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This presentation describes ways to integrate art in ELA and other content area classes.
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PUTTING THE “STEAM” IN STEMAmanda Schear
Withrow University High School
“School’s Out”1936
Allan Rohan Crite
Born: Plainfield, New Jersey 1910
Died: Boston, Massachusetts
2007 oil on canvas 30 1/4 x 36 1/8 in. (76.9 x 91.8 cm.)
Smithsonian American Art Museum Transfer from The Museum of Modern Art
1971.447.18
Not currently on view
VISUAL THINKING STRATEGY (VTS) VTS – a research-based teaching methodology that
improves critical thinking and language skills through discussion of visual images
Developed by Housen and Yenawine at Harvard in the early 1990s.
Basic premise: you build your idea of the artwork by observing and discussing it
USING VISUAL THINKING STRATEGIES
Core Questions What do you observe is
happening in this picture? What do you see in the
piece that makes you say that?
What more can we find?
Facilitator Guide Remain neutral – focus on
each individual speaking and on the art
Use non-evaluative language (i.e. no “good job”)
PPL – Pointing, Paraphrasing, Linking
Pointing – to the art Paraphrasing - what each
student contributes Linking – contributions
together, creating class community in discussion
ARTFUL THINKING ROUTINES
Harvard’s Project Zero has developed an ‘artful thinking palette’
Reasoning Comparing and connecting Finding complexity Questioning and investigating Exploring viewpoints Observing and describing
These palette components look familiar, right? Aren’t they part of our CCSS objectives?
Artful thinking routines focus on art, thinking and content – the goal is to target the sweet spot where all three intersect.
“The Janitor Who Paints”ca. 1930
Palmer Hayden
Born: Widewater, Virginia 1890
Died: New York, New York 1973
oil on canvas 39 1/8 x 32 7/8 in. (99.3 x 83.6 cm.)
Smithsonian American Art Museum Gift of the Harmon Foundation
1967.57.28 Smithsonian American Art MuseumLuce Foundation Center, 4th Floor, 34B
PERCEIVE/KNOW/CARE ABOUT
What do you perceive or sense? What do you know about or believe? What do you care about?
Consider taking the questions from different stances (i.e. the artist, a person or object in the work)
It’s ok to withhold information (artist’s name, date, title) to help students focus solely on the work of art
MAKING CONNECTIONS
Bridge art . . . . . . to history and poetry Harlem Renaissance unit “The Genius Child” by Langston Hughes
This is a song for the genius child. Sing it softly, for the song is wild. Sing it softly as ever you can - Lest the song get out of hand.
Nobody loves a genius child.
Can you love an eagle, Tame or wild? Can you love an eagle, Wild or tame? Can you love a monster Of frightening name?
Nobody loves a genius child.
Kill him - and let his soul run wild.
ART AS TEXT Visual art is a text – how do we read, decode and comprehend
art? Learning to read: decoding – introducing and observing art Reading to learn: comprehending – making meaning from art
In today’s media and technology-driven information age, most students are reading more images than words on an daily basis
Vocabulary to classify images: Representational – represents a real person, place, thing Abstract – represents something real, but with changes Nonrepresentational – not trying to represent anything
In representational and abstract pieces, look for objects. In nonrepresentational pieces, look for lines and shapes.
POSSIBLE PURPOSES
Build background knowledge Students examine a Depression-era painting to create context for
reading Grapes of Wrath
Point of inquiry to generate questions Students examine a Samuel Bak painting to further discussion in a
Holocaust studies unit
Assessment Students analyze a work of art in the context of a literary or
expository text they’ve been reading, using evidence of their learning to interpret the art and support their interpretation
WARMTH OF OTHER SUNS MINI-ASSESSMENT
Thoughtfully consider this painting. Explain, using explicit evidence from both the painting and our text, The Warmth of Other Suns, what connections exist between this work of art and the Great Migration. You are encouraged to consider both historical background and individual histories in your response.
ELEMENTS OF ART-INTEGRATED LEARNING Integrating arts in content-area classes builds skills
students need for college and career readiness, and supports the goals of the CCSS and 21st century literacy learning.
Arts-integrated learning is Actively built Experiential Reflective Evolving Collaborative Problem-solving
SMITHSONIAN AMERICAN ART MUSEUM Website is an INVALUABLE resource for integrating art in
your classroom (all images from today’s slideshow were pulled from their site) – www.americanart.si.edu
Excellent summer institute: “Teaching the Humanities through Art” (formerly the Clarice Smith fellowship) – see website for more details
QUESTIONS?
This presentation and associated handouts are available on the OCTELA Ning
Or . . . scan the QR code below to access this Slideshare File
Contact me via email: [email protected]