<p>How can portraiture reveal what it means to be an American in a global context? Inspired by Educating for Democracy's <a href="https://www.educatingforamericandemocracy.org/the-roadmap/7themes/#people-in-the-world">"A People in the World" theme</a>, this collection gathers resources and pedagogical approaches to support the 2022 <em>Smithsonian Summer Sessions</em> workshop, “Exploring “A People in the World” Through Contemporary Portraiture,” by introducing techniques to engage students in civic engagement.</p> <p>Workshop facilitated by National Portrait Gallery Educators Irina Rubenstein and Briana Zavadil White.</p> <p><strong>Learning Objectives</strong></p> <p>Students will:<br></p> <ul><li>Engage in observation and analysis of portraiture (visual literacy; critical thinking)​</li><li>Explore different experiences and perspectives in order to examine what it means to be "a people in the world."​</li><li>Utilize portraiture to connect to the bigger picture and educate for global competence.</li></ul> <ul></ul> <p>#SummerSessions #NPGteach</p>

<p>What makes a successful poster? How can posters be used as a call to action? Inspired by Educating for Democracy's <a href="https://www.educatingforamericandemocracy.org/the-roadmap/5designchallenges/#motivatingagency-sustainingtherepublic1608806809328">Design Challenge: Motivating Agency/Sustaining the Republic</a>,  this collection gathers resources and pedagogical approaches to support the 2022 <em>Smithsonian Summer Sessions</em> workshop, “Motivating Agency with Posters,” exploring techniques to invite close looking, brainstorming, and poster making.</p> <p>Workshop facilitated by Kirsten McNally (Cooper Hewitt Smithsonian Design Museum) and Briana Zavadil White (National Portrait Gallery).</p> <p><strong>Learning Objectives</strong></p> <p>Students will:</p> <ul><li>Learn how to read a poster</li><li>Understand what makes a successful poster</li><li>Explore how posters are used as a call to action</li><li>Create posters that motivate agency</li></ul> <ul></ul> <p>#SummerSessions #NPGteach</p>

<p>Explore portraits from <em>The Outwin 2022: American Portraiture Today </em>at the National Portrait Gallery in this Learning Lab collection.</p> <p><em></em><em>The Outwin 2022: American Portraiture Today</em> presents 42 portraits selected through an open call that garnered more than 2,700 entries from artists working across the United States and Puerto Rico. The artists responded with works that engage contemporary society, many providing new insights into the unprecedented reality we have experienced in the time surrounding the COVID-19 pandemic.</p> <p>The selected finalists create artworks in a wide range of media, including painting, drawing, photography, sculpture, textiles, video, and performance. They demonstrate how capacious and changing the genre of portraiture can be, and illuminate the genre's power to make visible a multitude of life experiences.<br></p> <p>To best view the video and performance pieces, visit the <em>The Outwin 2022: American Portraiture Today</em><em>'s </em><a href="https://portraitcompetition.si.edu/exhibition/2022-outwin-boochever-portrait-competition/?lang=eng">website</a>.</p> <p>Every three years, the National Portrait Gallery invites both emerging and established artists working in the U.S. to submit a recent portrait to the Outwin Boochever Portrait Competition. Around fifty works are then selected by expert jurors who, on average, review more than 2,500 entries. The competition has evolved since its inception in 2006 to include performance art and time-based media alongside painting, photography, drawing, and sculpture.</p> <p>As part of its deep commitment to supporting contemporary artists working in portraiture, the National Portrait Gallery looks to the Outwin to share the genre’s remarkable relevance and strengthen the visual representation of American history. Each iteration of the competition gauges portraiture’s progression while underscoring the potential of one person to make an impact.</p> <p>The Outwin is made possible through the Virginia Outwin Boochever Portrait Competition Endowment, established by Virginia Outwin Boochever (1920–2005), who served as a docent for the National Portrait Gallery for nearly two decades. Mrs. Boochever’s vision for the Outwin is now carried out by her children.</p> <p>Educators, to explore these portraits with your students through close looking and visible thinking routines, see the resources at the end of this collection for ideas.</p> <p>#NPGteach</p>

<p>This collection highlights the individuals who shaped the cultural, economic, political, and social developments of the United States from 1491 to today. The selected sitters compliment the curriculum for the College Board's <a href="https://apstudents.collegeboard.org/courses/ap-united-states-history">Advanced Placement United States History Course</a>. Open the paperclips on each portrait to find accompanying multiple-choice questions for test prep.<br></p> <p>This collection was created in partnership between the National Portrait Gallery and Teacher Advisory Board Member and history teacher Christopher Evans.</p> <p>#NPGteach</p> <p><br></p>

<p>Heighten your civic awareness in your classroom through conversations about art, history and material culture. Check back for new objects each month as educators from the National Portrait Gallery partner with colleagues from across the Smithsonian to discuss how historical objects from their respective collections speak to today’s social justice issues.</p> <p>#NPGteach</p> <p>Keywords: social justice, portraits, object based learning, material culture, US history, identity, representation, leadership, visible thinking strategies, video tour, Smithsonian </p>

<p>This Learning Lab collection can be used as an assessment conclusion to the study of the portraits in <a href="https://learninglab.si.edu/q/ll-c/pPEjlxzvSDYKI29e#r/61864">Expanding Roles of Women</a> or used alongside an existing unit of study on women’s suffrage or related topics. In this assessment, Women’s Rights Convention, has students imagine that specific portrait subjects are gathering to negotiate their demands for change.<br></p> <p>Students will imagine what a diverse women’s rights convention may have been like if women of different backgrounds had originally attended the conventions that were initiated by women’s rights leaders Elizabeth Cady Stanton and Susan B. Anthony. Students will be divided into groups to take on the roles of various women. Since the women students will represent did not convene in real life, students will imagine what these women could have achieved together. First, they will conduct research on the person they are assigned to represent. Next, student groups will prepare for the convention by creating portrait posters and writing speeches. Finally, at the mock women’s rights convention, they will present their speeches and engage in dialogue with other participants represented by student groups. The goal is to negotiate and determine a list of demands from the perspective of a diverse group of suffragists, professionals, and radicals.</p> <p>#NPGteach #OutOfMany</p> <p></p>

<p>This Learning Lab complements,  "Expanding Roles of Women," an interdisciplinary curriculum guide, featuring portraits from the Smithsonian’s National Portrait Gallery exhibition,<em> Out of Many: Portraits from 1600 to 1900. </em>The portraits are used as entry points to teach about the history of women in America during this time period. This collection serves as a home base, organizing the following components: (1) Background Essay and Timeline; (2) Reading Portraiture 101; (3) Lesson Plans; (4) Assessments; (5) Teaching Posters; (6) Additional Resources; (7) Curriculum Guide; and (8) Videos for Educators.</p> <p>Throughout these Learning Lab collections, students will examine not only the portraits’ subjects and artists but will also gain insight into the larger historical time period in which the subjects lived. By studying the exhibition’s portraits, students will be able to understand how the women in these portraits lived and located agency. Furthermore, students reflect on the present by considering how women today continue to make changes in society. <br></p> <p>Educators will come to this Learning Lab collection from a wide range of disciplines and grade levels and can use the activities and resources as they see fit. The materials have been developed toward middle school social studies classes to allow teachers to scaffold lessons and add extension activities as needed. This Learning Lab collection was designed to be integrated with flexibility. It can be used in order, as single-time activities, or in various combinations to support existing topics in the curriculum.</p> <p>#NPGteach<br></p>

<p>Este <em>Learning Lab</em> (Laboratorio de aprendizaje) complementa el programa para estudiantes de la National Portrait Gallery 2020-2021. Esta colección complementa la serie de programas que ofrece la National Portrait Gallery para estudiantes de tercer grado del DCPS (Escuelas Públicas del Distrito de Columbia), “Figuras dinámicas: antes y ahora”.</p> <p>La serie “Figuras dinámicas: antes y ahora” recurre al retrato para establecer relaciones transversales en el plan de estudios. A lo largo del año académico, las clases de tercer grado del DCPS tendrán la oportunidad de conocer la Galería Nacional de Retratos a través tres visitas únicas durante el otoño, el invierno y la primavera. Más allá de que asistan a una, dos o tres sesiones, los estudiantes podrán apreciar el poder del retrato en sus diversos aspectos. Este programa se ajusta directamente a los objetivos de aprendizaje del tercer grado. A través de debates interactivos, así como de actividades de dibujo, escritura y motoras, los estudiantes leerán, resolverán problemas, compararán y contrastarán los distintos retratos de la colección. Los estudiantes aprenderán a interpretar retratos y a reconocer el valor del arte del retrato en una variedad de escenarios y circunstancias. </p> <p>Una vez que completen esta lección, los estudiantes estarán mejor capacitados para:</p> <p>Identificar a estadounidenses importantes y analizar sus contribuciones a la historia de los Estados Unidos</p> <p>Identificar los elementos clave de un retrato y conversar sobre las cosas que se pueden aprender acerca del modelo retratado a través de ellos.</p> <p>#NPGteach</p> <p><br></p> <p>La traducción de este recurso fue posible gracias al generoso patrocinio de Bank of America.</p>

<p>Explore portraits from "Hung Liu: Portraits of Promised Lands" at the Smithsonian's National Portrait Gallery in this Learning Lab collection.<br></p> <p>Hung Liu (1948–2021) was a contemporary Chinese-born American artist, whose multilayered paintings established new frameworks for understanding portraiture in relation to time, memory, and history. Often sourcing her subjects from photographs, Liu elevated overlooked individuals by amplifying the stories of those who have historically been invisible or unheard. Having lived through war, political revolution, exile, and displacement, she offered a complex picture of an Asian Pacific American experience. Her portraits speak powerfully to those seeking a better life, in the United States and elsewhere. <em>Hung Liu: Portraits of Promised Lands</em> will be first major exhibition of the artist's work on the East Coast. This is also the first time that a museum will focus on Liu’s portraiture.</p> <p><em>The story of America as a destination for the homeless and hungry of the world is not only a myth. It is a story of desperation, of sadness, of uncertainty, of leaving your home. It is also a story of determination, and—more than anything—of hope.</em></p> <p>— Hung Liu, 2017</p> <p><em></em>"Hung Liu: Portraits of Promised Lands" will be on view at the National Portrait Gallery August 27, 2021, through May 30, 2022</p> <p>Keywords: Hung Liu, Chinese-American, AAPI, Cultural Revolution, China, Portraits, Portraiture, Family, Mother, Father, Daughter, Son, Gender, Refugees, Immigration, Identification, Identity, Displacement, War, Asian Pacific American, Painting, Photography, Memory, Migration, Dorothea Lange, Carrie Mae Weems</p>

<p>In this Learning Lab collection, suffragists featured in the Smithsonian’s National Portrait Gallery exhibition,<em> Out of Many: Portraits from 1600 to 1900 </em>are used as entry points to teach about the history of the suffrage during this time period. </p> <p>During the nineteenth and early twentieth centuries, many women sought voting rights as the foundation of women’s rights, and they were often viewed as radical for having such a goal. As daughters and wives, women in the United States had few decision-making rights, let alone the right to own and control land, so having the power to make political decisions through suffrage was seen as extreme. When Elizabeth Cady Stanton initiated the first woman’s rights convention at Seneca Falls in 1848, some attendees expressed this concern. The struggle for women’s suffrage was rooted in the abolition movement and anti-slavery societies, where Black and white women organized together to end slavery. White suffragists learned from leading Black women abolitionists like Sojourner Truth and Frances Ellen Watkins Harper, who had been organizing and speaking publicly for many years before Seneca Falls. By the end of the Civil War, when voting rights for Black men were written into law, racism began to divide the suffragists.</p> <p>Although Susan B. Anthony worked with Stanton to end slavery, they did not believe that Black men should gain suffrage before white women. In this set of Teaching Ideas, students will examine the details of this divide and discover how suffragists fought for women’s rights and social justice issues. For example, the journalist Ida B. Wells-Barnett advocated for Black women’s rights, including suffrage, and protested the lynching of African Americans. Lawyer Belva Ann Lockwood not only believed in women’s right to political representation but also in their capability of holding the highest office in the land: She ran for president in 1884 and 1888.</p> <p>Throughout this collection, students will examine not only the portraits subjects but will also; gain insist into the larger historical time period in which the subjects lived, understand how the women in these portraits lived and located agency, and reflect on the present by considering how women continue to make changes in society.</p> <p>This collection contains three lessons that highlight the American suffragist movement: "Reading Portraiture: Striking a Pose," "Engaging History: Unity and Division Within the Women's Suffrage Movement," and "Connections to the Present: Women Presidential Candidates."</p> <hr> <p><strong>Reading Portraiture: Striking a Pose</strong></p> <p>In this lesson, students step into the roles of two leaders of the American women’s suffrage movement: Elizabeth Cady Stanton and Ida B. Wells. One of the most famous suffragists, Stanton was a founder of the National Woman Suffrage Association (NWSA) and a prolific writer and theorist of feminist thought. Wells was an investigative journalist and newspaper editor who led an antilynching campaign and fought for women’s suffrage. In addition, she founded the politically influential Alpha Suffrage Club, which aimed to give a voice to African American women who were excluded from mainstream suffrage organizations.</p> <p>Inspired by the suffragists’ political use of the tableau vivant, or a carefully posed, motionless scene with living actors, this lesson will ask students to closely study—and bring to life—Stanton and Wells’ portraits and polemics.</p> <p>Essential Questions</p> <ul><li>Which Elements of Portrayal lend visual power to a portrait?</li><li>To what extent does a sitter’s pose convey a sense of authority and selfhood?</li></ul> <p>Objectives </p> <ul><li>Study the social and historical implications of primary sources and original works of art.</li><li>Extend the analysis of nineteenth-century portraits of suffragists into a dramatic, kinesthetic interpretation.</li><li>Identify some of the primary principles of the women’s suffrage movement.</li></ul> <hr> <p><strong>Engaging History: Unity and Division Within the Women’s Suffrage Movement</strong></p> <p>Students will gain an understanding of the unity and division within the women’s suffrage movement through a two-part lesson. They will enter the lesson by considering how history is told through portraits, in terms of who is represented and who is not. The notable absence of African American abolitionists and suffragists from the Coronation of Womanhood group portrait provides a launching point to investigate why these individuals were sidelined from the women’s suffrage movement. At the same time, students will learn about instances when African American and white women came together in their struggle for equal rights.</p> <p>The first part of the lesson involves gathering background information from a short video and reading. Then, students will analyze primary sources that convey the unity within the women’s suffrage movement. For the second part of the lesson, students will do more in-depth investigation into the various perspectives and debates around strategies for achieving women’s suffrage, which exemplify division within the movement. During an interactive “Chalk Talk,” students will respond to both quotes from these historical debates as well as to the opinions of their fellow classmates.</p> <p>Essential Questions</p> <ul><li>How has portraiture been used to represent the history of women’s suffrage?</li><li>How can we account for the missing or underrepresented perspectives in history and what can we do to change the narrative?</li><li>What caused division within the women’s suffrage movement?</li></ul> <p>Objectives </p> <ul><li>Students will explore how portraits present history.</li><li>Students will analyze additional primary sources to understand changes within the women’s suffrage movement.</li><li>Students will investigate suffragists’ differing perspectives.</li></ul> <hr> <p><strong>Connections to the Present: Women Presidential Candidates</strong></p> <p></p> <p>Students will conceptualize portraits of women who ran for president in the late nineteenth century and more recently. They will begin by examining former presidential candidate Shirley Chisholm’s portrait. During the main part of the lesson, they will make connections between women who have run for presidential office in recent years and Belva Ann Lockwood, a suffragist who was a two-time presidential candidate in the 1880s.</p> <p>Students will delve into women’s biographies by reading articles and conducting independent research. Afterward, they will create a portrait of a woman presidential candidate based on the Elements of Portrayal and the biographies they have read.</p> <p>Essential Questions</p> <ul><li>How do the experiences of historical women who ran for president compare to those of women today?</li><li>Which factors does an artist consider when creating a portrait of the president or presidential candidate of the United States?</li></ul> <p>Objectives </p> <ul><li>Students will investigate women’s biographies to understand what motivated them to run for president of the United States.</li><li>Students will apply their knowledge of reading portraiture and the Elements of Portrayal to create portraits of women candidates for presidential office.</li></ul> <p></p> <hr> <p>#NPGteach #OutOfMany</p> <p>Keywords: Suffrage, Suffragists, Suffragette, Women's Suffrage, Portraiture, Voting Rights, Enfranchisement, Nineteenth Amendment, Seneca Falls, Susan B. Anthony, Elizabeth Cady Stanton, Ida B. Wells, Sojourner Truth, Abigail Scott Duniway, Frances Ellen Watkins Harper, Frederick Douglass, Lucy Stone, American Equal Rights Association (AERA), Belva Ann Lockwood, Shirley Chisholm, Female Presidential Candidates, Female President, Campaign, See/Think/Wonder, Strike a Pose, Tableaux Vivants, Chalk Talk, Portraiture, Making Portraits<br></p>

<p>Aprender sobre cómo la primera dama Michelle Obama ayudó a su comunidad (grupo de personas que viven juntas o comparten algo en común). Y luego diseñar un autorretrato en el que muestres cómo tú ayudas a tu comunidad<br></p> <p>#NPGteach </p> <p>La traducción de este recurso fue posible gracias al generoso patrocinio de Bank of America.</p>

<p>Aprender sobre cómo Faith Ringgold usa <em>quilts</em> (edredones de retazos) para contar historias.<br></p> <p>#NPGteach</p> <p>La traducción de este recurso fue posible gracias al generoso patrocinio de Bank of America.</p> <p><br></p>