Found 945 Learning Lab Collections
This collection serves as a companion to the presentation People, Place, and Time: How Art Reflects Culture - Smithsonian Collections given at the American Council on the Teaching of Foreign Languages (ACTFL) 2019 Annual Convention and World Languages Expo on November 23, 2019. Targeted to language educators, this presentation explores how museum resources, Global Thinking Routines, and the Sustainable Development Goals can help students understand how art reflects culture, increase their language proficiency, and develop global competence and 21st century skills. The presentation shares three case-study collections designed for the Spanish-language classroom: Night of the Dead by Alan Crane, Caja De Memoria Viva II: Constancia Colón de Clemente by Adrián Román, and Méndez v. Westminster 1947.
This collection includes presentation slides, links to the three case-study collections, museum resources, Project Zero thinking routines, examples of student work, and more.
Presenters: Marcela Velikovsky (Bullis School), Tess Porter (Smithsonian Center for Learning and Digital Access), and Vicky Masson (Norwood School).
#Arago #Rafael Lopez #Spanish / English #Mexican-American #California #Latino Civil Rights #Empathy #Desegregation #Critical thinking #Curiosity #Stamps #LatinoHAC
This collection gathers resources to help language students understand how art reflects culture, increase their language proficiency, and develop global competence and 21st century skills. This collection includes artwork relevant to exploring and learning about cultural topics, guiding questions to help with lesson planning, Project Zero Global Thinking Routines, and the Sustainable Development Goals.
The second resource in this collection gives instructions for use and was specifically created to guide participants' collection development during the presentation People, Place, and Time: How Art Reflects Culture - Smithsonian Collections. A collection containing the full presentation slides is available here.
This presentation was given at the American Council on the Teaching of Foreign Languages (ACTFL) 2019 Annual Convention and World Languages Expo on November 23, 2019. Presenters: Marcela Velikovsky (Bullis School), Tess Porter (Smithsonian Center for Learning and Digital Access), and Vicky Masson (Norwood School).
This Learning Lab Collection focuses on a single Buddhist object from Korea. Students will formulate questions about a Buddhist work of art from Korea using Project Zero's Layers Visible Thinking Routine. They will investigate answers to their questions by researching the exhibition website and engaging with various interactives and digital resources provided.
Tags: Art; Buddhism; Korea; Project Zero; research; National Museum of Korea
About the exhibition:
Sacred Dedication: A Korean Buddhist Masterpiece
September 21, 2019–March 22, 2020
Arthur M. Sackler Gallery
A single object—a beautiful gilt wood sculpture of Gwaneum, the bodhisattva of compassion and the most popular deity in Korean Buddhism—is the focus of this loan exhibition from the National Museum of Korea. Carved in the late Goryeo period (918–1392), this crowned image is now known to be the oldest surviving gilded wood figure in an informal pose. Its posture, with one leg raised and the other lowered, is associated with the deity’s dwelling place, where he sits calmly on rocks above the crashing waves of the sea. The same subject in a similar pose was common in devotional paintings, such as the hanging scroll of Suwol Gwaneum bosal (Water-Moon Avalokiteshvara) now in the collection of the Freer Gallery.
Sacred texts and potent symbolic objects were sealed inside this hollow religious sculpture when it was first placed into worship in the thirteenth century. The practice of adding dedication material to a Buddhist sculpture during consecration ceremonies was believed to transform it into a living body. Recent research conducted by the National Museum of Korea provides new information about this rare sculpture, its hidden contents, and the special rituals that surrounded image consecration in Korea centuries ago.
We thank our colleagues at the National Museum of Korea for sharing their research and facilitating this exhibition.
This Learning Lab contains introductory materials to help educators explore Korean art from Freer|Sackler collections with students. It includes the following:
- a founding history of Korean art collections at the Freer|Sackler
- an illustrated timeline of Korea
- a map of major ceramic production sites in Korea
- images and information regarding rare Buddhist paintings from the Goryeo dynasty (935-1392)
- definitions and examples of selected clay, decoration, glaze, pigment, and symbol types in Korean art
- Freer Gallery of Art audio tour selections of Korean art
- curator videos from Discovering Korea's Past: Interdisciplinary Connections Summer Institute for Educators held at the Freer|Sackler, Summer 2018
- related educator resources from other museums
- teacher-created lessons and Learning Lab Collections from Discovering Korea's Past: Interdisciplinary Connections Summer Institute for Educators held at the Freer|Sackler, Summer 2018
Tags: Korea, Goryeo, archaeology, art, celadon, ceramics, painting, symbols, Buddhism
This collection features resources related to a November 22, 2019 session presented at the National Council for the Social Studies (NCSS) annual conference.
Learn how American art and portraiture can bring diverse women’s stories into your classroom, connecting with themes you may already teach. Discover strategies for engaging your students in close looking and critical thinking across disciplines. #SAAMTeach #NPGteach
RELATED WEBINAR SERIES (recordings available): https://americanart.si.edu/education/k-12/professional-development/webinars
This project received support from the Smithsonian American Women’s History Initiative. To learn more, visit the Smithsonian American Women History Initiative website. #BecauseOfHerStory
How might we learn about cultures through the study of artifacts? What role could the study of design elements and process play in in deepening our understanding? How could we leverage student agency of the design process to gain opportunities to recognize relationships between artifacts and culture?
This collection provides opportunities for students to uncover complexity by looking closely and making connections between cultures and the design process behind the artifacts. Student claims are based on evidence using provided resources for investigation. The Artifact Investigation Map serves as a visible thinking tool for documenting our understanding of a culture by making connections between the artifact and our research.
Begin by looking closely at an artifact, INCA BRIDGE, using a Project Zero Routine, Zoom In or See Think Wonder. Through close examination, we begin to develop hypotheses about the object and the connections to the culture. While a main goal is to learn more about the culture related to the artifact, we are also building a capacity for using this thinking process to build understanding. Record and display class ideas generated through this routine. In the discussion of culture, we are looking at how people live: What do the people value? What are their priorities and motivations?
Introduce the points of The Artifact Investigation Map. Ask students, “How could this be used to organize the ideas documented from the thinking routine about the artifact and the people who created it?”. (Students may recognize this as the Engineering Design Process.) Building on our initial Zoom In documentation, the group connects the artifact ideas to the map points. Different questions within each point may serve as prompts to continue making connections and lead to more questions about what we still wonder, guiding the next research steps. Provide a space to record and share new questions during the process.
Begin the research process with the first video Weaving the Bridge at Q'eswacha. Using information from the source, model the process of organizing the findings using the different points on The Artifact Investigation Map. Be sure to highlight unanswered questions in the map as the class decides the future steps in the research. Support the student use of resource-based evidence starting from this Learning Lab collection when making and documenting claims. Depending on the learners, this phase may vary in the structure of guidance and interaction. Documentation is shared with an emphasis on providing opportunities to discuss the claims, findings, and analysis.
Guiding Points for Inquiry using The Artifact Investigation Map:
Ask: What needs or problems might this artifact address/solve? Does this design reflect empathy for a particular group or person?
Imagine: What possible prototypes or variations might have been produced in the timeline of this artifact? Could there have been earlier versions leading to this one?
Plan: Identify and describe what could have been key factors influencing design process. Examples: materials/natural resources, people power, skills, technology/tools, historical and natural environment….
(Re)Create: Describe the possible steps taken to create the artifact. What could this look like? Options include for this exploration: Try to create a mini-version or reenact one of the steps of the process. Use observations of the process to draw possible conclusions about the culture. Sketch or act out the steps. Take a part of the process and use the Step Inside thinking routine. *Document and share this process with the group in order to prepare for the next phase of The Artifact Investigation Map
Improvements: Since the creation of this artifact, what versions do we see today? What would the biography of this type of innovation look like? How might this type of artifact connect to modern innovation? *Extension for Improvements: Use the thinking routine Imagine If to evaluate a modern iteration of the artifact. How does it compare to the original?
Documenting Ongoing Conclusions/Questions/Reflections
Throughout the investigation, students share and post supported claims about the culture and reflect upon the process of using the design cycle to guide the study.
For the final reflection, use the thinking routine I Used to Think, Now I Think… to look for changes in thinking. Keep the process and research lines of thinking open for continued exploration with the unanswered questions.
A collection depicting and describing different African Drums and their significance in African culture as well as the African diaspora. Please enjoy a look at the heartbeat of our culture.
By Zuri Houston and Malik Miller
The students learn about paleolithic art and the symbolism of the drawings. We will read about They end up painting their own on large rocks, to represent painting on cave walls.
Avery, S. (2014). Christina Rossetti: Religious poetry. Retrieved
Curtis, G. B. (2006). The cave painters: Probing the mysteries of the world's first artists. (2006). New York: Knopf.
Moorman, E., M. (2011). Divine interiors: Mural paintings in Greek and Roman sanctuaries. Amsterdam: University of Amsterdam Press.
For decades humans have depicted art in various forms that consist of monsters. This made me ask myself; what exactly is a monster? These pieces of art consist of images that their creators describe as monsters. I am going to delve in to the history behind these objects and symbols to figure out if they are really monsters or if our ideas of what makes an object or a person a monster skewed.
This collection gathers depictions of Santa Claus from ads, paintings, photographs, stamps from 1837 to today. Also, includes analyses of his evolving image from the Smithsonian Magazine and the National Museum of American History blog. How does the description of Santa in the Christmas poem, "A Visit from St. Nicholas" compare with the images that follow? Includes a discussion question extension: How might you revamp Christmas stories to better reflect the time and country that you live in?
Keywords: Saint Nicholas, holidays, poetry
This lesson is inspired by Out of Eden Learn, the journey of Paul Salopek, and the idea that each person is an amalgamation of the people and events that came before them. These people and events include the nature of their birth, the lives of their parents, the experiences of their grandparents, the creation of the printing press, etc. The idea behind this lesson is, in its inception, to expose students to milestones in black history, and to use that rich history to challenge them to look into their past to see how they connect to larger events that came before them last week or even a century or millennia ago.
This lesson is especially crafted for Black History Month (though of course it can be used at other times) to have students from multiple ethnic backgrounds try to find a connection to the African American Experience in the United States. It removes students from an ethnic vacuum and asks them to see how the journey of others not like them has an impact on their, their family's and their country's history.
To begin your use of this collection please read the lesson plan at the beginning labeled Lesson Plan: Paths To Perspective. It is the full lesson for using this Learning Lab collection. You may use it in full or alter as you see fit for the needs of your class. It is by no means exhaustive, especially in terms of Project Zero ideas that can be used with the collection, but it is a good starting point for how to use this material in class.
This collection was developed for a unit based upon the Harlem Renaissance and the art movement incorporating the style of visual artist Romare Bearden for students PreK thru 6th grade. Students were exposed to different musical artists such as Cab Calloway, Louis Armstrong, and Duke Ellington to make the connections between Bearden's art work and their musical abilities. This group of artifacts was beneficial for students to be exposed to people, art work, and history that they may not have been exposed to before. Using the thinking routines such as 'See, Think, Wonder' was a great way for students to dive deeper into images, not just art work but even images of people and the differences in time periods.
What should a photograph look like?
Why might someone want to alter, change, or edit a photograph? What is the goal?
What are the ethical considerations regarding image manipulation?
Time- 1-2 class periods with optional extension activities
This collection includes images related to the topic of image manipulation and artistic photography, and includes a lesson plan for teachers as well as images and students activities related to media literacy across the curriculum. The collection of images and articles is designed to facilitate conversations around how and why images might be manipulated and for what purpose. Discussion questions and thinking routines allow for students to critically analyze the images as whole group and in small groups to consider why and how a photographer or artist might alter an image. Extension activities and resources are also included.
Warm Up/ Engagement:
What should a photograph look like?
Have students do a think-pair-share together addressing the question. Alternatively, this could be done as a silent chalk talk.
Debrief as a group.
Why might someone want to alter, change, or edit a photograph? What is the goal?
Have you ever altered or changed a photograph? How? Why? (Think Shapchat, Instagram, Photoshop, etc.)
Is it ever a problem to manipulate a photography? Why?
As critical viewers of media and images, students should always consider the audience and purpose of photographs. For example, an artistic photograph doesn’t have the same audience or purpose as a journalistic photograph.
Explain to students:
We’re going to look closely at the work of two photographers (Jerry Uelsmann and Robert Weingarten) to see how photographers might manipulate their images (digitally or otherwise), why they might do this, and the effect it has on the viewer.
Lead students through a discussion of one of Uelsmann’s images by looking closely at one image as a group using the Visible Thinking routine, “See Think Wonder.”
Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Uelsmann might have created the image.
Then, read an article about Jerry Uelsmann in Smithsonian Magazine, “Before Photoshop.”
Debrief the article and have students journal on their reactions to Uelsmann’s quote, “The camera is a license to explore.”
Alternatively, students can read and discuss the article,"Photography Changes What We Think 'Reality' Looks Like."
Have students share responses with the group as a closing activity.
Warm-Up: Recap learning/connections from last class.
Explain that in today’s class we’ll consider the work of another artist and photographer, Robert Weingarten. Weingarten’s work is a “non-traditional” form of portraiture. Before looking at his images, have students brainstorm their ideas on what is a portrait. Students could engage in the 3-2-1 Bridge Routine on this topic.
Lead students through a discussion of one of Weingarten’s images by looking closely at one image as a group using the Visible Thinking routine, “Zoom-In.” After looking at the image as a whole, have students consider the image as as whole using the “Connect-Extend-Challenge” routine.
Weingarten’s portraits of Colin Powell and Celia Cruz are linked in the collection.
Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Weingarten might have created the image.
After discussing the image, watch the video about Weingarten’s process.
If time allows, group students into small groups to visually compare/contrast the works of Uelsmann and Weingarten on chart paper.
How do these photographs change your understanding of photography and what can be done with images?
I used to think…
Now I think….
Possible Extension Activities:
Have students create a composite image (surreal landscapes or portraits) inspired by Robert Weingarten or Jerry Uelsmann with their own photographs and Photoshop.
Have students explore other historical images that have been manipulated (intentionally or unintentionally) that are included in the collection.
Have students look at the ethical issues in digitally manipulating photographs
Have students consider other ways in which the evolution of technology has influenced the images we create.
Using Agency By Design, a design thinking framework, have students complete the following activities:
Parts-Purposes- Complexities Routine-- Digital Camera
Take-Apart Activity w/ digital cameras/analog camera
Have students research different topics in the history of photography including camera obscura, daguerreotype process, Muybridge and moving images, and Kodak.
Additional reading on Uelsmann:
Plains Native people have always depicted star images on their clothing, tipis, and containers.
Formative Task: In a class discussion list three ways Western cultures think about stars. Use this collection to discover what stars mean to the Lakota and other Native people.
Summative Performance Task: Use the star quilt pattern to create a symbolic quilt that represents your school.
Artworks about Egypt in the Smithsonian American Art Museum's collection.
- How may art be a tool of resistance?
- How have historical movements used art to further their causes?
- How might current movements use art to further their causes?
Art provides a pathway for individuals to express their inner self while also capturing the outer—this great wide world so intricate it's difficult to define. Throughout history, humans have sought to comprehend both their environment and their own inherent cultural uniqueness. This search has become symbolized in their artistic accomplishments and aesthetic heritage. Whether through representations of specific individuals and the human figure or awe-inspiring works of architecture, these art pieces are a window into the creative core of our past.
In this collection, we will observe the ways in which the soul/spirit has been expressed in art, and how human creativity sheds light upon both individual and cultural identities and its varied interpretations throughout the ages. This collection is organized in three symbolic steps on a stone staircase entitled "The Stone Path of Eternity." To truly travel through each piece, I have included an image, a brief description of the work under information, and then, signified by the yellow (1) above, I've provided my own analysis and interpretation of the piece in its relationship to the collection theme.
Through lingering through the "Stone Path of Eternity," which is represented by the first two tiles, we will from one stone to the next in seeking the many ways in which the soul's expression can be defined.
In Stone Number One, "The Spirit's Encased Construct," we'll see how architecture and large-scale artistic projects merge to reflect both cultural identity and the individuality of their leaders through works from ancient Babylonia, Egypt, the Byzantine Empire and into the combinations made possible by the aesthetic innovations of modern times.
Shifting step to Stone Number Two, "Human Identity Immortalized in Matter," we delve into the ways in which the human figure is represented and what these images can share with us in terms of the varying levels, purposes, intentions behind the artist's created expressions and impact of depicting the Spirit on Earth. This idea is exemplified in creations ranging from the Paleolithic period to modern times, with examples from Egypt, Ancient Greece, the Italian Renaissance and the 20th century popular culture.
Finally, in Stone Number Three,"Individuals and Spirituality Entwine," we step into the door of the spirit directly, traveling through the many methods which cultures apply in trying to simultaneously convey and understand what realms are in union with and beyond this life. Some cultures who address this idea in their artistic tradition are seen in instances of Egyptian art and work from ancient and Hellenistic Greece, as well as both the Italian Renaissance, Northern European Renaissance, and contemporary Western art.
The intended audience for this collection is just as varied as my subject matter. Those who might be drawn to this collection are people attracted to the enigmas of life and death, who have questioned their place in society and the mysteries this world has to hold, and are curious to know more about how, historically, cultures have related to these probing questions—for, as you will see, they certainly have existed as long as humans have walked the earth. No matter if you're in high school, college, or beyond formal education, I hope you will find my musings on these artworks and their meanings compelling and thought-provoking.
Renowned artist and poet William Blake once wrote, "To see the world in a grain of sand, and to see heaven in a wild flower, hold infinity in the palm of your hands, and eternity in an hour." From the most abstract art to the remarkably realistic, there is always an image of ourselves, in the an esoteric sense, waiting to be found within. With its timeless method, Art seeks to create a definition for this all-encompassing and ever-evading essence and I hope to continue that quest with you as we explore this collection. #AHMC2019
Found Poems and Social Justice: Using Rosa Parks and other sources to create found poems about social justice
This collection includes portraits from the National Portrait Gallery, websites, links to Smithsonian Magazine articles, and other news articles all relating to issues of social justice. #NPGteach
Collection of examples of Roman Mosaics and lesson plan for creation of garden mosaics.
Day 1: powerpoint/ history of Roman Mosaics, begin planning, paper design
Day 2: group makes a design on contact paper with tiles
Day 3: make mosaics in the lab
Day 2 Directions:
Write the words: What is a Roman mosaic? in the center circle. Fill circle map with at least 10 words that define and describe a Roman mosaic in the outside circle. You can use the i-pad to access Google Classroom to review the information from the powerpoint we viewed in class.
- Use the sample bag of tiles to figure out what color tiles you need.
- Write the number of tiles your group estimates that you will need to complete your mosaic in the blanks below. You may make changes at this time to your design based on colors available.
_____ black _____ dark blue _____ orange
_____ white _____ teal blue _____ lavender
_____ red _____ yellow
- After you have estimated the amount of tiles you will need of each color, choose one member of the group to take their paper with the numbers listed and go to the table to count tiles out and put into 1 ziplock.
- Next, use your rough draft to arrange tiles.
- Create border (1-2) colors first.
- Then, create center design (3-4) colors.
- Put contact paper with tiles inside clear tray.
- Fold back ½ sheet of contact paper circle, fold over, arrange border tiles on half sheet, Remove rest of contact paper, place the rest of the border tiles on second half of contact paper. Save paper back of contact paper to press down and even out after placing tiles.
- Don’t forget to use a pencil to measure the distance between tiles (you should be able to fit a pencil between tiles).
- Carefully remove contact paper with mosaics from plastic tray and set aside.
- Mix cement in clear tray, 8 cups of cement to 1 cup of water, start with ½ a cup, then add gradually/not all at one time, may not need whole cup of water, stir until mixed evenly
- When cement starts to thicken smooth it out on top
- Use your pencil to estimate the center of the circle, push pencil down in center
- Begin transferring tiles to top of cement, do not press them into the tile until all of your border and design are complete
- After all tiles are transferred and you are happy with how it looks, use the eraser on your pencil to push tiles down gently, slowly a little bit at a time
- If it starts getting dried out, spoon a little bit of water onto the top and smooth out
- If it gets too wet, you can use a paper towel to soak up excess water
Rubric: Total 20 points
_____ 5 following directions of procedure
_____ 5 arrangement of tiles
_____ 5 group participation
_____ 5 safety in the lab/lab sheet completion/circle map
This collection is a curated collection of images that can be used with a lesson plan on curation. Each of the images has some possible connection to a social justice theme and the question asked by the creator of the collection is, "How might we approach conversations about curation and social justice?" Each of these images adds a unique and interesting dimension to a conversation about curation, the people whose stories are selected for view, and how those stories are empowered and/or disempowered by the stories that they are surrounded by. How do we make decisions about these topics? What do we do when we are asked to include in a curated collection pieces that change the story we might want to tell? How do we deal with the multi-faceted stories and sometimes contradictory stories of the people we select for our collections?
It is important to ask these questions and have dialogues with students about how we come to our conclusions, make our decisions, and wrestle with these concepts. In a world of tweets and ever expanding stories/information it is important sometimes to talk about how we work with the realities of physical spaces where there isn't always enough wall real estate to highlight everyone all of the time. In those situations, how decisions are made, who is brought to the forefront (and who is not), and how our own beliefs/biases/views of the world play into those decisions all matter.
How might you curate this collection in many ways? Who is still missing and why does it matter that we ask the questions at all?
While this is intended to be a companion collection to a lesson on curation, the questions above may stand on their own. This collection is intended to be the beginning of a conversation, and not a stand alone collection; however, the lesson is also available in the collection as a downloadable PDF.
This learning lab is rooted in exploring the concept of social justice and activism through biography and curation. This learning lab explores the power of one's narrative being shown through multiple artifacts in order to paint a bigger and more accurate picture of their role in social justice and activism.