Think Like a Curator Lesson Plan.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Grade Level: Integrated Subjects: High School Art and Writing Lesson Title: Think Like a Curator National Arts Education Association (NAEA) Standards, Common Core Standards, and Lesson Aims: NAEA Visual Arts Anchor Standard(s): Visual Arts: Select, analyze and interpret artist’s work for presentation Media Arts: Select, analyze and interpret artistic work for presentation NAEA Visual Arts Performance Standard(s): VA:PR4.1.la – Analyze, Select, and curate artifacts and/or artworks for presentation and preservation VA:PR4.1.llla – Critique, justify, and present choices of analyzing, selecting, curating, and presenting artwork for a specific exhibit or event MA:PR4.1.l – Integrate carious arts, media arts forms, and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design. Common Core State Standard(s): W.9-10.7 – Conduct short as well as more sustained research projects based on focused questions, demonstrating under- standing of the subject under investigation. Aim(s): Students will be able to curate and design their own art exhibition, beginning with research and finishing with a virtual exhibition using SketchUp. Visual Art Vocabulary: Other Subject Vocabulary: Curator – an art specialist responsible for a museum's N/A collection and exhibitions. Exhibition designer – designs exhibition spaces, paints walls, arranges artwork, usually under the supervision of the curator. Center line – The imaginary line exhibition designers use to hang artworks. The middle of the painting usually falls between 54 and 62 inches. Accent wall – A single wall painted in a contrasting color from the rest of the space. It focuses viewer’s attention and directs people around the space. Anchor Piece – usually the largest or strongest pieces of an exhibition Wall text – information provided by the curator for each artwork. It is the curator’s choice as to how much infor- mation is to be provided. Prior Knowledge Needed: Visual Art: Other Subject: • Elements and Principles of art • Basic writing skills • Knowledge of specified art genre/era or broad • How to organize information in a logical manner knowledge of artists and artwork to choose from • How to analyze and critique artwork Required Materials: Class/Student Materials: Teacher Materials: • Writing utensils and paper • “Think Like a Curator” PPT • Computers/smart phones for research • Curator-brainstorming worksheet • Digital storage space • Exhibition designer brainstorming worksheet and specs • SketchUp Make software (free download) sheets • SketchUp tutorial Sheet • Computer, SketchUp Learning Activities (Engaging Activity, Lesson steps, etc.): Day One: Day Two: Day Three: Day Four through Project Due Date: Warm up question: Warm up question: Warm up question: up: - Warm up question: Have you ever seen art- How do the jobs of a cura- What theme have you cho- work displayed in a gallery, tor and exhibition designer sen for your exhibition? How do you plan to pre- museum, or other space differ? With that theme in mind, sent your work (chrono- outside of your home? think of two design ele- logically, visually, etc.?)? Think back. List three things ments you may use in your Why have you chosen you remember about the exhibition space. this approach? actual space/location that Engaging Activity/Warm Engaging displayed the artwork. Introduce the topic of Explain that students will Reintroduce some exhibi- Introduce SketchUp to curating and exhibition de- begin “collecting” artwork tion designer basics. Show the students. Show them sign using the “Think Like a to fit their chosen theme. students the virtual gallery how to build walls & ped- Curator” PowerPoint Students can search for art- space they will be using in estals, and how to hang works on the internet (see SketchUp and the gallery their artwork. online source guide). Show specs. the “collecting artworks” slideshow. Describe why Provide them with the Frontal Teaching: one artwork fits the chosen “SketchUp Tutorial” theme better than the guide sheet. other. As a class, describe several Students may “pin” their Review the “Exhibition De- Allow students to explore themes that could create artworks into an “exhibi- signer Brainstorming” SketchUp while you an- interesting exhibitions. tions” Pinterest board or worksheet and answer sev- swer questions they have Begin with broad ideas, and collect them in a word doc- eral questions as a class. and help when needed. narrow your theme down. ument. Review the “Questions to Consider While Choosing Guided Practice: Artworks” slide before stu- dents begin. Have students gather their Have students begin col- Have students complete Have students create thoughts using the “Curator lecting artworks and begin the “Exhibition Designer their exhibitions in Brainstorming Worksheet”. populating them on their Brainstorming Worksheet” SketchUp. This portion This will require online re- Pinterest board in a word and begin noting on Gallery may take several class search or a trip to the li- document. Make sure they Specs sheet where art- periods. brary. also collect the following works should be placed. information: Artist, title, Remind them that pedes- date, media, and dimen- tals and walls can be built Independent Practice: sions in SketchUp Review student work- Review student selections Review student worksheets Continually assess stu- sheets and asses under- on an individual basis. and assess understanding dent choices of artwork standing through a group through a group discussion in relation to their cho- discussion and several indi- and several individual con- sen themes. vidual conversations. versations. Homework: Students Exit slip: Think of a time Exit slip: Choose one art- should write a paragraph you visited a gallery. How Assess student under- work you plan to exhibit. on their chosen theme, us- was the exhibit engaging or standing of SketchUp How does this artwork fit ing their worksheets as a not engaging? What would through individual con- your theme? Be specific. guide. you have done differently? versations. Check For Understanding: Assessment Rubric/Checklist: Checklist(s): Checklist: By project end, students should complete the following: Curation brainstorming worksheet Written paragraph on theme Exhibition Designer Brainstorming Worksheet Sketchup Exhibition Rubric(s): Assessment Rubric Student Name: Class Period: Assignment: SKETCHUP EXHIBITION Date: Needs Im- Rate Your- Teacher’s Excellent Good Average provement self Rating Criteria 1 – Theme: Artworks match the chosen theme 20 15 10 5 and the curator can explain why. Criteria 2 – Curating: Artworks are organized thoughtfully and information is thoughtfully and accurately commu- 20 15 10 5 nicated. Criteria 3 – Exhibition design: Artworks are thoughtfully 20 15 10 5 and skillfully displayed, taking design into account Criteria 4 – Craftsmanship – Displayed skillful use of the art tools & 20 15 10 5 media. Took care with your artwork and protected it from harm. Criteria 5 – Effort, completion: took time to develop idea & complete project - (Didn’t rush.) Focused on work during class time. Completed 20 15 10 5 on time. Your Total: Grade: Total Possible: 100 .
Recommended publications
  • Assistant Curator Job Description ……

    Assistant Curator Job Description ……

    Assistant Curator Job description ……. Background For over a century, the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucien Freud, Sarah Lucas and Walid Raad. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the newly expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Exhibitions Department The Exhibitions Department realises the ambitious programme of temporary exhibitions and commissions, including the production of catalogues to accompany these events. In addition, the Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University. The Department consists of the Chief Curator, Curator and Head of MA Curatorial Studies, Curator, 3 x Assistant Curators, Assistant Curator – Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager. Role The Assistant Curator works with a small and busy team on the realisation of projects with artists, lenders and arts institutions; delivering modern and contemporary exhibitions and commissions, including the organisation of transport and insurance; registrarial duties; and the production of catalogues. As a member of the exhibitions team, the Assistant Curator contributes ideas to the Gallery’s programme, is essential to the department's collegiate work environment and liaises with other internal departments and with the professional art world, in one of the most dynamic art environments in Europe.
  • Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data

    Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data

    Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data Cultural Heritage Partners, PLLC Prepared for: Arizona State University October 25th, 2012 © 2012 Arizona State University. All rights reserved. This report by Cultural Heritage Partners, PLLC describes and analyzes federal requirements for the access to and long-term preservation of digital archaeological data. We conclude that the relevant federal laws, regulations, and policies mandate that digital archaeological data generated by federal agencies must be deposited in an appropriate repository with the capability of providing appropriate long-term digital curation and accessibility to qualified users. Federal Agency Responsibilities for Preservation and Access to Archaeological Records in Digital Form Federal requirements for appropriate management of archaeological data are set forth in the National Historic Preservation Act (“NHPA”), the Archaeological Resources Protection Act (“ARPA”), the regulations regarding curation of data promulgated pursuant to those statutes (36 C.F.R. 79), and the regulations promulgated by the National Archives and Records Administration (36 C.F.R. 1220.1-1220.20) that apply to all federal agencies. We discuss each of these authorities in turn. Statutory Authority: Maintenance of Archaeological Data Archaeological data can be generated from many sources, including investigations or studies undertaken for compliance with the NHPA, ARPA, and other environmental protection laws. The NHPA was adopted in 1966, and strongly
  • Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore

    Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore

    technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects.
  • Discovering the Contemporary

    Discovering the Contemporary

    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
  • Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo

    Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo

    FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image files to accompany publicity of this exhibition will be available for download at http://press.thewadsworth.org. Email to request login credentials. Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist’s First Solo Museum Exhibition in the U.S. Hartford, Conn. (September 15, 2020)—Ali Banisadr draws freely from an encyclopedic knowledge of the history of painting to create a distinctive visual language, resulting in works that explore a “between space,” like those of hallucinations and dreams. Ali Banisadr / MATRIX 185 at the Wadsworth Atheneum Museum of Art is the artist’s first solo museum exhibition in the U.S. Ten paintings and two prints by Banisadr join a selection of works from the Wadsworth collection chosen by the artist, as well as a video collage that Banisadr created to show additional inspiration works from the museum’s collection. The exhibition opens October 22, 2020 and will be on view through February 14, 2021. “Banisadr’s depictions of abstracted masses feel especially relevant right now,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth. “His compositions echo the disquiet we are witnessing across the world today, including political rallies, protest marches, and street riots. And yet, as timely as they are, they are equally timeless.” Banisadr’s process has been related to synesthesia as sounds instruct the energy and rhythm in his painterly compositions. His perception of sound as inextricably linked to color and form began in his native Tehran, Iran during the Iran-Iraq War (1980–1988)— the artist recalls drawing while sheltering at home.
  • About the Exhibition the Year 2020 Is a Historic One for the Evansville Museum’S Biennial Mid-States Art Exhibition, As It Marks Its Jubilee Anniversary

    About the Exhibition the Year 2020 Is a Historic One for the Evansville Museum’S Biennial Mid-States Art Exhibition, As It Marks Its Jubilee Anniversary

    About the Exhibition The year 2020 is a historic one for the Evansville Museum’s biennial Mid-States Art Exhibition, as it marks its Jubilee Anniversary. The biennial exhibition provides recognition for emerging artists and the opportunity to receive a purchase or merit award. Selected for this retrospective are top award- winning works spanning sixty years which provide a unique overview of the development in trends and techniques of artists in the Midwest. The annual juried competition was organized in 1948 by the Museum’s Director, Charles Bogg; Registrar, Florita Eichel; and Museum Trustee William A. Gumberts. Originally named the Tri- State Art Exhibition, the competition accepted paintings, drawings, prints, sculpture, and crafts for consideration by a jury of two or three art professionals. In the first decade, the number of entries steadily grew; and, in 1960, the Museum organized a separate regional juried exhibition devoted to craft. The Mid- State Craft Exhibition and the Mid-States Art Exhibition were presented annually until 1994 when the decision was made to offer one regional juried competition each year and the two competitions became biennials. The competition is open to artists residing in the six Midwestern states of Indiana, Illinois, Kentucky, Tennessee, Ohio and Missouri. In the exhibition’s sixty-year history, the purchase and merit awards donated by local individuals, businesses, corporations, and philanthropic organizations have allowed the Evansville Museum to purchase 326 works for the Mid-States Art Collection. On this Jubilee Anniversary, we congratulate all the artists who have participated in the Mid-States Art Exhibition and thank the many generous patrons whose gifts have made the acquisition of this important collection possible.
  • CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee

    CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee

    CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee Standing Committee on Ethics ABSTRACT Curator Core Competencies is a comprehensive statement of the domains in which curators work, the duties they perform, and the applied skills that they must all possess to be successful in today’s profession. It defines who we are, what we do, and why curators are important. 1 A Curator’s Core Competencies Introduction The role of the museum curator is rewarding, broad and challenging. This compilation of curatorial core competencies created by CurCom’s Standing Committee on Ethics addresses the skills required of curators to be successful in their profession. During the creation of this document, several sources provided valuable information regarding the skills identified by respective institutions as integral to the role of curators. The AAM, CurCom’s Code of Ethics, US Federal Government’s position classifications, US National Park Service classifications, College Art Association’s standards and guidelines, International Committee for the Training of Personnel and International Council of Museums served as references, helping to create the foundation for this document. Most important were the informal conversations with curatorial colleagues and conference sessions since the 2012 AAM annual meeting, which provided valuable insights into the demands on museum curators today, and revealed the growing need to formally study curatorial education, experience, and training, as well as to express the competencies required to practice the craft. The 2014 survey conducted by CurCom validated much of the input taken from these discussions and revealed other interesting considerations. For all the things this document is, there are several things that it is not.
  • Curator of Archaeology and Assistant Professor in Anthropology

    Curator of Archaeology and Assistant Professor in Anthropology

    Curator of Archaeology and Assistant Professor in Anthropology The University of Colorado Museum of Natural History and the Department of Anthropology invite applications for a tenure-track, joint position as Curator of Archaeology and Assistant Professor. Applicants should have PhD with specialization in Archaeology, and museum experience. Strong preference for candidates with experience in Southwestern material culture research and publication, NAGPRA, collaborative research, and teaching, with strengths in contemporary archaeological and museological theory. The successful candidate will teach no more than one course per semester and be a part of the museum’s Anthropology Section, working closely with the Collections Manager and the Curator of Cultural Anthropology. Duties include establishing and executing a vital research program with extramural funding; curating archaeology collections (including a large collection of Southwest pottery); implementing NAGPRA; teaching in both units including graduate and undergraduate courses; and, advising MA and PhD students in Anthropology (http://www.colorado.edu/Anthropology) and Museum & Field Studies (http://cumuseum.colorado.edu). We offer a collaborative, intellectually stimulating, and supportive environment in which a new professor can thrive. Contact: [email protected]. The anthropology collections at the University of Colorado Museum of Natural History include more than 1.5 million archaeological and ethnographic objects, and nearly 50,000 photographic images relevant to these collections. The geographic foci of the collections are the North American Southwest and Rocky Mountain-Plains. The anthropology collections are primarily archaeological materials resulting from the systematic work of Earl H. Morris and Joe Ben Wheat. Morris built the museum's anthropological collections from 1913–1956. Wheat served as Curator of Anthropology and Curator Emeritus from 1952–1997, and directed the Yellow Jacket field school from 1954–1991.
  • Collect Like a Curator with Liberty Hall Museum

    Collect Like a Curator with Liberty Hall Museum

    Collect like a Curator with Liberty Hall Museum What is a collection? A collection is group of objects usually brought together for their similar subject matter or purpose. That’s a fancy definition—but what does that mean? Let’s explore collections together! Where do collections come from? o Collections come from individuals who have a passion for certain objects, such as art, historic items, a sport’s team, etc. These individuals then go out and find examples of these objects and decide to group and store them together, making a collection. Many times these collections end up in a museum like Liberty Hall! What do museums do with collections? o Museums take on the responsibility for caring and preserving their collections, so visitors like you can enjoy them. The person primarily responsible for caring for a museum collection is a curator. What is a curator? o Museum curators are in charge of a collection of exhibits in a museum. Their job is to build up collections and develop ways in which objects, archives and artworks can be interpreted, through exhibitions, publications, events and audio-visual presentations. How do curators keep track of all the objects in a museum collection? o Curators keep track of a collection by making sure every object has a written record of information about that object. All of that information is then stored in a catalog or a database. o Curators will also assign each object a different number to help organize the objects. This number is called an accession number. Does Liberty Hall have any collections? o Yes indeed! In fact, Liberty Hall is a museum that is made up of collections.
  • Finding Aid to the DC Art Association Records, 1969

    Finding Aid to the DC Art Association Records, 1969

    D.C. Art Association Finding Aid to the D.C. Art Association Records, 1969– 1991, Anacostia Community Museum Archives by Tonijala D. Penn May 2007 Contact Information Anacostia Community Museum Archives Smithsonian Institution 1901 Fort Place, SE Washington. D.C. 20020 202.633.4853 (phone) 202.287.2422 (fax) www.ACMarchives.si.edu Table of Contents Collection Overview......................................................................................................... 1 Administrative Information ............................................................................................... 1 Biographical Note ............................................................................................................ 2 Scope and Content Note ................................................................................................. 2 Subjects .......................................................................................................................... 3 Related or Complementary Material ................................................................................ 3 Series Description/Container List .................................................................................... 3 Series I: Administrative ................................................................................................ 3 Series II: Correspondence ........................................................................................... 4 Series III: Exhibitions ..................................................................................................
  • SAA Guidelines for Preparing Legacy Archaeology Collections

    SAA Guidelines for Preparing Legacy Archaeology Collections

    GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it.
  • Preservation of Museum Collections

    Preservation of Museum Collections

    Conserve O Gram July 1993 Number 1/1 Preservation Of Museum Collections The preservation and continued use of a museum Preventive conservation is best implemented by collection and its associated data depend on a the development of a park-specific plan that park's long-term commitment to an ongoing identifies tasks, establishes schedules and costs, conservation program. The primary goal of and coordinates staff responsibilities in carrying museum object conservation is to preserve out an ongoing program for the care and whatever still exists of the object as nearly as maintenance of the museum collection. An possible in an unchanging state. In the National effective preventive conservation program will Park Service, this goal is achieved by the minimize the need for costly conservation ongoing activity of preventive conservation treatment. Refer to the NPS Museum supplemented, when necessary, by conservation Handbook, Part I (Rev 9/90), Chapter 3, for a treatment. detailed discussion of preventive conservation. Preventive Conservation Conservation Treatment Preventive conservation emphasizes non­ Conservation treatment is the interventive, interventive actions to prevent damage to and hands-on work of preserving the physical minimize deterioration of a museum object. and/or the aesthetic condition of a museum Such actions include: object. The two broad categories of interventive treatments are as follows: • Monitoring and recording levels of environmental agents (e.g., light, relative • Stabilization is a treatment action that is taken humidity, temperature, and air pollution) to increase the stability or durability of an object when preventive conservation measures • Inspecting and recording the condition of fail to decrease the rate of deterioration to an objects acceptable level, or when an object has deteriorated to the point where it is in danger • Controlling environmental agents of being completely lost.