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 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 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 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.

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.

Students will:

* Learn about The Highrise of Homes Project and James Wines (architect) and his design firm SITE (Sculpture in the Environment).
* Work in groups as "city planners" and "architects" to create a proposal for a home construction.
* Research examples of high-rise housing by other architects and compare them to the Highrise of Homes project and high-rise housing where you live.

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 discuss and analyze the sculpture Sketch for a Fireplace Overmantel by Francesco Antonio Franzoni; consider current styles of home interiors; create studies in 2-D and 3-D for a decorative overmantel for the celebrity patron of their choice; research and read about the life and style of an arts patron and create a design for an overmantel that reflects the patron's life; and articulate in writing the processes they followed to create their overmantels.

Students will compare two different designs for theatrical costumes by artists Oskar Schlemmer and Lissitzky; consider how these artists applied their artistic ideals to theater design.

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 an object from antiquity that was found in the sea off the coast of Italy in order to understand how conservators remove and prevent corrosion on bronze statues.

Students study an ancient bronze statue, analyze its pose, and discover how conservators remove and prevent corrosion.

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.