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Curatorial Rationale - Muyassar, Ishraki, Luke 

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Curatorial Rationale - Muyassar, Ishraki, Luke 

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Curatorial Rationale (Fung, Audrey, Jacqueline, Eva)

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Curatorial Rationale (Fung, Audrey, Jacqueline, Eva)

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artprof.org

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Playlist put together by MoMA. A diverse sampling of studio processes... (i.e. How to paint like Jackson Pollock).

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Learn about the materials and techniques of postwar abstract painters in these tutorials by artist and conservator Corey D'Augustine. Enroll in our free onli...

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1. www.Archive.org

2. SculptGL (free web-based sculpting platform)

3. NYC gallery websites: Hauser and wirth, david zwirner, gagosian, sperone westwater, marian goodman, marlboro, the hole, perotin, mark goodman, bartalomi, etc.

4. https://bluelavaart.com/art-education/ib-visual-art-main-page

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Jessica Russo Scherr | Artist - Educator

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Process Portfolio PPExhibition EXComparative Study CSIB Art RequirementsSelected AssignmentsIndependent Work CriteriaStudio Themes/IdeasFollow Jessica's board IB Art on Pinterest. Follow Jessica's board Visual Art Journal on Pinterest.Acknowledgment: This page is geared toward my IB Visual Arts Students and is based on the IB Visual Arts

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1. Tate - Art Terms

www.tate.org.uk/art/art-terms

2. Let's Learn About Art (Videos)

www.youtube.com/channel/UCbGNq7FciHkVpoCRy1pJv3w

3. Bloomberg - Brilliant Ideas (Artist Interviews)

https://www.bloomberg.com/brilliant-ideas

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https://mrchads.weebly.com/comparative-study1.html

https://www.tate.org.uk/

https://bluelavaart.com/art-education

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Tate is a family of art galleries in London, Liverpool and Cornwall, known as Tate Modern, Tate Britain, Tate St Ives and Tate Liverpool + RIBA North. Tate art museum houses the UK's collection of British art from 1500 and of international modern art

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1. https://www.metmuseum.org/art/the-collection

2. Art 21

3. https://www.moma.org/collection/

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For fifteen of his over thirty years in education, Brian Reverman taught high school and middle school art at the International School of Beijing, The American School of Bombay, and the Casablanca American School.

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For fifteen of his over thirty years in education, Brian Reverman taught high school and middle school art at the International School of Beijing, The American School of Bombay, and the Casablanca American School.

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Guidance On Artificial Intelligence: How Your Students Can Correctly Reference AI Tools

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Guidance On Artificial Intelligence: How Your Students Can Correctly Reference AI Tools

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Guidance On Artificial Intelligence: How Your Students Can Correctly Reference AI Tools

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Anderson and Krathwohl (2001) argue that conceptual knowledge plays a crucial role in moving students from knowledge to understanding. They argue that “Students understand when they build connections between the ‘new’ knowledge to be gained and their prior knowledge. More specifically, the incoming knowledge is integrated with existing schemas and cognitive frameworks. Since concepts are the building blocks for these schemas and frameworks, conceptual knowledge provides a basis for understanding”

(2001: 70)

Concepts- big ideas, purpose, function, intention, what it is the student/artist is communicating.

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Group discussion: Allison, Michael, Ben, Luke

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Group discussion: Allison, Michael, Ben, Luke

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1. Get students to look at the work for 3-5 minutes , eg look for symbolism , then take it away and ask students to talk about what they remembered about the work. They look again, then take it away and get them to sketch it.

2. Describe it to someone who cant see it - back to back

3. Get students to look and discuss one of the criteria e.g function, context, meaning, cultural significance

4. Get students to show one of their works and write about / communicate what its about

5. Allow students to be free and respond in ways they are comfortable with .

6. "I see, I think , I wonder", allows students with limited vocabulary to participate in analysis and not worry about the grammar / writing/spelling. Can break this down into simple questions, to get them thinking rather than focused on vocabulary

7. Give a list of emotional words and ask students to select the word/s that the image suggests to them.

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1. What does the titles of each work tell us about the work ?

2. Whose bedrooms are these and what do the objects in the rooms tell us about each person?

3. What artistic influences impacted these works?

4. How does the artists life experience help determine the work?

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9 areas represent the content we will be delivering to our classes

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9 areas represent the content we will be delivering to our classes

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Welcome to the arts section of the site. This page will help you to take ownership of the arts, via a quick overview, and four padlets that offer you quotes, knowledge questions, real-world issues, and key thinkers relating to this area of knowledge.

You can use this content both to understand this component of TOK, and support discussions and arguments that you offer in your essay and exhibition.

The arts constitutes a diverse and multifaceted area of knowledge, encompassing various forms of creative expression such as visual arts, literature, music, dance, and theatre. At its essence, the arts serve as a medium for human communication and self-expression, transcending linguistic and cultural barriers. Within this realm, several key concepts come into play.

Interpretation plays a central role, as it underscores the subjectivity of art, highlighting that individual perspectives and emotions shape how we understand and appreciate artistic works. The arts are a realm where values are explored and portrayed, inviting us to reflect on cultural, moral, and societal dimensions inherent in artistic creations.

Two prominent thinkers from diverse backgrounds within the arts are Frida Kahlo and Chinua Achebe. Frida Kahlo, the Mexican artist, employed her iconic self-portraits to delve into the complexities of identity, pain, and gender, while offering a unique cultural perspective.

On the other hand, Chinua Achebe, the Nigerian novelist, challenged colonial narratives with his seminal work, "Things Fall Apart," providing profound insights into the clash of cultures and the dynamics of power and responsibility.

In the contemporary world, the arts continue to be deeply intertwined with real-life issues. Cultural appropriation is a topic of concern, igniting debates about the respectful representation and use of elements from different cultures in art, reflecting broader conversations on cultural responsibility and authenticity. Simultaneously, the issue of censorship in art remains relevant, emphasizing the power dynamics and ethical considerations surrounding artistic freedom.

Engaging with these contemporary issues, the arts offer an exciting platform for students to explore and understand the complexities of our globalized world. They invite critical thinking, cultural appreciation, and the cultivation of empathy, making an exploration of the arts a very rewarding element of the course.

THE ARTS: DEEPER DIVES Follow these links to access a range of notes, essays, and observations on the arts. Use the deeper dives docs to research this area of knowledge, and hone your TOK essay arguments and discussions.

Subscribe to the free TOK newsletter!

Subscribe to our free newsletter, and collect fantastic examples to help you understand the key TOK ideas, support your essay and exhibition, and make you an authentic critical thinker.

You'll encounter some of the most important thinkers from the past and the present, go beyond the headlines of contemporary events and issues around the globe, and see how TOK concepts manifest in the real-world. Subscribe HERE!

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Welcome to the arts section of the site. This page will help you to take ownership of the arts, via a quick overview, and four padlets that offer you

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TOK 2022: THEORY OF KNOWLEDGE WEBSITE FOR THE IBDP

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TOK 2022: THEORY OF KNOWLEDGE WEBSITE FOR THE IBDP

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Diploma Programme: From principles into practice (For use from August 2015)

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Diploma Programme: From principles into practice (For use from August 2015)

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Visual arts guide (first assessment 2017) p.18

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Key points to explain the use of Artificial Intelligence (AI) tools (one page fact sheet)

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Key points to explain the use of Artificial Intelligence (AI) tools (one page fact sheet)

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Guidelines for AI- Academic integrity policy

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Guidelines for AI- Academic integrity policy

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Please post 3 websites that you have found useful for IBDP Visual Art

1: metmuseum.org

2: artsandculture.google.com

3: https://www.theartstory.org/

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The Met's Heilbrunn Timeline of Art History

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Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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The story of art and global culture through the Museum's collection.

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HL exhibition sample A without marks (category 2)

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The interrelationship of concepts, content and skills

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The interrelationship of concepts, content and skills

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International Baccalaureate Organization (2015). Diploma Programme: From principles into practice. p.g. 71

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Approaches to teaching and learning website

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Approaches to teaching and learning website

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Improving thinking and research skills in visual arts - Case study

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Improving thinking and research skills in visual arts - Case study

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All visual arts students have used this mind map structure to develop their research and thinking skills.

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HL comparative study sample B with marks

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HL comparative study sample B with marks

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IBDP Visual Arts Subject Report- May 2023

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IBDP Visual Arts Subject Report- May 2023

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How did “becoming 100 artists” impact the way the work changed and evolved?

How does culture come into this discussion?

How does the curating of the exhibits impact different audiences?

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How do you stage an international art show with work from 100 different artists? If you're Shea Hembrey, you invent all of the artists and artwork yourself -- from large-scale outdoor installations to tiny paintings drawn with a single-haired brush.

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For electronic: https://docs.google.com/document/d/1xyf51emmn9MjeLxWN0XjvXaZdtXttTt2/edit

Please make your own copy before editing

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We will use this as part of this session

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Identify powerful questions that will guide inquiry and deepen understanding (breadth) when analysing the semiology of the artwork. We need questions that are both generative (that take us somewhere) and genuine (that we care about).

Please post your 3 best questions in this session.

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Create a visual arts journal page in response to the “3 H” criteria: Head, Heart and Hand. Upload a photo of your compelted journal page here.

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Create a visual arts journal page in response to the “3 H” criteria: Head, Heart and Hand. Upload a photo of your compelted journal page here.

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“He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.”

-Attributed to St. Francis of Assisi

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Janet Echelman found her true voice as an artist when her paints went missing -- which forced her to look to an unorthodox new art material. Now she makes billowing, flowing, building-sized sculpture with a surprisingly geeky edge. A transporting 10 minutes of pure creativity.

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A very useful website for this workshop!

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A very useful website for this workshop!

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How to use this teacher support material

The purpose of this publication is to give teachers a starting point and a pathway to help them to turn the Visual arts guide (March 2014) into a concrete plan of action and an effective course of study for the students. It is, therefore, important that this teacher support material (TSM) is used as an accompaniment to the guide and not as a replacement for it, as this does not contain all the information and detail that is required for teachers to develop their courses or for students to succeed in the assessment tasks.

Each course will be unique and something that works for one teacher will not necessarily work for another. In all cases, however, the course should be devised with integrity and passion. The teacher should not lose sight of the fact that the course must prepare the student for assessment as well as develop a learner who embodies the attributes described in the International Baccalaureate (IB) learner profile.

This publication has been divided into five sections, each dealing with different aspects of developing a visual arts course that will satisfy the aims, objectives and requirements set out in the subject guide. It by no means offers a definitive way of delivering the course, as this would be contrary to the very principles upon which it is founded. Each teacher needs to make use of their own individual strengths, their expertise as teachers and as artists, their knowledge of their students and schools and the culture of their community in order to devise a meaningful course. An awareness of contemporary practice and developments in the professional world of international art-making are also significant if the course is to be authentic and useful to students.

1. The visual arts course

The first section provides a summary of the course for standard level (SL) students and for higher level (HL) students. The intricacies of the revised course are unpacked.

2. Delivering the course

The second section identifies links between the course and the approaches to learning and the approaches to teaching that underpin the educational philosophy of the IB Diploma Programme while providing advice on developing a schedule of work that addresses the requirements of the course.

3. Assessment

The third section seeks to unpack each of the three assessment tasks, relating them back to the core syllabus areas and provides summarized outlines that can be reproduced or adapted as assessment notifications for students. Each task includes a teacher planner checklist that can be used as part of a reflective teaching practice.

4. Assessed student work

The fourth section of the TSM provides assessed samples of work that have been created to help students, teachers and examiners establish ideas of what might be achieved for each of the tasks. Each task has been assessed and includes the marks allocated for each of the marking criteria along with the examiner's comments to further justify the mark or markband the work achieved.

5. Glossary

The final section of the TSM contains a glossary of useful visual arts terms.

It is hoped that this TSM, when used in consultation with the Visual arts guide (March 2014), will provide a collection of tools that provide a kick-start to developing an authentic and engaging visual arts curriculum.

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The purpose of this publication is to give teachers a starting point and a pathway to help them to turn the Visual arts guide (March 2014) into a concrete plan of action and an effective course of study for the students.

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Gallery- Reflection of VA Aims/Objectives/Core

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Gallery- Reflection of VA Aims/Objectives/Core

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Kate Hartman: The art of wearable communication

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Artist Kate Hartman uses wearable electronics to explore how we communicate, with ourselves and with the world. In this quirky and thought-provoking talk, she shows the "Talk to Yourself Hat", the "Inflatable Heart", the "Glacier Embracing Suit", and other unexpected devices.

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Thelma Golden: How art gives shape to cultural change

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Thelma Golden, curator at the Studio Museum in Harlem, talks through three recent shows that explore how art examines and redefines culture. The "post-black" artists she works with are using their art to provoke a new dialogue about race and culture -- and about the meaning of art itself.