foto Reali Archive, National Gallery of Art, Department of Image Collections.

Prompt: Imagine the human expression of anguish. An amalgamation of stories, artwork, and social interactions blend together and you have your general concept of the human expression: anguish. The concept of anguish is correct to you since it is, after all, your portrayal; the anguish concept is a component in the overall conceptual framework you have constructed to assess emotional expressions. How accurate are you? In other words, how accurate are your visual detection skills of anguish or other emotions, how generalizable?

Accurate interpretation of facial expressions—the aggregate of minute facial movements we make, i.e. micro expressions—is believed to be associated with increased emotional intelligence. Researchers have shown that facial expressions can be generalized and successfully be a part of empathy training. Similarly, modern medicine generalizes the human body to find the distribution of values which in turn help generate a normal range.


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square_logo (2)Join us to discover how community colleges around the country are using image-based learning with the Artstor Digital Library to support and enliven a wide variety of classes, develop important Visual Literacy skills, and to build projects that encourage deeper engagement from students.This webinar will also feature an overview of the interdisciplinary teaching resources that Artstor has created to make lesson planning and assignments easier.

The session will run for 30 minutes and questions are welcomed during and after the presentation.


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Wangechi Mutu, A Little Thought for All Ya'll Who're Thinking of Beating Around the Bush

Wangechi Mutu, A Little Thought for All Ya’ll Who’re Thinking of Beating Around the Bush, 2004. Contact: Alexandra Giniger, Studio Manager, Wangechi Mutu Studio ali@wangechimutu.com

Next week we will offer Teaching Global Contemporary Art in AP® Art History, the second in our series of occasional webinars on works of art and architecture in the AP® Art History curriculum. To help us navigate this topic, we have enlisted art historian Dr. Virginia Spivey as our guest presenter. Dr. Spivey specializes in the art of the late-20th and 21st centuries and the scholarship of teaching and learning in art history (you can read about her many achievements below).

Global Contemporary Art is represented in the curriculum framework by 27 works of art; after polling a group of AP® Art History teachers, Dr. Spivey has settled on the work of five artists: Emily Kame Kngwarreye, Mariko Mori, Wangechi Mutu, Xu Bing, and Bill Viola.

Please join us Monday, April 4th at 7PM EST for a lively discussion on these contemporary artists and the art and ideas that influence them. Register here.

— Dana Howard, Senior K-12 Relationship Manager

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For more than 19 years, Dr. Virginia Spivey has taught in museum and academic settings, where she has received two university teaching awards and multiple nominations. Since 2009, she has worked independently, providing expert content and developing curricular resources for clients including Pearson-Prentice Hall and Smarthistory at the Khan Academy while teaching part time at Georgetown, the George Washington University, and the Maryland Institute College of Art. Dr. Spivey recently revised the chapter on “Art since 1950” as a contributing author to Stokstad’s Art History (forthcoming 2016) and is currently working with the National Gallery of Art to redesign their docent training curriculum in art history. Since 2014, she has been a contributing editor at AHTR, a peer-populated open educational resource and online community for art history instructors, where she served as project leader to create Art History Pedagogy and Practice, an academic e-journal slated to launch in fall 2016.

AP® and Advanced Placement® is a trademark 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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Josef Albers, Hommage au Carre, 1965. The Josef and Anni Albers Foundation, albersfoundation.org© 2008 The Josef and Anni Albers Foundation, Bethany, CT/Artists Rights Society, NY. Photograph by Tim Nighswander.

Josef Albers, Hommage au Carre, 1965. The Josef and Anni Albers Foundation, albersfoundation.org © 2008 The Josef and Anni Albers Foundation, Bethany, CT/Artists Rights Society, NY. Photograph by Tim Nighswander.

In the last three years, it’s been wonderful to see such a large increase in K-12 institutions using Artstor.  This provides a great opportunity to bring users together to compare notes and best practices to get the most out of the Digital Library.  We are pleased to invite you to join the new Artstor K-12 discussion list, a forum for exchanging ideas and questions about teaching with Artstor.

Share tips with your colleagues and brainstorm ways to find the perfect images for teaching in the K-12 classroom. In addition to Artstor-related topics, we welcome other helpful websites and resources.

Whether you are a seasoned teacher or just starting out, we want to hear from you! To join, simply send a blank email to join-artstor-k-12@lyris.artstor.org. We encourage you to invite your fellow instructors!

Dana Howard, Senior K-12 Relationship Manager

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Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, 1768. The National Gallery, London

Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, 1768. The National Gallery, London

By Katy Matsuzaki, Manager of Academic Programs, New Britain Museum of American Art

Recently a group of docents at the New Britain Museum of American Art gathered in a gallery filled with landscapes and portrait paintings to discuss how they might approach the art with a middle school math class scheduled for a visit. As they looked closely at works by Georgia O’Keefe and Robert Henri, and listened to the more math-minded among them explore geometry, proportion, and compositional formulas therein, fear of the “math tour” quickly gave way to excitement over a new, mathematical way to approach and appreciate artworks.

As the staff member who greenlighted the math field trip, I was heartened by the docents’ willingness to embrace the unknown. Math students in an art museum might at first seem like a foreign concept, but in reality, the immersive visual environment that a curated collection of art images provides can be an incredibly beneficial learning tool for not only the study of mathematics, but the other STEM fields (science, technology, math, and engineering) as well.


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Earlier this week 28 instructors shared their experiences, successes, and challenges teaching Visual Literacy on a Twitter chat with the Artstor User Services team. Check out some highlights below, or read the full transcript on Storify.


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Shanghai: colors, textures of traffic, advertising and housing

Shanghai: colors, textures of traffic, advertising and housing. Image and original data provided by ART on FILE, http://www.artonfile.com

More than at any other time in history, images dominate our lives. Instructors need the resources to teach students how to find visual media, interpret its meaning, evaluate its sources, use it effectively, and explain the ethical, legal, social, and economic issues surrounding its creation and use.

Join Artstor’s User Services team and your fellow instructors on Twitter to share your experiences, successes, and challenges—and your questions—on teaching Visual Literacy.

Among the questions up for discussion will be:

  • What place does visual literacy have in your curriculum?
  • Which departments teach it?
  • What resources do you use?

Follow and participate with @ArtstorHelp on Tuesday, February 9, 1-2 PM EST (10-11 AM PST) using the hashtag #artstorchat

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