Phoebe Hillemann
Teacher Institutes Educator
Smithsonian American Art Museum
Smithsonian Staff
As the Teacher Institutes Educator at the Smithsonian American Art Museum, I organize our week-long summer institutes for middle and high school English and social studies teachers: http://americanart.si.edu/institutes. I'm interested in interdisciplinary thinking, arts integration, and the power of dialogue in learning spaces.
Phoebe Hillemann's collections
Urbanized America: The American Experience in the Classroom
The early years of the twentieth-century saw a significant increase in economic inequality between the wealthiest Americans and the poorest. While the rich continued to bathe in their unregulated, post-industrial age economic success, the poor, largely represented by the overwhelming influx of new immigrants, remained trapped in an unrelenting cycle of poverty and adversity. Many struggled to find prosperity and acceptance in a country where some American citizens harbored foreign resentment and racism. Emblematic of the hardships they encountered is artist Everett Shinn’s chaotic scene of Lower East Side Jewish immigrants being evicted from their homes. This scene in downtown New York City is starkly contrasted with artist Childe Hassam’s romanticized view of an ethereal woman in her uptown home surrounded by beautiful objects likely acquired through European travel. She represents the prosperous post-industrial age, where wealthy patrons demonstrated their cultural sophistication through the acquisition and display of exotic, priceless objects in their homes.<br /><br />
The expanding urban population precipitated the introduction of new building materials in the development of high-rise buildings and tenements, revolutionizing urban living. Technological innovations like the electrified elevator and the Bessemer steel process replaced older building techniques and enabled the construction of high-rise buildings, the new symbols of American progress. However, overcrowding of the evolving urban landscape also gave rise to problems such as poverty, disease, and lawlessness. These issues ultimately led to crucial social reform and legislation, known collectively as Progressivism.<br /><br /><a href="http://americanexperience.si.edu/historical-eras/modern-united-states/pair-eviction-tanagra/">http://americanexperience.si.edu/historical-eras/modern-united-states/pair-eviction-tanagra/</a>
Phoebe Hillemann
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Cultural Imagery and Stereotypes: The American Experience in the Classroom
<p>This collection focuses on two works that deal with the issues of nationality, identity and the assimilation of cultures. Mel Casas's pun-laced <em>Humanscape 62</em> combines elements familiar to many Americans: brownie desserts and a young Girl Scout (a Brownie), with traditional Mexican imagery. This pop art style-blend illustrates the Chicano experience to American culture and creates a push and pull narrative about Latino identity. Similarly, Roger Shimomura, an American-born artist of Japanese descent, contemplates repressed emotions from the time he and his family spent in World War II-era Japanese internment camps, following the attack on Pearl Harbor.</p>
<p>#APA2018</p>
<p><a href="http://americanexperience.si.edu/historical-eras/contemporary-united-states/pair-humanscape-diary-december-12/">http://americanexperience.si.edu/historical-eras/c...</a> </p>
Phoebe Hillemann
14
Be The Curator with SAAM and NPG Collections
<p>Resources from the P21 Exemplar Teacher Workshop held at SAAM and NPG February 28, 2017.</p>
Phoebe Hillemann
10
Exploring Mickalene Thomas's Portrait of Mnonja
<p>In this activity, students will explore Mickalene Thomas's process, artistic influences, and art historical context. Students will examine Thomas's <em>Portrait of Mnonja </em>(2010, Smithsonian American Art Museum) in depth, and use three supporting resources to build context.</p>
<p>1. Have students look at Mickalene Thomas's <em>Portrait of Mnonja</em>. Give them 2-3 minutes to do a quick sketch of the painting.</p>
<p>2. Next, ask them to note the part of the painting their eye went to first on their sketch with a star.</p>
<p>3. Next, ask students to draw a line through their sketch to show the path their eye used to travel through the painting. Use arrows to indicate direction.</p>
<p>4. In pairs or as a class, ask students to share where their eye went first, and why they think it went there. Was it the color? Light? Lines? The placement in the composition?</p>
<p>5. Next, students should write a list of 8-10 words and phrases describing the painting. Ask for volunteers to share out.</p>
<p>6. As a group, discuss students' impressions of the painting. Ask for visual evidence to back up claims. (e.g. A student says, "she looks powerful." You ask, "what do you see that makes you say she's powerful?")</p>
<p>7. To further the conversation, share some background information about the painting: the title, the date, and the artist. Explain a little about Mickalene Thomas's process: posing live models in sets with props and furniture, taking photographs, then painting from the photographs.</p>
<p>8. Next, break students into small groups. Each group should receive a printout of ONE of the three supporting resources in this collection. Ask them to compare and contrast their image with <em>Portrait of Mnonja</em>.</p>
<p>9. After 4-5 minutes, ask each group to share out the main idea from what they discussed. The teacher should add additional information as it is useful.</p>
<p>a. Mickalene Thomas set photograph: Shows the artist's process, how she uses real models and sets. Note patterns and 1970s motifs.</p>
<p>b. Romare Bearden collage: Thomas has cited Bearden as one of her artistic influences. Students should note similarities in color, pattern, and flatness.</p>
<p>c. John Collier painting: An example from the early 1900s of the "reclining woman" in art history. Students should discuss the passiveness/agency of each of these women, and how a male artist's depiction of a woman differs from a female artist's in this case. Thomas was well versed in art history and was consciously making reference to precedents like this.</p>
<p>10. Writing Activity: In small groups, have students write a dialogue between Mnonja and someone else. It could be the artist, the viewer, or someone from one of the supporting resources.</p>
<p><em><br></em></p>
<p><em>Optional:</em> Have students view one or both of the short videos of Mickalene Thomas discussing<em> Portrait of Mnonja</em>. </p>
<p>#BecauseOfHerStory<br></p>
Phoebe Hillemann
7
Climate Change and Alexis Rockman's Manifest Destiny
<p>In preparing to paint his large-scale mural, <em>Manifest Destiny</em>, a commission for the Brooklyn Museum's re-opening in 2004, Alexis Rockman consulted with climate change experts to imagine what Brooklyn might look like several centuries in the future when the glaciers have melted and sea levels have risen. </p><p>Teachers can use this painting as a starting point to discussing the issue of climate change, understanding what's at risk, and exploring mitigation strategies coastal cities might take to prevent an outcome like the one Rockman predicts.</p>
Phoebe Hillemann
6
Japanese American Incarceration through Art and Documents
<p>These resources can be used in an activity that introduces a lesson on Japanese American Incarceration during World War II. </p>
<p>1. To begin, show students Roger Shimomura's painting entitled Diary: December 12, 1941. Without providing any background information, use the "Claim, Support, Question" routine to have students make claims about what they think is going on in the artwork, identify visual support for their claims, and share the questions they have about the painting. Document responses in three columns on large chart paper or a whiteboard.</p>
<p>2. Following this initial conversation, share the title, artist's name, and date of the painting. Ask students to consider the date in the title, and discuss what significance this date might have. If they don't figure out that this date was five days after the Japanese bombing of Pearl Harbor, share that information. Share with students that this painting is part of a series Roger Shimomura created based on the wartime diary entries of his grandmother, Toku, who was born in Japan and immigrated to Seattle, Washington in 1912. Along with thousands of other people of Japanese ancestry living on the West Coast during World War II , Toku and her family were forcibly relocated to an incarceration camp after the attack on Pearl Harbor. Roger was a young boy during World War II, and remembers spending his third birthday in the Puyallup Assembly Center on the Washington state fairgrounds, where his family was sent before being transferred to Minidoka Reservation in Idaho for the duration of the war.</p>
<p>3. Jigsaw Activity, Pt. 1. After sharing this context, tell students they will each be receiving a primary source document that relates to the painting in some way. Distribute copies of "Woman at Writing Table," the Superman comic, the Instructions to All Persons of Japanese Ancestry, and Toku Shimomura's diary entries. Divide students into four groups, one per document. Give students time to analyze their document as a group and discuss how it affects their interpretation of the painting.</p>
<p>4. Jigsaw Activity, Pt. 2. Next, create new groups so that each group includes students who received each of the four sources. Ask students to briefly report on their document and what their original group discussed as its possible meaning and relation to Roger Shimomura's painting.</p>
<p>5. Return to the painting as a large group, and discuss how the primary source documents have influenced students' reading of the artwork. </p>
<p>6. Optional additional resource: If time allows, have students watch excerpts from Roger Shimomura's artist talk at the Smithsonian American Art Museum.</p>
<p>#APA2018</p>
<p><em>#visiblethinking</em><br></p>
Phoebe Hillemann
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The Subway
Artworks, photographs, and other documents relating to the New York subway system.
Phoebe Hillemann
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