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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art -
![HIS 105-[Section], Latin American Fiction and History](https://docslib.b-cdn.net/cover/8818/his-105-section-latin-american-fiction-and-history-278818.webp)
HIS 105-[Section], Latin American Fiction and History
1 HIS 105-04 Latin American Fiction and History Professor Willie Hiatt, Spring 2010 MWF • 8-8:50 a.m. • Clough Hall 300 OFFICE: Clough Hall 311 OFFICE HOURS: 9-11 a.m. Monday and Wednesday; 1-3 p.m. Tuesday; and by appointment PHONE: Office: 901-843-3656; Cell: 859-285-7037 E-MAIL: [email protected] COURSE OVERVIEW This introduction to Latin American history exposes you to broad literary, social, and cultural currents in the modern period, roughly covering independence from Spain to today. You will analyze novels, short stories, poetry, and plays as historical documents that illuminate national identity, race, gender, class, and politics at specific historical moments. The course engages costumbrismo, modernism, vanguardism, indigenismo, magical realism, and other literary and historical currents from Mexico and the Caribbean in the north to the Andes and Argentina in the south. You will address a number of important questions: How can we read fictional texts as historical documents? How does fiction expand our knowledge of Latin America’s colonial and postcolonial past? What does literature tells us about the region that no other historical documents do? And what does writing across culture and language mean for modern identity and national authenticity? The course covers a number of important themes: Colonial Legacies and Republican Possibilities Nation-Building Civilization vs. Barbarism Cultural Emancipation Liberalism vs. Conservatism Indigenismo (a political, intellectual, and artistic project that defended indigenous masses against exploitation) Imperialism Magical Realism 2 COURSE READINGS You may purchase required books at the Rhodes College bookstore or at local and online retailers. -
Video Stylization: Painterly Rendering and Optimization with Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu
IEEE TRANSACTIONS ON CIRCUITS AND SYSTEMS FOR VIDEO TECHNOLOGY, VOL. 23, NO. 4, APRIL 2013 577 Video Stylization: Painterly Rendering and Optimization With Content Extraction Liang Lin, Kun Zeng, Yizhou Wang, Ying-Qing Xu, Senior Member, IEEE, and Song-Chun Zhu Abstract—We present an interactive video stylization system an example produced by our system. Although similar oil- for transforming an input video into a painterly animation. painting effects can be generated manually by the paint- The system consists of two phases: a content extraction phase on-glass technique, such animation production is not only to obtain semantic objects, i.e., recognized content, in a video and establish dense feature correspondences, and a painterly laborious but also requires considerable artistic skills. For rendering phase to select, place, and propagate brush strokes example, it took over two years for artists to manually produce for stylized animations based on the semantic content and object the 22-min Oscar-winning animation Old Man and the Sea.In motions derived from the first phase. Compared with the previous comparison, our interactive system allows an amateur player work, the proposed method has the following three advantages. to produce painterly animations from real-life video clips with First, we propose a two-pass rendering strategy and brush strokes with mixed colors in order to render expressive visual effects. far less time and effort. Second, the brush strokes are warped according to global object In the following, we review the related work for painterly deformations, so that the strokes appear to be naturally attached rendering and video stylization in the literature and provide to the object surfaces. -
Stephen A. Cruikshank
THE MULATA AFFECT: BIOREMEDIATION IN THE CUBAN ARTS by Stephen A. Cruikshank A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in SPANISH AND LATIN AMERICAN STUDIES Department of Modern Languages and Cultural Studies University of Alberta © Stephen A. Cruikshank, 2018 ii Abstract The "mulata affect" may be understood as the repetitive process and movement of power and affect qualified in the mulata image over time. Through a lens of affect theory this study seeks to analyse how the mulata image in Cuba has historically been affected by, and likewise affected, cultural expressions and artistic representations. Relying on a theory of "bioremediation" this study proposes that the racialized body of the mulata, which is remediated through artistic images, consistently holds the potential to affect both national and exotic interpretations of her body and of Cuban culture. Four different artistic expressions of the mulata image are discussed. Beginning in the early twentieth century various artistic mediums are explored in the contexts of the mulata in the paintings of Carlos Enríquez's and the rumbera [rumba dancer] in the graphic illustrations of Conrado Massaguer. In addition, images of the miliciana [the militant woman] in the photography of Alberto Korda following the onset of Cuban Revolution and the jinetera [the sex-worker] in Daniel Díaz Torres film La película de Ana (2012) are discussed. Through an analysis of these four different expressions of the mulata body, this study seeks to expose a genealogy of the mulata image in art and, in doing so, reveal the ongoing visual changes and affective workings of the racialized female body that has contributed to the designations of Cuban culture and identity over time. -
From “Les Types Populaires” to “Los Tipos Populares”: Nineteenth-Century Mexican Costumbrismo
Mey-Yen Moriuchi From “Les types populaires” to “Los tipos populares”: Nineteenth-Century Mexican Costumbrismo Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) Citation: Mey-Yen Moriuchi, “From ‘Les types populaires’ to ‘Los tipos populares’: Nineteenth- Century Mexican Costumbrismo,” Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013), http://www.19thc-artworldwide.org/spring13/moriuchi-nineteenth-century-mexican- costumbrismo. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Moriuchi: From “Les types populaires” to “Los tipos populares”: Nineteenth-Century Mexican Costumbrismo Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) From “Les types populaires” to “Los tipos populares”: Nineteenth-Century Mexican Costumbrismo by Mey-Yen Moriuchi European albums of popular types, such as Heads of the People or Les Français peints par eux- mêmes, are familiar to most nineteenth-century art historians. What is less well known is that in the 1850s Mexican writers and artists produced their own version of such albums, Los mexicanos pintados por sí mismos (1854–55), a compilation of essays and illustrations by multiple authors that presented various popular types thought to be representative of nineteenth-century Mexico (fig. 1).[1] Los mexicanos was clearly based on its European predecessors just as it was unequivocally tied to its costumbrista origins. Fig. 1, Frontispiece, Los mexicanos pintados por sí mismos. Lithograph. From Los mexicanos pintados por sí mismos: tipos y costumbres nacionales, por varios autores. (Mexico City: Manuel Porrúa, S.A. 1974). -
2021-22 Bulletin: Graduate School Of
2021–22 Bulletin Graduate School of Art Bulletin 2021-22 Table of Contents (07/22/21) Table of Contents About This Bulletin .......................................................................................................................................................................................... 2 About Washington University in St. Louis ...................................................................................................................................................... 3 Trustees & Administration ........................................................................................................................................................................ 3 Academic Calendar .................................................................................................................................................................................. 3 Campus Resources .................................................................................................................................................................................. 4 University Policies .................................................................................................................................................................................... 7 University Affiliations .............................................................................................................................................................................. 12 Graduate School of Art ................................................................................................................................................................................ -
An Analysis of the Perceptions Held by School Personnel of Arts Programs in One School District
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1986 An analysis of the perceptions held by school personnel of arts programs in one school district. Gloria Caballer-Arce University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Caballer-Arce, Gloria, "An analysis of the perceptions held by school personnel of arts programs in one school district." (1986). Doctoral Dissertations 1896 - February 2014. 4067. https://scholarworks.umass.edu/dissertations_1/4067 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. AN ANALYSIS OF THE PERCEPTIONS HELD BY SCHOOL PERSONNEL OF ARTS PROGRAMS IN ONE SCHOOL DISTRICT A Dissertation By GLORIA CABALLER ARCE Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May 1986 Education Gloria Caballer Arce 1986 All Rights Reserved AN ANALYSIS OF THE PERCEPTIONS HELD BY SCHOOL PERSONNEL OF ARTS PROGRAMS IN ONE SCHOOL DISTRICT A Dissertation By GLORIA CABALLER ARCE Approved as to style and content by: Luis Fuentes, Chairperson of Committee / f Sonia.Nieto, Member Josephus V.O. Richards, Member Mario D. Fantir/i, D< School of Education To Miguel 1\on IvU i,tnengtk, love, and limitte** undent landing duAlng ttvU dififiicult pnoce64 and Anaida a lifetime &nlend and the bat note model any woman could even have iv ACKNOWLEDGEMENTS I wish to express my deep appreciation to the Chairperson of my Committee, Dr. -
Beginnings: Narrative and the Challenge of New Nations
CHAPTERBeginnings 1 Beginnings: Narrative and the Challenge of New Nations The principal challenge of an introduction to Latin American fiction is to combine a clear and cohesive narrative history with a sensitivity towards the inevitably vast and varied nature of such a phenomenon. Take the very concept of ‘Latin America’ itself. The term refers to a huge subcontinent made up of many different regions and nations. Spanish is the principal language, but in the biggest country, Brazil, Portuguese is spoken. In the Caribbean meantime, other languages, such as French and English, are the national tongues of some states. Within many Spanish-speaking countries, especially Andean ones, various indigenous or ‘Indian’ languages are spoken. And when does ‘Latin America’ begin? Is one to include the period before the arrival of Columbus or can the word ‘Latin’ only refer to the post-Columbian experience? Are the writings of the colonial period Latin American or often merely Spanish (even if written in the so-called New World)? Do Latin American culture and identity really begin in the nineteenth century with Independence and/or with the forging of nation states? Is the term valid anyway or merely the projection of a colonial European mentality? Does it include or do justice to the ethnic range and mix of the subcontinent (for example, of indigen- ous, European, African, other or mixed descent)? And what about the increasingly Hispanicized USA? Is this also the locus of Latin American culture? Unsurprisingly, the sorts of questions and issues raised here have led to long, fractious and often unresolved debates about the scope and nature of Latin American identity and culture. -
COOPER UNION for the ADVANCEMENT of SCIENCE and ART FACULTY of HUMANITIES and SOCIAL SCIENCES COURSE DESCRIPTIONS FALL 2018 HSS1 (3 Credits)
COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART FACULTY OF HUMANITIES AND SOCIAL SCIENCES COURSE DESCRIPTIONS FALL 2018 HSS1 (3 Credits) HSS1 Freshman Seminar. A literature course concentrating on poetry and drama. Selected texts from antiquity and the Renaissance are common to all sections, with works from other genres, periods and cultures chosen by individual instructors. The course develops aesthetic appreciation of literary texts and encourages a range of critical responses. Through close reading and extended discussion students learn to articulate their responses in written and spoken form. 3 credits. HSS3 (3 Credits) HSS3 The Making of Modern Society. A study of the key political, social and intellectual developments of modern Europe in global context. This course is organized chronologically, beginning with the Industrial and French Revolutions. Students develop an understanding of the political grammar and material bases of the present day by exploring the social origins of conservatism, liberalism, feminism, imperialism and totalitarianism. In discussions and in lectures students learn to study and to respond critically in written and spoken form to a variety of historical documents and secondary texts. 3 credits HUMANITIES (3 Credits) HUM 105 Fundamentals of Music: Songwriting as Creative Process. The creative process is crucial to artists, architects, engineers, and students of all persuasions. Yet ”creativity” as a concept and as a process remains shrouded in mystery, both in academia and in everyday life. This class will use music as a launching pad for examining different approaches to creativity, drawing from scholarly and instructional literature on music-making and the creative mind. A number of prominent cognitive psychologists and neuroscientists have hypothesized that music is an ideal medium for developing creative modalities, with some of them theorizing that the development of problem-solving skills is one possible reason music exists in evolutionary terms. -
Art and Artificial Life – a Primer
Art and Artificial Life – a Primer Simon Penny University of California, Irvine [email protected] ABSTRACT December 2009) which is a testament to the enduring and It was not until the late 1980s that the term ‘Artificial Life’ arose inspirational intellectual significance of ideas associated with as a descriptor of a range of (mostly) computer based research Artificial Life. practices which sought alternatives to conventional Artificial Intelligence methods as a source of (quasi-) intelligent behavior in technological systems and artifacts. These practices included Artificial Life could not have emerged as a persuasive paradigm reactive and bottom-up robotics, computational systems which without the easy availability of computation. This is not simply to simulated evolutionary and genetic processes, and are range of proclaim, as did Christopher Langton, that Artificial Life was an other activities informed by biology and complexity theory. A exploration of life on a non-carbon substrate, but that Artificial general desire was to capture, harness or simulate the generative Life is ‘native’ to computing in the sense that large scale iterative and ‘emergent’ qualities of ‘nature’ - of evolution, co-evolution process is crucial to the procedures which generate (most) and adaptation. ‘Emergence’ was a keyword in the discourse. Two artificial life phenomena. The notion that Artificial Life is life decades later, the discourses of Artificial Life continues to have created an ethico-philosophical firestorm concerning intelligence, intellectual force, -
EDUCATION PACKET Detail of Esteban Chartrand, Beyond the Sunset, 1881, Oil on Canvas, 7 X 12 Inches
February 12 CULTURAL IDENTITY AND THE INTERNATIONAL AVANT GARDE - March 27, 2016 Segundo J. Fernandez [below] René Portocarrero, Ciudad (City), 1954, mixed media on board laid down on canvas, 13 ¼ x 17 ¼ inches. CURATOR Private Collection, Miami, Florida. SPONSORS Florida State University Museum of Fine Arts EDUCATION PACKET Detail of Esteban Chartrand, Beyond the Sunset, 1881, oil on canvas, 7 x 12 inches. Private Collection, Miami, Florida. Image courtesy of Cernuda Arte. Cuban Art in the 20th Century: Cultural Identity and the International Avant Garde TEACHER PACKET How to Use This Packet This packet contains information that will be useful for classroom lessons about Cuban geography, history, culture and art, and will serve to help teachers prepare their students for field trips to the FSU Museum of Fine Art to experience the current exhibition, Cuban Art in the 20th Century: Cultural Identity and the International Avant Garde. The packet includes an overview of Cuban history, an introduction to the exhibition and summary of Cuba’s various art historical periods, as well as biographies of all the major Cuban artists. Finally, lesson plans that apply this material to a classroom setting are also provided for you. 1 To Schedule a Field Trip Please contact Teri Abstein at (850) 645-4681 TABLE OF CONTENTS Cuban Geography, History and Culture ……………….................................................…………………………………… 3 Cuban Art in the Twentieth Century ………………..............................................…………………………….........………… 7 Artists