Found 944 Learning Lab Collections
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. It's time for high adventure as Jojo goes on the lookout for all kinds of fascinating creatures in the wilds of his very own yard. What will he find hidden in plain sight? Come along on the trek as we learn, create, and play in this musical mini-travelogue about the hidden natural world close to home.
U.S. Dollars in Liberia
From 1820 to 1904, about 16,000 people formerly enslaved in the United States sailed to West Africa and established the country now known as Liberia. The American Colonization Society, which sought to create a colony in Africa for formerly enslaved people, issued currency like this 1833 token and established a government led by white officials.
In 1847 Liberian migrants declared independence from the American Colonization Society and issued their own coins as a symbol of nationhood. The coins were minted in England and circulated alongside indigenous currencies like the Kissi penny. In the late 19th and early 20th century, the Liberian government struggled with debt, making it difficult for the Liberian dollar to maintain its value. As a result, merchants and then the government began to use the colonial currency of British West Africa instead.
In 1943, with financial help from the U.S. government, the U.S. dollar replaced British West African shillings as the primary currency in circulation. The Liberian dollar continued to be in use as small change. Today Liberia is one of few nations with a dual currency system, as both American and Liberian dollars circulate alongside each other. In 2019 the National Numismatic Collection acquired contemporary Liberian banknotes to help tell this story.
Gardner, Leigh A. "The rise and fall of sterling in Liberia, 1847-1943." Economic History Review 67, no. 4 (2014): pp. 1089-1112.
Rosenberg, Emily S. Financial Missionaries to the World: The Politics and Culture of Dollar Diplomacy 1900-1830. Chapel Hill: Duke University Press, 2007.
Inside this Ancient religious architectures VS. Modern religious architecture collection, I will be showing various religious architectures/buildings from the ancient times vs the modern religious building that we have right now. The purpose of creating this collection is because I want to distinguish the difference between the religious architecture around the world and compare it to what the architectures look like back in the old time, since both are religious building, it both are dedicated to a specific goddess, but their outside look looks totally different. The history of architecture is concerned with religious buildings other than any other type. People use the buildings such as temples, churches, mosques, etc. as a place to worship and sometimes shelter. Those religious architectures are also known as the Sacred architectures, many cultures and countries devoted their resources to their sacred buildings to show their respect for their goddess and to worship them. We don’t just see them in ancient history. Today, there is still building being built in the modern world purely for religious reasons, such as churches and temples. In this collection, I will be showing a mix of modern religious buildings and ancient buildings, I will be comparing the two different centuries architectures through pictures.
First, sort the images by type of art/artist. Teacher should make index card headings for the following categories: Painting/Painter, Textile/Weaver, Clothing/Fashion Designer, Architecture/Architect, Prints/Printmaker, Sculpture/Sculptor, Functional Ceramics/Potter or Ceramist. Sometimes an image may cross categories (painting of a house might be categorized in architecture or painting); either answer would be acceptable if the student can justify why.
Second, make an educated guess about culture represented in selected images. Students can "guess and check" with teacher. Online research option: students work in pairs to access this collection and click on the info button for an image to learn about the maker, time period, and culture. They can record their findings to help answer the reflection questions below.
After the sorting activities, ask students to choose an image and answer: Why is/was this object of value (or useful)? How do you think it expresses something important to the people of that culture?
At Rutgers University-Newark and within the Graphic Design Program, we offer two courses that focus on community-based (the Design Consortium) and research-oriented (Visual Means) activities. These classes are part of a larger initiative, and art incubator called Express Newark, where community and the university interact, collaborate and co-create.
In addition to the DC and VM courses, we offer an advanced design studio course that focuses on unique design applications through the use of the letterpress printing process, also located at Express Newark. This coming spring, I will be teaching the letterpress course, and in the following fall, I will teach the Visual Means course. Within both classes, I will be looking to develop different ways of visualizing gun violence.
Gun violence is one of the most critical and complex issues we currently face in the United States. Rutgers University has recently created the New Jersey’s Center on Gun Violence. The center’s mission looks to “conduct interdisciplinary research on the causes, consequences, and solutions to gun-related violence while respecting the rights of legal, safe gun ownership and use.” Within the Visual Means course, I plan to work with researchers from this center on developing ways of visualizing the complicated and overwhelming data disconnect between research and public understanding of gun rights, safety, and violence.
What I plan to do with this Learning Lab is to use it as a repository of images, concepts, facts, texts, and web-based information. In the coming months, I will develop a pedagogical approach that weaves together methods of research, visualization, and implementation into various applications of visual communication and graphic form. The Learning Lab will grow as our knowledge about this subject increases and while documenting our process of research, visualization, and implementation.
Step 1 - Learning Lab
We will use the Learning Lab as a repository for our impressions and image collections that show the different ways in which guns have been woven into the mythology of America and seen in our collective culture. Using different lenses such as art, film, photography, sculpture, advertising, satirical cartoons, comics, pop culture, propaganda, and protest, my students and I will attempt to take apart and reconstruct our understanding of the many issues surrounding this divisive topic.
Visualization and typographic experimentation
Step 2 - Weather Report
Dan Friedman, American, 1945–1995
While teaching at Yale University, Dan Friedman developed a teaching method that is still used in many schools today—the Weather Report. Through a series of detailed parameters, students will be asked to create different permutations that experiment with various interpretations and hierarchies. As students advance through this assignment, the limitations are slowly lifted, and students begin to generate solutions that are more and more expressive, dynamic, and experimental. Using this method, students will experiment with various hierarchies and typographic solutions—setting the stage for the letterpress printing process.
Step 3 - Letterpress process
Working with content generated from our research, relevant information, thought-provoking content, quotes, or statistics, students will explore various methods of experimenting with typographic structure and syntax. Using the Learning Lab, students will be exposed to the dynamic work of the Futurists, Constructivists, the Bauhaus, late Modernists, and the explosive typography of the New Wave designers.
Designers would include:
Filippo Tommaso Marinetti, Italian, 1876–1944
The Futurists were known (amongst other things) for the emotive and expressive typography.
El Lissitzky, Russian, 1890–1941
Russian Constructivism who experimented with developing a universal language based on simple shapes and reductive color.
Ladislav Sutnar, Czechoslovakian, 1897–1976
Sutnar’s visual communication often explains complex information and concepts unambiguously and with a spartan efficiency. The Constructivist brought great structure and organization to their typographic messages through minimal means in an attempt to generate a universal visual vocabulary.
Herbert Bayer, Austrian, 1900–1985
Jan Tschichold, German, 1902–1974
Max Bill, German, 1908–1994
At the Bauhaus and through its influences, designers brought together various conceptual approaches to the organization and implementation of articulate typographic applications.
Alvin Lustig, American, 1915–1955
American designer Alvin Lustig (along with Paul Rand, Bradbury Thompson, Lester Beall, Ladislav Sutnar, and others) was instrumental in developing a mature, Modern approach inspired by Europe to American graphic design and typography.
Wolfgang Weingart, German, 1941–
Teaches at the Basel School of Design and separating himself from some of Late Modernist’s more restrictive characteristics while redefining for himself an expressive typographic approach through experimentation and practice.
April Greiman, American, 1948–
Inspired by Armin Hofmann and Wolfgang Weingart and her experiences in Europe at the Basel School of Design, Greiman brought a fresh and unique perspective to graphic design within the United States.
Bruce Licher, American, 1958–
American typographer and letterpress designer that works within the traditions of letterpress printing while pushing the edges of typography, unique form, and graphic design applications.
Professor Ned Drew
Graphic Design Faculty
Founding Director of The Design Consortium & XPress | Center for Typography initiatives at Express Newark
This collections includes examples of digital and interactive design presenting innovation in technology-based media and involving mobile applications, data visualization, mapping, augmented/virtual reality and robotics, to examine social justice issues and/or provide a social service.
Projects & case studies demonstrate how the strategy and craft of design, as well as digital storytelling, are aimed to effect change in communities throughout the world.
#socialImpactdesign #designforgood #digitaldesign #digitalstorytelling #digitaltools #servicedesign #interactivedesign #datavisualization #socialjustice
Elaine Lustig Cohen (1927-2016) built a career specializing in book cover design, museum catalogs and building signage, most of which she inherited from her husband's business after his early death at age 40. Cohen was never formally trained as a designer, and worked as a production artist for her husband, after his death she took over the business and built a successful and highly regarded career. Much of the work she did in this phase included graphic design and signage for architectural spaces, having taken over a project for Philip Johnson upon her husband's death. In addition to signage Cohen's design work included idnity design and advertising as well as museum catalog designs, though most prolifically she produced work as book designer. Cohen closed her business in 1969, choosing instead to focus on painting, though she continued to take design jobs occasionally from clients and she designed catalogs for the rare book company, Ex-Libris, she founded with her second husband Arthur Cohen, while all of Elaine Lustig Cohen's work can be viewed as experimental it is the work she did for herself and her husband as clients at Ex-Libris that is exceptionally so. Some of her longest running clients included Meridian Books and the Jewish Museum, examples of work from both can be found in this collection along with catalog designs for Ex-Libris. Cohen earned recognition within the graphic design community with awards like the 2011 AIGA Medal.
This is a collection highlighting the career of graphic designer Elaine Lustig Cohen as part of the American Women’s History Initiative.
Lanette Scheeline (1910-2001) was an American textile and wallpaper designer. Designs by Scheeline were often custom and created using block printing, intaglio and machine printing techniques. She also experimented with printing designs on Japanese paper. Her designs were largely influenced by natural forms and botany, which can be seen in this collection. Scheeline's working career overlapped with World War II, during which she worked in a shipyard, she returned to her career as as designer after the war.
Eva Zeisel (1906–2011) was born in Budapest and only immigrated to America in 1938 after having been imprisoned by the NKVD in Russia for an alleged plot on Stalin's life. She lived in America for the rest of her life though she continued to work internationally and worked until she passed away in 2011 at 105. Zeisel created designs for American, German, Italian and Japanese companies and her list of clients includes Sears, Roebuck as well as more recent clients such as Crate and Barrel. Zeisel was the recipient of many honors and awards, including an exhibition at The Museum of Modern Art in l947 and a Lifetime Achievement award from the Cooper Hewitt in 2005. This collection includes sketches for designs as well as finished ceramic pieces. Note that her most colorful and loudly patterned pieces are designs for German companies.
Includes a video that is roughly 58 minutes long, introductions last about 4:40 then talk begins.
Uprooted Dreams (Alebrijes)
On permanent display in the Education Area upstairs at the ESB-MACC is Uprooted Dreams (2012), a site-specific sculptural installation that features over 19 individual, brightly colored woodcarvings, mounted in the public entrance of the Education Area. Artist Margarita Cabrera was selected to create an artwork which would engage the community in its production. "Uprooted Dreams is a work of art designed in the form of workshop production...nineteen members of Austin's immigrant community- guided by Master Artesanos, Ranulfo Sergio Ibañes and Lucia Luria Sosa, experts in the Mexican craft tradition of alebrije-created, carved and painted wooden sculptures. These pieces embodied artistic themes of uprootedness as they spoke to the transformation of people, land, and community. For the artist, artesanos, participants, and audience, the process and product of Uprooted Dreams provides an ongoing platform on which to build respect, equality, solidarity, and dignified ways of making art and creating community. - Margarita Cabrera
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. The magic of earth science takes center stage in this fun, interactive Discovery Theater original as we explore the indigenous and modern science behind the greening of the year. Using science, culture and history, we examine humanity’s relationship to the natural ‘new year’ – a time when the earth and its creatures experience the rebirth, regeneration and new growth. Seed germination pairs with the story of Persephone returning from underground; the science and mystery of a simple egg link with new birth and lambs, birds and bunnies tales; the earth science of warming spring weather create a great atmosphere for learning and fun.
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. Throughout this amazing intergalactic story, we use science experiments to bring the story to life! In the second part of the show, we go “behind the scenes” of the special effects and recreate the science experiments with the help of volunteers from the audience. Don’t miss this action-packed and educational alien adventure. It's totally out of this world!
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. The world’s most dangerous half-Japanese/half-Scottish solo improvisational taiko drum artist combines this traditional form of powerful playing on huge “Taiko” (drum) with a modern vibe, creating participatory performances that rock the house and educate all the senses. Taiko players are their own instruments—the body dances as the music pours forth with massive sound and energy. Experience Mark and his music in a dynamic show that celebrates this fierce Japanese artform.
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969.Race to the finish line with two black Olympians who changed history! Soaring music and the exhilaration of world-class sorts inspire us all to greatness in this vivid portrayal of the lives of Jesse Owens and Wilma Rudolph. Watch them overcome childhood illness, infirmity, and poverty to become the world’s fastest man and fastest woman, winning the greatest honor in athletics: the Olympic Gold medal. The John Cornelius II score speaks to the heart and soul of the winner in all of us.
Look closely at this collection of artwork. What do you notice about Jacob Lawrence's style? How does he represent people and objects?
Look carefully at these artworks by Joan Miró. What do you notice? How are objects represented?
Climate change is a huge issue facing our society. Our students have expressed tremendous concerns about the global impact of the climate crisis.
As part of this learning lab, student teams are tasked with designing and prototyping an alternative energy solution for NYC.
Before embarking on their own designs, students will use the resources to learn about earlier climate campaigns, what scientists and engineers are doing today and will explore models, prototypes and solutions that are already existent.
This collection explores the necessity, logic, and fairness of the inclusion and/or exclusion of people of history based on gender and/or race.
Looking Using the Puzzle Strategy
Looking using several various strategies.
Easily customization by simply using as an individual or group lesson or by requiring all, some, or one of the additional group portraits.
Researching People and Inventions
Recognizing Bias and Objective Analysis
Understanding the Difference Between Bias and Prejudice
Argumentative Essay Writing (Designed as a timed writing for AP Lang, but the prompt could easily be turned into a formal writing assignment.
This teaching collection helps students to think critically and globally by using two Thinking Routines to explore the painting, "Shifting States: Iraq," by Cuban American artist Luis Cruz Azaceta. The work is a metaphorical representation of the unrest taking place in Iraq, and more broadly, an exploration of the human condition during times of crisis.
Included here are the work itself from the Smithsonian American Art Museum, a video with curator E. Carmen Ramos, another video from Articulateshow.org, two suggested Thinking Routines - "Colors, Shapes, Lines" and "The 3 Y's" - from Harvard's Project Zero Artful Thinking and Global Thinking materials, and three other works by Azaceta in the Smithsonian collections.
For use in Social Studies, Spanish, English, American History, Art History classes
Exploring significant events, people, and movements of the 1920s and 1930s through artifacts from that time period.
Martín Ramírez (1895–1963) was born in Jalisco, Mexico. He emigrated to the U.S. in 1925 to work in California as a miner and a traquero. Poverty and his need to seek steady work forced him to leave his wife Ana and their four children in Mexico. The Great Depression left him unemployed, and acute mental illness led him to be remanded to the DeWitt State Hospital in Auburn, California in 1948, where he lived until his death in 1963.
As told by the curators at the Smithsonian American Art Museum: "Around 1948, Ramírez began to draw on an eclectic array of paper surfaces—brown wrapping paper, laundry lists, paper cups, old letters—which were glued together to form a unified drawing area. He made use of a variety of tools and techniques, including crayons, colored pencils, watercolors, chalk, ink, and collage.
"Ramírez's motifs reflect his life in two distinct cultures. His highly patterned, intricate drawings present fantastic renditions of subjects such as Mexican soldiers, Madonnas, prairie dogs, cars, and trains. In terms of technique, what is most extraordinary in Ramírez's art is his use of line to create the many different kinds of space—niches, frames, stages—in which his protagonists are placed. Although flatness characterizes the overall effect of his technique, the numerous parallel lines in Ramírez's work bring about a sense of visual depth."
About 450 of Martin Ramirez's drawings and collages are known to exist. He is widely regarded as one of the 20th century's greatest autodidactic artists. His work has been presented in solo exhibitions at museums around the world, including the Centro cultural/Arte contemporáneo in Mexico City (1989), the American Folk Art Museum in New York City (2007, 2009), and the Museo nacional centro de arte Reína Sofía in Madrid (2010).
#EthnicStudies #MexicanAmericans #Traqueros #Railroads #SelfTaught #Latinos #Chicanos #Artists #MartinRamirez
A collection of artifacts from which our students will choose an object of study for their first project cycle. Student swill be using historical, scientific, literary, mathematical and artistic techniques to help their chosen artifact tell a story of an encounter in history between two groups and/or cultures.