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Looking Both Ways Tools for Teachers

SI Center for Learning and Digital Access
Supports the online exhibition Looking Both Ways: Heritage and Identity of the Alutiq People. Options for the materials in booklet, video, or CD form. Ordering information provided.

I Found it in the Archives: An inventive kind of yearbook, the 1955 Columbian

Archives of American Art
Curator of Manuscripts, Liza Kirwin explores the relationship between artist William T. Wiley, and his high school art teacher James McGrath through the lens of a high school yearbook (the 1955 "Columbian").

I Found it in the Archives: The sensibility of an artist, the 1956 Columbian

Archives of American Art
Curator of Manuscripts, Liza Kirwin explores the relationship between artist William T. Wiley, and his high school art teacher James McGrath through the lens of a high school year ook (the 1956 "Columbian").

The 10 Worst Teachers and Principals From Pop Culture

Smithsonian Magazine

Movies and TV shows set in schools tend to lionize hard-working, inspiring educators, from Freedom Writers’ Erin Gruell to “Boy Meets World”’s Mr. Feeney (video below). Less remarked upon but just as ubiquitous, though, are the teachers and administrators who break the rules in ways ranging from the mostly harmless (working on an erotic novel on school time) to the actually illegal (breaking into a student’s house). Here’s a look at the worst infractions by pop-culture teachers and administrators, along with an assessment of what consequences this behavior would have in real life.

1. Stealing the answers to a state test (Ms. Halsey, Bad Teacher)

Like many teachers, Ms. Halsey feels tremendous pressure to ensure her students do well on their high-stakes standardized tests. (Unlike most teachers--hopefully--she wants her kids to succeed so she can get a bonus to pay for breast implants.) She crosses the ethical and legal line, though, when she poses as a journalist to gain access to the state test questions and answers.

Movie-world consequences: Ms. Halsey’s students ace the state test, she gets the bonus, and though a fellow teacher accuses her of cheating, Ms. Halsey is never punished. In fact, she gets promoted to guidance counselor the following year.

Real-world consequences: As teachers and administrators in the Atlanta school system have learned, the punishment for cheating on state testing is severe. 35 district staff members allegedly involved in a multi-year cheating conspiracy were recently indicted on a total of 65 charges, including racketeering, theft, influencing witnesses, conspiracy and making false statements.

2. Defacing school property (Mr. Keating, Dead Poet’s Society)

Mr. Keating shows he’s not your average prep-school instructor in all sorts of ways: encouraging his students to stand on their desks, requesting to be called “O Captain, My Captain,” and so on. But perhaps the most bizarre (and therefore the most delightful to his buttoned-up pupils) example of his iconoclasm comes when he instructs his class to rip out the introduction to their poetry books.

Movie-world consequences: None for this particular incident, though Mr. Keating does eventually get fired for other reasons.

Real-world consequences: “There would definitely be some kind of citation for destruction of property,” says Bradford Uchacz, Vice President of Imagine Schools and a former principal and assistant principal in Mesa, Arizona, “either asking employee to pay retribution or something along those lines.”

3. Assisting a student in defying her parents’ punishment (Ms. Norbury, Mean Girls)

Naive homeschooler turned public school Queen Bee Cady gets grounded at the worst possible time: the weekend of the mathlete state championships and the spring fling dance. She manages to talk her dad into letting her compete with the mathletes, but she knows she should go straight home after the team wins. Her teacher Ms. Norbury encourages her to ignore her parents. “You’re already out,” she shrugs.

Movie-world consequences: None

Real-world consequences: This isn’t a firing offense, according to Uchacz. The worst that could happen would be a letter of reprimand in the teacher’s file.

4. Rigging a student election (Mr. McAllister, Election)

Mr. McAllister has a semi-irrational hatred for one of his students, the indomitable Tracy Flick. He hates her so much, in fact, that he becomes determined to sabotage her campaign for student body president, first by talking a more popular student into running against her, then by committing ballot fraud to ensure his victory.

Movie-world consequences: The principal is presented with evidence that Mr. McAllister committed fraud, prompting him to resign.

Real-world consequences: Pretty much the same. Uchacz said the principal would put the teacher on leave while the fraud accusations are being investigated; if they were found to be true, the teacher would be dismissed.

5. Letting students change their grades after report cards have been issued (most of the staff of Bronson Alcott High School, Clueless)

Most schools have some sort of formula for calculating students’ final grades every semester. Exams, papers, homework, and class participation all get a percentage weight; teachers plug in the numbers for each category and come up with a grade that goes on the report card. But at the school in Clueless, the system seems a bit more subjective. When Cher receives her report card at the beginning of the movie, she’s horrified--but then declares that the grades are “just a jumping-off point to start negotiations.” Her gym teacher boosts her grade after Cher tells her she’s going through a break up; her world history teacher also gives her more points for promising to start a letter-writing campaign; her debate grade goes up after she finds the teacher a girlfriend. Cher’s father’s incredulousness when he sees the revised report card speaks for itself: “What’d you do, turn in some extra credit reports? Take the midterms over?” When Cher answers no to both questions, it dawns on him, “You mean to tell me you argued your way from a C-plus to an A-minus?”

Movie-world consequences: None

Real-world consequences: “I suspect there would be a reprimand,” Uchacz said. Every state has different laws regarding grades, but most require a student to meet certain criteria (beyond having good arguing skills) to get their grades changed.

6. Breaking into a student’s house (Mr. Rooney, Ferris Bueller’s Day Off)

Ferris Bueller may be the most popular student in school among his peers, but Dean of Students Ed Rooney really, really hates him. So much so, in fact, that he breaks into the Bueller home in an attempt to prove that Ferris isn’t actually home sick. Fortunately, Ferris’s dour sister is there to kick him in the face repeatedly and call the police.

Movie-world consequences: The police don’t believe Jeanie when she calls to report the intruder, so she takes the law into her own hands.

Real-world consequences: According to state law in Illinois (where Ferris takes place), criminal trespass to a residence can result in up to a $2,500 fine and/or up to a year in jail.

7. Ditching a school trip to go on a date (Mr. Rod Belding, “Saved by the Bell”)

Most millennials are familiar with Mr. Richard Belding, lovable principal of Saved by the Bell’s Bayside High. But only true SBTB fans remember Rod Belding, Principal Belding’s cooler (but far less responsible) brother, who appears in one episode early in the series’ run. Rod gets a job at Bayside and wins over the students initially by letting them call him by his first name and sharing stories of his youthful defiance of authority. He soon shows that there’s a dark flipside to his laid-back nature, though: He’s unreliable. Rod ditches a class whitewater rafting trip so he can spend time with a sexy flight attendant. Fortunately, the other Belding steps in at the last minute and the trip is saved.

TV-world consequences: Rod gets fired.

Real-world consequences: Uchacz says the real fault here is with Mr. Richard Belding—he never should have hired his brother in the first place. “This is a case of nepotism,” he said. “Mr. Belding’s in trouble.”

8. Blackmailing a student into joining the glee club (Mr. Schuester, “Glee”)

There’s a lot of questionable behavior that goes on at McKinley High, but one of the most egregious examples has to be the lie that helps start the glee club in the first place. Mr. Schuester, desperate to recruit a few popular kids to join his extremely uncool club, realizes football-player Finn has a great voice. Rather than persuading Finn to be part of glee club with logic or flattery, Mr. Schuester uses fake blackmail: He tells Finn he’s found pot in his locker. The only way to avoid getting kicked out of school, according to Schu, is to start singing.

TV-world consequences: Finn joins the glee club and never figures out that he was framed.

Real-world consequences: “That would be the most clear-cut cause for dismissal, next to rigging an election,” said Uchacz.

9. Writing a romance novel during school hours (Ms. Perky, 10 Things I Hate About You)

Ms. Perky’s job at Padua High is to be a guidance counselor, but she makes no attempt to hide her true calling: erotic novelist. She spends more time working on her manuscript than she does advising students, and she even asks her advisees for help in coming up with words to describe her hero’s anatomy.

Movie-world consequences: None.

Real-world consequences: “The principal would sit down and counsel [the teacher],” says Uchacz. “If that’s a personal endeavor of theirs, they need to not be doing it on school time.”

10. Throwing student work out the window (Mr. Racine, “My So-Called Life”)

When Angela’s English teacher quits unexpectedly, a charismatic substitute (who seems to have taken a few pedagogy tips from Dead Poet’s Society) fills in. His first order of business is to read the class’s submissions to the school’s literary magazine. He deems their poems “safe, banal, homogenized, cutesy, appalling” before tossing them out the window.

TV-world consequences: Angela’s parents are indignant (“you worked very hard on that poem!”) and tell her to stand up to Mr. Racine, which she does, only to be won over by his tough-love style. Like his inspiration Mr. Keating, though, Mr. Racine eventually leaves the school for reasons unrelated to his unconventional poetry lessons.

Real-world consequences: Uchacz says the school's response to a substitute like Mr. Racine would be simple: "The administrator would have the substitute called into the office and say, 'Thanks for subbing for us. Your services will no longer be needed.' That would be the conversation."

Eleanor Barkhorn is a senior associate editor at The Atlantic, where she edits the website’s Sexes channel.

George Leslie Stout with Radcliffe students in class at the Fogg Art Museum

Archives of American Art
1 photographic print : b&w ; 18 x 13 cm. Identification on verso (handwritten): Fogg Art Museum; Radcliffe students in the class Methods and Processes of Painting; 1928-29.
Shows the three students, all women, seated or standing at a long table. Two of the women are painting on small canvases and one is inking a printing plate. Stout stands behind the table.

Students in a life class at the Stone City Colony and Art School

Archives of American Art
1 photographic print : b&w ; 20 x 25 cm. Identification on verso (handwritten): Life class under Mr. Dorbush [separate hand] and Marvin Cone, [original hand] Stone City, 1933.
Stamped on verso: John Barry Jr., photoartist; Cedar Rapids, Iowa; dial 4908
Shows a group of students at easels seated around a nude male artists' model who is posing on a platform. Standing in the back of the room (from left to right) are Grant Wood, Adrian Dornbush and Marvin Cone.

Agnes Hart assisting students at the Art Students League, New York, N.Y.

Archives of American Art
1 photographic print : b&w ; 9 x 13 cm. Painter and instructor Agnes Hart assisting students in a studio of the Art Students League, New York, N.Y.
Identification on verso (handwritten): Art Students League 1965-66

Oral history interview with Michael Loew, 1973 Oct. 5-12

Archives of American Art
2 sound tape reels Transcript: 55 p. Interview of Michael Loew, conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution, at Loew's studio in New York, on October 5, 1973.
Loew speaks of his childhood; classmates and instructors at the Art Students League; mentorship at Thurn School of Art; fellowship to study art in Europe; travel to North Africa and Mexico; the social content of his early painting; his work with the WPA; serving in the Navy during World War II; the Artists' Club; teaching at Berkeley; Cubism; and the use of color in his later work. Loew also recalls Richard Lahey, Boardman Robinson; Ernest Thurn, Saidie May, Ernest Jensen, Max Schnitzler, Ted Schempp, Josef Albers, Fernand Léger, Erle Loran, Rose Fried, Eleanor Ward; and others.

Photograph of ten Congolese teachers at NCNW luncheon

National Museum of African American History and Culture
A black-and-white photograph of ten male Congolese teachers at a luncheon hosted by the National Council of Negro Women.

Solon Borglum and fellow students at the Art Academy of Cincinnati

Archives of American Art
1 photographic print : b&w ; 13 x 18 cm. Item is a copyprint.
Shows the group of students seated on the floor, in front of a seated artists model and several sculptures of that model.
Borglum is in the back row center, with mustache.
The class instructor (possibly Louis Rebisso) is seated on a chair.
Identification on verso (handwritten): Marvina McFeron.

Photograph of Frances Albrier and ten Congolese teachers

National Museum of African American History and Culture
A black-and-white photograph of Frances Albrier and ten male Congolese teachers at a luncheon hosted by the National Council of Negro Women.

Hans Hofmann teaching a life class at the Hans Hofmann School of Fine Arts

Archives of American Art
1 photographic print : b&w ; 13 x 18 cm.

Shows a group of students clustered around Hofmann, who wears a long smock and stands near an easel. A nude female artists' model is seated on a platform in front of them.

Oral history interview with Bernar Venet, 1968 January 23

Archives of American Art
Transcript, in French: 18 pages

Transcript, in English: 17 pages

An interview of Bernar Venet conducted 1968 January 23 by Sevim Fesci, for the Archives of American Art.

“Lessons Learned from the Civil War” with Eleanor Jones Harvey - Summer Institutes Keynote Address

Smithsonian American Art Museum
Eleanor Jones Harvey, Senior Curator at the Smithsonian American Art Museum, delivered the keynote address at the 2014 Summer Institutes: Teaching the Humanities through Art. In this talk, Harvey discusses curating her 2012 exhibition, "The Civil War and American Art," and the insights and discoveries she made along the way. Directed to an audience of history and language arts teachers, Harvey discusses the integral role of primary source material to her research, investigates how to “read” a painting, and considers how to engage today’s students with history.

Oral history interview with Conger Metcalf, 1982 Feb. 24

Archives of American Art
Sound recording: 2 sound cassettes. Transcript: 41 pages An interview with Conger Metcalf conducted 1982 Feb. 24, by Robert F. Brown, for the Archives of American Art.
Metcalf speaks of studying with Grant Wood and Karl Zerbe; his career as a teacher of painting and drawing at Boston University; and his figural subject matter and method of working.

Owney the Dog! A Curriculum Guide for Teachers

SI Center for Learning and Digital Access
Interdisciplinary lessons based on the travels of a dog named Owney who became a mascot for the Railway Mail Service in the 1880s and for the National Postal Museum today. Designed for second-grade classes, it includes lessons for students with special needs in reading, math, and writing.

Oral history interview with Jerry Farnsworth and Helen Sawyer, 1972 Sept. 21

Archives of American Art
Sound recording: 1 sound tape reel ; 5 in.

Transcript, Helen Farnsworth only: 39 p.

An interview of Jerry Farnsworth, followed by an interview of his wife, Helen Sawyer (Farnsworth) conducted 1972 Sept. 21, by Robert Brown, for the Archives of American Art.

Oral history interview with John Wilde, 1979

Archives of American Art
Transcript: 95 pages

Transcript: 62 pages

An interview of John Wilde conducted 1979, by Michael Danoff, for the Archives of American Art.

Lenita Manry

Archives of American Art
1 photographic print : b&w ; 24 x 17 cm.

The Art and Archaeology of Ancient China Teacher's Guide

SI Center for Learning and Digital Access
Teacher's guide introducing important aspects of ancient Chinese art and society. Includes images of objects, background information, lesson plans by teachers, examples of student work, gallery guides, and extensive resource lists. Objects focus on personal adornment, food preparation, ceremonies, writing, industry, and architecture. Teacher's Guide is available in three parts as a PDF file.

Style and Status Teacher' Guide

SI Center for Learning and Digital Access
'Asian Art Connections' teacher's guide related to the online exhibit, Style and Status: Imperial Costumes from Ottoman Turkey. Includes an introduction, classroom activity, and featured objects looking at the social contexts of clothing in Ottoman Turkey.

Peace on Earth Good Will Toward Men

National Museum of American History
This color aquatint represents two angels: one holding flowers, the other playing the flute. A tree is growing between them and a light is shining through the branches on the top of the angels. The hand lettering below the image is elegantly done and provides a good example of integration of text with image. Miss Clements was a painter, muralist, art teacher and etcher.

Untitled (Teacher)

Smithsonian American Art Museum

Oral history interview with Nelli Bar Wieghardt, 1987 July 9-1989 April 29

Archives of American Art
Transcript: 105 pages An interview of Nelli Bar Wieghardt conducted 1987 July 9-1989 April 29, by Marina Pacini, for the Archives of American Art.
Wieghardt discusses her and her husband Paul Wieghardt's art training in Germany; their move to Paris in 1931; their emigration to the United States in 1940 and their involvement with Quaker refugee programs; their move to a hostel in Cummington, Massachusetts and subsequent employment at the Cummington School in the Hills and the Berkshire Museum; their move in 1943 to Philadelphia to set up and run an art department for the Friends Neighborhood Guild; exhibitions at the Carlen Galleries and their relationship with Albert Barnes; the move in 1946 to Chicago and their teaching careers and methods at the School of the Art Institute of Chicago, Illinois Institute of Technology; the University of Chicago, and the Evanston Art Center; their exhibition history; and the Wieghardt galleries at the State Museum, Ludensheid.
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