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4.CX.1 - Understand the global, historical, societal, and cultural contexts of the visual arts.

4.CX.1.1 - Understand how the visual arts have affected, and are reflected in, the culture, traditions, and history of North Carolina.

4.CX.2 - Understand the interdisciplinary connections and life applications of the visual arts.

4.CX.2.2 - Apply skills and concepts learned in other disciplines, such as math, science, language arts, social studies, and other arts, in the visual arts.

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Students will understand that:

1. Using cultural contexts in art helps to create a conceptual meaning behind their artwork.

2. Life applications in art create a connection to their viewers.

3. Visual arts have affected certain cultures, traditions and history and continue to do so through the students' artwork.

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Students will know:

1. NC 4th Grade Social Studies Standard 4.H.1.6 - All historical symbols in North Carolina have a significance towards the state of North Carolina even through different perspectives.

2. NC 4th Grade Visual Art Standard 4.CX.1.1 - Visual arts have affected and been shown in culture, traditions and throughout history.

3. NC 4th Grade Visual Art Standard 4.CX.2.2 - How to use skills and concepts from Visual Arts to apply in other disciplines that they learn about.

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Students will be able to:

1. NC 4th Grade Social Studies Standard 4.H.1.6 - explain and describe NC symbols through their significance for the state.

2. NC 4th Grade Visual Art Standard 4.CX.1.1 - explain how visual arts have affected and are reflected in North Carolina culture, traditions, and history.

3. NC 4th Grade Visual Art Standard 4.CX.2.2 - show how to apply skills and concepts from visual arts to other disciplines they learn from.

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Students will show:

Respect: for their state as they learn about the history and culture that has helped to develop North Carolina.

Curiosity: as they learn about the history of North Carolina and why North Carolina has developed the way that it has.

Collaboration: as they implement visual arts into other disciplines like social studies, science, and language arts.

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1. What are three North Carolina symbols? What is an example of a time in North Carolina State history? What is an opportunity?

2. What are visual arts? What is an example of one type of visual art? What is culture?

3. What is an example of visual arts in school? What is one example of a subject you learn in school?

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1. Why do you think certain symbols are important in North Carolina? Is there a North Carolina symbol that is more important than another?

2. Why is culture important in North Carolina? Is history and culture the same thing?

3. What is one way you would want to use visual arts in another class? Do you think visual arts are important in a subject like math?

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1. Is there a place or historical site that you believe should be an NC symbol? Why?

2. Do you think learning about history is important? Why?

3. Do you have an idea of how to use visual arts in your core classes? What would it be?

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Print Source - North Carolina Facts and Symbols

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Print Source - North Carolina Facts and Symbols

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This book would be a great read for the kids to learn about the symbols of North Carolina.

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North Carolina Facts and Symbols (The States and Their …

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Presents information about the state of North Carolina,…

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Print Source: A Nutshell History of North Carolina

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Print Source: A Nutshell History of North Carolina

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This would be a great book to introduce some of the highlights of North Carolina history to my students.

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From its dubious beginnings as a pirate-filled colony to a popular tourist destination, North Carolina has an amazingly colorful history.Author and illustrator Ben Fortson presents that history in the form of off-the-wall anecdotes, poignant insights and sublimely silly illustrations. Take a hilarious look at Daniel Bo

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Visual Arts - North Carolina Horse Sculptures

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Visual Arts - North Carolina Horse Sculptures

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These sculptures are made to help visualize important parts of North Carolina history through the form of the wild horses you can see in the Outer Banks, another staple of NC.

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Outer Banks Horse Statues | Outer Banks Coastal Life

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Outer Banks Horse Statues Thank you for playing! The answers are listed below. Horse Statue Contest Win a $50 Gift Card! How Many Locations Can You N…

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This resource is based on the Louis Orr collection that is a part of the NC Museum of Art. This would be great to look through and have students talk about combining visual arts and history.

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The Cupola House, Edenton, North Carolina

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The North Carolina Museum of Art (NCMA) makes images of its collection available online to
support research and scholarship and to inform and educate the public. Certain works of art, as
well as the photographs of those works of art, may be protected by copyright, trademark, or
related interests not owned by the NCMA. The responsibility for ascertaining whether any such
rights exist and for obtaining all other necessary permissions remains with the applicant. To request
images and/or permissions from the NCMA, please complete our
online request form.

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This is a virtual tour of the exhibit "Women Making History". This would be great to show the students some more about NC history but how they incorporate art with history.

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Women Making History in North Carolina: LIVE! Form | NCMOH

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This form helps ensure we are reaching as many people as possible from Alamance to Yancey counties. And your information remains private.Explore two exhibits at the North Carolina Museum of History which recognize the contributions of many “unknown” women from our past.

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Multimedia - African American Life and Culture

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Multimedia - African American Life and Culture

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This virtual exhibit is a great way for students to learn about eras that influenced North Carolina culture.

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African American Life and Culture in North Carolina History: LIVE! | NCMOH

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This form helps ensure we are reaching as many people as possible from Alamance to Yancey counties. And your information remains private.On February 15, 2017, museum educator Sally Bloom, curator Earl Ijames, and Michelle Lanier, former director of the North Carolina African American Heritage Commission, led this interactive class from the museum’s chronology exhibit, “The Story of North Carolina.”

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This printable source would be used to show how modern art was introduced to NC. Not only did BMC introduce modern art but they also incorporated other disciplines with art just as we are doing in the classroom.

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Black Mountain College Museum + Arts Center

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The story of Black Mountain College begins in 1933 and comprises a fascinating chapter in the history of education and the arts. Conceived by John A. Rice, a brilliant and mercurial scholar who left Rollins College in a storm of controversy, Black Mountain College was born out of a desire to create a new type of college based on John Dewey's principles of progressive education. The events that precipitated the college's founding occurred simultaneously with the rise of Adolf Hitler, the closing of the Bauhaus school in Germany, and escalating persecution of artists and intellectuals in Europe. Some of these refugees found their way to Black Mountain, either as students or faculty. Meanwhile, the United States was mired in the Great Depression.

The founders of the college believed that the study and practice of art were indispensable aspects of a student's general liberal arts education, and they hired Josef Albers to be the first art teacher. Speaking not a word of English, he and his wife Anni left the turmoil in Hitler's Germany and crossed the Atlantic Ocean by boat to teach art at this small, rebellious college in the mountains of North Carolina.

Black Mountain College was fundamentally different from other colleges and universities of the time. It was owned and operated by the faculty and was committed to democratic governance and to the idea that the arts are central to the experience of learning. All members of the college community participated in its operation, including farm work, construction projects, and kitchen duty. Twenty minutes east of Asheville, the secluded environment fostered a strong sense of individuality and creative intensity.

Legendary even in its own time, Black Mountain College attracted and created maverick spirits, some of whom went on to become well-known and extremely influential individuals in the latter half of the 20th century. A partial list includes Willem and Elaine de Kooning, Robert Rauschenberg, Josef and Anni Albers, Jacob Lawrence, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Susan Weil, Vera B. Williams, Ben Shahn, Ruth Asawa, Franz Kline, Arthur Penn, Buckminster Fuller, M.C. Richards, Francine du Plessix Gray, Charles Olson, Robert Creeley, Dorothea Rockburne and many others who have made an impact on the world in a significant way. Even now, decades after its closing in 1957, the powerful influence of Black Mountain College continues to reverberate. For more information view our resources.

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Black Mountain College: A Brief Introduction - Black Mountain College Museum + Arts Center

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The story of Black Mountain College begins in 1933 and comprises a fascinating chapter in the history of education and the arts...

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This article/ artwork would be used to look and infer about how there could be a connection between math and this artwork.

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Object Details

painter

Johnson, Crockett

Description

Some of Crockett Johnson's paintings reflect relatively recent research. Mathematicians had long been interested in the distribution of prime numbers. At a meeting in the early 1960s, physicist Stanislaw Ulam of the Los Alamos Scientific Laboratory in New Mexico passed the time by jotting down numbers in grid. One was at the center, the digits from 2 to 9 around it to form a square, the digits from 10 to 25 around this, and the spiral continued outward.

Circling the prime numbers, Ulam was surprised to discover that they tended to lie on lines. He and several colleagues programmed the MANIAC computer to compute and plot a much larger number spiral, and published the result in the American Mathematical Monthly in 1964. News of the event also created sufficient stir for Scientific American to feature their image on its March 1964 cover. Martin Gardner wrote a related column in that issue entitled "The Remarkable Lore of the Prime Numbers."

The painting is #77 in the series. It is unsigned and undated, and has a wooden frame painted white.

Location

Currently not on view

Credit Line

Ruth Krauss in memory of Crockett Johnson

ID Number

1979.1093.51

catalog number

1979.1093.51

accession number

1979.1093

Physical Description

masonite (substrate material)

wood (frame material)

Measurements

overall: 82 cm x 85 cm x 1.3 cm; 32 5/16 in x 33 7/16 in x 1/2 in

See more items in

Medicine and Science: Mathematics

Science & Mathematics

Crockett Johnson

Art

National Museum of American History

GUID (Link to Original Record)

https://n2t.net/ark:/65665/ng49ca746a5-2fbb-704b-e053-15f76fa0b4fa

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Painting - Numbers in a Spiral | Smithsonian Institution

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painter Johnson, Crockett Description Some of Crockett Johnson's paintings reflect relatively recent research. Mathematicians had long been interested in the distribution of prime numbers. At a meeting in the early 1960s, physicist Stanislaw Ulam of the Los Alamos Scientific Laboratory in New Mexico passed the time by jotting down numbers in grid.

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This article gives insight on how to use art visuals to stregthen ELA.

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Before becoming an elementary school teacher, I was an art educator at the Guggenheim Museum in New York City. My goal was to make modern art accessible to children from the far reaches of the five boroughs. Although many students lived just a short subway ride from our country's great cultural institutions, this was often their first visit to a museum. Their exuberance was contagious: sheer delight when confronted by a "mixed up" portrait by Pablo Picasso; fascination when encountering a taxidermied goat wrapped in a rubber tire by Robert Rauschenberg; and awe when they realized that the floors, ceilings, and walls in Frank Lloyd Wright's spiraling building were all gently sloped.

Children entered the museum with none of the hang-ups that hinder adults when we view art, but instead were open and willing to experience the art with all their senses. They asked questions, noticed details, posited theories, and engaged in deep analysis without hesitation. When presented with additional information about an artist or medium, they drew thoughtful conclusions about eminent works of sculpture, painting, and photography. What a wonderful way to approach new information-with joy, curiosity, and a desire to know more.

The Power of Visual Art

When I became a classroom teacher, one of the challenges I encountered was finding innovative ways to engage all students in close, meaningful reading. How could I ignite the same wonder and delight for literature that my young visitors had expressed in the museum? Then I encountered David Coleman's influential paper, " Guiding Principles for the Arts: Grades K-12," in which he notes: "The Core Standards in Literacy ... describe reading as the product of sustained observation and attention to detail. Particularly when encountering complex art, or reading the level of complex text students will need to be ready for college and careers, students will need to learn to re-examine and observe closely." I realized that analyzing great literature is just like examining great art.

With the introduction of the Common Core State Standards for English Language Arts, students are tasked to focus on details, identify and analyze themes, and cite evidence to support their claims. And what better way to gain experience with these vital skills than by observing, discussing, and writing about great works of visual art-an art form immediately accessible and engaging to most learners, despite their reading level?

ELA instruction grounded in careful observation and reexamination of texts has been proven to have a profound impact on all learners. Students who analyze painting, sculpture, photography, or architecture have greater opportunities to hone their observation, writing, speaking, and listening skills-all without the hurdle of decoding written text. Through repeated exposure and rigorous questioning, students can "marinate" in the selected works, deepening their understanding, identifying new details, making connections to written text and other artwork, and expanding their knowledge of the world.
Learn more about how visual art supports Universal Design for Learning principles.
Visual Art in Action

In the museum, the students' delight initiated our discussions, but my role as docent was essential in propelling the conversation forward, guiding students to look more closely and gain knowledge through a series of probing questions. Similarly, we can teach students to approach new and challenging texts through a flexible but predictable set of Content Framing Questions. As they gain practice with this set of structured questions, students internalize this habit of mind, awarding them the confidence to approach more complex texts and broaden their understanding of the world.

The following five Content Framing Questions are typically applied to text but may have been modified to address visual art by replacing the word text with work of art.

Let's consider how these questions might apply to a specific work of art.

Wonder: What do you notice and wonder about this work of art?

When sharing an artwork with your class, provide ample time for students to observe the work and generate their own questions. Encourage silent observation for up to two minutes, depending on the age of your students. While it may feel uncomfortable at first, over time students will come to appreciate the value of extended observation. Remind them to allow their eye to travel to all corners of the frame, to notice the overall composition, colors, shapes, and lines as well as the specific details.

Consider what you saw when you first glanced at this iconic image. Now, take a closer look at the enlarged version below. Give yourself at least thirty seconds to let your eyes roam the picture. Take in the details as well as the whole. Notice how your eye travels around the image.

Upon closer investigation, what do you see? By now you've probably noticed the two slender boats with their humble crews, hunched beneath the massive waves.
Did you distinguish the mountain in the background? Where did your eye begin and end its journey through the image? What did you notice about the scale of the boats and waves? What questions arose?
This kind of observation and open-ended wondering piques students' interest and serves as the springboard for further inquiry.

Organize: What is happening in this work of art?

In " David Coleman and the Six Shifts in ELA," Coleman notes that the CCSS challenge students to "read like a detective and write like an investigative reporter." Like detectives, students must identify the essential elements of a text before they can understand the underlying meaning:
Who are the characters? What is the setting? What is the time period? How are characters related to one another?
When applied to art, these questions can reveal a sort of story as well:
What do we recognize about the location? Who are the people in these boats? What do their poses tell us about them?
However, just as important to gaining a literal understanding of the image, students must also note the visual structure of the work:
What do you notice about the size and placement of shapes, objects, and figures in the image? What colors has the artist chosen to use? Are they cool or warm colors? What compositional choices has the artist made?
Over time, as students gain new vocabulary and become accustomed to identifying and analyzing distinct elements, classroom writing and discourse become richer and more intuitive.

Reveal: What does a deeper exploration of [a specific artistic element or technique] reveal about this work of art?

In this stage of inquiry, students dig beneath the surface to consider the creative choices artists make, and how these choices impact the overall work. Just as they might examine author craft, scrutinize metaphors, or study the word choice in a single passage, students concentrate on the elements of art, or the tools and techniques artists use to convey their message. Line, color, shape, form, texture, value, and space are visual elements that remain constant across all cultures, media, and time periods. Teachers continue to serve as the docent here, introducing a limited set of art vocabulary to help sharpen the focus on certain elements or techniques.

For example, students might add the definitions of line, palette, repetition, contrast, and scale to their vocabulary journals and then analyze the variation in line, the limited color palette, the repetition of shape, or the contrast in scale. Once students have revealed the key elements of the work, they consider the impact of these decisions on the viewer:
How do the artist's decisions help us understand the main subject of the work? How might other choices have impacted our perception? What does this tell us about how artists make art?
Distill: What is the essential meaning of this work of art?

Having explored the individual components of an artwork, students now synthesize their knowledge to achieve a more profound understanding, just as they would recognize the themes or distill the essence of a text. Possible questions might include the following:
How does the artist hold your attention? What is important about this work? Why do you think this work should or should not be included in this lesson?
Students might engage in a Socratic Seminar to argue their stance on these or other provocative questions.

This is a good time to introduce contextual information, helping students to connect the image to prior knowledge. For example, students would learn that the title of the above image is The Great Wave off Kanagawa, and that the artist, Katsushika Hokusai, lived about two hundred years ago in Japan. This image is one in a series of woodblock prints titled Thirty-Six Views of Mount Fuji; this knowledge helps identify the mountain in the background. As an extension, students might research Japanese woodblock printing, a process in which each color of ink is applied by a separate woodblock. How might this new information affect students' understanding of the artist's vision or process?

Know: How does this work of art build my knowledge of [specific topic]?

Finally, students take ownership of their knowledge and place their newfound expertise alongside what they already know. Students might reflect on how this image conveys the power of natural forces; why it has endured the test of time; or how it connects to their study of the ocean, Japanese culture, or the universal struggle between man and nature.

In his paper, Coleman writes, " When there is an explicit source for several pieces of art, such as a passage in the Bible, students can explore what different artists chose to include and emphasize. ... Once again, it is powerful to trace an artist's interpretation to evidence from the source." To that end, students may view another image or read a related text to consider the portrayal of similar concepts in a similar or different medium. For example, students might write in their journals about how Hokusai's depiction of the ocean differs from another familiar image, Washington Crossing the Delaware, painted by German-born Emanuel Leutze only twenty years later in the United States.

Some questions you might ask to challenge your students:
What similarities and differences do you see between these two images? How does each artist depict the relationship between people and nature? What techniques are the same or different? What messages or themes emerge? Can you think of any great literature that addresses these themes as well?
Throughout this process of questioning, observing, and discovering, students are required to draw evidence directly from the artwork, supporting any claims and opinions with the image itself-just as they are always reminded to "return to the text" for evidence.

I loved my work at the Guggenheim and will always be inspired by students' eagerness to experience art. But looking back at our joyful yet meandering discussions, I wish I'd had the powerful structure of the Content Framing Questions to shepherd my young visitors to an even deeper and clearer understanding museum's collection. I truly believe that the simplicity and predictability of the Content Framing Questions allow any teacher to bring the museum to their classroom. As students internalize this process of analyzing art, they not only gain powerful, transferable skills, but they also learn the language of art, giving them the tools to enter any museum with confidence and appreciation. More broadly, they acquire another kind of vocabulary-a familiarity with and knowledge of dozens of iconic works-that provides a powerful base of cultural capital as they enter our global society. I invite you to choose a work of art and start exploring!

Learn more ways to integrate art into your classroom by exploring the Great Minds resource The Art of Wit & Wisdom.

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ELA instruction grounded in careful observation and reexamination of texts has been proven to have a profound impact on students. This approach can also help them appreciate fine art.

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Students can do their own research about every symbol for North Carolina and learn why they are important.

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North Carolina Secretary of State Kids Page Symbols

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North Carolina Secretary of State Kids Page Symbols

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Learning Target: Students will understand that art is connected to culture, traditions and history. This connection will be find through the T-Chart by finding the relationship between certain examples of artwork and North Carolina traditions/ culture.

Strategy: T-Chart

Resource: North Carolina Facts and Symbols Book

Outline of Learning Experience: Students will write down the category of symbol and as we go through the book, the students will right down the answer for the symbol category for their notes.

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Unauthorized Page | BetterLesson Coaching

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Strategy to Connect Concepts - Window Notes

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Strategy to Connect Concepts - Window Notes

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Learning Target: Students will understand a connection between visual arts, and other general education subjects they study. They will find this understanding using "Window Notes".

Strategy: Window Notes

Resource: ELA print source and Math print source

Outline of Learning Experience: Students will label the four squares - math, social studies, science, and ela. Students will then collaborate to write down how they can use visual arts in those subjects. For example, in math, they can use drawings to solve a word problem.

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Summary

Window Notes is a strategy that students use to organize information while taking notes, reading a text, or completing an assignment or task.

Procedure

1. Instruct students to fold a piece of paper into fourths, creating four equal rectangles. Students should then trace over the folds, distinguishing the four quadrants. (Handouts with a printed template could be copied and provided to students.)

2. Have students label the quadrants Facts, Feelings, Questions, and Ideas, respectively.

3. Introduce the topic and ask students sort and record information obtained from the lecture/reading/task that fits within the four categories.

4. Request that students share their notes with the whole class or in a small group.

5. Math Modification: Have students label the four quadrants as follows to help them organize mathematical thoughts: The Facts (What are the facts?); My Processes (What processes can be used to solve the problem?); The Question (What question need to be answered?); The Diagram or Model (How can the problem be visually represented?)

Silver, H. F., Strong, R. W., & Perini, M. J. (2007). Window notes, in The strategic teacher: Selecting the right research-based strategy for every lesson. ASCD. Retrieved from http://www.ascd.org/publications/books/107059/chapters/Window-Notes.aspx

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Authentic lessons, instructional strategies, and engaging activities for 21st Century Learning

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4.H.1 - Understand the role of various people, events, and ideas in shaping North Carolina.

4.H.1.6 - Explain the significance of historical symbols in North Carolina from Various perspectives.

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Activating Strategy - See, Think, Wonder

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Activating Strategy - See, Think, Wonder

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Learning Target: Students will understand why certain locations in North Carolina are deemed historical. They will understand this by studying the Louis Orr Collection using the strategy of "See, Think, and Wonder".

Strategy: See, think, wonder

Resource: Louis Orr Collection

Outline of learning experience: Students will look through Louis Orr Landscape Etchings and we will go through the process of see, think, wonder to dig deeper into the North Carolina sites he etched and why those are important.