Found 362 Learning Lab Collections
These resources can be used in an activity that introduces a lesson on Japanese-American Internment during World War II.
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.
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 internment 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.
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.
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.
5. Return to the painting as a large group, and discuss how the primary source documents have influenced students' reading of the artwork.
6. Optional additional resource: If time allows, have students watch excerpts from Roger Shimomura's artist talk at the Smithsonian American Art Museum.
This collection presents three different liberty bonds primary sources dating from 1918: a postcard, sheet music/song, and a celebrity aviator's brochure. With these resources students will explore Liberty Bonds, also called war bonds or liberty loans, which were essentially loans from the American people to the U.S. government to fund the Allies' involvement in World War I. Many public campaigns presented purchasing bonds as the patriotic way to support the war from the home front. Carefully chosen words and imagery conveyed this message and persuaded Americans to act quickly, through both subtle and direct messaging.
Essential questions: What role did Liberty Bonds play in financing the U.S. WWI effort? How did persuasive language techniques and visuals lead many Americans to see Liberty Bonds as part of their patriotic duty on the home front?
Keywords: primary source, secondary source, soldiers, World War I, Great War, Ruth Law, "What are you going to do to help the boys?", army, military, Uncle Sam, WWI, persuasion, advertising
This collection was created in conjunction with the National Postal Museum's "My Fellow Soldiers: Letters from World War I" teacher workshop (July 19, 2017). It focuses on one of the many postcards from this topical collection to demonstrate its use in the secondary classroom. #NPMTeacherPrograms
In this collection, we explore various portrayals of Pocahontas over 400 years. Students can compare and contrast two or more artistic renderings of Pocahontas, using the provided strategies and historical context with guidance from the teacher. By using portraits of the same sitter by different artists, students consider historical accuracy and changing cultural and historical perspectives.
This collection was adapted from National Portrait Gallery educator, Briana White's collection, "Compare and Contrast Looking Strategy: Learning to Look with the National Portrait Gallery " and supplemented with the National Museum of the American Indian's Americans online exhibition. Sources for the approach include Compare and Contrast, the National Portrait Gallery's Reading Portraiture Guide and Project Zero's Artful Thinking Routines.
There's a lot you can get out of font design, one of those is feelings. As a reflection on the various design concepts I have explored at Cooper Hewitt with the Design Scholars, I created a Learning Lab on how the fonts in our everyday lives are connected to the feelings that we portray in our writing. I have pulled resources from designers I have met throughout the DesignPrep Program, including designs from Cooper Hewitt, the Smithsonian, and myself. Below you will see a collection of 10 images (each with a description on the connection to feelings) including a video "Wicked Problems in Type Design" that you can explore.
***The descriptions written by me may not depict what the actual designer intended their audience to feel, but they are my interpretation (except for my 2 pieces), so please feel free to build off of or have your own interpretation
Ability to comprehend and express emotions via color -- journeys from the initial discovery and acceptance of multiple emotions to a various selection of emotions itself. People make conscious choices in the creation of art; colors can correlate to emotions and designers make these choices purposely.
How do you help students test their ideas in your classroom? A critical step in the design process, prototyping and testing ideas helps problem-solvers learn from failures, experiment with materials, and visualize their solutions. Educators will dive into a case study from Michael Graves Architecture and Design and explore various techniques to experiment with ideas in the classroom with resources from professional designers and Cooper Hewitt, Smithsonian Design Museum.
#NTOY18 #CHEDUCATION #CHDESIGNTHINKING
This collection deals with individuals who were ordinary, rose to greatness, and then his/her life was reduced to less than ordinary. This collection will be used with the focus novel, Flowers for Algernon, as well as short stories, poems, and non fiction texts. The initial theme of the unit is FEAR and how we deal with it. These individuals were without fear or possessed the ability to mute that fear even though it cost all of them in the end. This unit will be used to compare the character arc of Charley from the book to their choice of artwork and the subject's journey. This collection was created in conjunction with the National Portrait Gallery's 2018 Learning to Look Summer Teacher Institute. #NPGteach
This collection contains illustrations, sketches, paintings, sculpture and photographs representing a variety of science-related concepts, including animal adaptations, the invention process and climate change.
They may be used for a variety of purposes; here, we use them as a catalyst for discussion. In small groups or as a classroom, have students select one artwork they find meaningful or interesting and discuss the following:
- Why did you pick this image?
- What do you see? Name specific aspects of the image you notice.
- What do you think about what you see?
- What does this image make you wonder?
This activity works equally well online or using printed flashcards (see the resource tile). You may also replace or pair the above activity with a Project Zero Thinking Routine found in the final section of the collection.
Keywords: printable, flash card, project zero visible thinking routine, New Jersey Principals and Supervisors Association, NJPSA, arts integration, natural history, animals, invention, patent, portraits, weather
This is an example of how to build teacher-made materials into a scripted curriculum. My school uses the curriculum, EngageNY, to teach middle school English language arts. In 6th grade, the students read The Lightning Thief by Rick Riordan to study the genre of mythology, elements of mythology and theme, allusion, and the archetype of The Hero's Journey.
Resources created are shared through a living Google Doc in order to make it easier to make a copy and change to fit the needs of individual teachers and students. #SAAMteach
Included in this collection are several of Titus Kaphar's works in the "Unseen: Our Past in a New Light." Ken Gonzales-Day is also featured in one portrait of an "Erased Lynching." The general objective is for students of US Justice, Law, & Society to make connections and intersections, between the portraits in this special exhibition, and another portrait in the NPG. This lesson is intended for undergraduate students, but could be modified for secondary education. This collection was created in conjunction with the National Portrait Gallery's 2018 Learning to Look Summer Teacher Institute. #NPGteach
Thomas Jefferson is remembered for his contributions to the ideals of natural rights and democratic principles. Yet, as a slave owner, Jefferson personally lived in contradiction of those principles. In this Learning Lab you'll explore how Thomas Jefferson is viewed at different times in history through portraiture. Using evidence from his portraits you'll answer the question, "How has our view of Thomas Jefferson changed over time."
This Learning Lab was created as a resource for students and teachers participating in the 2018 National High School Design Competition.
This year's competition challenges students to make the everyday accessible by considering a place, process, or object they regularly use, identifying a challenge that a user with a disability might have with it, and designing a solution that addresses that challenge and makes the place, process, or object more accessible for all.
For more details on the competition go to https://www.cooperhewitt.org/2...
This collection was designed for elementary classes to infuse global competencies into an established study of open space and environmental stewardship. Birds are often a topic of study in primary classrooms, and this framework can help students start thinking about environmental stewardship through an initial study of birds. Guided by thinking routines, students examine birds and think about how other cultures have shown their interest in nature. They will also start thinking about why studying the needs of local birds is important to taking care of their local environment. Finally, students begin to explore why taking care of the birds and environment also might be important to the world.
This collection is meant to be used as a unit over several days. Please feel free to copy and adapt it for your own use.
The art used in this collection comes from the Freer Gallery of Art and Arthur M. Sackler Gallery collections. Many pieces were featured in an exhibition called "Dream Worlds: Modern Japanese Prints and Paintings from the Robert O. Muller Collection", which was on view November 2004-January 2005.
Tags: birds, environmental stewardship, open space, thinking routines, global competency, essential questions, human impact, Japan, Japanese art, Ohara Koson, woodblock printing, seasons, cherry blossoms, teacher, student, nature, crow, heron, magpie, pheasant, artful thinking
Upward Bound Tech & Tour - Intro to the Smithsonian Center for Learning and Digital Access' Learning Lab
Taking a great portrait is more than just taking a quick snap of a face. It requires thoughtful contemplation and a variety of choices by the photographer. We'll examine a collection of photographs that illustrate various principles of portrait photography and that will help students to understand the parts of a digital artifact.
LENS 1 | One lens to consider when looking at an artifact is its context and the impression it gives you. Using "see, think, wonder" strategies, we consider:
- What do you see?
- What do you think about it?
- What makes you say that -- what evidence is there for that - on what are you basing your opinion?
- What does it make you wonder?
- Why does something look the way it does or the way it is?
LENS 2 | Analyzing great photographs to provide inspiration for your own photography pursuits
What makes a strong image?
- angles (eye-level, high angle, low angle, and bird's eye);
- light and shadow;
- shot length (long-shot, medium-shot, close-up, & extreme close-up);
- mood--capturing a feeling or emotion in a photograph;
- scale--how big or small subjects look; and
- sense of place--capturing the feeling of a place.
Click into each photo and on the "paper clip" annotation icon to read more information (metadata!)
We will then discuss publishing guidelines and other policies that will help students make their best collections.
Tags: portrait photography, decision-making, self-determination, student empowerment, Project Zero
Westward the Course of Empire Takes Its Way
This collection is comprised of resources for introducing middle school ELA students to the concept of identity in art and literature. This was planned for use as an introduction to The House on Mango Street by Sandra Cisneros, so a special focus is given to Latinx culture and experience, but the resources could be used for any literature that addresses the topic of identity.
The resources in this collection can be used in whatever order you wish, but I have included my general plan and sequence for a three-day mini-unit. Each lesson is intended for a 45-minute class period for middle school English students, but could be extended or combined for longer periods or older students.
Day 1: Exploring the Concept of Identity
We begin with the painting Braceros by Domingo Ulloa, using the See/Think/Wonder visual thinking routine as a jumping-off point to lead the class to the topic of identity. The ideas recorded could remain as an anchor chart in the classroom as the class reads and discusses the novel. It would be interesting for students to revisit their initial ideas to assess how their concept of identity expands and changes through the reading. As an alternative or addition to the lesson, depending on the needs of your students, you could also use the Identity Worksheet handout provided as a metacognitive tool to assist your students in tracking the ways their thinking evolves and expands. This worksheet also encourages them to make connections with other works of art, literature and music from their past experiences; this can be done independently or in small groups.
Day 2: What Comprises Our Identity?
The goal today is for students to begin considering what factors determine or influence our identities. To begin class, students will be introduced to "Tenement Flats" using the "What Makes You Say That?" thinking routine. This will provide practice for students to make claims about the painting and provide evidence to support their claims. This will be the warm up for the day, but to extend time with the visual art, students could create a T-Chart or Venn Diagram for comparison and contrast with "Braceros."
Students will next listen to the poem, "Latino-Americanos: The Children of an Oscuro Pasado" by Xochitl (SOH-chee) Morales. After reading the poem, students will be invited to consider the stories they hear in the poem. Xochitl's voice tells one story, but what other stories do we hear? What stories are missing? IF the discussion does not naturally move toward identity, students should be invited to consider what comprises the poet's identity (for example, sense of self, sense of family, societal expectations, gender roles, home, community). Again, ideas could remain on an anchor chart for reference.
Day 3: What is the Author's Message about Identity?
On the final day, we will explore an excerpt from Cisneros' book ("My Name"). I have provided a handout with this excerpt. This could be an opportunity to guide students through close-reading techniques like intentional text marking, or students could do this work independently. After reading and annotating the text, students will be coached through the "Claim/Support/Question" reasoning routine to (1) provide an interpretation of the author's message or theme as it relates to identity; (2) provide support for the claim; and (3) extend their thinking by generating a question about what isn't explained or what information is missing, or what alternative points of view might exist.
I have provided some additional resources that could be added in to extend the time spent on this topic or used as journal or warm-up activities as the class continues Mango Street. These include an additional poem ("We" by Nathan M. Richardson) as a handout as well as a Youtube link to Richardson reading his poem, and a visual (typographic) prompt to use for the topic of identity. I have also included a video interview of Xochil Morales that might be useful for adding context, particularly because she is a very young poet and relatable.
The selected artwork and learning lab collection offers a historical approach to the transformation of Native Americans into white culture and society. It serves as a purpose to provoke discussion on the historical context of the Indian Removal Act, and gives students an understanding of the main character’s (from the novel "The Absolutely True Diary of a Part-Time Indian) “modern day” internal conflict of erasing or eliminating his Native American culture to immerse into the lifestyle of a white teenager in a predominately white school.
As an introductory activity, students will engage in the see/think/wonder methodology to infer the artists’ purpose for the artwork. This initial activity will help scaffold students’ prior understanding and knowledge of the historical context of Native American history and the forced immersion into white culture. Therefore, after students have had ample time of using visual understanding skills to interpret the artwork, students can explore a “modern-day version” of Sherman Alexie’s image that showcases a juxtaposition of the main character’s internal identity conflict.Similar to the artwork, students will engage in the "connect, extend, and challenge" thinking activity. Students will make connections to the text and real-world connections as a culminating task. Lastly, students will discuss how it extended their thinking and a remaining challenge or wonder students still have. Using their remaining questions, this could lead to several extension activities.
Students can explore other Native American artwork in the learning lab, students can also use the "unveiling stories" strategy to learn more about the Carlisle school. The history of the Carlisle school connects and relates with the novel by adding historical context. Lastly, students can engage in teacher-made or student-made gallery walks using other Native American artwork or imagery to support the reading process of the paired text.
This is a collection of the art and resources used to help students become more familiar with the time period Of Mice and Men was set in. The goal is for the students use a historical perspective when reading the novel and to help them when discussing character motivation and theme at the end of the unit. It will provide them with a richer view into the novel.
This set of activities is designed to encourage students to think critically about how an artist’s race, background, and experiences might impact their ability to fairly and accurately tell the story of a different person or group - an "other."
Specifically, students will look at the creations of two white men - the painting Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington by George Catlin and the novella The Pearl by John Steinbeck - to analyze how the whiteness of these two artists might have affected their ability to fairly portray the indigenous people they sought to memorialize. Using primary source texts written by the artists themselves, students will conduct an inquiry into the possible motives and biases of these men in order to assess whether they, as white outsiders to the groups on which they focused, did or even could tell their stories accurately. The question students will be tasked with answering in writing as a culminating exercise is whether a white man can fairly and accurately tell the story of an indigenous people?
In terms of purpose, the study of the painting is intended to supplant a traditional anticipation guide to help students prepare to read The Pearl and also to provide a lens through which to analyze the text.
Includes iconic people, places, and things associated with Pittsburgh.
Prior to the workshop series, select one resource from this collection and conduct an adapted See-Wonder-Connect routine (What do you see in the resource that's worth noticing? What do you wonder about? What connections do you make to it?). You may consider sharing with a partner, using the Think-Pair-Share routine. Finally, Imagine if... you were using one of these resources in your own practice, what would you have students do with it?
This collection was created for the Smithsonian Learning Lab workshops in Pittsburgh and the surrounding school districts. Funded by the Grable Foundation and in partnership with the Children’s Museum of Pittsburgh, the Quaker Valley School district and the Washington International School.
This collection is to be used in conjunction with the novel, A Long Walk to Water by Linda Sue Park. The lesson concept spans the total of three 55 minute class periods for a middle school ELA course.
Students will begin by completing a pre-reading activity where they will analyze the artwork, Iceman Crucified #4through a "See, Think,Wonder" activity. Students will then discuss the overarching ideas or themes that they observed in the piece. This lesson will end with students making a prediction about the book, A Long Walk to Water, through previewing the cover/title and using information from the artwork to predict a possible theme of the story.
After reading chapters 1-4, students will then begin analyzing their predictions. They will also be introduced to a new piece of art, The Girl I Left Behind, to analyze in conjunction with another character in the book. Students will do a collaborative poem with the artwork. They will then work in pairs to analyze lines of text and draw similarities/differences between the character in the text and the girl in the painting.
This collection of teaching resources includes lesson plans and multimedia resources about the engineering design process. There are several lesson plans on architecture and engineering concepts of design, such as simple shelters, balance, and materials. The videos and illustrations explain what engineers do and the fundamental engineering design process.
This lesson includes:
- A video by Crash Course Kids titled "What's an Engineer? Crash Course Kids #12.1" (4:30)
- A video by Crash Course Kids titled "The Engineering Process: Crash Course Kids #12.2" (5:17)
- Two models of the Engineering Design Process by Preschool Steam
- Engineering/architecture activities from the Cooper Hewitt, Smithsonian Design Museum for Pre-Kindergarten-1st Grade
Visual art is a language that is socially and culturally constructed. Socially constructed learning values diverse perspectives, engages with local and global experts, and employs inquiry, discovery and exploration to move students toward global citizenship. Because the visual arts leverage the power of dialogue and debate to sharpen critical thinking, starting with the arts is a logical place to help students develop empathy for others while increasing their cultural intelligence.
This collection was created to support teachers and administrators who wish to better understand the various cultures in their schools. Using both Project Zero's Global Thinking Routines and strategies from Amy E. Herman's Visual Intelligence book, participants will practice articulating cultural perspectives and communicating across differences using artwork and primary sources from the vast collections of the Smithsonian Learning Lab. Participants will learn how to read a work of art, understand compositional hierarchy, and question what is missing. The frameworks provided by Project Zero and Amy E. Herman will allow everyone, even those not accustomed to discussing art, a place from which to begin using art as a foundation for building culturally-responsive curriculum.
Participants will see museums as the cultural ambassadors that they are and ask whose culture is being represented and whose is missing and why. Extending from this inquiry, participants will recognize the role schools play in nurturing and shaping the lives and identities of our students.
This collection contains the provocative piece The Way They Was and asks students to make parallels to the novel To Kill a Mockingbird. It uses thinking routines such as "See/Think/Wonder", "Circle of Viewpoints", and "Claim/Support/Question". There is also a graphic organizer in the shape of a door that allows students to record the connections they see between the piece of art and the novel. This lesson can be used after Chapter 25 or at the end of the novel.