Students will be introduced to the notion of ephemeral and site-specific art and will consider the role of the photo-documentation of these works; explore works that challenge traditional notions of where art should be displayed; be introduced to artists' strategies of institutional critique.

Students will consider artists' choices related to materials, line, color, and scale; consider artists' motivations for using repeated forms; compare and contrast industrially fabricated works of art with those made by hand.

Download and customize slideshows, worksheets, and other resources for use in the classroom or self-guided learning. Find questions, hands-on activities, and other opportunities for enrichment. Gain insights and inspiration from MoMA educators on teaching and engaging with modern and contemporary art. Sixteen (16) Unit Guides with individualized lesson plans are currently available.

The four lessons that compose this guide may be used 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 artists. Discussion questions based on the images lead students through analysis of the visual elements of 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 they are practicing in the classroom.

The five lessons that comprise this unit may be used sequentially or as independent lessons. The lessons include an introduction to key principles followed by a close examination of each work, including the work's historical context and information on the architect or artist. Discussion questions based on the image lead students through formal analysis of the artwork, 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 connect the lesson to the broader curriculum or relate it to skills students are practicing in the classroom.

The four lessons that comprise this guide may be used sequentially or as independent units. The lessons include an introduction to key principles followed by a close examination of each work, including the work's historical context and information on the artist. Discussion questions based on the image lead students through formal analysis of the artwork, 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 connect the lesson to the broader curriculum or relate it to skills students are practicing in the classroom.

The four lessons that compose this guide may be used sequentially or as independent units. The lessons include an introduction to key principles followed by a close examination of each work, including the work's historical context and information on the artist. Discus- sion questions based on the image lead students through formal analysis of the artwork, 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 connect the lesson to the broader curriculum or relate it to skills students are practicing in the classroom.

The five lessons that comprise this guide may be used 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 analysis 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.

The five lessons that compose this guide may be used 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 artists. Discussion questions based on the images lead students through analysis of the visual elements of 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 they are practicing in the classroom.

Students will brainstorm a list of adjectives to describe two early photographs called "cyanotypes." Next they will create their own cyanotype photograph. Students will then write original poetry using the previous list of adjectives to describe their own nature-inspired cyanotype photograph.

The four lessons that compose this guide may be used sequentially or as independent units. The lessons include an introduction to key principles followed by a close examination of each artwork, including its historical context and information on the artist. Discussion questions based on the image lead your students through formal analysis of the artwork and seek to create connections between information and visual evidence. The activities that conclude each lesson encourage your students to synthesize what they have learned about the works and connect the lesson to the broader curriculum or relate it to skills they are practicing in the classroom.

Students will consider the challenges of representing identity visually; consider text and elements of popular culture in an image; continue to consider the role of drawing as a political medium.

Students will consider portraiture as a means of political expression; discuss the elements of a portrait that contribute to its meaning, such as expression, pose, costume, and background; consider the effectiveness of drawing as a form of political expression.

Students will consider gesture in drawings; consider alternative materials and processes artists can use to create drawings; consider the role of chance in the creation of drawings.

In this lesson, students reflect on the social relevance of right-brain and left-brain thinking. Then, they practice the science skills of observation and drawing using a right-brain dominant approach and reflect on whether and how the different perspective helped them to learn the material.

Students will:
1. Respond to a logical, systematic and verbal drawing prompt.
2. Learn about the differences between brain hemispheres and the current emphasis on the value of creativity and imagination by reading and discussing the article "Let Computers Compute. It’s the Age of the Right Brain."
3. Employ drawing techniques to engage the right hemisphere of the brain and then apply these techniques to a science topic.
4. Compare two self-created drawings and reflect on the experience of approaching the topic from two perspectives, linear/logical and spatial/nonverbal/holistic.

An investigation into the difference between street art / graffiti / vandalism, the reason people execute these types of unsanctioned markings, and whether or not the viewpoints and the markings themselves are legitimate forms of expression. Students will also propose solutions to dealing with unsanctioned public marking based on their standpoint of whether or not it is legitimate.

In this lesson, students examine famous works of art from the 20th century and discuss the feelings their creations seem to express. Students will then create a painting that expresses their feelings.

Students will compare and contrast two paintings; understand the term modern as used in an historical and art historical context; become familiar with the terms foreground, middle ground, and background.

Many high school Photography students are unsure how to present flat, printed photographic images in a creative and visually appealing way. This article provides examples of 16 Photography sketchbooks to help motivate and inspire students who study high school qualifications such as NCEA Level 3 Photography (Scholarship), A Level Photography, and IB Art.

Students will analyze and compare the Japanese Lacquer Box to pencil boxes used in school. They will then explore why the lacquer box was deserving of such attention to detail by learning about the story represented on the box. They will then design their own boxes based on a different Japanese story, with careful attention to detail.