5886 12 Studio Art pp ii 76 indd AP ® Studio Art 2007–2008 Professional Development Workshop Materials Special Focus Breadth in the AP Portfolios The College Board Connecting Students to College Succe[.]
AP Studio Art ® 2007–2008 Professional Development Workshop Materials Special Focus: Breadth in the AP Portfolios The College Board: Connecting Students to College Success The College Board is a not-for-profit membership association whose mission is to connect students to college success and opportunity Founded in 1900, the association is composed of more than 5,000 schools, colleges, universities, and other educational organizations Each year, the College Board serves seven million students and their parents, 23,000 high schools, and 3,500 colleges through major programs and services in college admissions, guidance, assessment, financial aid, enrollment, and teaching and learning Among its best-known programs are the SAT®, the PSAT/ NMSQT®, and the Advanced Placement Program® (AP®) The College Board is committed to the principles of excellence and equity, and that commitment is embodied in all of its programs, services, activities, and concerns For further information, visit www.collegeboard.com Page 8: Morris, William (1834–1896) The Well at the World’s End 1896 Wood cut and letterpress Victoria & Albert Museum, London, Great Britain © Victoria & Albert Museum, London/Art Resource, NY Reprinted with permission Page 9: Mackintosh, Charles Rennie (1868–1928) Stylized Flowers and Chequerwork 1915–1923 Pencil and watercolor on paper laid on board, 23.9 × 20.3 cm Hunterian Museum and Art Gallery, Glasgow, Scotland © Textile design from Hunterian Online Photo Library Reprinted with permission.; Mackintosh, Charles Rennie (1868–1928) Orange and Purple Spirals 1915–1923 Pencil, watercolor and gouache on paper, 48.6 × 38.3 cm Hunterian Museum and Art Gallery, Glasgow, Scotland © Textile design from Hunterian Online Photo Library Reprinted with permission.; Mackintosh, Charles Rennie (1868–1928) Wave Pattern 1915–1923 Pencil and watercolor on paper, 49.2 × 37.8 cm Hunterian Museum and Art Gallery, Glasgow, Scotland © Textile design from Hunterian Online Photo Library Reprinted with permission Page 10: Wright, Frank Lloyd (1867–1959) Leaded Glass Window for the Avery Coonley Playhouse, Riverside, Illinois 1912 Stained glass, 219.1 × 71.1 ì 5.1 cm Riverside, Illinois â 2007 Artists (continued on next page) The College Board wishes to acknowledge all the third party sources and content that have been included in these materials Sources not included in the captions or body of the text are listed here We have made every effort to identify each source and to trace the copyright holders of all materials However, if we have incorrectly attributed a source or overlooked a publisher, please contact us and we will make the necessary corrections © 2007 The College Board All rights reserved College Board, Advanced Placement Program, AP, AP Central, AP Vertical Teams, Pre-AP, SAT, and the acorn logo are registered trademarks of the College Board AP Potential and connect to college success are trademarks owned by the College Board All other products and services may be trademarks of their respective owners Visit the College Board on the Web: www.collegeboard.com ii Rights Society (ARS), New York/Frank Lloyd Wright Foundation Reproduction, including downloading of Frank Lloyd Wright works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission.; Wright, Frank Lloyd (1867–1959) Wool Rug for the F.C Bogk House, Milwaukee, Wisconsin 1916 Wool Milwaukee, Wisconsin © 2007 Artists Rights Society (ARS), New York/Frank Lloyd Wright Foundation Reproduction, including downloading of Frank Lloyd Wright works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission Page 11: Harunobu, Suzuki (1724–1770) Girl with a Lantern 1767 Woodcut print on paper, 280 × 208 mm Rijksmuseum, Amsterdam © Print from Rijksmuseum, Amsterdam Reprinted with permission.; Cherét, Jules (1836–1932) Poster for “Papier cigarettes Job” 1896–1900 Lithographed poster, 124 × 88 cm Miriam and Ira D Wallach Division, The New York Public Library, New York, NY, U.S.A © The New York Public Library/Art Resource, NY Reprinted with permission Page 12: Bonnard, Pierre (1867–1947) The Laundry-Maid 1896 Lithograph printed in color, 11 5/8 × 7/8 in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission.; ToulouseLautrec, Henri (1864–1901) Divan Japonais 1893 Lithograph printed in color, 31 5/8 × 23 7/8 in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY Reprinted with permission Page 13: Vuillard, Jean Edouard (1868–1940) Interior with Hanging Lamp 1899 Lithograph printed in color, 13 ắ ì 11 in The Museum of Modern Art, New York, NY, U.S.A © 2007 Artists Rights Society (ARS), New York/Museum of Modern Art, New York Reprinted with permission.; Doesburg, Theo van (1883–1931) Rhythm of a Russian Dance 1918 Oil on canvas, 53 ẵ ì 24 ẳ in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission Page 14: Mondrian, Piet (1872–1944) Composition 1916 1916 Oil on canvas with wood strip at bottom edge, 119 × 75.1 cm (46 7/8 × 29 5/8 inches) Solomon R Guggenheim Museum, New York 49.1229 Reprinted with permission.; Behrens, Peter (1868–1940) The Kiss 1898 Woodcut on thin laid paper, 27.14 × 21.43 cm Los Angeles County Museum of Art © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Reprinted with permission Page 15: Munch, Edvard (1863–1944) Madonna 18951902 Woodcut printed in color, 23 ắ ì 17 ẵ in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission.; Moser, Koloman (1868–1918) Poster for the 13th Secessionist Exhibition 1902 Reproduced by permission from Philip Meggs, A History of Graphic Design (Hoboken, NJ: John Wiley & Sons, Inc., 1998), 218 Page 16: Klimt, Gustav (1862–1918) The Hostile Powers (from the Beethoven Frieze) 1902 Casein paint on plaster, 34.14 × 2.15 m Oesterreichische Galerie im Belvedere, Vienna, Austria iii © Erich Lessing/Art Resource, NY Reprinted with permission.; Kokoschka, Oskar (1886–1980) Self Portrait: Poster Design for Der Sturm 1911 Lithograph poster Kunstbibliothek, Staatliche Museen zu Berlin, Berlin, Germany © Bildarchiv Preussischer Kulturbesitz/Art Resource, NY Reprinted with permission Page 17: Malevich, Kazimir (1878–1935) Suprematist Painting 1915 Oil on canvas, 101.5 × 62 cm Stedelijk Museum, Amsterdam, The Netherlands © Art Resource, NY Reprinted with permission.; Lissitzky, Lazar El (1890–1941) Hit the Whites with the Red Wedge 1919 Lithographed poster © Snark/Art Resource, NY Reprinted with permission Page 18: Rodchenko, Alexander (1891–1956) Poster for Rezinotrest, the State Trust of the Rubber Industry 1923 45 × 60 cm Rodchenko Archive, Moscow, Russia © Scala/Art Resource, NY Reprinted with permission.; Stenberg, Georgii (1900–1933) and Vladimir Stenberg (1899–1982) Chelovek’s Kinoapparatom 1929 Lithograph, 39 ẵ ì 27 ẳ in The Museum of Moden Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission Page 19: Kandinsky, Wassily (1866–1944) Composition X 1939 Oil on canvas, 130 ì 195 cm Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany â Painting from K21 Kunstsammlung Nordrhein-Westfalen Reprinted with permission.; Kandinsky, Wassily (1866–1944) Yellow-Red-Blue 1925 Oil on canvas, 128 × 201.5 cm Musee National d’Art Moderne, Centre Georges Pompidou, Paris, France © CNAC/MNAM/Dist Réunion des Musées Nationaux/Art Resource, NY Reprinted with permission Page 20: Schmidt, Joost (1893–1948) Staatliches Bauhaus Ausstellung (National Bauhaus Exhibition) 1923 Lithograph, 26 ẳ ì 18 5/8 in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Musuem of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission.; Klee, Paul (1879–1940) The Window 1922 Oil © 2007 Artists Rights Society (ARS), New York Reproduction, including downloading of Paul Klee works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission Page 21: Gropius, Walter (1883–1969) The Dessau Bauhaus building seen from the southeast © 2007 Artists Rights Society (ARS), New York/Bauhaus-Archiv, Berlin Reproduction, including downloading of Walter Gropius works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission.; Gropius, Walter (18831969) Faỗade of the east unit, student residences 1925–1926 © 2007 Artists Rights Society (ARS), New York/Bauhaus-Archiv, Berlin Reproduction, including downloading of Walter Gropius works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission.; Breuer, Marcel (1902–1981) Armchair, Model B3 1927–1928 Chrome-plated tubular steel with canvas slings, 28 1/8 ì 30 ẳ ì 27 ¾ in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission iv Page 22: Breuer, Marcel (1902–1981) B32 “Cesca” Side Chair 1928 Chrome-plated tubular steel, wood and cane, 31 ẵ ì 17 ẵ ì 18 ¾ in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY Reprinted with permission.; Moholy-Nagy, László (1895–1946) Title page for “film und foto” exhibition catalog 1929 Staatliche Museen, Berlin, Germany © 2007 Artists Rights Society (ARS), New York/Staatliche Museen, Berlin Reproduction, including downloading of Laszlo Moholy-Nagy works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with Permission Page 23: Moholy-Nagy, László (1895–1946) Untitled silver-gelatin photogram 1922 Staatliche Museen, Berlin, Germany © 2007 Artists Rights Society (ARS), New York/Staatliche Museen, Berlin Reproduction, including downloading of Laszlo Moholy-Nagy works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with Permission.; Bayer, Herbert (1900–1985) Lithographed Poster for the Section Allemande, Paris Exposition 1930 Lithograph © 2007 Artists Rights Society (ARS), New York/BILD-KUNST Reproduction, including downloading of Herbert Bayer works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission Page 24: Bayer, Herbert (1900–1985) Design for a newspaper kiosk 1924 Gouache and collage © 2007 Artists Rights Society (ARS), New York/BILD-KUNST Reproduction, including downloading of Herbert Bayer works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission.; Albers, Josef (1888–1976) Structural Constellation 1950 Machine-engraved vinylite © 2007 Artists Rights Society (ARS), New York/BILD-KUNST Reproduction, including downloading of Herbert Bayer works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York Reprinted with permission Page 25: Albers, Josef (1888–1976) Homage to the Square 1962 Screenprint, 11 1/16 × 11 in The Museum of Modern Art, New York, NY, U.S.A Digital Image © The Museum of Modern Art/ Licensed by SCALA/Art Resource, NY Reprinted with Permission Images provided by Vivian Moreira Komando, Barbara Sunday and all student artwork are reprinted here with permission v Table of Contents Special Focus: Breadth in the AP Portfolio Forward .3 Review Committee/Editor/Acknowledgments .3 Editor’s Introduction—The Idea of Breadth Steve Willis A Brief History of the Elements and Principles of Design Ken Daley and Heather Bryant Artistic Inspiration to Create Breadth Vivian Moreira Komando 26 Creating Breadth Through Artistic Inspiration Vivian Moreira Komando 30 Homelessness Barry Lucy 38 Images: Lost and Found Barbara Ann Sunday 46 It’s a Roll of the Dice Joann Winkler .67 About the Editor/Contributors 74 Special Focus: Breadth in the AP Portfolio Important Note The following set of materials is organized around a particular set theme, or “special focus,” that reflects important topics in the AP® Studio Art course The materials are intended to provide teachers with resources and classroom ideas relating to these topics The special focus, as well as the specific content of the materials, cannot and should not be taken as an indication that a particular topic will appear on the AP Exam Forward Forward Breadth in the AP Portfolio is a resource for both inexperienced and veteran high school AP teachers that focuses on various pragmatic approaches designed to assist teachers and students to successfully negotiate the Breadth section of each portfolio Each of the authors is a university faculty member who teaches equivalent courses or is an experienced AP teacher who is involved in portfolio evaluation and brings a wealth of experience to this document Additionally, these educators represent a variety of pedagogical and curricular approaches, geographic locations, budgets, and school demographics These educators offer practical strategies that have been developed over years of experience that can be adapted for the many different types of AP classrooms And, most certainly, appropriate adjustments by each individual AP teacher will be necessary in order to meet the specific needs of individual students, and the particular community and cultural differences found in the AP classrooms across the globe Review Committee Patricia Lamb, Polk County Schools, Lakeland, Florida Raul Acero, Sage College of Albany, Albany, New York Jerry Stefl, The School of the Art Institute, Chicago, Illinois Editor Steve Willis, Missouri State University, Springfield, Missouri Acknowledgments This publication would not have been possible without the stalwart support of the College Board, and the assistance of Trevor Packer, executive director of the Advanced Placement Program®; Allison Clark, director of History Curriculum and Content Development and project director for AP History Redesign, June Shikatani, coordinator for Curriculum and Content Development, and the many other people involved in this publication but not listed within Special Focus: Breadth in the AP Portfolio Editor’s Introduction The Idea of Breadth Steve Willis Regardless of how contemporary art education moves to redefine itself for the Advanced Placement Program® (AP®) visual arts educators and AP students, important issues such as how a comprehensive visual arts education is defined, how visual arts educators can embrace the diversity of idea, practice, and population, and ultimately, what composes a quality and comprehensive visual arts education for all students will naturally arise Within the potential for reinvention or maintenance of art education programs in light of legislative mandates, standard accountability systems, and a vigorous dialogue of defining art education, some educators promote visual culture in art education, which certainly is a complicated issue about how art forms can be understood and valued Minimally, Paul Duncum (2002) recommends that “We can take up visual culture as an urgent matter to consider” (p 21) Other educators resist this direction in education and promote a philosophy that art is restricted (Kahmni, 2004) to the more traditional forms that have historically been brought forward And, concurrently, other educators promote a different view of what constitutes a comprehensive understanding through “pedagogy [that] illustrates the relational and situational construction of—or better, improvisation on—cultural knowledge” (McNally, 2004) Terry Barrett (2003) offers strategies to help students and faculty understand the critical components necessary for denotation and connotation of images found in their contemporary society These conversations can create some difficulties for art educators and their corresponding students, whether actively involved in the AP Program or teaching other art courses However, these conversations can prove beneficial to both AP Studio Art educators and their students in that these opinions can be adapted to provide important currency to buy information in classroom conversations so the students can understand and decide about the nuances of visual information, what constitutes the value of an art image, who values it, and how art is evaluated The process of education must follow information that supports, defends, or accuses other information; artists must decide what is important to them For instance, a person might investigate historical references to discover what has prefaced the current perception In the AP portfolio, a student would find this process obvious in Section II: Concentration; however, important personal artistic discoveries can be made within Section III: Breadth And, it may be within the artistic discoveries found in the Breadth section that the student begins to understand the complexities of the visual language As every form of study involves a specific language that is shared commonly, one would expect to find a visual vocabulary in the AP portfolio, and more specifically, a focused use of ... this process obvious in Section II: Concentration; however, important personal artistic discoveries can be made within Section III: Breadth And, it may be within the artistic discoveries found in... faculty to the understanding and application of the rigorous AP Studio Art program, students continue to provide clear evidence of visual art competencies and individual artistic voices involving and... challenges and rigor of the AP Studio Art program References Barrett, Terry (2003) Interpreting visual culture Art Education, March, (56), 7? ?12 Duncum, Paul (2002) Visual culture art education: Why, what