Advanced Placement Art History Mrs. Gretchen Brand Columbus High School

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1 Instructor: Mrs. Brand Advanced Placement Art History Mrs. Gretchen Brand Columbus High School Web Page: Tutoring / studio time is every day until 4 and Mondays till 4:30. Students may make arrangements with teacher for additional time if needed. I am usually at school by 7:15 every morning as well The AP Art History course explores such topics as the nature of art, its uses, is meanings, art making, and responses to art. Through investigation of diverse artistic traditions of cultures from prehistory to the present, the course fosters indepth and holistic understanding of the history of art from a global perspective. Students learn to apply skills such as visual, contextual, and comparative analysis to engage with a variety of art forms, to construct understanding of individual works and to make interconnections of the art-making processes and products throughout history (AP Art History Course and Exam Description 5). COURSE OBJECTIVES: The AP Art History course will enable students to: Understand the nature of art, art making, and our response to it. Develop an in-depth understanding of individual works of art from diverse cultures. Develop an understanding of the relationships among these works. Practice the essential skills of visual, contextual, and comparative analysis COURSE AND CURRICULUM CONTENT: Big Ideas and Essential Questions: The AP Art History curriculum and content is structured around the big ideas and essential questions that frame exploration of the nature of art, art making, and our responses to art. Twelve learning objectives are associated with the big ideas and essential questions. They are: BIG IDEA 1: Artists manipulate materials and ideas to create an aesthetic object, act, or event ESSENTIAL QUESTION: What is art and how is it made? Learning Objective 1.1: Students differentiate the components of form, function, content, and/or context of a work of art. Learning Objective 1.2: Students explain how artistic decisions about art making shape a work of art. Learning Objective 1.3: Students describe how context influences artistic decisions about creating a work of art. Learning Objective 1.4: Students analyze form, function, content, and or context to infer or explain the possible intentions for creating a specific work of art. BIG IDEA 2: Art making is shaped by tradition and change. ESSENTIAL QUESTION: Why and how does art change? Learning Objective 2.1: Students describe features of tradition and/or change in a single work of art or in a group of related works. Learning Objective 2.2: Students explain how and why specific traditions and/or changes are demonstrated in a single work or group of related works. Learning Objective 2.3: Students analyze the influence of a single work of art or group of related works on other artistic production. BIG IDEA 3: Interpretations of art are variable ESSENTIAL QUESTION: How do we describe our thinking about art?

2 Learning Objective 3.1: Students identify a work of art. Learning Objective 3.2: Students analyze how formal qualities and/or content of a work of art elicit(s) a response. Learning Objective 3.3: Students analyze how contextual variable lead to different interpretations of a work of art. Learning Objective 3.4: Students justify attributions of an unknown work of art. Learning Objective 3.5: Students analyze relationships between works of art based on their similarities and differences. Enduring Understanding and Essential Knowledge Statements: These provide contextual information about the regions and time periods in each content area. Information from enduring understandings and essential knowledge statements is combined with course learning objectives and works of art in the image set to form targets of assessment for the AP Art History Exam. Enduring understandings and essential knowledge statements provide contextual information that serves as a starting point for student learning in the course. Enduring Understanding and Essential Knowledge Statements will be given to students at the beginning of each new Image Set. Required Course Content (IMAGE SETS): At a minimum, students are required to understand 250 works of art from 10 content areas. Each of the content areas (image sets) was designed upon specific foundational knowledge. The image sets consist of approximately 65 percent of works from the Western tradition and 35 percent from non-western artistic traditions. The 10 content areas (image sets) are listed on the class site on Edmodo. Many more works of art will be discussed in class in order to provide a full context for the required 250 images. The 10 content areas (image sets) are: 1. Global Prehistory, 30, BCE (11 images) 2. Ancient Mediterranean, 35, BCE (36 images) 3. Early Europe and Colonial Americas CE (51 images) 4. Later Europe and Americas CE (54 images) 5. Indigenous Americas 1000 BCE-1980 CE (14 images) 6. Africa, CE (14 images) 7. West and Central Asia, 500 BCE-1980 CE (11 images) 8. South, East, and Southeast Asia 300 BCE-1980 CE (21 images) 9. The Pacific, CE (11 images) 10. Global Contemporary, 1980 CE-present (27 images) 250 images total Course Organization: The AP Art History course meets every day for almost an hour of instructional time for 4 nine weeks = 18 weeks a semester. The pacing of the course is based on the number of images under study in the content area, with flexibility. The goals are to integrate the course learning objectives and enduring understanding statements, the overarching concepts for the content area with the works of study. These will be supported with the essential knowledge statements through assignments, activities, research, and lectures. The teacher and students will expand upon this foundational information in their exploration of each work of art, referring to scholarly resources such as the textbooks, primary and secondary source documents, videos, and museum websites, etc. Students will examine, analyze, research, record, discuss, interpret, and compare works in the required course content and works beyond the image set as they develop art historical skills. Themes: For pedagogical reasons and assessment, the course will be taught with an emphasis on the following themes: Natural World, Human Body, Individual and Society, Knowledge and Belief, Conflict/Harmony, Converging Cultures, Domestic Life, Identity, Power, Life Cycles, Inner Visions/ States of Mind/Emotions, Private/Public, Text and Image, Performance (includes ritual and ceremony), Urban Experience, Pilgrimage, Religion and Mythology, Sacred Spaces, Death, The use of light, Color, Women, Texture, Art as political or social comment, Innovation in art, The importance of Patrons, Abstraction and distortion, Size, etc.

3 Opportunities for students to demonstrate their knowledge: HOMEWORK (IMAGE SETS): Create a Snapshot for each image of the 250. Each snapshot will contain detailed statements pertaining to Form, Function, Content, and Context; supported themes, applicable vocabulary, and possible connections to other images within the 250. The student is required to create a list of sources used to find the required information for the snapshot if the information was obtained beyond the textbook. Students will be given the Image Set in advance. All 250 images are posted on my web site. A hard copy of the images will be given to students as well. The homework will be graded. While students are discussing one image set in class, students will be working on the next image set at home. QUIZES on IMAGE SETS: As each image set is due, students will be given a quiz over the essential information on the images. Essential information is: title, artist, date, period, region, culture, etc. ASSESSMENTS: Each assessment will be similar to the AP Art History exam with multiple choice questions and free response questions long and short essay questions. A curve is given on assessments. If a student is absent on the day of the test, the student will NOT receive the curve. This applies to all types of absences (excused, unexcused, and school-related). A student s overall average for a nine week is calculated by percentages. o Tests are 40% o Quizes and projects are 20% o Homework and Class discussion participation 20% o Midterm/Final 20% Students will have opportunities to demonstrate their knowledge every nine weeks. Other opportunities include: Students will be given unknown works and then write a paragraph justifying the attribution. Analyze and Interpret texts from various periods/cultures using primary and secondary sources Create timelines Create and complete graphic organizers/ visual journals Group discussions in class about themes, form, function, content, context, comparisons and contrasts about the image set. Missed Opportunities: As your teacher, I try my best to give students assignments, etc. (opportunities referred to above) in advance so students can manage their time. So, since this class is to prepare the student for college, NO LATE WORK WILL BE ACCEPTED. It is expected that students will make prior arrangements for all conflicts that arise. In the event of sudden and unexpected absences, all stated school policies will be followed. Students are responsible for all notes and/ or work given in class on any day an absence occurs. If a student is absent for an entire school-day(s) and the student knew the assignment (opportunity) was due, then the student is to turn in work to Mrs. Brand the first day of the student s return to school. If a student knows that an opportunity is due on a specific day and he or she checks in/out of school, then the student brings the assignment (opportunity) to Mrs. Brand before or after the check-in or check-out of school. SLO Policy: Students will take a Pre SGM in August and then a Post SGM in April/May. Students are expected to show growth in their knowledge of art history from August to May. Extra Credit: Students may turn in extra credit by doing the following: 1. attending an art exhibit and then write a 1 page critique, see Mrs. Brand for exact details of assignment Receiving a zero on an opportunity also equates to NO extra credit for the nine weeks. BEHAVIOR IN CLASS: Since we have to cover a vast amount of material in this class, it is understood that students come to class prepared with supplies and assignments. When a student is not prepared, the learning environment is still-paused because I will have to deal with the unprepared student.

4 These are the basic rules that all students are to follow: 1. Be respectful: Muscogee County and Columbus High School Rules of Conduct Respect other students comments, opinions, and ideas. Respond to adults in an appropriate, respectful manner. 2. Be responsible: No cheating, do your own work Study ahead, read the assigned texts, do the work! 3. Be ready: Come to class prepared Late work is not accepted ACADEMIC HONESTY POLICY AND TECHNOLOGICAL DEVICE POLICY: 1. There will be no sharing of homework assignments unless otherwise instructed. 2. There will be no talking during a test or quiz. 3. There will be no copying of other student s work (tests as well as homework). 4. There will be no possessing, buying, selling, receiving, or using work that is not your own. 5. There will be no using equipment or material during a test or other academic evaluations which has not been authorized by me (calculators, notes, tape recorders, cell phones, etc.) 6. You will not submit someone else s work as your own. 7. Plagiarism is not allowed. 8. There will be no aiding or assisting others to cheat or plagiarize. 9. To ensure academic honesty from all students, female students will not keep purses (or other types of bags) in laps or on top of desks and hands of all students are to remain visible at all times. There will be strict enforcement of CHS and MCSD technological device policy. Failure to comply, consequences of the CHS and MCSCD technological device policy will be implemented. In other words, do not have out the technological devices unless otherwise instructed by me. 10. When turning in a test or paper, you will write the following statement: It is my work of honor that I have neither given nor received unauthorized aid on this assignment/test. If a student violates the academic honesty policy, a zero will be given on the opportunity, parents will be called, and a referral to the honor council will be made. Supplies Pens and pencils 2-3 binders (1 for the first semester/ 1 for the second semester) Loose leaf paper (LOTS) Dividers for your notebook (12) Sketchbook (spiral or hard bound) for visual journal

5 Further Support for students: Students need to join google classroom. There is a free app student can download to their phones as well. I will post assignments and important documents to this website for student use. To join the class (AP Art History 18-19), students will use the code: My is brand.gretchen.l@muscogee.k12.ga.us students may me, but please remember to me during a reasonable hour. I will not reply to s that I receive after 9pm at night. COURSE SCHEDULE: Weeks 1-2: Introduction to Art History: Classroom policies and procedures Explain Bid Ideas and Essential Questions Discuss: What is art and how is it made? How do we describe our thinking about art? Methodology Social History, Patronage, artist, and audience Formal Analysis Writing about Art How to conduct research How to study for AP Art History How to prepare for the AP Art History Examination Weeks 2-3: IMAGE SET 1 - Global Prehistory, 30, BCE Images 1-11 Explain/Discuss Form, Function, Content, and Context Human expression existed across the globe before the written record. While prehistoric art of Europe has been the focus of many introductions to the history of art, very early art is found worldwide and shares certain features, particularly concern with the natural world and humans place within it. First instances of important artistic media, approaches, and values occurred on different continents with Africa and Asia preceding and influencing other areas as the human population spread. Over time art historians knowledge of global prehistoric art has developed through interdisciplinary collaboration with social and physical scientists. Weeks 4-5: IMAGE SET 2 Ancient Mediterranean, 3500 BCE-300 CE Images Artistic traditions of the ancient Near East and dynastic Egypt focused on representing royal figures and divinities and on the function of funerary and palatial complexes within their cultural contexts. Works of art illustrate the active exchange of ideas and reception of artistic styles among the Mediterranean cultures and the subsequent influence on the classical world. Religion plays a significant role in the art and architecture of the ancient Near East, with cosmology guiding representation of deities and kings who themselves assume divine attributes. ASSESSMENT 1: Images 1-25 Weeks 6-7: IMAGE SET 2 Ancient Mediterranean, 3500 BCE-300 CE Images 26-47

6 The art of Ancient Greece and Rome is grounded in civic ideals and polytheism. Etruscan and Roman artists and architects accumulated and creatively adapted Greek objects and forms to create buildings and artworks that appealed to their tastes for eclecticism and historicism. Contextual information for ancient Greek and Roman art can be derived from contemporary literary, political, legal, and economic records as well as from archaeological excavations conducted from the mid-18 th century onward. Etruscan art, by contrast, is illuminated primarily by modern archaeological record and descriptions of contemporary external observers. ASSESSMENT 2: IMAGES Weeks 8-9 IMAGE SET 3- Early Europe and Colonial Americas, CE Images European Medieval art is generally studied in chronological order and dived into geographical regions, governing cultures and identifiable style, with associated but distinctive artistic traditions. There is significant overlap in time, geography, practice, and heritage of art created within this time frame and region. Nationalist agendas and disciplinary divisions based on the predominant language (Greek, Latin, or Arabic) and religion (Judaism, Western or Eastern Orthodox Christianity, or Islam) have caused considerable fragmentation in the study of medieval art. Medieval Art (European, c CE; Islamic, c CE) derived from the requirements of worship (Jewish, Christian, or Islamic) elite or court culture and learning. ASSESSMENT 3: IMAGES Weeks IMAGE SET 3 Early Europe and Colonial Americas, CE Images Art from the early modern Atlantic World is typically studied in chronological order, by geographical region, according to style, and by medium. Thus, early modernity and Atlantic arena are highlighted, framing the initiation of globalization and emergence of modern Europe, and recognizing the role of the Americas in these developments. More attention has been given in recent years to larger cultural interactions, exchanges, and appropriations. The arts of 15 th century Europe reflected an interest in classical models, enhanced naturalism, Christianity, pageantry, and increasingly formalized artistic training. In the 17 th century, architectural design and figuration in painting and sculpture continued to be based on classical principles and formulas but with a pronounced interest in the compositional complexity, dynamic movement, and theatricality. There was an increasing emphasis on time, narrative, heightened naturalism, and psychological or emotional impact. The 16 th century Protestant Reformation and subsequent Catholic Counter Reformation compelled a divergence between northern and southern western European art with respect to form, function, and content. ASSESSENT 4: IMAGES Weeks IMAGE SET 4 Later Europe and Americas, CE Images From the mid 1700 s to 1980 CE, Europe and the Americas experienced rapid change and innovation. Art existed in the context of dramatic events such as industrialization, urbanization, economic upheaval, migrations,

7 and wars. Countries and governments were re-formed; women s and civil rights movements catalyzed social change. Artists assumed new roles in society. Styles of art proliferated and often gave rise to artistic movements. Art and architecture exhibited a diversity of styles, forming an array of isms. Architecture witnessed a series of revival styles, including classical, Gothic, Renaissance, and Baroque. In the mid-19 th century, advances in technology, such as the steel frame, ferroconcrete construction, and cantilevering, hastened the development of building construction. Skyscrapers proliferated and led to an international style of architecture that was later challenged by postmodernism. ASSESSMENT 5: IMAGES Weeks IMAGE SET 5 Indigenous Americas, 1000 BCE- 1980CE Images Art of the Indigenous Americas is among the world s oldest artistic traditions. While its roots lie in northern Asia, it developed independently between c. 10, 0000BCE CE, which marked the beginning of the European invasions. Regions and cultures are referred to as the Indigenous Americas to signal the priority of First Nations cultural traditions over those of the colonizing and migrant peoples that have progressively taken over the American continents for the last 500 years. Ancient Mesoamerica encompassed what is now Mexico, Guatemala, Belize, and western Honduras, from BCE 1521 CE, which was the time of the Mexica (Aztec) downfall. General cultural similarities of Ancient Mesoamerica include similar calendars, pyramidal stepped structures, sites and building oriented in relation to sacred mountains and celestial phenomena, and highly valued green materials, such as jadeite and quetzal feathers. The ancient Central Andes comprised present day southern Ecuador, Peru, western Bolivia, and northern Chile. General cultural similarities across the Andes include an emphasis on surviving and interacting with the challenging environments, reciprocity and cyclicality (rather than individualism), and reverence for the animal and plant worlds as part of the practice of shamanistic religion. Despite underlying similarities, there are key differences between the art of the Americas and Native North America with respect to its dating, environment, cultural continuity from antiquity to the present, and sources of information. Colonization by different European groups (Catholic and Protestant) undergirds distinct modern political situations for Amerindian survivors. Persecution, genocide, and marginalization have shaped current identity and artistic expression. Although disease and genocide practiced by the European invaders and colonists reduced their population by as much as 90 percent, Native Americans today maintain their cultural identity and uphold modern versions of ancient traditions in addition to creating new art forms as part of the globalized contemporary art world. Week 18: Review Images Sets Images MIDTERM EXAM FIRST SEMESTER ENDS Weeks 1-2: IMAGE SET 6: Africa CE Images Human life, which is understood to have begun in Africa, developed over millions of years and radiated beyond the continent of Africa. The earliest African art dates to 77,000 years ago. While interpretations of this art is conjectural at best, the clarity and strength of design and expression in the work is obvious.

8 Human beliefs and interactions in Africa are instigated by the arts. African arts are active; they motivate behavior, contain and express belief, and validate social organization and human relations. Use and efficacy are central to the art of Africa. African arts, though often characterized, collected, and exhibited as figural sculptures and masks, are by nature meant to be performed rather than simply viewed. African arts are often described in terms of the contexts and functions with which they appear to be associated. Outsiders have often characterized, collected, and exhibited African arts as primitive, ethnographic, anonymous, and static, when in reality Africa s interaction with the rest of the world led to dynamic intellectual and artistic traditions that sustain hundreds of cultures and almost as many languages contributing dramatically to the corpus of human expression. African life and arts have been deeply affected by ongoing, cosmopolitan patterns of interaction with populations around the world and through time. ASSESSMENT 1: IMAGES Weeks 3-4: IMAGE SET 7: West and Central Asia 500 BCE 1980 CE Images The arts of West and Central Asia play a key role in the history of world art, giving form to the vast cultural interchanges that have occurred in these lands that link the European and Asian peoples. The religious arts of West and Central Asia are united by the traditions of the region: Buddhism and Islam. Use of figural art in religious contexts varies among traditions, whereas figural art is common in secular art forms across West and Central Asia. Artists of West and Central Asia excelled in the creations of particular art forms exhibiting key characteristics unique to their regions and cultures. Important forms include ceramics, metal work, textiles, painting, and calligraphy. Weeks 5-6: IMAGE SET 8: South, East, and Southeast Asia 300 BCE-1980 CE Images The arts of South, East, and Southeast Asia represent some of the world s oldest, most diverse, and most sophisticated visual traditions. Many of the world s great religious and philosophical traditions developed in South and East Asia. Extensive traditions of distinctive religious art forms developed in this region to support the beliefs and practices of these religions. South, East, and Southeast Asia developed many artistic and architectural traditions that are deeply rooted in Asian aesthetics and cultural practice. Asian art is global. The cultures of South, East, and Southeast Asia were interconnected through trade and politics and were also in contract with West Asia and Europe throughout history. ASSESSMENT 2: IMAGES Weeks 7-8: IMAGE SET 9: The Pacific CE Images The arts of the Pacific vary by virtue of ecological situations, social structure, and impact of external influences such as commerce, colonialism, and missionary activity. Created in a variety of media, Pacific arts are distinguished by the virtuosity with which materials are used and presented. The sea is ubiquitous as a theme of Pacific art and as a presence in the daily lives of a large portions of Oceania, as the sea both connects and separates the lands and peoples of the Pacific.

9 The arts of the Pacific are expressions of beliefs, social relations, essential truths, and compendia of information held by designated members of society. Pacific arts are objects, acts, and events that are forces in social life. Pacific arts are performed (danced, sung, recited, displayed) in an array of colors, scents, textures, and movements that enact narratives and proclaim primordial truths. Belief in the use of costumes, cosmetics, and constructions assembled to enact epics of human history and experience is central to the creation of and participation of Pacific arts. ASSESSMENT 3: IMAGES Weeks 9-11 IMAGE SET 10: Global Contemporary 1980CE to Present Images Global contemporary art is characterized by a transcendence of traditional conceptions of art and is supported by technological developments and global awareness. Digital technology in particular provides increased access to imagery and contextual information about diverse artists and artworks throughout history and across the globe. In the scholarly realm as well as mainstream media, contemporary art is now a major phenomenon experienced as understood in a global context. ASSESSMENT 4: IMAGES Weeks THEMES ALL IMAGES 1 week of in-class research weeks of presentations Students will assume the role of a museum curator. Students will choose a theme and create an exhibit by selecting a minimum of 20 works of art that support the theme. Students need to name the exhibit. The works are to be spread out over the 10 image sets. Students may print out the images or arrange the images digitally for display to the class. Students will present the 20 (+) images to the class. In the presentation students will explain how all 20 (+) pieces connect to the theme chosen. Each work is to have the basic information about the work (title, artist, medium, date, and culture/period) and an explanation of how it fits or illustrates the theme (Form, Function, Content, and Context). Students are to work on this individually. Students will choose their themes 1 theme per student. Each curator s presentation will be minutes long. There will be 2 presentations a class period. At the end of the presentation, all students are to write and discuss any connections or contrasts they saw between the two themes presented to the class. ASSESSMENT 5: Students will write two 30 minute free response questions modeled after the AP Exam. Weeks Review for AP Art History Exam Review Assignments/Activities (examples): Attribution challenge: analyze an unknown artwork. Provide best attribution and then write a paragraph justifying the attribution by means of comparison. The Details: show a super close up of a part of a piece of art and students have to identify the piece of art. The Holidays: students create their own product based on a various artist, style, etc centered around a holiday. Write Memes Formal Review teacher led.

10 Mock AP Art History Exam (Final Exam) Analysis of results of practice AP Art History Exam to determine strengths and weakness of the student in order to help the student guide his/her studying for the real AP Art History Exam. END OF THE SECOND SEMESTER COURSE RESOURCES: Stokstad, Marilyn, Art History, 5 th edition. There are supplemental sources available from the publisher of the textbook. Kleiner, Fred, Gardener s Art Through the Ages: A Global History. 14 th edition, Cengage Learning O Riley, Michael Kampen, Art Beyond the West 3rd edition Stone, Rebecca, A Teacher s Guide for Use with the New Advanced Placement Art History Curriculum: The Indigenous Americas Required Monuments from the Ancient Andes, Fall Museum Websites such as: Metropolitan Museum of Art, Brooklyn, Louvre, MOMA, National Gallery London, National Gallery DC, Art Institute of Chicago, Carolos Museum at Emory and the High Museum. Podcasts Khan Academy Art 21 at You Tube TED Talks Google Art Project New York Times Learning How to Look www. Arounder.com AP Professional Development: AP Art History, Workshop Handbook and Resources Apcentral.collegeboard.com PBS series Civilizations

11 AP Art History Content Disclaimer Dear AP Art History students, Thank you very much for enrolling in this year s section of AP Art History. Art History is a passion of mine and I m thrilled to be teaching this class. The study of art and its place in history is reflective of several artists styles and perspectives about the world. The artist, throughout history, has been an observer to countless human experiences and world events. Often, the artist depicts certain subjects which reflect strong, sometimes controversial, content. It is the job of the viewer and the historian to view these subjects with a critical eye. This course contains material and content which includes some, but not limited to, subjects, which include: Nudity War Violence Death Bloodshed Political statements Religious perspectives By signing below, you are acknowledging that the course will contain some of the above content. Your child must also be aware of this content. Please understand that these subjects will be studied in an academic, critical environment. Please feel free to contact me with any further questions. Student and Parent statement of acknowledgement: Student: After reading the above information, I understand what is expected of me in AP Art History Class this semester. I agree to support this plan. Student Name (Printed) Student Signature Block Date Parent: I have read the syllabus for Mrs. Brand s AP Art History class. I have discussed it with my child. I understand what is expected of my child. I will support this plan. Parent Name (Printed) Parent Signature Date