Students will consider the choices artists make when creating works of art that include people. They will consider style, medium, background, color, technique, and composition; compare images of women as represented by different artists; learn about where artists get their sources and inspiration.

Students will consider the choices artists make with regard to painting. They will focus on line, material, scale, and the artistic process; learn how to discuss, compare, and think critically about nonrepresentational, or abstract, paintings; think about the use of line in painting.

Students will consider how and why artists use everyday objects as subject matter; consider the choices artists make when creating works of art, exploring subject matter and sources of inspiration, medium, and style; make connections between consumer culture and art; learn about the technique of screen-printing.

Students will examine three images that represent different ways that artists, in the years between World War I and World War II, responded to the social and political turmoil around them; discuss these images in terms of subject matter, composition, style, and representation.

Students will discuss the ways paintings and prints created during the interwar years reflect changes to the landscape; visually analyze landscape images, using such terms as background, fore-ground, middle ground, medium, and composition; consider the different ways artists responded to the changing landscape.

Students will examine a poster and two paintings and consider how the artists who created these objects reflected upon movement through subject matter, form, and technique; consider the varying experiences of viewing a triptych, a painting cycle, and a design object; discuss multi-panel artworks in terms of narrative.

Whether specialising in Painting, Graphic Design, Photography, textiles or Sculpture, most high school Art students begin by selecting a topic for their Coursework or Examination project. One of the most crucial decisions an IGCSE, GCSE or A Level Art student has to make is what subject or theme they will spend the year exploring. It is a decision that many find difficult, whether due to a lack of inspiration, an inability to discern between two or more possible ideas or a general misunderstanding about the type of topic that is appropriate. This resource contains a step-by-step guide that students can use to brainstorm, evaluate and select (in conjunction with advice from their teacher) an outstanding topic for their high school Art project.

Students will examine three works of art to learn about the daily lives of working ballet dancers in Paris in the 19th century.

Students will analyze the symbols used in geographic maps; consider the impact of cultural, historical, and political contexts on mapping; compare and contrast maps in diverse mediums made by artists from different geographic and cultural backgrounds.

Students will explore the varied meanings of “identity; learn how irony and satire can function in a work of art; discover how maps can be used to chart not only geography but also psycho-logical, emotional, and intellectual states.

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 look at Brancusi's 'The Kiss' and compare it to other sculptures they have seen. Students will also comment on some of Brancusi's aphorisms about art and the creative process. Students will create an artwork that responds to the artwork of Brancusi or Serra or Rodin. Students will also explore direct carving after the work of Brancusi.

Students will look at Richard Serra's 'The Consequence of Consequence'. They will then create a mock-up of a space in or near their school and create model sculptures for the space. Students will also write a dialogue between the artists Constantin Brancusi and Richard Serra depicting what the artists might say to each other with the conversation revealing insights into their work.

Students will be able to discuss a photograph and write a descriptive narrative using sensory details; identify the events leading up to the Emancipation Proclamation and speculate what life was like for newly freed slaves in 19th-century America; write journal entries from the perspective of a freed slave in the 19th century; and create a print using scratch foam.

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.

Students will create pinhole cameras to understand that light travels in a straight path. They describe the lines and shapes in a nineteenth-century photograph of a building and then use their pinhole cameras to trace the architecture of their school building.

Students will create pinhole cameras to learn how artists manipulate light to make photographs. They describe and analyze a nineteenth-century photograph and use their cameras to capture the architecture of their school or other buildings.

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 look at Oldenburg's "Mouse Museum, 1977" and discuss the function of museums, the idea of collections, and the meaning of "alter ego". Students will create their own representation of their alter ego. Each student will be provided an object and asked to draw that object and then to draw the object again but transforming it into something else of a vastly different scale. Students will reflect on what they collect and sketch out the design for a museum based on their collection including internal and external views of the buildings.

Students will look at Oldenburg's soft sculpture "Soft Pay-Telephone, 1963" and compare it to a real telephone. Students will consider materials, scale, and shape. Students will also look for and discuss any anthropomorphic characteristics in Oldenburg's work. Students will comment on an Oldenburg quote about art and humor. Finally, students will use Oldenburg quotes as drawing prompts.