MODERN ART AND IDEAS 7 1950–1969 A Guide for Educators

Department of Education at The Museum of Modern Art ABSTRACT EXPRESSIONISM AND POP ART

Artists included in this guide: Helen Frankenthaler, Richard Hamilton, Jasper Johns, Franz Kline, Willem de Kooning, Roy Lichtenstein, Charles Moore, Barnett Newman, Claes Oldenburg, Jackson Pollock, Robert Rauschenberg, James Rosenquist, Mark Rothko, and Andy Warhol.

TABLE OF CONTENTS

1. A NOTE TO EDUCATORS

2. USING THE EDUCATORS GUIDE

3. SETTING THE SCENE

7. LESSONS Lesson One: Revolutions in Painting

Lesson Two: Color and Environment

Lesson Three: Transforming Everyday Objects

Lesson Four: Art and Politics

Lesson Five: Artist’s Choice: People

29. FOR FURTHER CONSIDERATION

32. GLOSSARY

34. SELECTED BIBLIOGRAPHY AND RESOURCES

36. MoMA SCHOOL PROGRAMS

No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS

This is the seventh volume in the Modern Art and Ideas series for educators, which explores 1 the history of modern art through The Museum of Modern Art’s rich collection. While tra- A NOTE TO EDUCATORS ditional art historical categories are the organizing principle of the series, these parameters are used primarily as a means of exploring artistic developments and movements in con- junction with their social and historical context, with attention to the contribution of specific artists.

The guide is informed by issues posed by the selected works in a variety of mediums (paint- ing, sculpture, prints, photography), but its organization and lesson topics are created with the school curriculum in mind, with particular application to social studies, visual art, his- tory, and language arts. Lessons are accompanied by writing, research, and hands-on, art- based activities that encourage students to make connections between the visual arts and other disciplines.

The guide’s purpose is not just to explicate works of art but also to demonstrate how images and historical information can be integrated into numerous subject areas and skill bases taught in the classroom. Students will be introduced to significant ideas in art and culture. By comparing a variety of mediums and artistic styles, students will be able to practice observation, articulation, and discussion skills, and to further develop their visual literacy.

The Modern Art and Ideas series was devised with the understanding that the history of modern art is not simply a progression of hermetic styles; rather, a complex matrix of intel- lectual, social, and historical factors have contributed to the creation of art. Modern art is not solely the product of artists who seek to overthrow convention at all cost. A work of art may be understood through a variety of approaches and offers multiple ways of understand- ing the historical moment in which it was made as well as the individual who created it. USING THE EDUCATORS GUIDE

The five lessons that comprise this guide—Revolutions in Painting, Color and Environment, 2 Transforming Everyday Objects, Art and Politics, and Artist’s Choice: People—may be used USING THE EDUCATORS GUIDE sequentially or as independent units. An introduction to the key principles of each lesson is followed by a close examination of the works, including historical context and information on the artist. Discussion questions based on the images lead students through formal analy- sis of the artworks and seek to create connections between information and visual evidence. The activities that conclude each lesson encourage students to synthesize what they have learned about the works, and carry the lessons into the broader curriculum or relate it to skills students are practicing in the classroom.

IMAGES All of the questions, discussions, and activities in this guide are based on the accompany- ing CD-ROM. Please examine the images carefully before showing them to your students. Your classroom should be equipped with a computer and LCD projector. You may also print images from the CD-ROM to transparency paper for overhead projection.

ACTIVITIES The Activities sections encourage students to make connections between their own experi- ences and the concepts presented in the lessons. Through these activities, students will begin to develop a language for discussing art. Feel free to tailor the activities to the age level of your students.

FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES Additional discussion questions and research projects are included in this section. A bibli- ography and resources section has also been provided for teachers and students to use in conducting research. The resources recommended in these pages provide further informa- tion on the artists and artworks in this guide, general historical topics, and additional class- room activities.

GLOSSARY A glossary of terms (bolded upon first mention in each lesson) is included at the end of the guide. 3 SETTING THE SCENE , F-111. material , setting , technique , style James Rosenquist.James American, born 1933. 1964–65. with aluminum, Oil on canvas sections, twenty-three cm).10 x 86' (304.8 x 2,621.3 of The Museum Art, Modern York. New Gift of Mr. and Mrs. L. Alex and Lillie P.Bliss Hillman exchange) Bequest (both by IMAGE TWO: . their ideas with the class. them to share Ask " x 8 ⁄ 3 color Chief. , 1950 (Image One) Chief Franz Kline. Franz S " x 186.7 cm).(148.3 The 2 ⁄ 1 Ask them to pay particular attention to the lines. How might they describe these lines? subject, and use of have created. make Have them spend a few minutes writing down some of the choices artists when they paint. as They may come up with ideas such IMAGE-BASED DISCUSSION Franz Kline, • they see. Ask students to spend some time looking at this image and then to describe what American, 1910–1962. 1950. on canvas, Oil 58 1 6' INTRODUCTORY DISCUSSION INTRODUCTORY •“painting.” Begin by asking your students to define paintings they Ask them what kinds of 1950 II,War period of an unprecedented enjoyed States the United World following the years In and political growth.economic the suburbs, to Americans moved middle class Many of the availability spurred by inexpensive, homes. mass-produced led the emer- Elvis Presley ofgence radio and television and roll as the dominant media outlet. replaced rock artists had emigrated during the war from and intellectuals and after in the years Many States, the United to Europe bringing with them their own traditions and ideas. is in this It of that a group climate came of Abstract Expressionists artists be known as the that came to age. These artists, Pollock, including Jackson de Kooning, Willem Barnett Newman, Rothko,Mark bodies of diverse created and work. of new ways They explored painting, reinvig- the medium.orating and reinventing emotions, They sought express to individual feelings, and personal in their work. experiences signify a dis- to embody or considered They were tinctly “American” element of space, confidence, and creativity. Kline,Franz City in the 1950s,York in New artist another such was known for who worked his large paintings with a sense of bold lines that exude and energy. movement IMAGE ONE: SETTING THE SCENE SETTING Museum ofMuseum Art, Modern New York. Gift of Mr. and Mrs. M.David Solinger. © 2007 Kline Estate/Artists The Franz Rights Society (ARS),York New 1 rev. ed.York: of (New The Museum Modern . positive and negative spaces do What women’s liberation,women’s structures, new career llock and Helen Frankenthaler also created Frankenthaler llock and Helen negative space Kline loved trains as a child,Kline loved trains “Chief” and is the name of a and Chief. positive ? MoMA Highlights: 350 Works from The Museum ofThe Museum from Works Highlights:MoMA 350 Art, Modern Chief S locomotive he remembered. them of a train. Ask students if this reminds or why not? Why they see in Ask students to reflect upon this statement.Ask students to reflect is the white Why do they think it means? What as important as the black? parts of their drawing they would turn into a painting.parts of their drawing is it about their lines that What Why? or compelling? would look interesting Franz Kline,Franz in quoted • Ask students to define • Kline said, “I paint the white as well as the black, and the white is just as important.” Art, 2004), p. 205. and an increased climate of climate and an increased mass freedom. incited and sexual intellectual War Vietnam The soughtAfrican-Americans. equality for Rights and the Civil Movement protests 1. 1960 exper- in the 1950s led to States stability political and economic in the United The growing ofimentation and the rethinking in the 1960s. the social order rev- “cultural This so-called olution” antiauthoritarian promoted education, During the 1950s, Po as Jackson such painters large-scale abstract paintings. One of Lesson and this guide will Pollock how examine their work. created Frankenthaler • a small pencil drawing. Give students one minute to create Ask them to think about what • The name of this painting is • with this description. Ask students if they agree or why not? Why this painting quickly. Kline created look like may It Actually, his make time to a long he took work. he painted, Before drawings, created he often a wall. onto he then projected which He his friend,got this idea from de Kooning,Willem artist the will whomwe in this discuss later guide. found that the drawn lines, He when magnified, and abstract. forceful more became Thus, of many larger scale, a drawing on a much reproduce canvases his painted combining and the deliberate,the improvised and the monumental. the miniature In this painting, this In thick create brushes to paint and housepainter’s Kline used commercial background.black lines on a white tar painting has been described as looking like Kline’s on slabs ofsmeared canvas. twisted girders around or steel concrete of is evocative It shapes and structures found in the city, as bridges, such buildings, tunnels, engines, and roads. • to painting. with regard consider what choices Kline is making Ask students to

4 SETTING THE SCENE In this climate, a new generation of artists rejected some of the ideas of the Abstract Expres- 5 sionists and began to represent items from consumer culture and everyday life. Whereas the SETTING THE SCENE Abstract Expressionists were interested in abstraction and in representing emotional states, Pop artists favored realism and impersonal expression.

Artists such as Andy Warhol and Roy Lichtenstein wanted to connect traditions of fine art with the images of popular culture offered through television, advertising, and film. As Warhol stated,“Pop artists did images that anyone walking down the street would recognize in a split second—comics, picnic tables, men’s pants, celebrities, refrigerators, Coke bot- tles.”2 Artists made collages, prints, paintings, sculptures, and drawings. Their subjects were diverse, including representations of celebrities, political events, and consumer products. In contrast to the work done by artists in the 1950s, much of Pop imagery combines the painterly and photographic as well as the handmade and the readymade.

The American artist James Rosenquist was working in this time of turbulence, experimenta- tion, and consumerism. His work responds to popular imagery, advertising, and politics.

IMAGE-BASED DISCUSSION

James Rosenquist, F-111, 1964–65 (Image Two)

• Show students this work. Include details of the many different panels. Ask students to work in pairs and to pick one panel to observe closely. Ask them to look carefully and then write down their observations about that panel. Ask them to back up their ideas with evidence from the painting. Have them share their observations with the rest of the class. Ask them how the various parts contribute to an understanding of the entire piece.

• Tell students the title of this work is F-111, which is the name of an American bomber plane that was being planned when this painting was created. Although this plane was designed for war, Rosenquist felt that the mission of the F-111 should be economic, rather than mili- tary, designed to provide jobs to Americans.3

• Ask students to compare and contrast some of the images they see in this large work. Ask them to consider why Rosenquist might have juxtaposed images of war with emblems of entertainment and leisure. Ask students to discuss how Rosenquist addresses the Vietnam War and the politics of the time. Where does he draw his inspiration from? What do the students think his message or messages might be?

2. Andy Warhol, quoted in Popism (New York: Harper and Row Publishers, 1980), p. 3. 3. Kirk Varnedoe, High and Low: Modern Art Popular Culture (New York: The Museum of Modern Art, 1990), pp. 365–67. to have F-111 . How would F-111 , of content and his paintings. designed He scale this experience be different from viewing the work in reproduction? viewing the work in reproduction? from this experience be different The years following World War II brought about many changes in American life. in changes about many II brought War The artists World following The years major trajectories two at this time. represent included in this guide of The first is the idea freedom, space, and personal expression, the large, as shown by expansive, of work painterly Expressionists.Abstract the The other is a celebration of material culture, commercialism, and the everyday, artists. Pop by as represented • by surrounded imagine standing in the middle of a room Ask students to Before he created this painting, Rosenquist worked as a billboard painter in New York City. this painting, created he Before York in New painter a billboard as worked Rosenquist the style, influenced This work twenty-three panels,twenty-three wrap which all four walls of around a gallery, the viewer. surrounding 10 feet high 86 feet long. measures by work The entire Lilies paintings,Water large Claude Monet’s The artist by was inspired Pollock’s Jackson paintings, paintings (see www.moma.org/collection). colorful and Barnett Newman’s will in this guide. work be discussed later and Newman’s Pollock’s

6 SETTING THE SCENE 7 LESSONS " 8 ⁄ 5 1950. Oil and 1957. Oil on unprimed Jackson Pollock.Jackson American, One (Number 31,One (Number 1950). " (287.9 x 177.5 cm). 8 ⁄ 7 Helen Frankenthaler.Helen American, " x 69 8 ⁄ 3 Jacob’s Ladder. Jacob’s IMAGE THREE: (269.5 x 530.8 cm). of Museum The Art, Modern York. Collection New Sidney and Harriet Janis exchange). (by Fund © 2007 Pollock-Krasner RightsFoundation/Artists Society (ARS),York New enamel on unprimed canvas, 8' 10" x 17' 5 1912–1956. born 1928. canvas, 9' 5 The Museum ofThe Museum Art, Modern York. New Gift of N.Hyman Glickstein IMAGE FOUR: . of They the nature changed painting with their large, abstract can- vases, energetic and gestural lines, and new artistic processes. Jackson Pollock and Helen Frankenthaler were part of were Frankenthaler and Helen Pollock Jackson of a group artists known as the Expressionists Abstract INTRODUCTION LESSONS LESSONS in Painting Revolutions LESSON ONE: . subject . time looking Ask them to spend . that down words Ask them to write , scale, material, and style , , 1950 (Image Three) Jacob’s Ladder in painting. , 1957 (Image Four) technique line One (Number 31, 1950) Jacob’s Ladder Jacob’s , and the artistic process. One (Number 31, 1950) scale , , paintings. material abstract of this guide. of paintings they have created. them what kinds Ask spend a few Have them when they paint. make and writing down some of the choices artists minutes considering ideas such as They may come up with of lines they see. as curvy, They may come up with ideas such straight, dotted, thick, thin, sinewy, or continuous. the lesson. carefully at this work.carefully that describe this work. of words Have them write a list Ask them to include nouns, verbs, adjectives, and adverbs. line, or describe this work. They should include nouns, verbs, adjectives, and adverbs. their list. is different? What is similar about these works? What placed on the canvas first? might they describe these lines? Can they tell which lines were How? INTRODUCTORY DISCUSSION INTRODUCTORY • the Setting the Scene section from to their definition of painting to return Ask your students • Ask students to define line. kinds and name the different the room look around Ask them to • abstract. Ask students to define the word throughout proceed Return to this definition as you IMAGE-BASED DISCUSSION Jackson Pollock, • about the use of Students will think • work Now show students Frankenthaler’s Pollock and Frankenthaler were both artists in the 1950s. working were and Frankenthaler Pollock They both experimented with line, scale, and paint. doing so, In of a new way they created painting. of with the conventions broke Pollock its traditional from easel taking the canvas painting by and placing it on the floor. the canvas, around then worked He dripping, splashing, flinging, and smearing paint. of put holes in the bottom He paint cans, a tube, paint from squeezed stiff or baster used a turkey and even brush. build up,paint to caused the process His layer upon layer. • painting Show students Pollock’s LESSON OBJECTIVES • to painting. with regard choices artists make will consider the Students focus on They will • discuss, will learn how to Students compare, and think critically about nonrepresentational, Helen Frankenthaler, • these two works of art, and contrast students to compare Ask from using some of the words • Ask students to discuss how these artists use line. lines can they see? How different What

8 LESSONS 9 LESSONS . by He was influenced Guernica with turpentine so that they murals 5 pigments tition, flatness, light, all of was trans- which to the students. out to measure Ask students 4 . elements of Ask them to discuss the traditional (New York: of(New The Museum Art, Modern 1998), p. 48. (New York:(New Harry N. Abrams, 1989), p. 37. , p. 219. landscape Jackson Pollock Jackson the painting. sticks, I prefer trowels, and dripping fluid knives in 7 One (Number 31, 1950) Helen Frankenthaler Helen MoMA HighlightsMoMA 6 some of the Mexican muralists, such as Diego Rivera, Clemente Orozco, Jose Alfaro and David Siquieros. painting large Picasso’s He was also influenced by Pablo the dimensions using string or tape to get a sense of the size.the dimensions using string or tape to get Pollock, many other like Expressionists,Abstract works. painted very large The size of these works affects how the with the paintings.viewer interacts in was interested Pollock and restraint; accident and control. Ask students what opposites they notice in the work. visual evidence for their ideas. Ask them to provide landscape. shapes? What kinds of shapes do they see in her work? What shapes? (www.moma.org/modernteachers/large_image.php?id=130). painting different from the ways in which they may have painted? the ways in which they may have from painting different the paint does not drip down,They may notice that on an easel. was created as it would if it Helen Frankenthaler,Helen in quoted Ibid., pp. 33–34. Frankenthaler,Helen in quoted Jackson Pollock,Jackson Varnedoe, in Kirk quoted 7. 5. 6. 4. soaked through and stained the unprimed canvas rather than resting on the surface. rather than resting and stained the unprimed through canvas soaked The embedded in the picture, then become images and colors in the fabric of the canvas, resem- bling giant watercolors. form of found that a painterly Frankenthaler of suggest ideas abstraction to tended land- scape.“filled with ideas about country in the make were She said that the paintings she used to landscape, space, arrangement, perspective, repe • in her work—about about opposites has spoken Frankenthaler of freedom a combination • Ask students to define the term Frankenthaler’s works are large in scale and often have expansive areas of areas expansive have large in scale and often are works Frankenthaler’s paint. She devel- she thinned in which oped a painting technique • painting. students to look again at Frankenthaler’s Ask How does she use lines to create for the first time, work Pollock’s saw Frankenthaler When she said, if was as “It I suddenly the language, know country a foreign to went but didn’t enough but had read and had a pas- interest,sionate there. live and was eager to in this land. live to I wanted there, live I had to the language.” and master Like Pollock,Like with experimented line and paint. Frankenthaler said that she was influ- She with line,“concern fluid line, Pollock’s by enced calligraphy, and...experiments with line not as line but as shape.” •“in” he is to say that it means for Pollock Ask students what the painting. way of How is this • on the floor.Why see evidence that this canvas was painted Ask students if they not? or why • of Read the dimensions Referring to his process, his to Referring said: Pollock prefer the easel....I from does not come painting “My the floor, floor....On wall or hard the to canvas tack the unstretched to at ease. I am more I feel nearer, part a more ofpainting, the it, walk around I can this way since the from work be and literally four sides paint....When I am in my painting, I am in my paint....When of not aware I’m doing. what I’m is only when I lose It with is a mess.contact the painting that the result Otherwise harmony, is pure there an easy take, and give out well.” and the painting comes lated and carried on in my own work and experiments.”8 In 1957, Frankenthaler said,“If I am forced to associate, I think of my pictures as explosive landscapes, worlds, and distances held on a flat surface.”9

• Ask students to identify parallels between this painting and a landscape.

Inform students that this work is called Jacob’s Ladder. Jacob is a character in the Bible, the son of Isaac and Rebekah. As described in the Book of Genesis, Jacob, in a dream, saw a ladder reaching toward heaven. Like many of Frankenthaler’s paintings, this work combines abstraction with an allusion to a known reference. Speaking about this work, she said, “The picture developed (bit by bit while I was working on it) into shapes symbolic of an exuber- ant figure and ladder, therefore Jacob’s Ladder.” 10 10 LESSONS • Ask students if they agree that the central shape looks like a ladder.Why or why not?

• Now that the students have some information about Pollock’s and Frankenthaler’s working processes, ask them to refer back to their lists of similarities and differences. Do they have any new ideas they would like to add with regard to the two artists’ working processes?

ACTIVITIES 1. Your Turn! Ask students to pick a work by Kline, Pollock, or Frankenthaler discussed in this guide and pretend that they are an art critic for a newspaper or magazine. Students should write about the work they chose. Ask them to consider the following questions: What do they like or dis- like about the painting? Who is their audience? What tone will the piece take? Will they make comparisons or allusions to popular culture or to contemporary events or artists? Encour- age students to use evidence from the work of art itself to support their comments and ideas.

2. Line Dictionary After looking at and talking about these three artists, have your students create a line dic- tionary.You can give them a list of words, such as buoyant, calm, angelic, frenetic, conflicted, rolling, and sporadic, or you can create your own list. Ask them to create lines that corre- spond with the words.Ask them to add their own words and draw corresponding lines. Then have them present their lines to the class. An individual student can hold up a line and the class can guess what word they were trying to represent. The student can explain his or her choices.

3. Significant Others: Lee Krasner Pollock was married to an artist named Lee Krasner. Ask your students to research Krasner’s work. How did she influence Pollock and vice versa?

4. Significant Others: Robert Motherwell Frankenthaler was married to the painter Robert Motherwell. Research Motherwell’s work. How did Motherwell influence Frankenthaler and vice versa?

8. Helen Frankenthaler, quoted in Helen Frankenthaler (New York: Harry N. Abrams, 1989), p. 120. 9. Ibid., p. 99. 10. Helen Frankenthaler, quoted in MoMA Highlights, p. 219. LESSON TWO: Color and Environment

11

IMAGE FIVE: Mark Rothko. American, born LESSONS Latvia. 1903–1970. No. 5/No. 22. 1950 (dated on 1 reverse 1949). Oil on canvas, 9' 9" x 8' 11 ⁄8" (297 x 272 cm). The Museum of Modern Art, New York. Gift of the artist. © 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

IMAGE SIX: Barnett Newman. American, 1905–1970. Vir Heroicus Sublimis. 1950–51. Oil on canvas, 3 1 7' 11 ⁄8" x 17' 9 ⁄4" (242.2 x 541.7 cm). The Museum of Modern Art, New York. Gift of Mr. and Mrs. Ben Heller. © 2007 Barnett Newman Foundation/Artists Rights Society (ARS), New York

INTRODUCTION The artists Mark Rothko and Barnett Newman are also considered Abstract Expressionists. This lesson compares two of their large, abstract, colorful canvases and examines some of the ideas that informed their artistic processes.

LESSON OBJECTIVES • Students will consider the choices artists make with regard to painting, focusing on color, shape, composition, proportion, balance, style, and scale.

• Students will learn how to discuss and compare nonrepresentational works of art.

• Students will think about their relationship as a viewer to works of art and will consider how an abstract work can evoke a sense of atmosphere or place. . write down Have them . a few them to write Ask , of which has large areas with color No. 5/No. 22 (New Haven: Yale University Press, Haven: University (New 1993), Yale p. 50. Vir Heroicus Sublimis , 1950-51 (Image Six) r Field painting 11 , 1950 (Image Five) Vir Heroicus Sublimis Vir No. 5/No. 22 Modernism in Dispute: Art since the Forties ModernismArt in Dispute: follows a compositional structure Rothko worked on for more than twenty on for more worked structure Rothko a compositional follows

Paul Wood et al., Wood Paul colors? How many different colors can they list? How might they describe the brushwork? colors How many different colors? kinds of shapes do they notice? What (discussed earlier in this guide) made when creating their work. made when creating earlier in this guide) (discussed they use color? How did artists, by two different works compare going to they are students that Tell Line? Scale? and Barnett Newman,Mark Rothko time as Pollock, the same around working at were who Kline, and Frankenthaler.They and which Rothko will be looking closely at the manner in Newman painted. showing a specific subject. idea? How might line or How might their use of paint convey this emotions? color convey ideas or atmosphere, art. work of in an abstract or environment to this idea later return will We in the lesson. sentences describing this work. with their description. them to be creative Encourage Have the sentences. the students share ing the two works of art. may consider how each artist uses color, Students paint, proportion, composition, and shape. the two artists’ brushwork, They may compare the horizontal and vertical aspects of the paintings and the sizes of the two canvases. ten descriptive words. five favorite words. their Then have them circle Ask them to write note cards. on separate these words of five and have each group Split the class into groups words. poem using their a free-form create back to the painting as they Ask them to refer build their poem. finished, they are When their poem out loud. ask them to read Ask the other students to comment on each poem. Do these poems help them to see the painting way? How so? in a different

11. • at Rothko’s Ask students to spend some time looking No. 5/No. 22 years. this painting, In blocks of rectangular separated narrowly red, against of a background in a column hover color yellow, yellow. The blocks’ and orange soft and irreg- edges are fade and blur. to ular and tend applied the paint with a large, Rothko brush. broad The paint in tone,has differences intensity, and saturation. • painting. students to look closely again at Rotkho’s Ask do they notice about the What Rothko was a largely self-taught artist kinds of who with experimented Rothko many painting, including representational, social realist, Surrealist, and abstract. the- a as worked once He atrical painter. set his Colo is known for He IMAGE-BASED DISCUSSION Mark Rothko, INTRODUCTORY DISCUSSION INTRODUCTORY • choices Kline, some of the artistic students to review Ask your Pollock, and Frankenthaler • an idea or emotion in paint, consider how they might represent Ask students to without • seek to convey a sense of place, to discuss the ways that an artist might Ask your students Barnett Newman, • to the students again. Show both works contrast- Lead students in a discussion comparing and • Now ask your students to look at Newman’s no obvious focus of attention. as possible, simplified forms as much Rothko rectan- creating gles float on a field of that seem to color. LESSONS 12 LESSONS 13 14 . Ideas about the sublime have . In English,“Man, this title means 13 sublime (Philadelphia: of Philadelphia Museum Art, 2002), p. 41. p. 178. Vir Heroicus Sublimis . lines in paintings? do they usually see horizon Where Barnett Newman Barnett Newman, horizon line p. 178. This quote applies to Newman’s work as well. This quote applies to Newman’s 12 Barnett Newman, Mark Rothko,Mark Temkin, Ann in quoted Barnett Nemwan, in Temkin, quoted Temkin, look different if they were not included? If they were moved to a different part of the painting? moved to a different not included? If they were if they were look different zips. do they notice? What field broken by five thin vertical strips.field broken students how the size of a painting can affect Ask their viewing experience. Rothko once said,Rothko paint them, I reason pictures...the “I paint very large however—I think it I know—isapplies to other painters intimate and because I want to be very precisely human.“ Point out the horizontal line in the red band toward the middle of the painting. the middle toward band in the red the horizontal line out Point is this How horizon lines? traditional from different to do that.he might have chosen effect does it have on their viewing experience? What Heroic and Sublime.”Heroic an essay on the Newman wrote to do with beauty and elements in nature that might inspire awe. that might inspire elements in nature to do with beauty and in Newman was interested exist in the modern moment. how the sublime might 12. 13. 14. • the zips have on their viewing. Ask students to discuss what effect How would the painting •“zips.” Newman called the vertical strips in his work closely at the Ask the students to look against standing a void. figures to been compared These zips have They vary in width, color, and intensity. the canvas, to applied directly strips were coral-colored The two while the of lie on top other three paint. the red of The surfaces built up paintings were Newman’s of layers using many and carefully. applied slowly paint that were • of this vast red standing in front that they were Ask students to close their eyes and imagine This painting is so large that when the viewer stands close she is engulfed in the environment it creates. fact, In in 1950, first solo exhibition at Newman’s the artist from advised, a note a distance. from look at large pictures to “There is a tendency in this exhi- The large pictures a short from be seen distance.” to intended bition are • painting. Read students the dimensions of this string. it out using Ask them to measure Newman insisted that his canvases were charged with charged symbolic were meaning. that his canvases insisted Newman the artists Piet Like information, Malevich (for more Kazimir and Mondrian 4 Art Ideas and Modern see [http://www.moma.org/modernteachers/]), of in the spiritual believed content Newman abstract art. evidence eliminated ofNewman of the action hand. the painter’s with work to preferred He broad, of expanses even color. intense Newman was an American painter, was an Newman sculptor, printmaker, at the same and writerworked who large, and painted time as Rothko. canvases. Rothko,York Like color-saturated New in he lived • title of this work, Read students the • to define Ask students •lines into the painting. scraped Rothko of horizon line. a sort creates This Ask students why • to the painting. Ask students how this title relates 15 19 . color , and 18 this guide by Kline,this guide by Frankenthaler, and or Pollock composition , (pamphlet) (New York: (pamphlet) (New Gallery, Betty Parsons 1947). (New York: of(New The Museum Art, Modern 2003), pp. 221–22. shape , p. 196. The Ideographic Picture The Ideographic MoMA HighlightsMoMA Visions ofVisions Art Modern 16 In 1947,In of artworthy that any stated Newman should consideration 17

Mark Rothko,Mark in quoted Barnett Newman, Modern,“Barnett in Tate Newman,”http://www.tate.org.uk/modern/exhibitions/newman/. quoted Barnett Newman, in quoted Barnett Newman, Modern,“Barnett in Tate Newman,”http://www.tate.org.uk/modern/exhibitions/newman/. quoted Rothko,Mark in quoted or Newman’s paintings? Why? paintings? or Newman’s feeling in paint, how might they do it? If time permits, their own non- have students create or ecstasy. or feeling such as tragedy work based on an emotion representational Ask them consider their use of to carefully students to consider the role of the viewer.Asthe role students to consider a viewer,“job”? what is your art.Ask at a work of art? something about themselves by looking Have they ever learned experience. their them to share might evoke a sense of place or environment.might evoke place? How does each work’s kind of What size, use of color,Ask students to spend a of place? and composition contribute to a sense few minutes writing about this, their ideas. then share

17. 18. 19. 15. 16. address “life,”“man,”“nature,”“death,”and “tragedy.” “life,”“man,”“nature,”“death,”and address 2. Compare and Contrast 2. Compare select one of students to Ask in the works work. or Newman’s these Rothko’s how They it to write comparing can consider an essay artists use paint. Similar? different? processes their working are How Newman said,Newman “The basis of that makes idea...the idea-complex an aesthetic act is the pure withcontact mystery—of life, of men, of nature, ofgrayer, the hard, that is tragedy. chaos softer that is death, black chaos it is only the idea that has meaning.” For or the this. means by students what they think Newman Ask trans- and Newman Rothko are How of the intentions are they making? How are choices What paint? lating ideas into these two of the intentions artists from different and Frankenthaler? Pollock • Ask students to consider these quotes. emotion or idea might they assign to Rothko’s What •feeling, Ask students to identify a powerful mood, or emotion. that to represent If they were • might mean by this. Rothko students and ask them to consider what Read this quote to Ask a 1957 interview,In stated, Rothko emo- basic human only in expressing interested “I’m tions—tragedy, ecstasy, doom. If relationships, only by...color miss the point.” moved you...are then you In 1952,In companionship, by lives picture stated,“A in the Rothko and quickening expanding ofeyes observer. the sensitive the same token. dies by It risky a send it act to is therefore It the world.” out into Newman believed that by looking at his work up close people could become more self- more become could up close people looking at his work that by believed Newman aware. said,“I He has the impact painting of my hope that giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality.” • at themselves by looking something about someone could learn how they think Ask students • at these two works closely, Now that your students have looked them how the paintings ask ACTIVITIES 1. Art and Ideas LESSONS 14 LESSONS 15 , Broken ObeliskBroken 4. Monuments sculpture. created also Newman called sculpture steel huge a created He 3. Art and Spirituality 3. Art and murals Houston, in a chapel for created Rothko Texas, of one he considered which most his important works. this project. research to students Ask infuse his to did he attempt How withwork spirituality? which is in MoMA’s collection (see www.moma.org/collection). collection research students to Ask MoMA’s is in which ofthis work art. If to? is it a monument What a monument, create they had to what would it symbolize? would What it be? LESSON THREE: Transforming Everyday Objects

16 LESSONS

IMAGE EIGHT: Andy Warhol. American, 1928–1987. Campbell’s Soup Cans. 1962. Synthetic polymer paint on thirty-two canvases, each 20 x 16" (50.8 x 40.6 cm). The Museum of Modern Art, New York. Gift of Irving Blum; Nelson A. Rockefeller Bequest, gift of Mr. and Mrs. William A. M. Burden, Abby Aldrich Rockefeller Fund, gift of Nina and Gordon Bunshaft in honor of Henry Moore, Lillie P.Bliss Bequest, Philip Johnson Fund, Frances Keech Bequest, gift of Mrs. Bliss Parkinson, and Florence B. Wesley Bequest (all by exchange). © 2007 Andy Warhol Foundation/ARS, NY/TM Licensed by Campbell's Soup Co. All rights reserved

IMAGE SEVEN: Robert Rauschenberg. American, born 1925. Bed. 1955. Combine painting: oil and pencil 1 1 on pillow, quilt, and sheet on wood supports, 6' 3 ⁄4" x 31 ⁄2" x 8" (191.1 x 80 x 20.3 cm). The Museum of Modern Art, New York. Gift of Leo Castelli in honor of Alfred H. Barr, Jr. © 2007 Robert Rauschenberg

IMAGE TEN: Roy Lichtenstein. American, 1923–1997. Turkey Shopping Bag. 1964. Screenprint on shopping bag with handles. 1 Composition: 7 ⁄2 x 9" (19.1 x 22.8 cm); 5 15 bag (irreg.): 19 ⁄16 x 16 ⁄16" (49 x 43 cm). Publisher: Bianchini Gallery, New York. Printer: Ben Birillo, New York. Edition: approx. 200. The Museum of Modern Art, New York. Fractional and promised gift of IMAGE NINE: Claes Oldenburg. American, born Jo Carole and Ronald S. Lauder Sweden, 1929. Giant Soft Fan. 1966–67. Vinyl filled with foam rubber, wood, metal, and plas- 7 7 tic tubing, fan approx. 10' x 58 ⁄8" x 61 ⁄8" (305 x 1 149.5 x 157.1 cm); cord and plug 24' 3 ⁄4" (739.6 cm) long. The Museum of Modern Art, New York. The Sidney and Harriet Janis Collec- tion. © 2007 Claes Oldenburg INTRODUCTION As the economic prosperity of the 1950s and 1960s brought about an increase in con- sumerism and the development of the media and advertising, artists began to look for inspi- ration in the world around them.

This lesson looks at two sources of inspiration for artists: everyday objects and popular cul- ture. Artists begin to use everyday objects as inspiration, transforming them into works of art through the use of different mediums, such as paint, sculpture, and printmaking. Robert Rauschenberg’s Bed combines the expressive brushstrokes and the layering of paint that characterized Abstract Expressionism with found objects.

Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and Jasper Johns also drew inspiration 17 from the everyday, particularly from objects and images from popular culture. Popular LESSONS culture comprises the ideas, interactions, needs, desires, and cultural elements of a particu- lar society.

These Pop artists presented objects from consumer culture, like soup cans, fans, and turkeys, in a straightforward manner, using bold expanses of unadulterated color and removing traces of the artist’s hand.

LESSON OBJECTIVES • Students will consider how and why artists use everyday objects as subject matter.

• Students will consider the choices artists make when creating works of art, exploring subject matter and sources of inspiration, medium, and style.

• Students will make connections between consumer culture and art.

• Students will learn about the technique of screenprinting.

INTRODUCTORY DISCUSSION • Ask students to define popular culture. How is popular culture influenced by advertising? How are people influenced by the media and advertising? How and why do advertisers pro- mote products? Ask students what affect the media has on their lives. Tell them we will return to ideas of the media’s influence later in this lesson as we examine a group of artists who used elements of pop culture as their inspiration.

• Andy Warhol once said, “Everyone is an artist.”20 Ask students if they agree with this state- ment. Why or why not? Who gets to decide what is art and what is not art? Ask students to make a list of criteria for art. Write some of their answers on the board. Return to this idea as this lesson progresses. Do their ideas change? Why or why not?

IMAGE-BASED DISCUSSION

Robert Rauschenberg, Bed, 1955 (Image Seven)

• Ask students to look at this work of art. Ask them how the artist may have made the work. What materials did he use? How did he use them? Ask them to provide evidence for their ideas.

20. Andy Warhol, quoted in Pop Art (London: Taschen, 2003), p. 8. , Mona Lisa Mona , 1962 (Image Eight) , p. 207. , of technique describe used to Rauschenberg’s a term 22 Pop Impressions Europe/USA: Prints and Multiples from The Museum ofThe Museum from Prints and Multiples Europe/USA: Impressions Pop Art Modern combine MoMA HighlightsMoMA Campbell's Soup Cans ? Bed 21

Andy Warhol, Weitman, Andy quoted in Wendy Robert Rauschenberg,Robert in quoted by looking at this? How is this different from traditional self-portraits? traditional from by looking at this? How is this different tion have on their viewing experience? a work of art? Do they consider paintings of soup cans something to make in order present or why not? Why to be art? relate to relate them how this is similar or different than their bed at home. than their bed this is similar or different them how a bed would an artist put Why on the wall?

22. 21. York: of(New The Museum Art, Modern 1999), p. 56. Andy Warhol, Andy Warhol, • a self-portrait. Ask students how this could be considered can we learn about the artist What •work of art. Ask students to look closely at this do they notice? What • might have chosen soup cans as a subject. Warhol Ask them why they think • many canvases. included so Warhol effect does the repeti- students why they think Ask What • Ask students to discuss their list of criteria for art. elements do they think need to be What Warhol was a fashion illustrator, was a fashion Warhol painter, printmaker,filmmaker, sculptor, photographer, of and archivist magazine publisher, his times. early paintings used motifs taken His and comics. advertising from Other subjects included Elvis Presley, Leonardo’s flowers, cows, self-portraits, nose jobs, and stamps. in 1962, these thirty-two first exhibited canvases Warhol When one simultaneously each on a shelf a painting and rested the wall like from hung in a store. groceries like The number of the varieties to of corresponds canvases the Campbell Soup soup sold at that time by Company, of with flavor painting featuring each a different soup. did not indicate Warhol should be installed. the canvases how this image, In the that reflect arranged they are in rows introduced. the soups were in which order chronological the by introduced The first flavor 1897. “Tomato,”from was company Andy Warhol said ofWarhol Andy Soup,“I drink used to it. Campbell’s every the same lunch have I used to day, for twenty years, I guess, again. and over the same thing over life has Someone said my me;dominated that idea.” I liked • statement. means by this they think Rauschenberg Ask students what How does this quote • the title. students Tell everyday object. this transformed has Rauschenberg Ask them how Ask of example This is an a attaching found objects such as tires or old furniture to a traditional plane. to picture or old furniture as tires found objects such attaching this In ofwork art, see a pillow, we sheet, and quilt, scribbled with pencil and splashed with paint in a styleof that similar to Pollock. Jackson own been the artist’s have These materials may pillow, and blanket a canvas. buy money to he used when he lacked which a bed, to Although materials related these are art. the artist on a wall like work the has hung said,Rauschenberg both art to life....(I try and relates act in that gap to between “Painting the two).” LESSONS 18 Claes Oldenburg, Giant Soft Fan, 1966–67 (Image Nine)

• Ask students to look at this sculpture. Refrain from telling them the title right away. What do they think it is? Why?

• Tell them that this object is almost eleven feet tall. Does knowing this change their ideas about the work? Why might the artist have chosen to make this so big?

• Ask students to describe the material used in this work. How is this sculpture different from more traditional sculptures they may have seen? Let them know it is made of vinyl, wood, metal, and plastic.

19 • Tell them the title, Giant Soft Fan. Ask them why they think that Oldenburg might have LESSONS chosen to make a fan. How is this fan different from traditional fans? How is it similar? Like Rauschenberg’s Bed, this fan is deprived of its purpose. Are there any other similarities between Giant Soft Fan and Bed ? What are the differences?

In the 1960s, Oldenburg began expanding the subject and material of traditional sculpture. He recreated everyday objects as huge, soft, handmade sculptures. In 1968, critic Richard Kostelanetz said, “Like the human body, which it resembles in its lumps, bumps, folds and crevices, soft sculpture is literally subject to the force of gravity. Gravity, which Oldenburg calls his favorite form creator, determines the final form a work will assume.”23

This sculpture is part of a larger series of sculptures of appliances and domestic objects that Oldenburg worked on in 1963. He has also created sculptures of cheeseburgers, a giant ice cream cone, and a large slice of cake, all of which are placed directly on the gallery floor.

In 1967 Oldenburg wrote, “The Fan’s first placement was on Staten Island, blowing up the bay. Later, I sited it as a replacement for the Statue of Liberty...[guaranteeing] workers on Lower Manhattan a steady breeze.”24

• Ask students where they would choose to put this fan. Why?

• Like Oldenburg’s other soft sculptures, Giant Soft Fan was carefully planned before it was hand sewn by his wife, Pat Oldenburg. Ask students to consider how this kind of production differs from the factory production of traditional fans.

Warhol and Oldenburg both used mundane objects as subjects for their artwork. The artist Roy Lichtenstein also selected an everyday object—a turkey—for subject of one of his works, but he represented it in a different way.

Roy Lichtenstein, Turkey Shopping Bag, 1964 (Image Ten)

• Ask students to look at this work of art. What is the subject? What materials are used? Inform them that this work is called Turkey Shopping Bag.

• This is a print. Ask students if they can define a print. Have they ever created a print?

A print is a work of art made up of ink on paper that exists in multiple examples. Lichten- stein, who created this screenprint, is also well known for paintings that are based on comic strips and advertisements.

23. Steven Henry Maddox, Pop Art: A Critical History (Berkeley and Los Angeles: University of California Press, 1997), p. 229. 24. Claes Oldenburg, quoted in MoMA Highlights, p. 249. 26 25 highlighted for the occasion. also Warhol American Supermarket American consumer objects and Pop artists’ objects and Pop consumer depic- Turkey Shopping Bag Shopping Turkey ,p.72. Pop Impressions Europe/USA Impressions Pop

Ibid. Weitman, the ways in which art is usually sold? How is this different? Are there any similarities any there Are is this different? the ways in which art is usually sold? How these artists making connections were What store? between art and items in a grocery between art and commerce? it be a small specialty store,Would focus on? an online marketplace, like or a mega-store to select an image for a If they were Why? would they feature? products What Wal-Mart? bag,Why? what would they select? have to do with it? did medium What did subject matter have to do with it? What ble? criteria for art? Ask them if they believe that artists have to make a work with their own if they believe that artists have to make Ask them criteria for art? hands. or why not? Why

25. 26. Have students create their own nontraditional self-portraits students create using found objects.Have them to Ask they start before write and to a paragraph they a sketch will outlining what choices make create as artists. material, concern may The choices technique, style, and specific subject matter. 3. Nontraditional Self-Portrait Direct students to research prints and multiples created by Pop artists in the 1960s. Pop by prints created and multiples research students to Direct using By these mediums, artists transformed the idea that art Pop was only for a select few. an Object 2. Transform time period. the current that represents object select an everyday students to Ask them Ask transformto their own artwork into this object out of nontraditional material(s). Before starting, showing their plan. a sketch they should make artists, As to choices many they have make.What big will be? How material(s) will their work they use? How What is their subject? is the title? willWhat they an original incorporate their work? idea into the differences and similarities the actual between the differences tions of them. a supermarket, was designed resemble The exhibition to with aisles, complete shelves, counter. and a checkout plastic and actual food art to objects next were On display items. made a series of Lichtenstein his Soup can on it.printed bags with a Campbell’s dollars each. sold for twelve These bags were • for sale at this exhibition. Ask students to discuss what items were do they know about What • today, Ask students if such an exhibition happened would they choose to what type of store •“democratize” artists helped to students how the Pop Ask art. accessi- it more Did they make ACTIVITIES 1. Prints and Multiples The 1950s and 1960s saw a rise in the popularity saw The 1950s and 1960s of the big,self-service supermarket.With this on packaging.came a new emphasis became bolder, Advertisements and words fewer using larger, designs. colorful more in 1964 titled exhibition An •works to be art. they would consider these prints to be Ask students if Does this fit into their Many Pop artists, Pop Many Warhol, and as Lichtenstein such because techniques used screenprinting of bold areas they produced color, unmodulated flat surfaces, look. and a commercial The ideas ofwith fit in perfectly this medium to the inherent that are and repetition transference artists’Pop ideas. the prints he designed. created other people called The Factory where had a place Warhol designed this image ofLichtenstein a turkey, other people executed. which from was taken It a newspaper advertisement. by inspired painting and was most likely a 1961 Lichtenstein LESSONS 20 LESSONS 21 x x 8 ⁄ 3 4 ⁄ 1 (Ten Works by Works (Ten X + X Andy Warhol.Andy Ameri- Birmingham Race Riot Charles Moore. Ameri- Martin Luther King,Martin Luther Jr. Jasper Johns.Jasper American, . 1954–55 on (dated x 24" (50.7 x 60.9 cm). 16 ⁄ . 1964. Screenprint, com- 15 Flag 1958. print, Gelatin silver 8 " (21.3 x 31 cm). of The Museum " (107.3 x 153.8 cm). The Museum 16 8 ⁄ ⁄ 3 5 Ten Painters) Ten position: 19 can, 1928–1987. the portfoliofrom IMAGE THIRTEEN: Publisher: Atheneum, The Wadsworth Hartford, Connecticut. Printer: Sirocco Screenprinters, Haven, North Con- necticut, supervised Ives-Sillman, by Haven,New Connecticut. Edition: 500. ofThe Museum Art, Modern New York. Gift of Harry C. Oppenheimer exchange) (by 12 Modern Art,Modern York. New Gift of Harriette Levine and Noel IMAGE TWELVE: can, born 1931. Arrested. of Art, Modern York. New Gift of Philip in honor ofJohnson H. Alfred Barr, Jr. born 1930. reverse 1954).reverse Encaustic, oil, and collage on fabric, on plywood, mounted 42 IMAGE ELEVEN: 60 LESSON FOUR: Art and Politics LESSON FOUR: . McCarthyism of the 1950s and 1960s. They with students. was Who (New York: of(New The Museum Art, Modern 1998), p. 46. Cold War the political and social atmosphere of atmosphere the political and social this time. Civil Rights Movement , 1954–55 (Image Eleven) Pop Art: Selections from The Museum ofThe Museum Selections from Art: Pop Art Modern Flag 27

Jasper Johns,Jasper in quoted Share with them the information about the materials Johns used—paint, with them the information about the materials Johns Share newspaper, wax, glue, and plywood. bound together. canvases that are This is composed of three One shows on the blue background,white stars another includes the top seven stripes, and the last is the bottom half of the picture. involved? What effects did the Cold War have on Americans? Tell them about Tell Americans? have on War effects did the Cold What involved? crusades of speech was affected by Senator McCarthy’s Have them consider how freedom against alleged Communists. should consider the following questions: fighting African-Americans and others were What What How did they achieve it? did they want to achieve? What the leaders? were Who for? role? government’s was the federal American flag might represent. might it mean to an What mean to them? does a flag What their ideas. Ask them to share others? people. for different symbol and its meaning can be different

27. Johns said,“OneJohns American flag, a large night that I painted I dreamed morning and the next a on that painting out and bought beginI got up and I went the materials to it....I worked long time.” Jasper Johns worked at the same time as Robert Rauschenberg. worked Johns Jasper transformed Johns flat, rec- ognizable as flags, objects such targets, numbers, paintings. into and maps • students to look closely at this work again. Ask do they notice about how it was made? What LESSON OBJECTIVES • and social events and ideas. to political the ways that artists respond will consider Students • get their inspiration? do artists about sources—where Students will think • they represent. about symbols and think about what Students will learn DISCUSSION INTRODUCTORY • and the Discuss the political climate of the 1950s • Discuss the issues and ideas behind the INTRODUCTION turbulent times, the 1970s were to the 1950s from The years Vietnam witnessed which the War, of the assassination in China, Revolution Cultural Kennedy, President Tse-tung’s Mao States. in the United Rightsand the Civil movement artists time represented at this Many in their work.political events of This at the work lesson looks artists repre- three whose work important events sents ideas and specific to IMAGE-BASED DISCUSSION Jasper Johns, • at this image. Ask students to look carefully and talk about what them to work in pairs Direct •This flag is a Ask them to talk about symbols. can they mean? What symbols? are What LESSONS 22 Johns declares that he never intended this picture to be overtly political. However, by look- ing at an image of a flag, the viewer has to consider the meaning of this symbol. Johns believed that knowledge blinds us to experience. He felt that by showing common things in unexpected ways art could challenge people to rethink their ideas and to become more self- aware. He said, “When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive.”28

• Ask students if they agree with Johns’s statement. Has looking at a work of art ever changed the way they see things? Did hearing their classmates’ initial reaction to Flag cause them see it differently? Ask them to give examples.

• This was painted in 1954–55. Ask students to reflect upon what they have learned about the 23 McCarthy era and the Cold War.Ask them to consider what it might have meant to make a LESSONS painting of an American flag at this time. How does the meaning of this symbol change depending on when we view it? What does it mean to us today?

Charles Moore, Martin Luther King, Jr. Arrested, 1958 (Image Twelve)

• Ask students to look closely at this image. Ask them to spend a few minutes writing down their observations. They should consider the following questions: What do they see? What is happening at this moment? Who is involved? What kind of place do they think this is? Have students back up their ideas with evidence from the image. Ask students to share their ideas.

This photograph was taken in 1958 by the photographer Charles Moore. Moore docu- mented many of the events and people involved in the Civil Rights Movement. Tell students that the man in the center of this photograph is Martin Luther King, Jr. The woman to the right of him is his wife, Coretta Scott King.

• Ask students to summarize what they know about the Civil Rights Movement. What do they know about Martin Luther King, Jr.? What was his role in the Civil Rights Movement?

Inform students that Martin Luther King, Jr. was a pivotal leader in the American Civil Rights Movement. A Baptist priest and social activist, he advocated for nonviolence and equal treatment for African-Americans. For more information, including King’s writings and speeches, see www.stanford.edu/group/King.

Moore took this photograph in a police station in Montgomery, Alabama, in 1958. He was the only photographer present to witness King’s argument with local police that led to his arrest. King insisted on remaining in jail for the full fourteen days of his sentence, even though the Police Commissioner paid the $10 fine himself to try to diffuse the publicity sur- rounding this event.

Moore continued to document the Civil Rights Movement in the South. He represented images of desegregation, voter registration, marches, protests, and police abuse. His photo- graphs were distributed nationwide in Life magazine, which at that time was read by over half of the adults in the United States. These works helped people to learn about the events of the day. According to former U.S. Senator Jacob Javits, Moore’s pictures “helped to spur the Civil Rights Act of 1964,”which outlawed discrimination based on race, color, religion, sex, or national origin.29

28. Jasper Johns, quoted in Jasper Johns: A Retrospective (New York: The Museum of Modern Art, 1996), p. 17. 29. See http://www.kodak.com/US/en/corp/features/moore/aboutCharlesMoore.shtml. 30 Martin Luther King, Jr. es from newspapers and magazines that chron- es from , 1964 (Image Thirteen) magazine.in Birmingham, It was taken Alabama, Life on canvas, images with a commeri- mass-produced matching ,p.90. screenprint Birmingham Race Riots Birmingham Race . in a newspaper what it means to look at a photograph students to consider Ask Pop Impressions Europe/USA Impressions Pop Arrested

Weitman, when police unleashed attack dogs and fire hoses on a group of nonviolent African-American of nonviolent hoses on a group attack dogs and fire when police unleashed led by Martin Luther King, and protesters children Jr. versus one that is included in a print.versus image does the meaning of this appropriated How the same? remains What change? How? to Johns’s? a political statement similar or different about using art to make them to back up their ideas with evidence from the image. ideas with evidence from them to back up their this image tell us does What about the time? in 1963 in that was published Moore differently about the world around them. about the world around differently the image was it about What the image? was What them stop and think? that made

• ideas statement this work makes. students to discuss what kind of political Ask Warhol’s Are ACTIVITIES 1. Injustice Today 30. 3. Make a Political Commentary do with select the newspaper a photograph that has to students to a social injus- from Ask tice. their own political commentary.create them Have think about the fol- to them Advise lowing questions: our soci- to does it have relevance What did they select this image? Why help fix this problem? can they do to What ety? 2. Civil Rights about the civil learn rights more to order struggle,In one of students can research the fol- lowing figures, laws, events: or Laws, Crow Jim King, Martin Luther Jr., Lou Hamer, Fannie Johnson,Lyndon Wallace, George vs. Brown of Board Education, and the Mont- Parks Rosa gomery Boycott, Bus Birmingham the Selma to March,Washington, on the 1963 March the Summer, Freedom Mississippi ofAct Rights the Civil of 1964,Act Rights Voting or the 1965. Warhol called the Birmingham Race Riots episode a “blot on the American conscience.” “blot on the called the Birmingham Riots episode a Race Warhol of write about an instance students to Ask an essay encoun- they have or injustice prejuidice or observed.tered did theyWhat deal with it? them or someone else? How Did it concern try to or attitude? this situation can they rectify take steps to icled catastrophes, conflict, and death. Series. These became known as the Disaster 1962, In began to Warhol • photograph with Moore’s print Warhol’s Ask students to compare In the early 1960s,In use imag to began Warhol Andy Warhol, Andy Warhol, • image. Show students this they see. and to describe what them to look carefully Ask Ask • of the title. Inform students by Charles a photograph that this work derives from them Tell medium.cal and easily repeatable the photographs from directly work him to This allowed him. that inspired • that made them think or newspaper an image in a magazine if they have seen Ask students LESSONS 24 LESSONS 25 " 4 ⁄ 3 " x 58" x 66 8 ⁄ 7 8 ⁄ 5 " (49.1 x 8 ⁄ 1 x 25 16 ⁄ 5 . 1963. Oil and Willem de Kooning.Willem Ameri- . 1964 (published 1965). Richard Hamilton.Richard British, Roy Lichtenstein.Roy American, Drowning Girl Interior . 1950–52. Oil on canvas, 6' 3 IMAGE FOURTEEN: can, born the Netherlands. 1904–1997. Woman, I (192.7 x 147.3 cm). of The Museum Modern Art,York. New Purchase.Willem © 2007 The Rights Foundation/Artists Society de Kooning (ARS), York New born 1922. Screenprint, composition: 19 IMAGE SIXTEEN: 63.8 cm). Publisher:Alecto, Editions London. Printer: Studio, Kelpra London. Edition: 4 (final state, edition: 50). of The Museum Art,Modern York. New Braude Dorothy Edinburg Fund.Artists Rights © 2007 Society (ARS), London York/DACS, New IMAGE FIFTEEN: 1923–1997. (171.6 x 169.5 cm). of Museum The Modern Art,York. ex- (by Fund New Philip Johnson and giftchange) of Mr. and Mrs. BagleyWright synthetic polymer paint on canvas, 67 LESSON FIVE: Artist’s Choice: People Artist’s LESSON FIVE: . composition , and , p. 151. technique , color , of a woman. would this look like? What and considers the stereotypes theyand considers present. background , portrait , p. 206. , 1950–52 (Image Fourteen) medium , . representations traditional from How is this woman different (London: Thames & Hudson, 2003), p. 14. style MoMA HighlightsMoMA An Invitation to See: 150 Works from The Museum ofThe Museum from Works to See: 150 Invitation An Art Modern Woman, I Woman, I Woman, 33 American Art since 1945 Art American 31 De Kooning said that the Woman’s form reminded him of form reminded landscape—with arms “a Woman’s said that the De Kooning 32

David Joselit, David Willem de Kooning,Willem in quoted Willem de Kooning,Willem in quoted person. They can talk about subject matter, style, composition, background, color, technique, and medium. an artwork about a They can consider why an artist might choose to create person. and gives some a specific person usually represents A portrait it traditional? makes What information about her personality. In this lesson, paintings that students will look at three have women as their subject matter, specific individuals. represent but which do not to consider what materials this artist used. How do notice about the process? do they What do students notice about the application What painted this? may have they think de Kooning The background? The colors? of paint and brushwork? people. They will consider of women? How is she similar?

• artists. by different images of women as represented Students will compare • and inspiration. artists get their sources Students will learn about where DISCUSSION INTRODUCTORY • an image of a when creating an artist makes Ask students to discuss the various choices •“traditional” students to imagine a Ask IMAGE-BASED DISCUSSION Willem de Kooning, • at this image. students to spend some time looking Ask them what they notice. Ask Ask them like lanes and a body of lanes and a body like hills and fields, the surface, up close to all brought a panorama like together.” squeezed 31. • students the title, Tell This is the first of a series of six paintings of created. de Kooning women was influenced He fertility sculptures, images including Paleolithic by American billboards, girls. and pinup He of traditional representations reversed women, he called, which idol, “the Venus, the nude.” the De Kooning painted and repainted this work, and repainted painted De Kooning a period and deliberately over slowly working of years. two of way de Kooning’s A critic to referred a birthing like “almost as working process.” 32. LESSON OBJECTIVES • works of art that include creating when the choices artists make Students will consider INTRODUCTION of representations different three examines This lesson women. used de Kooning Willem a distorted image of create to brushwork expressive violent, by surrounded a woman layered, ofand scraped strokes paint. detachment, cool With a cropped presented Lichtenstein Roy of book image comic drowning. a woman a print of out created Hamilton Richard a collage, on domestic life. imagery a comment using existing make to the radi- examines This lesson artisticcally different styles of artists these 33. LESSONS 26 Roy Lichtenstein, Drowning Girl, 1963 (Image Fifteen)

• Tell students the title of this piece, Drowning Girl. Ask students to compare this work with de Kooning’s Woman, I. What is similar about the two works? What is different?

• How are the two artists’ styles different? How does their use of paint differ? Background? Treatment of subject matter?

• Ask students to focus on the composition of this piece. How has Lichtenstein chosen to portray this person?

Drowning Girl is one of many canvases Lichtenstein created that is based on characters from 27 comic books. This composition is taken from one frame in a comic book that shows a girl in LESSONS the foreground with her boyfriend looking at her from a capsized boat.

To see the original illustration, published in November 1962 in the DC Comics series Run for Love, go to http://academics.smcvt.edu/gblasdel/slides%20ar333/webpages/t.%20abru zzo,%20run%20for%20love.htm. Ask students to compare this image to the Lichtenstein painting.

• Ask students why Lichtenstein might have chosen to include only the girl’s head. Why might he have wanted to show only part of the picture?

• This is one of many paintings Lichtenstein created depicting women as helpless, desperate, and passive figures. Ask students how this might relate to what they know about the women’s movement of the 1960s.

• Ask students to consider the effect of the words in the bubble. In the original comic book picture, the caption read, “I don’t care if I have a cramp.” How has Lichtenstein altered the meaning of the image by changing the caption? How might their understanding of this be different if the words were not included, or if different words were used?

• Ask students to write their own caption. How do their words change the way in which the work can be interpreted?

• Ask students to describe the way they think this was painted.

Lichtenstein said,“I was very excited about, and interested in, the highly emotional content yet detached, impersonal handling of love, hate, war, etc. in these cartoon images.” 34

In order to imitate the “impersonal” process of commercial printing, Lichtenstein trans- ferred a sketch onto a canvas with the help of a projector. He then drew in black outlines and filled them with primary colors or with Benday dots through a screen.

• How does the way in which this was painted contrast with the emotional content of the image?

Lichtenstein’s image in Drowning Girl comes directly from a comic book. He appropriated it into his own work by cropping, enlarging, and painting it. Richard Hamilton, a British artist, also reinscribes images from popular culture in his print, Interior.

34. Roy Lichtenstein, quoted in Pop Art Selections,p.50. Hamilton made from Hamilton collages present people.present one of choose students to Ask ots under the photographic screens. this From 36 35 ,p.43. , 1964 (Image Sixteen) , 1964 (Image Interior Pop Impressions Europe/USA Impressions Pop

Weitman, Ibid. in this lesson. woman in the center of the picture.woman in the following questions: They can consider How might might have What be thinking? might she What person? is this Where this place? you describe next room? might be in the Who might happen after? What this moment? happened before is she doing? What is she? Where to depict this woman?

35. 36. 3. Collage of own their collage create students to Ask and tells a person that features an inside space ofsomething about the consumerism time. the present them think about subject Have matter, style, and composition.magazines They and newspapers. can cut out images from up with the students come a title for their work. Have 2. Self-Portrait re to ways different at three This lesson looked a self-portrait.the styles and a particular create discussed here medium and to the Consider following questions: medium, What the viewer tell do they about themselves? want to What style, will will theyWhat Fore- include in the background? and composition they use? ground? Ask students to bring in a comic book. bring to students in a comic Ask their own work pick a frame and create them to Ask of that frame. art by inspired contemporary artists who are reference want to They may books, comic by inspired Essenhigh, including Inka Barry McGee, Murakami, Nara, Takashi Yoshitomo Neuenschwander, Rivane Phillipe Parreno, Pettibon, Raymond Gary or Simmons. books and transformed comic them? ideas from these artists taken have How layered image,layered screenprint. a created he • works three in the represented how women are and contrast students how to compare Ask ACTIVITIES 1. Comic Influence • about the short paragraph and then write a at this image to look carefully Ask students • this work. in they see represented stereotypes Ask students what How has the artist chosen of this work create to steps many took Hamilton art. First, a collage. he created Then he took photographa black-and-white of using photographic by the color and changed the collage screens. of screens Then he layered d Benday This work is by the BritishHamilton. artist is by This work Richard in the impact of was interested He pop- culture—suchular and commodity as television sets, movie marquees, vacuum cleaners, books—onand comic art. This print is based on one of three newspaper and magazine advertisements. a washing machine from is taken The woman of a photographic reproduction from and the interior is taken advertisement Claude drawing room. daughter’s Monet’s Richard Hamilton, Hamilton, Richard LESSONS 28 FOR FURTHER CONSIDERATION 29 One The Feminine , Kesey’s Ken . of does each How these works The Catcher in the Rye Ask them to consider the following ques- consider them to Ask Catch-22 t to the specific period the oft to they time in which floating shapes of Rothko, the scraped brush- , J. D. Salinger’s , Heller’s Joseph or The Bell Jar , Plath’s Sylvia Flew Over the Cuckoo’s Nest Flew Over the Cuckoo’s Time Capsule Time images with selected respec This guide examines made.were of a list make students to Ask the current to correspond to the objects that seem period in time. a time capsule that create to in small groups together work them to Ask advertising, and images from includes text popular culture, the media, etc. do they What this period about in time? know people to want future Art of and the Duchamp Marcel Ideas ofMany of the work by influenced the artists in this guide were and Duchamp artist Marcel ofhis concept the readymade. of the work research students to Ask Duchamp. lessons What for artists as Rauschenberg, such did he have Johns,Warhol, Students may and Lichtenstein? Studio [http://redstudio.moma.org/], visitwant to Red for teens, site MoMA’s hear to and legacy. work and students discuss Duchamp’s curators MoMA Own Podcast Design Your of on works their own audio pieces Advisory created Council Youth art in MoMA’s MoMA’s collection. in the 1950s and 1960s. They artists focused on who worked visit students to Ask artists podcasts on to and listen [http://redstudio.moma.org/podcasts/2006/] Studio Red Ruscha. and Edward Johns as Jasper such Discuss these podcasts as a group. students to Ask section of Own Podcast Your the Make to their own on podcasts refer create and to the site ofa work in this guide. art represented Studio when Red They can submit their podcast to finished. they are Books of one select and read students to Ask the following books: Betty Friedan’s Mystique FOR FURTHER CONSIDERATION FOR FURTHER reflect the time in which it was written? the time in which reflect Paint of a lot This guide has examined styles, painterly different the drips including and splatters of Pollock, of color the allover Newman, the ofwork de Kooning, and the detached, book style comic of Lichtenstein.pick one particular style and experiment with it. students to Ask tions: They do they ideas should think about wish express? will to What they What paint? style, composition, brushwork, etc. withoutDraw a Pencil of nontraditional ways and Frankenthaler’s Pollock’s by been influenced artists have Many applying paint. they lines without brainstorm might how students to using a create Ask pencil. materials might they use? What of way identify their own alternative students to Ask their own create mark-making and to work of art. New York School 30 Pollock, Frankenthaler, Rothko, and Newman were part of a informal movement of New FOR FURTHER CONSIDERATION York poets, painters, and musicians in the 1940s, 1950s, and 1960s called the New York School. Research the New York School. Pick a poet, musician, or artist and research their life and work.

Pop Art Is: Hand out a copy of this letter the artist Richard Hamilton wrote in 1957: “Pop art is: Popular (designed for a mass audience) Transient (short-term solution) Expendable (easily forgotten) Low cost Mass produced Young (aimed youth) Witty Sexy Gimmicky Glamorous Big business This is just the beginning....” 37

Ask students how this letter relates to the work they looked at by Lichtenstein,Warhol,and Old- enburg. Then ask them create a collage of images from current newspapers or magazines that corresponds to this poem. Are these words applicable to our society today? Why or why not?

Printmaking Project: Photocopy Transfer Ask students to select a photograph from the newspaper that has to do with social injustice. Have them create a photocopy transfer. For detailed information on this process, please visit MoMA’s Red Studio [http://redstudio.moma.org/in_the_making/diy/index.php].

Ask students to give the work a title and write a paragraph explaining why they selected this image.

Art and Politics: The Cold War and McCarthyism The 1950s were controversial time in American politics. Ask students to research the Cold War and McCarthyism. One resource is the film Good Night, and Good Luck (2005), which portrays the political climate of the time.

In the introduction to the catalogue for The Museum of Modern Art’s 1959 exhibition New American Painting, which featured many artists from the New York School, Alfred H. Barr, Jr., wrote that the paintings were portrayed as simultaneously “autonomous” from the brute

37. Richard Hamilton, quoted in Pop (London: Phaidon, 2005), p. 15. determinations of actual economic and political life in the Cold War and yet also as symbolic 31 of a kind of “free,”“creative” cultural practice, as characteristic of a “free America” standing FOR FURTHER CONSIDERATION up against the threat of the Soviet Union to the western capitalist democracies.38

Have a discussion with students about the political climate of the time. Ask them to consider how this relates to some of the ideas present in Abstract Expressionism. Ask them to compare what was going on in the 1950s to today’s political climate. What is similar? What is different?

Photographers and American Life Photographers such as William Eggleston,Walker Evans, Robert Frank, Lee Friedlander, and Garry Winogrand also chronicled American life in the 1950s and 1960s. Ask students to select one of these photographers and one of his photographs. Have students create a story around one of the photographs.

European Artists Many European artists during the 1950s and 1960s incorporated political subject matter into their work. Ask students to pick one of the following artists and research his work during this time: Eduardo Arroyo, Öyvind Fahlström, Richard Hamilton, Bernard Rancillac, Gerhard Richter, or Joe Tilson.

38. Alfred H. Barr, Jr., quoted in Modernism in Dispute: Art since the Forties (New Haven, Conn.: Yale University Press, 1993), p. 57. llock, Kline, Franz Frankenthaler, and Helen and A movement composed of composed A movement American artists in the 1940s and 1950s A preoccupation with and an inclination toward the buying of with toward and an inclination A preoccupation manufac- An objectAn that was not originally of be a work to intended art that has been The arrangement of elements within of a work art. A line in works ofA line in works and sky converge. land or water art where that usually shows The area ofThe area the viewer; from an artwork that appears farthest away also, the Dots used in the mechanical reproduction of reproduction Dots used in the mechanical images. The part of the viewer. that appears closest to the picture An image that has naturalAn scenery as its primary focus. The period of and States the United between conflict but protracted nonviolent The technique ofThe technique a cast-off putting together a traditional to as a tire such item An element or substance out of element or substance An can be made or composed. something which A term generally describeA term or based on exter- used to art representational that is not The technique and resulting work of work and resulting The technique art fragments in which of and other paper A substance, as a dye, such pigment, or paint, that imparts a hue. A geometric figure formed by a point moving forward and back in a fixed direction. A geometric a point moving forward formed and back in a fixed by figure

Found objects: Found included in an artwork. line: Horizon Landscape: Line: Material: Consumerism: goods. tured Foreground: Abstract: nal reality or nature. Expressionism: Abstract large abstract by canvases. was characterized which painted had two The movement Po as Jackson such groups—action painters and Barnett Newman. Rothko as Mark such Field painters Color The action painters’ work sweeping,is characterized by gestural lines; Field painters’ Color the is characterized work large,by of areas unmodulated color. Background: is placed. or scene a figure against which area Benday dots: War: Cold and their allies,the Soviet Union the 1980s. 1940s through the late from lasted which Collage: a supporting to arranged surface. materials are and affixed Color: Combine: support a canvas. like Composition: GLOSSARY GLOSSARY 32 GLOSSARY 33 An ever-changing set of ever-changing An the desires, that characterizes ideas needs, and A term used to describe attacks on a person’s character or patriotism. character describe used to attacks on a person’s A term comes It Screenprints are a form of are Screenprints stenciling. The artist a sheet of out an image onto cuts Refers to the harmonious relation of the harmonious relation to Refers the whole. parts or to other each to The method of and artwork. with working produce materials to A small-scale, in a large edition. usually produced work three-dimensional The general or specific categorization of art based on the materials used (for A substance that produces the color of the color that produces A substance medium. any with oil, mixed When water, Lofty or grand in thought, expression, or manner. An art movement and style the to art that startedAn in England movement in the 1950s and moved The context or environment in which a situation occurs. a situation in which or environment The context A large, permanent picture, usually on a wall or ceiling. The form or condition in which an object exists or appears. an object in which exists The form or condition A work ofA work art up of made examples. in multiple and existing ink on paper A proportion used to determine the size relationship between an object and its repre- between relationship the size determine A proportion used to An artist’s characteristic manner of artist’s An expression. sentation. Screenprint: paper or plastic film. of on a screen The image is then placed silk or fine mesh fabric. The image with ink,is coated with the printing the mesh onto surface through a squeegee. is forced which Setting: Shape: Style: Sublime: Technique: Scale: Proportion: United States in the 1960s. States United and used the media and advertising by influenced Artists were as their inspiration. popular culture familiar objects from culture: Popular cultural elements of a particular society. Print: Pigment: or another fluid, paint. it becomes art: Pop Mural: McCarthyism: tactics of the from McCarthy, Joseph by employed accusations and baseless fear-mongering a 1957, 1947 to from Wisconsin from Senator of during the early years War. the Cold was He or spies for the Soviet Communist he thought pursuing people were known for aggressively Union. Medium: example, painting [or, specifically, more watercolor], drawing, sculpture). Multiples: New York: New New Haven,New Conn.: rev. ed. New York: The New York:New The Museum London: Phaidon, 2005. Brookfield, Conn.: Press, Brook Roaring New York: ofNew The Museum Art, Modern 1996. New York:New Prestel, 2006. Boston: Press, Bulfinch 1999. New York:New Harry N. Abrams, 1989. Action Jackson. Action Philadelphia: of Philadelphia Museum Art, 2002. Pop: Themes and Movements. London: Taschen, 2003. Visions ofVisions of The Museum from and Sculpture Painting Art: Modern Pop Art. Pop Impressions Europe/USA: Prints and Multiples from The Museum of The Museum from Prints and Multiples Europe/USA: Impressions Pop Where Is Jasper Johns? Jasper Is Where Helen Frankenthaler. Helen An Invitation to See: 150 Works from The Museum ofThe Museum from Works to See: 150 Invitation An Art. Modern Jasper Johns: A Retrospective. Johns: Jasper Pop Art: Selections from The Museum ofThe Museum Selections from Art: Pop Art. Modern Roy Lichtenstein’s ABC. Lichtenstein’s Roy Mark Rothko: The Works on Canvas.Works The Rothko: Mark Catalogue Raisonné. Barnett Newman. New York: ofNew The Museum Art, Modern 1999. New York: ofNew The Museum Art, Modern 2003.

2002. Pearlman, Debra. FOR YOUNGER STUDENTS Adelman, Bob. Greenberg, Jan, and Sandra Jordan. POP ART Francis, Mark, Foster. and Hal Osterwold, Tilman. of Art, Modern 1998. Weitman, Wendy. Modern Art. Franc, M. Helen Umland, Anne. Modern Art. ABSTRACT EXPRESSIONISM Anfam, David. Elderfield, John, ed. GENERAL ART HISTORY AND IDEAS HISTORY GENERAL ART Press, University 1998. Yale Elderfield, John. Temkin, Ann. SELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY SELECTED Varnedoe, Kirk. The Museum ofThe Museum Art, Modern 1973. ofThe Museum from Works Highlights:MoMA 350 Art, Modern ofMuseum Art, Modern 2004. SELECTED BIBLIOGRAPHY & RESOURCES 34 SELECTED BIBLIOGRAPHY & RESOURCES 35 New York: Young New Books for Abrams New York: New of The Museum Art and Modern Minneapolis: Books, Carolrhoda 1999. Seen Art? Andy Warhol: Pop Art Art Painter. Pop Warhol: Andy Anna’s Art Adventure. Art Anna’s Viking, 2005. Sortland, Bjorn. ONLINE RESOURCES ofThe Museum Art, Modern York New www.moma.org Studio:Red for Teens A Site redstudio.moma.org Destination: Art Modern www.moma.org/destination Dictionaryof Grove subscription) Art Online (requires www.groveart.com a Print? Is What www.moma.org/exhibitions/2001/whatisaprint/flash.html as information as well about the artist Charles Moore Photographs by www.kodak.com/US/en/corp/features/moore/mooreIndex.shtml?CID=go&idhbx=civil- rights Modern,Tate London www.tate.org.uk/modern Gallery ofNational Art, Washington, D.C. www.nga.gov on the Prize:“Eyes Rights Civil Movement, America’s 1954–1985,” accompanying website the PBS series www.pbs.org/wgbh/amex/eyesontheprize/index.html Rubin, Goldman. Susan Readers, 2006. Scieszka, John, and Lane Smith. ernteachers to explore MoMA’s edu- MoMA’s explore to ernteachers um Educator at MoMA or in your classroom, or in your at MoMA um Educator uide for Educators, passes. and Museum Some

programs are available in Spanish. available programs are Learning, information about Distance more For please call (212) 333-6574 or e-mail [email protected]. DISTANCE LEARNING DISTANCE for live, an ideal environment fosters inquiry-based approach teaching interactive MoMA’s videoconferencing. with Looking classes, MoMA, videoconferencing the Museum’s provide area. metropolitan York multipart and students outside the New programming for teachers for every reproductions color kit containing teaching in a Box—a All classes include MoMA student, a CD-ROM, worksheets, the G PLANNING A MUSEUM VISIT with a guided discussion schedule a Muse To Services Group [email protected]. at (212) 708-9685 or e-mail please contact information Programs, about School more For please call (212) 333-1112 or e-mail [email protected]. Guides for educators with CD-ROMs are available online and in print year. the throughout available are with for educators CD-ROMs Guides these resources. to access free unlimited have All schools online at www.moma.org/mod Teachers Modern Visit TEACHER RESOURCES guides,cator resources, and collection. information, more For 708-9882 or e-mail [email protected]. please call (212) MoMA SCHOOL PROGRAMS MoMA MoMA SCHOOL PROGRAMS 36 CREDITS

AUTHOR: Heather Maxson EDUCATION EDITORS: Sarah Ganz Blythe and Susan McCullough EDITOR: Libby Hruska DESIGNERS: Hsien-Yin Ingrid Chou and Tamara Maletic PRODUCTION MANAGER: Claire Corey

Educators Guides are made possible by an endowment established by The Carroll and Milton Petrie Foundation.

Teacher Programs at The Museum of Modern Art are sponsored by the Citigroup Foundation.

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