Students will look at Serra's 'Circuit, 1972' and Brancusi's 'Torso' and compare the two works. Students will consider how sculptors articulate a form in space and how the sculptor draws a volume. They will also consider the phrase 'articulation of process' as expressed in much of Serra's early work. Students will reflect on Serra's verb list and experiment by making three different works from three different materials in response to a verb. Students will also create a more advanced sculpture based on Serra's second verb list incorporating suggested action or movement within the work.

Students will create and use pinhole cameras to understand how artists use and manipulate light to capture images in photographs. They shoot and develop photographs made with pinhole cameras. They compare and contrast a nineteenth-century image, photographs taken with a pinhole camera, and pictures created with a digital camera or camera phone.

This lesson is part of a sequential unit. Students are tested on what they learned about the history of ceramic forms in "Ceramics: A Vessel into History—Lesson 1." They start work on a personal clay vessel that has a specific use or meaning in their contemporary culture, which could be discerned through study by future archeologists and art historians.

This lesson is part of a sequential unit. Students begin work on a ceramic vessel, which they designed in "Ceramics: A Vessel into History—Lesson 2." They discuss their artistic choices and identify elements derived from historical examples while considering how artists appropriate ideas from earlier artists.

This lesson is part of a sequential unit. Students hold a critique session to evaluate the work of their peers using the criteria for value and meaning they developed in "Ceramics: A Vessel into History—Lesson 1."

Students will look at Oldenburg's "Late Submission to the Chicago Tribune Architectural Competition of 1922: Clothespin" and discuss scale, function, and form. Students will consider Oldenburg's reimagining of every day objects into monumental works of art. Students will then create their own "late submissions" for the world's most beautiful office building.

Students will make word associations while looking at an American flag. Students will then compare the American Flag with Oldenburg's "The Old Dump Flag, 1960" concentrating on proportions, materials, color, movement, shape, etc. Discussion will proceed to Oldenburg's idea of "grand symbols". Students will then collect recyclable items, flatten them, and sculpt a "grand symbol" of their community by tearing, crumpling, folding and spray painting the work. Students will divide into groups and create a performance piece incorporating all the objects made by group members.

Students will be introduced to the concept of the manifesto and will investigate its relationship to an artistic movement; explore how art can be used as a response to political and social issues.

Students will analyze how a portrait reflects the events and trends of its time and then create a portrait of a public female figure today. Students will be able to research the effects of European expansionism and colonialism on different groups of people during the Age of Exploration; discuss the notion of "exoticism" as it relates to a 19th-century painting, the burgeoning of stereotypes, and modern-day stereotyping in the media; and create a portrait of a female public figure from a different culture.

Students will be able to respond in written and/or visual form to photographic stimuli; create a movement theme (phrase) based on elements perceived in a photograph; and choreograph a solo composition based on chosen photographic stimulus.

Students will view Neto's "Coconut Water" 2008. Students will also conduct fieldwork collecting data around the school and in their own neighborhoods, document their fieldwork through video, photographs, or drawings, and share findings through a roundtable discussion. Students will also select a typical local product and write a manifesto as to its importance. Also, students will create a mural in the style of Neto's installations.

Students will compare portraits, two of which are self-portraits, focusing on artists' choices, such as medium, or the materials an artist uses to create a work of art, and composition, meaning the arrangement of different elements upon the surface of a painting, drawing, etc. Students will explore the characteristics that these portraits convey about the sitter.

Students will learn that the bronze used to make this sculpture is an alloy of copper and tin with small amounts of antimony, lead, iron, silver, nickel, and cobalt. They use the periodic table to research the chemical formulas of compounds used to make bronze. After learning about oxidation-reduction reactions that occurred in the statue, students speculate about the conservation techniques needed to conserve the bronze sculpture.

Students will study "Flamingo Capsule", a painting by James Rosenquist drawing on the Apollo 1 training disaster. Students will try to connect the painting to the event by deconstructing the painting. Students will consider Rosenquist's composition and discuss the level of success the artist reached in portraying two opposite concepts within a single work. Students will research newspaper accounts of the Apollo 1 tragedy and create their own work responding to the event. Students will also experiment with scaling-up, the technique Rosenquist used to produce very large works.

Students will create a timeline outlining various groups' struggles for equal opportunity and create a 30-second radio or video public service announcement (PSA).

Students will watch and discuss an exerpt from Garmendia's "Untitled Orbea" 2007. Students will explore, video, and discuss a relevant object from the school. Students will consider local traditions, events, habits, or an unusual behavior in their community and create an imaginary monument that represents their community. Students will also design furniture playing with the function of the object.

Students will view and discuss works by Garmendia, Zabala, and Salaberria. Students will organize and construct an action sculpture, observing how objects react (how they move, sound, how the physical matter changes) if elements such as sun, water, or wind get involved. Students will use smartphones, cameras, and/or video to copy old photos and video comparing qualities of past and present. Students will also view the series "Unconscious/Conscious" and use photography and video to explore an emblematic building in their city.

Students will be able to observe a watercolor that depicts a historical narrative of a landmark in a dramatic setting; practice and use various watercolor techniques; and create a watercolor of a landmark in a dramatic setting.

This resource contains a list of tips that have been written specifically for high school art students who are looking to improve the realism of their observational drawings. It is for those who have already selected something appropriate to draw and who understand how to compose a drawing well.

Observational drawing is an integral component of IGCSE, A Level Fine Art or Painting and Related Media courses. For many students, drawing is the core method of researching, investigating, developing and communicating ideas. While it is accepted that there are many wondrous types of drawings - and that non-representational drawing methods have an important role in student art projects – it is usually advantageous to demonstrate competent, realistic observational drawing skills to the examiner (particularly in the early stage of a project).

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.

Students will be able to describe and analyze techniques artists use to communicate persuasive messages through two-dimensional and three-dimensional images; understand key themes and artistic styles of the Counter-Reformation period in 17th-century Europe; and create a sculpture that conveys a message conceived by a patron.

This lesson is part of a sequential unit. Students use criteria developed in class to evaluate which of their own sketches would make the best symbolic sculpture. They choose a final design, techniques and materials, and create sculptures based on their designs.

Students will consider the term conceptual art and the role of math - geometry, fractions, permutations - in producing this art. They will first create a conceptual art piece by following a set of Sol LeWitt's instructions. Then, they will design two conceptual art plans using math concepts - one in two-dimensions, another in three - for a student-partner to follow.

This is the first lesson in a sequential unit. Students look at and discuss still-life paintings and develop a definition for the genre. They then further their understanding of this type of painting and practice watercolor techniques by painting their own still lifes from direct observation. Art production focuses on the tools used to create the illusion of three-dimensional space and convey texture in watercolors.

This lesson is part of a sequential unit. Students choose meaningful objects for a still-life arrangement and paint it using watercolors. After reflecting on their choice of objects and composition, students begin to write an artist's statement.

This lesson is part of a sequential unit. Students paint the same still-life arrangement from Lesson 2, but in an opaque medium. They compare similarities and differences of working with the transparent and opaque mediums and refine their artist's statements.

Students will examine sixteen paintings by George Baselitz. Students will describe the works and discuss details, the reasoning and meaning behind painting upside down, techniques and methods required to work in this manner, and the process behind the series. Students will also analyze the titles and subtitles Baselitz used and the meaning or implications associated with each. Students will compose a dialogue between two characters in the paintings and will experiment with painting with hands and feet in the style of Baselitz.

This free website provides more than 600 adaptable lesson plans written by teachers in collaboration with the Denver Art Museum for more than 130 objects from the museums world-class art collection. Lesson plans and resources focus on inspiring students to think and problem-solve creatively. Organized in an easy way so that teachers can pick the topic they would like to explore or enhance, then use works of art to teach that subject.

High resolution images are included. Museum visits are not necessary to implement lesson plans. Includes professional and student development tools such as teacher workshops and webinars, virtual classroom courses, career videos, educator blogs and creativity tools. Easy for teachers in language arts, social studies and visual arts to provide a curriculum rooted in the arts while also meeting 21st Century Skills.

 This project is designed for Visual Art Beginning students but can be used with any course introducing VR as a new medium. In this design process, students will create a painting using Tilt Brush in VR and will discover how the element of shape can evolve into the element of form. They will also experience how traditional painting can be very different from VR painting becoming a sculptural painting process.