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Preliminary Experience Create a Journal from an Altered Book
IINTRODUCTIONNTRODUCTION Photo caption. Photo caption. Preliminary Experience Create a Journal from an Altered Book OBJECTIVES A TEACHING GUIDE FOR GRADE 4 AArtrtrtSmaSSmart:mart:t: Indiana INDIANA’S VISUAL ARTS AND ARTISTS The fi rst ArtSmart: Indiana was a major educational and public program of the Greater Lafayette Art Museum (now the Art Museum of Greater Lafayette), created to meet the goal of improving visual literacy, museum education skills, and awareness of the development of art in Indiana. The original program, (1986) written by Susan O. Chavers, and implemented by Sharon Smith Theobald, was a nontraditional multidisciplinary approach that was well received by Hoosier teachers who included ArtSmart: Indiana in their curricular plans. A copy of the ArtSmart: Indiana 200 page Resource Guide was sent to every library throughout Indiana, with the support of Pam Bennett at the Indiana Historical Bureau. The current revision of ArtSmart: Indiana, as a web-based initiative, is a Partnership Education Program of the Art Museum of Greater Lafayette and The Children’s Museum of Indianapolis. Special appreciation is extended to Dr. Jeffrey Patchen, President and CEO, and Mary Fortney, Educational Resource Development Manager, The Children’s Museum of Indianapolis. The updated ArtSmart: Indiana project was funded by a grant from the Institute of Museum and Library Services with additional support from the McAllister Foundation to launch the McAllister Art Smart: Indiana Technology Center. Also, Randolph Deer, Indianapolis, and The North Central Health Services helped underwrite the additional printings of the The Art Smart: Indiana Resource Catalog and The Teaching Guide. Please visit our website, www.artsmartindiana.org. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
Robert Indiana
• Robert Indiana was a major figure in Pop Art, that most American art form, developing his distinctive “hard-edged” style that he has worked in for over 50 Robert years. One of his images alone, the LOVE icon, will Indiana ensure his renown forever. AMERICAN ARTIST • He wasn’t born “Robert Indiana,” but he was born in 1928 - Indiana, and changed his last name from “Clark” when he was in his teens (to make it more interesting). He had a crazy childhood, his family continually on the move. He claimed to have lived in 21 houses before he graduated high school. His parents divorced when he was 10, and he spent many years bouncing between their households. Finally in the last few years of high school, he took the reins and moved to Indianapolis to attend an arts-based high school. He did very well there, but then took three years out of his art study to serve in the US Air Force. • One interesting feature of his early life was that in several different places he lived or was stationed, he started or ran a newspaper. Writing and words were always very important to him. • After his military service, he attended several different art schools, including the famous Art Institute of Chicago, and also spent some time in Europe. • He ultimately moved to New York City because that was the center of the American art world in the mid-1950s. Things were rough for a while, as he worked in an art supply store to make ends meet, but he made friends with the abstract Robert Indiana‘s studio at the New York City piers (with cat!) and some of his early sculptures, called herms. -
Ap Studio Art Summer Work 2021
AP STUDIO ART SUMMER WORK 2021 MRS. BRITTANY BRYDGES-NEELY DIRECTIONS: READ THIS ENTIRE DOCUMENT. Carefully read the project criteria below and email me images of your work by the assigned due dates. Points will be deducted for late work and can seriously jeopardize your MP1 grade, there are no rolling deadlines with summer work and no extensions will be granted. If you do not understand these directions you must contact me via email; not understanding is not a valid excuse to miss deadlines, you have to communicate and ask for clarification. This project is worth 100 pts total and will set you up for success for the rest of the class and for the AP Studio Art Exam. AP Studio Art is a college-level Art course which grants much in the way of artistic expression and autonomy but demands college-level work ethic, this will be a learning experience; I expect your best work, effort and punctuality with the assigned due dates. To put this in perspective: you will only have 9 grades for the entire course, make the summer work count. IMPORTANT DISCLAIMER: Any 2-dimensional media (material) and any artistic style is fair game in AP Art; however, you cannot copy imagery, artwork or photos that belong to someone else (That’s illegal. It’s fine for practice, but not ok here). This means no copyrighted imagery or cartoon characters, no Pinterest or Tiktok inspired projects and no direct copying of images you found on Google. Reference images are ok to use, but you have to tweak them using YOUR OWN CREATIVITY, in other words: find several references or photos and combine them in an interesting way. -
American Legends: from Calder to O'keeffe
AMERICAN LEGENDS: FROM CALDER TO O’KEEFFE TEACHER GUIDE WHITNEY December 2013–October 2014 ABOUT THIS TEACHER GUIDE How can these materials be used? These materials provide a framework for preparing you and your students for a visit to the exhibition and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts. p. 4 About the Exhibition pp. 5-10 Pre- & Post-visit Activities pp. 11-27 Images & Information pp. 28-29 Bibliography & Links Which grade levels are these materials intended for? These lessons and activities have been written for Elementary, Middle, or High School students. We encourage you to adapt and build upon them in order to meet your teaching objectives and students’ needs. Learning standards The projects and activities in these curriculum materials address national and state learning standards for the arts, English language arts, social studies, and technology. The Partnership for Twenty-first Century Learning Skills http://www.p21.org/ Common Core State Standards http://www.corestandards.org/ Links to National Learning Standards http://www.mcrel.org/compendium/browse.asp Comprehensive guide to National Learning Standards by content area http://www.education-world.com/standards/national/index.shtml New York State P-12 Common Core Learning Standards http://www.engageny.org/resource/new-york-state-p-12-common-core-learning-standards New York City Department of Education’s Blueprint for Teaching and Learning in the Arts http://schools.nyc.gov/offices/teachlearn/arts/blueprint.html Feedback Please let us know what you think of these materials. -
Robert Indiana: Beyond Love
WHITNEY ROBERT INDIANA: BEYOND LOVE TEACHER GUIDE September 26, 2013–January 5, 2014 ABOUT THIS TEACHER GUIDE How can these materials be used? These materials provide a framework for preparing you and your students for a visit to the exhibition and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts. p. 4 About the Exhibition pp. 5-9 Pre- & Post-visit Activities pp. 10-20 Images and Related Information p. 21 Bibliography & Links Which grade levels are these materials intended for? These lessons and activities have been written for Elementary, Middle, or High School students. We encourage you to adapt and build upon them in order to meet your teaching objectives and students’ needs. Learning standards The projects and activities in these curriculum materials address national and state learning standards for the arts, English language arts, social studies, and technology. The Partnership for Twenty-first Century Learning Skills http://www.p21.org/ Common Core State Standards http://www.corestandards.org/ Links to National Learning Standards http://www.mcrel.org/compendium/browse.asp Comprehensive guide to National Learning Standards by content area http://www.education-world.com/standards/national/index.shtml New York State P-12 Common Core Learning Standards http://www.engageny.org/resource/new-york-state-p-12-common-core-learning-standards New York City Department of Education’s Blueprint for Teaching and Learning in the Arts http://schools.nyc.gov/offices/teachlearn/arts/blueprint.html Feedback Please let us know what you think of these materials. -
AP Studio Art – Drawing Course Syllabus
AP Studio Art – Drawing Course Syllabus Course Description This AP Studio Art course is designed for students who have completed he following courses; Studio Art Foundation, Drawing & Painting, Portfolio and/or have demonstrated a strong interest in the experience of art making. AP Studio Art is based on building a body of art work made up of 27 to 29 pieces of art work that is submitted to the AP College Board in the beginning of May. This portfolio is the exam. The portfolio is made up of three sections; Quality, Concentration, and Breadth. In the Quality section, students select 5 pieces of art work that successfully demonstrate mastery of design principles as applied to a two-dimensional surface. There is no preferred style or content. Medium is irrelevant. Your mastery of design should be apparent in the composition, concept, and technique of the work whether they are simple or complex. Works may be no larger than 18”X 24” including matting or mounting. Works smaller than 8”X 10” should be mounted on sheets that are at least 8”X 10”. The 5 pieces chosen for this section can be works from the Breadth and/or Concentration. In the Breadth section, students submit 12 pieces that show a variety of works demonstrating the students understanding of the Elements of Art. Include examples of line, shape, value, form, texture, space, and color in your Breadth. In the Concentration section, students submit 12 pieces of art work that demonstrates through investigation of a specific visual concept that is formulated by the student. -
AP® Students and Parents 2010-11
Bulletin for AP® Students and Parents 2010-11 Your guide to the AP® Program Inside: Student checklist Getting ready for exam day 2011 exam schedule AP® Courses and Exams Visit www.collegeboard.com/apstudents for detailed information about each of the 33 AP courses and exams. You’ll find course and exam descriptions, sample free-response questions and scoring guidelines, study skills and test-taking tips, and more. Arts History & Sciences Art History Social Sciences Biology Music Theory Comparative Government Chemistry Studio Art: Drawing Portfolio and Politics Environmental Science Studio Art: 2-D Design Portfolio European History Physics B Studio Art: 3-D Design Portfolio Human Geography Physics C: Electricity Macroeconomics and Magnetism Physics C: Mechanics English Microeconomics Psychology English Language and Composition United States Government World Languages English Literature and Composition and Politics United States History Chinese Language and Culture World History French Language German Language Japanese Language and Culture Mathematics & Latin: Vergil Computer Science Spanish Language Calculus AB Spanish Literature Calculus BC Computer Science A Statistics The College Board Equity and Access Policy The College Board is a not-for-profit membership association whose The College Board strongly encourages educators to make equitable mission is to connect students to college success and opportunity. access a guiding principle for their AP programs by giving all willing Founded in 1900, the College Board is composed of more than 5,700 and academically prepared students the opportunity to participate schools, colleges, universities and other educational organizations. in AP. We encourage the elimination of barriers that restrict access Each year, the College Board serves seven million students and to AP for students from ethnic, racial and socioeconomic groups their parents, 23,000 high schools, and 3,800 colleges through major that have been traditionally underserved. -
Messaging: Text and Visual Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2011 Messaging: Text and Visual Art Sarah Feit Curatorial Assistant, Sheldon Museum of Art, University of Nebraska- Lincoln Jorge Daniel Veneciano Director at Sheldon Museum of Art, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Feit, Sarah and Veneciano, Jorge Daniel, "Messaging: Text and Visual Art" (2011). Sheldon Museum of Art Catalogues and Publications. 45. https://digitalcommons.unl.edu/sheldonpubs/45 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. • Mary Corita Kent, Wat.nne'on, 1965, serigraph, 18 x 23 112", UNL F.M. Hall Collection, Courtesy of the CoritaArt Center, Immaculate Heart Community, Los Angeles 24th Annual Sheldon Statewide Exhibition, 20 I 0-20 I I Sheldon Museum of Art • University of Nebraska-Lincoln Messaging: Text and Visual Art explores the use of In the decades leading up to the I960s, artistic language in art. Text in art mirrors the language practices took a defiant stance toward mass of our daily lives, drawing on newspapers, culture or kitsch. During the I 940s, Abstract advertisements, and personal stories. This Expressionism turned away from popular culture. exhibition focuses on how artists since the 1960s In his 1940 essay "Towards a Newer Laocoon," have used text in their work The term "messaging" art historian Clement Greenberg argued for the in the title evokes changes in communications that separation of painting from mass culture or kitsch have occurred in recent years. -
2021-2022 Ap Exam Articulation Chart
2021-2022 Advanced Placement (AP) Exam Articulation HUB AP Code AP Exam Score UB Course Articulation Cr. Comments Hrs ARH Art: Art History 3 APC999TR 6 ARH Art: Art History 4, 5 AHI101LR + AHI102LR 6 ASD Art: Drawing 3 APC999TR 6 ASD Art: Drawing 4, 5 ART999TRSAE 6 Studio Art elective credit for Art majors. Only 6 credits of AP Studio Art will be accepted toward Art major requirements A2D Art: 2-D Art & Design 3 APC999TR 6 A2D Art: 2-D Art & Design 4, 5 ART999TRSAE 6 Studio Art elective credit for Art majors. Only 6 credits of AP Studio Art will be accepted toward Art major requirements A3D Art: 3-D Art & Design 3 APC999TR 6 A3D Art: 3-D Art & Design 4, 5 ART999TRSAE 6 Studio Art elective credit for Art majors. Only 6 credits of AP Studio Art will be accepted toward Art major requirements BY Biology 3 APC999TR 7 BY Biology 4 BIO200LLB + APC 999TR 7 A score of "4" also matches BIO129-BIO130 .(This is intended for non-majors to satisfy the Scientific Literacy & Inquiry Requirement) BY Biology 5 BIO200LLB + BIO201LEC + 7 A score of "5" also matches BIO129-BIO130. (This is BIO211LAB intended for non-majors to satisfy the Scientific Literacy & Inquiry Requirement) MAB Calculus AB* 3 APC999TR 4 MAB Calculus AB* 4, 5 MTH141LR 4 MBC Calculus BC* 3 APC999TR 4 MBC Calculus BC* 4, 5 MTH141LR + MTH142LR 8 Also matches as MTH141LR (4 credits) CALAB AB sub score on Calculus BC exam* 3 APC999TR 4 CALAB AB sub score on Calculus BC exam* 4, 5 MTH141LR 4 CH Chemistry 3 APC999TR 9 CH Chemistry 4, 5 CHE101LR + CHE113LAB + 9 CHE102LR + CHE114LAB CLC Chinese Language and Culture 3 APC999TR 6 Equivalent to proficiency for admission to Chinese - Minor CLC Chinese Language and Culture 4, 5 CHI201LEC + CHI202LEC 6 CSA Computer Science A** 3, 4 APC999TR 4 CSA Computer Science A** 5 CSE115LR 4 CSAB Computer Science AB** 4, 5 CSE113LR + CSE114LR 8 Exam is no longer offered. -
Robert Indiana
ROBERT INDIANA BIOGRAPHY 1928 Born in Newcastle, Indiana 1929 Moves to the capital of Indiana, Indianapolis, centre of the thriving automotive industry. The automobile is a focus of his family’s life Beginning of the Great Depression 1935 Starts school at the age of seven in Moorseville where his intention to become an artist is greatly encouraged by a sympathetic teacher, Miss Ruth Coffman 1936 First trip to Texas to visit the Centennial Exposition at Fort Worth 1942 Leaves his mother’s home to return to Indianapolis and live with his remarried father in order to attend Arsenal Technical School. Works after school at Western Union and the Indianapolis Star but continues painting and holds a solo show of watercolors Words play the central role in the most elaborate and time-consuming project of his high school days; an illuminated transcription in the medieval style of the Second Chapter of Luke in Latin which he gives to the Arsenal Technical School upon graduation and is still regularly displayed there 1945 Attends Saturday scholarship classes at the John Herron Art Institute and takes instruction in semi-nude drawing under Edwin Fulwider 1946 Receives a scholarship to the John Herron Art Institute A second trip to Texas, this time to San Antonio 1948 While stationed nearby in Rome, New York, attends evening classes at Syracuse University and the Munson-Williams-Proctor Institute in Utica where he comes into his first contact with an instructor oriented to an international viewpoint – Oscar Weissbuch Visits New York City for the first time 1949 During the last year of his service edits the Sourdough Sentinel in Anchorage, Alaska, from which he returns home to Columbus, Indiana, on emergency leave for the death of his mother Attends the School of The Art Institute of Chicago for four years under the GI Bill of Rights, majoring in painting and graphics. -
Robert Indiana: a Sculpture Retrospective June 16–September 23, 2018 1905 Building, South Galleries and Sculpture Court
Robert Indiana: A Sculpture Retrospective June 16–September 23, 2018 1905 Building, South Galleries and Sculpture Court This exhibition explores the more than five-decade career of one of America’s most beloved artists, Robert Indiana (American, 1928–2018). A selective survey of Indiana’s sculpture, it also includes numerous paintings, prints, and drawings, highlighting how Indiana’s thinking in visual form crossed different media. This quintessentially American artist returned to frequently autobiographical motifs, symbols, and imagery often after many decades of quiet reflection and rumination, building a corpus of work that ever more meaningfully reflected what it meant to be an American artist—and what it meant to be Robert Indiana—as the years passed. While LOVE will likely always remain the artist’s greatest contribution in the public imagination, his work beyond and apart from this memorable image places Indiana among the great American artists of the second half of the twentieth century. This exhibition introduces lesser-known late works—the Vinalhaven Woods, bronze editions of sculptures from different eras in his career, and the marble LOVEs—to make the case for the breadth and import of Indiana’s achievement. *** Zenith, 1960 Gesso and iron on wood panel Private Collection This small construction is among Indiana’s earliest sculptural works and introduces many elements of his later practice, including the prominent use of white gesso and the incorporation of rusted metal found objects. The circle and diamond shapes also find echoes in Indiana’s later work. Soul, 1960 Gesso, oil, and iron on wood with iron-and- wooden wheels Private Collection Indiana was raised in the Christian Science faith, and although he was not exceptionally religious, many ideas introduced there—for example, the circle as a symbol of eternity or the integral relationship between love and God—found their way into works, including Soul, through the decades.