The artist depicts contemporary versions of Abraham and Isaac in an allegory for the May 4, 1970, tragedy at Kent State University. A poignant visualization of humankind's struggle between ideology and paternal love, it mirrors the conflict that led to the death of four students at the hands of the Ohio National Guard. Though Abraham looks poised to strike his son, the artist emphasized that Genesis 22 ends without tragedy, as Isaac is spared.

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 ways that artists respond to political and social events and ideas; think about sources of inspiration; learn about symbols and think about what they represent.

Students will consider the choices artists make with regard to painting, focusing on color, shape, composition, proportion, balance, style, and scale; learn how to discuss and compare nonrepresentational works of art; think about their relationship as a viewer to works of art and will consider how an abstract work can evoke a sense of atmosphere or place.

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.

Students will analyze scenes from the Trojan War that are visually depicted in an ancient object and an 18th-century painting, especially the details depicted in the foreground, middle ground, and background.

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 be introduced to works of art that address constructions of identity in a consumer society; explore the roles memory plays in the creation and evolution of identity.

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 learn how artists explore personal, cultural, and national identity through materials, process, and tradition; see how contemporary artists have adapted historic, culturally specific art-making practices to the present day; begin to consider the role of politics and religion in contemporary art.

The Art of Illumination project is a great way for students in grades 5-12 to experience the medieval process of illumination as authentically as possible. After researching the history, people, and art of the Medieval Ages, students will have the opportunity to create an illuminated text of their own.

This article explains the artistic interaction betwen the Islamic world and Europe and Asia. The technical aspects of calligraphy, painting, and bookbinding are important facets of the study of Islamic art.

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.

This is the first lesson in a sequential unit. Students view ceramic vessels from different time periods and cultures, and discuss their meanings, functions, and original contexts. They develop criteria for value and meaning of these objects, and create a timeline to situate the objects in history.

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.

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.