Howard County Public School System Professional Development Visual Storyteller: Narrative in Art August 22, 2012 National Gallery of Art Exploring Visual Literacy Description: Elisa Patterson, Senior Educator & Manager of High School Programs and Zev Slurzberg, Museum Educator with Teacher Programs will discuss how educators can use the NGA s collections as a resource. They will demonstrate three different strategies which can be used either in the classroom or on a trip to the museum. Contact Information: Elisa Patterson: E-patterson@nga.gov, 202-842-6256 Zev Slurzberg: Z-slurzberg@nga.gov, 202-842-6796
Online Resources for Teachers www.nga.gov/education/learningresources www.nga.gov/education/classroom www.nga.gov/kids/kids.htm www.nga.gov/podcasts images.nga.gov www.nga.gov/onlinetours www.nga.gov/collection
NATIONAL GALLERY OF ART Resources for Teachers Education Department homepage: www.nga.gov/education/index.htm School Tours To access general information about school tours: www.nga.gov/education/school.htm#about Topics for high school students: www.nga.gov/education/school.htm#9thru12 To request a school tour: www.nga.gov/education/school.htm#special High School Programs For information about the High School Studio Workshop (an activity for the whole class): www.nga.gov/education/hsprog.htm#workshop For information about the High School Seminar: www.nga.gov/education/hsprog.htm#seminar For information about the Advanced Art History Workshop: www.nga.gov/education/hsprog.htm#aahw Teacher Workshops and Institute For information about a variety of teacher workshops at the National Gallery: www.nga.gov/education/teacher.htm For information about the summer Teacher Institute: www.nga.gov/education/teacinst.htm
Teacher Workshops 2012 2013 Evening with Educators After-School Weekday Workshops Saturday Workshops Registration Information Registration Form General Information Summer Teacher Institute School Tours Workshops are designed to help teachers find meaning and pleasure in the visual arts. These programs introduce art in the Gallery's collection and special exhibitions, explore interdisciplinary curriculum connections, and model methods for teaching with art. All programs include teaching resource materials. Teachers of all subjects (prekindergarten through grade 12), homeschoolers, and pre-service educators are welcome. Space is limited, so please register early. Registration will be confirmed by e-mail. Registration fees are nonrefundable. Fees are waived for District of Columbia public school teachers with evidence of current employment. The repeat dates indicated will be scheduled if there is sufficient interest in the program. If you are unable to attend a program for which you are registered, please call (202) 842-6796 or e-mail teacher@nga.gov so that we may accommodate teachers on the waiting list. J. Carter Brown Memorial Evening with Educators Roy Lichtenstein: A Retrospective Based on the exhibition Roy Lichtenstein: A Retrospective, this evening event focuses on the artistic legacy of this celebrated pop artist. More than 130 objects provide an overview of his career and include his classic popular romance and cartoon paintings, as well as those referencing such historical artistic styles as cubism, surrealism, and German expressionism. Options for the evening include viewing the exhibition (on view from October 14, 2012, to January 13, 2013), enjoying food, wine, and conversation with colleagues, and seeing a one-act play inspired by Lichtenstein's art. Fee: $10 The fee is waived for first-time participants and for past participants registering with a K 12 teacher new to Gallery programs. Wednesday, November 14, 2012 4:00 7:30 p.m. www.nga.gov/education/teacher.htm
After-School Weekday Workshops Can We Talk?! Facilitating Conversations with Works of Art How can we maximize learning during a museum visit? What skills do we need to help our students have meaningful encounters with art? What teaching methods can we use? This workshop explores answers to these questions through the use of inquiry and critical thinking. Museum educator Judith Landau will model ways of looking at and thinking about art with the aim of strengthening visual literacy skills. Fee: $10 Wednesday, January 30, 2013 Repeat date: Wednesday, February 6, 2013 4:00 6:30 p.m. Artifacts as Evidence Everyday objects can serve as potent primary sources in the classroom. They offer students rich opportunities to analyze and make deductions, both logical and imaginative, by comparing and contrasting the familiar in their own lives with the unfamiliar of the past. Drawing upon the Gallery's new installation of the Kaufman Collection of American furniture and decorative arts, this workshop models strategies that foster curiosity, and build observation and language skills, while deepening understanding through group discussion. Fee: $10 Wednesday, February 13, 2013 Repeat date: Wednesday, February 27, 2013 4:00 6:30 p.m. Saturday Workshops Anatomy of a Painting: Hans Memling's Saint Veronica Explore the painting techniques of early Netherlandish artist Hans Memling in this studio art workshop focused on his Saint Veronica (c. 1470/1475), once part of a small multipanel altarpiece. After studying Memling's original, participants will experiment with the oil medium, whose introduction allowed Renaissance painters to render forms subtly and convincingly, while creating jewel-like surfaces through transparent glazes. Led by Brian Baade, an art conservator at the University of Delaware, this workshop is open to teachers of studio art and anyone else who would like to try their hand at oil painting. Fee: $10 Saturday, February 9, 2013 Repeat date: Saturday, February 23, 2013 10:00 a.m. 3:00 p.m. The Pre-Raphaelites: Victorian Avant-Garde In 1848 a group of English painters challenged the artistic status quo and turned for inspiration to early Italian art before the time of the High Renaissance master Raphael. Drawing upon the past as well as modern English life, these artists developed distinctive styles and theories of art that would profoundly influence European and American modernism. This workshop is inspired by the exhibition Pre-Raphaelites: Victorian Art and Design, 1848 1900, which includes more than 130 paintings, sculptures, photographs, and decorative objects. Teaching strategies will emphasize the Pre-Raphaelites' interests in literary and historical subject matter, the world of nature, and the exquisite craftsmanship of fine art and decorative household objects. Fee: $10 Saturday, March 2, 2013 Repeat date: Saturday, March 16, 2013 10:00 a.m. 3:00 p.m. www.nga.gov/education/teacher.htm
The Artful Thinking Program LOOKING: TEN TIMES TWO A routine for observing and describing 1. Look at the work of art quietly for at least 30 seconds. Let your eyes wander. 2. List 10 words or phrases about any aspect of the work. 3. Repeat Steps 1 & 2: Look at the work of art again and try to add 10 more words or phrases to your list. What kind of thinking does this routine encourage? The routine helps students slow down and make careful observations about an object or image. It asks students to think about words or phrases to describe the work and encourages students to push beyond first glance or obvious description. When and where can it be used? The routine can be used with any kind of artwork, especially visual art. You can also use other images or objects. Use Ten Times Two when you introduce a new work of art to engage students in careful looking before having a discussion about it or before using another routine. You can also use the Ten Times Two routine after an in-depth discussion about a work of art to both push forward and summarize the observations that were made during the conversation. The routine is useful before a writing activity. It gets students thinking about descriptive language and helps students make observations. What are some tips for starting and using this routine? Give your students time to look; let students know that you will be the timekeeper. Quiet, uninterrupted thinking and looking is essential to this activity. Students can work as a class, in small groups, or individually. You can also vary the way students work. For example, students might generate the first list of words solo, writing their ideas down on sticky notes so that they can be posted to a class list of observations. Then, compile the second list in a group situation. Students should write their ideas down, or in a class discussion the teacher might write students comments on the board. Make sure that the descriptive words and phrases generated are made visible for the whole group. Add to the list as necessary during any follow-up conversations. Other routines that encourage students to talk about their observations and interpretations are What makes you say that? or Think, Question, Explore. Adapted from the Visible Thinking Program, Harvard Project Zero
LOOKING: TEN TIMES TWO Look at the work of art quietly for at least 30 seconds. Let your eyes wander. List 10 words or phrase about any aspect of the work. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Repeat steps 1 & 2: Look at the work of art again and try to add 10 more words or phrases. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Adapted from the Artful Thinking Program (Project Zero, Harvard Graduate School of Education, http:www.pz.harvard.edu/at).
THINK / QUESTION / EXPLORE A routine to set the stage for deeper inquiry 1. What do you think you know about this artwork or topic? 2. What questions does it raise? 3. What does the artwork make you want to explore? What kind of thinking does this routine encourage? This routine helps students connect to prior knowledge, to stimulate curiosity, and to lay the groundwork for independent inquiry. When and where can it be used? Use Think/Question/Explore when you are beginning a topic and when you want students to develop their own questions of investigation. Tips for starting and using this routine: Begin by giving students a few quiet moments to consider the artwork or topic at hand. Then, work as a whole class or in small groups and brainstorm ideas in all three areas. Make sure to give adequate time between each question so that students may define and articulate their ideas. In some cases you may want to have students do the routine individually (on paper, or in their heads) before sharing ideas as a class. Consider keeping a visible record of students ideas. If you are working in a group, ask students to share some of their thoughts and collect a broad list of ideas about the artwork or topic on chart paper. Students can also write their individual responses on sticky notes and later add them to the class list of ideas. Note that it is common for students to have misconceptions at this point include them on the list so all ideas are available for consideration after further study. Students may at first list seemingly simplistic ideas and questions. Include these on the whole class list but push students to think about things that are deeply puzzling or interesting to them. Adapted from the Visible Thinking Project, Harvard Project Zero. For more, visit http://www.pz.harvard.edu/at/overview.cfm.
Name: Work of Art: THINK/QUESTION/EXPLORE Think What do you think you know about this work? Question What questions do you have about this work? Explore What does this work make you want to learn more about?
The Artful Thinking Program ZOOM IN A routine for looking closely and making interpretations Reveal the first part of the image: What do you see or notice? What's your hypothesis or interpretation of what this might be based on what you are seeing? Reveal more of the image: What new things do you see? How does this change your hypothesis or interpretation? Has the new information answered any of your questions or changed your previous ideas? What new things are you wondering about? Repeat the reveal and questioning until the whole image has been revealed: What lingering questions remain for us about this image? Purpose: What kind of thinking does this routine encourage? This routine asks students to look closely and make tentative hypotheses or interpretations based on the available evidence. As new portions of the image are revealed, new interpretations are formed. Thus, stressing the tentative nature of interpretations based on available evidence. Application: When and where can it be used? This routine works well at the beginning of a unit to raise questions and develop interpretations. Choose an image that is connected to the topic and offers a variety of interpretations based on the different bits of the image. Carefully consider what parts of the image you want to reveal, in which order, and how they will build students' interpretations. From Artful Thinking Program, Project Zero, Harvard Graduate School of Education, http://pzweb.harvard.edu/tc/