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To get started with collage, all you need is some source material, a few tools, and an eye for composition.

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This series is to inspire students how to create representational works using collage. They could use a photograph of the place/person as the starting point.

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designboom | architecture & design magazine

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vik muniz: famous artworks recreated from torn magazines 'pictures of magazines 2' by vik muniz 'a bar at folies bergères', after edouard manet

brazilian artist vik muniz has extended his repertoire of unusual mediums in his artwork with a series entitled 'pictures of magazine 2'. the project is characterized by famous paintings recreated with outdated magazines that have been torn up and meticulously arranged to mimic the tones and contours of the original pieces. masterpieces reproduced include 'a bar at folies bergères', after edouard manet; 'green apples', after paul cézanne and 'wheat field with cypresses', after van gogh. the artworks are on exhibition at xippas gallery.

via ARTchipel

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vik muniz: famous artworks recreated from torn magazines

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vik muniz: famous artworks recreated from torn magazines 'pictures of magazines 2' by vik muniz 'a bar at folies bergères', after edouard manet brazilian artist vik muniz has extended his repertoire of unusual mediums in his artwork with a series entitled 'pictures of magazine 2'.

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7 Things to consider when creating a collage

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7 Things to consider when creating a collage

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Often, the term 'collage' evokes memories of school scrapbooks, with ad-hoc arrangements of lipstick, floating eyes and mismatched letters torn from the pages of fashion magazines. However, collage can be so much more; it can be a fun weekend art activity, a relaxing hobby for evenings after work, or a professional business, whether that's selling prints or doing editorial artwork.

Whatever you turn your collage into, here are some tips that will help you to create a beautiful and balanced piece of artwork, whether you're working on a computer or going old school with analogue materials. For those going digital, check out this list of awesome collage makers, or see our post on how to make a photo collage in Photoshop.
All images created by the writer. Click on the top right-hand corner of each image to enlarge.
01. Consider composition

When starting a collage, it is best to think of it in terms of composition, or even curation. Try using a variety of compositional techniques, such as the rule of thirds, one point perspective or try and capture fluidity and movement in your piece. The beauty of working with existing materials is that you already have an infinite number of elements and starting points, so it is very much a process of trial and error to see what works.

Hold back from sticking anything down too early, and instead have fun playing around with lots of different arrangements. And remember, even if you do decide to stick it down but aren't happy with the result, you can always cut that up and start again.

02. Choose a theme

If you are having trouble finding inspiration for your collage, it can be helpful to give yourself a theme, as sometimes setting limits can force you into making creative decisions. It can be something as simple and obvious as 'summer', or as abstract and open to interpretation as 'tomorrow'.

This way, as you are perusing your materials, things that resonate with this particular theme will jump out, helping you to build up a more specific image bank. This is also a good way to churn out multiple collages, or to work in series, as the material you amass might be too much for just one piece of artwork.

03. Use contrast to build tension

One of the most effective strategies when approaching design of any kind, be it graphic design, cinematography or architecture, is the use of contrast. A healthy dose of contrast makes for great tension in a piece, and this is something that humans respond particularly well to.

In a collage, putting contrasting elements next to each other, such as a vintage black and white scene juxtaposed with a loud, contemporary photograph, or a close up, highly defined detail set against a blurry background, can create this kind of intriguing tension.

04. Work with patterns and textures

It is easy to overlook the less obvious elements found in magazines. Instead of focusing on figurative imagery, look instead for repeating patterns, say on wallpaper or a carpet, or the voluminous billows of a silk skirt, complete with the interplay of light and shadow, or the fine texture of a feather, or curly hair. Zooming in on these elements and using clever crops can transform them into abstract additions that catch the viewer's eye.

05. Incorporate typography

If done right, typography can turn a simple image into a profound message, a protest sign or a quirky poster. Instead of mixing letters, try using entire words, and mix serifs with sans serifs, or bold and light fonts, to create the tension mentioned above. If you need some typography inspiration, check out our list of free fonts.

One prominent letter can play a defining role in an artwork, and be used in creative ways that imbue it with new meaning, such as the 'A' here, which could also be read as a mountain peak. Be careful though, because sometimes incorporating typography or slogans can make your artwork look like an advertisement.

06. Play around with colour

Colour is one of the most important elements in art and design, regardless of the genre. In collage, one way to familiarise yourself with different colour tones can be to set yourself the challenge of creating a piece using just one colour. Blue, for example. As you search for blue in your material, you'll realise how different the blue of a sky is to the blue of water, and how variable shots of water or sky are in themselves. Blues might appear from things you wouldn't expect, such as window reflections, or shadows.

07. Consider the negative image

Whether you are working with real pieces of paper or with digital software, the process of cutting out is still the same. With existing material in particular, many happy accidents can arise through the removal of one image. When you cut something out, turn the paper around and see if the reverse negative is an interesting form. Can you still make out what the image was? If you put a contrasting piece of paper behind it, what happens? Play around with the negative, because there is a lot of opportunity here to make an exciting new work with very little effort.
Read more:

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7 things to consider when creating a collage

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Some fundamental things to keep in mind when composing, collating and arranging a digital or analogue collage.

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Mural project at Beaconsfield High School LBPSB in honour of MMIWG2S.

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Students at Beurling Academy in Montreal's Verdun borough have been studying truth and reconciliation in support of Indigenous Peoples since September. On Friday evening, they unveiled the final project they chose to assist their learning.

The students chose to create a mural to honour Indigenous culture in the front stairwell of the school. The words "land back" are painted in grey on a bright red, yellow, purple and orange background with a timeline underneath, including events such as residential schools opening, the Indian Act and the 60s Scoop.

"It represents something really big in history because of the timeline and all of the horrible things that happened to Indigenous people," said mural project student representative, Amara Diamond John.

Inuit artist Jason Sikoak worked with the teenagers to create the permanent piece. His work typically focuses on residential schools, colonialism and environmental statements. He said it's an "honour" to display one of his murals in a school.

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"Change right now is slowly happening for Indigenous sovereignty and rights, but if the students at this age are saying 'we want to do this,' there's hope for the future. Maybe better changes are coming down the road," said Sikoak.

He told Global News he presented a couple of ideas when they were planning it months ago including an artistic mural or "something a little more political like land back."

"They immediately jumped on the 'land back' idea," he said.

On the wall opposite 'land back,' is a large green turtle swimming to represent Turtle Island.

This is the student's second project on truth and reconciliation. In March they made moccasins as a way to honour children who never made it home from residential schools.

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Kahnawà:ke business owner Jessica Hernandez visited the school to talk about Project 215+, the Canada-wide moccasin making initiative.

The shoes were displayed in a case down the hallway from the mural on Friday. Eventually, they will be donated to Indigenous children in foster care.

Students said they are proud to have worked on these projects, which they say will hopefully help Indigenous people heal.

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Montreal high school students create permanent reminder for truth and reconciliation - Montreal | Globalnews.ca

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Students at Beurling Academy in Montreal's Verdun borough have been studying truth and reconciliation in support of Indigenous Peoples since September. On Friday evening, they unveiled the final project they chose to assist their learning. The students chose to create a mural to honour Indigenous culture in the front stairwell of the school.

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Circles of Belonging at Bayview Elementary - VIDEO

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Circles of Belonging at Bayview Elementary - VIDEO

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go! Island - Circles of Belonging at Bayview Elementary, March 23, 2015

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June 24, 2015

Circles of Belonging: Bayview Elementary Mural Project
This project received funding from a large-scale Artists in the Classroom grant. This blog post was written and submitted by artist Yvonne Vander Kooi, who worked on this project with Kindergarten to Grade 7 students at Bayview Elementary in Nanaimo, BC. This post is part of an ongoing series chronicling the progress of select AIC grant recipients.
As an artist living and working in the community of Nanaimo, I was fortunate to have worked closely with Bayview Elementary in last year on various community art projects and have a strong working relationship with the staff and students at this inner city school through a previous public art project at a local park.

The Circles of Belonging school-based mural project involved all students from Kindergarten to Grade 7, their teachers, parents and community volunteers. Each classroom participated in a guided process with artist Yvonne Vander Kooi that invited students to explore the concept of belonging through working with various media.
Phase I - Introduction to Circles of Belonging
The project was organized into the following three phases:
Phase II - Mural Process: Research and Image Making
The artist met with each class from Kindergarten to Grade 7 at least twice over a 2-3 week period to introduce the mural project. This entailed discussions, stories and drawing exercises to help illustrate the theme and its meaning. In smaller groups they brainstormed and collaborated on paper using text and drawings that answered questions about who we are and where we belong. Each student also received their own sketchbook with the Circles of Belonging logo on the cover to keep as a visual diary throughout the project. These sketchbooks remained in the classroom (Bird Studio) until the project was completed and became a great alternative activity in the class. The sketchbooks were lovely reminders of the project for them when they took them home.

This phase of the project entailed a series of hands-on workshops that explored identity, community, family and peers. The artist introduced various mediums and encouraged playful explorations and techniques to help develop a visual language. Various mediums (printmaking, drawing with charcoal and pastels, paint, three-dimensional assemblage and collage) were used for the image-making process which, in turn, became a rich resource of artwork that helped to contribute to the overall design of the mural.
Phase III - Design Mural Maquette, Mural Painting, Completion and Celebration
Mandy Jones, a SD68 Aboriginal Educator and a Snuneymuxw elder, was invited to share personal stories and some of the Snuneymuxw First Nations history and legends to help with the image making process by meeting with each of the classes. Each class from K-7 participated in this process almost every week for a period of four months (October to January). The students' experimentation and learning produced beautiful works as is evidenced by the photographs below.
Mural Unveiling and Celebration
In this phase we finalized the maquette for the mural which was shared with staff and parents throughout the design phase. The artworks the students had created during the workshop phase were the inspiration for the mural. We used a large whiteboard to attach images that were cut, pasted and drawn out, and had discussions about which imagery was most relevant or meaningful to share with the community. The artist then drew out the final design with student help, which was then critiqued and approved by the staff, parents and students. We drew out the mural on six 4' x 8' treated panels of creosone and began painting. For the month of February, groups of 4-5 students came to the studio classroom to draw out and paint the mural under the guidance and mentorship of the artist. When complete, the SD68 carpenters then installed and clearcoated the mural.

The mural was covered for the few days leading up to the unveiling. Posters and invitations were sent out to parents, the neighbourhood, the chief and community of Snuneymuxw First Nations, the local press, television and radio, and school district administration, as well as the supporters and sponsors of the project. The opening included a blessing given by SD68 Aboriginal educator and Snuneymuxw elder Mandy Jones and shawl dancing and drumming by Bayview students, led by Linda Ermineskin.
Closing
The students, staff, Bayview PAC, artist and local businesses all contributed to make this community mural unveiling a huge success. The excitement and pride was tangible that day and will be a legacy for years to come for the students and staff at Bayview Elementary School.

The school itself has been a wonderful community resource and gathering place for the children and families that live in the south end of Nanaimo. The school plays a key role in the neighbourhood both as a place of learning and in promoting the health and well-being of the community in general. The mural serves both as a tangible expression of strength as a school community and as symbol of hope and optimism for the future. As each child made a meaningful contribution to the mural process, the message of "belonging" came to life in a powerful way.

This project leaves a powerful legacy for the community and the students. The celebration and dedication of the mural offers the students an opportunity to showcase their work to the school community and experience a sense of accomplishment, pride and place. In turn, the community is gifted with a colourful interpretation that reflects and celebrates the students understanding of who they are and the importance of belonging in the world.

You can read an article about the project in the local newspaper and watch the mural unveiling ceremony covered by local tv station:

This project was supported by an Artists in the Classroom grant disbursed by ArtStarts in Schools and funded by BC Arts Council and the Province of BC.

Feeling inspired? Apply for Artists in the Classroom grants to work with professional artists in your own school. The next deadline to apply is October 15, 2015. Learn more at artstarts.com/aic

Social Sharing

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Circles of Belonging: Bayview Elementary Mural Project

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June 24, 2015 This project received funding from a large-scale Artists in the Classroom grant. This blog post was written and submitted by artist Yvonne Vander Kooi, who worked on this project with Kindergarten to Grade 7 students at Bayview Elementary in Nanaimo, BC.

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Leonardo Da Vinci, Vincent Van Gogh, Johannes Vermeer, Pablo Picasso, Rembrandt van Rijn, Frida Kahlo, John Singer Sargent, Gustav Klimt, Grant Wood, Francis Bacon.

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What makes a great portrait artist is more than just painting a good likeness of the model, it is in fact capturing the essence of what makes a person 'that' person.

Portraiture throughout history has been practices by all of the great masters.

From the as far back as the Egyptian pharaohs through to the great Renaissance, portrait painting was the method for recording and capturing the human face for centuries.

But;

They can capture that certain something that makes the human face so expressive.

All of the most famous portraits artists like Van Gogh, Da Vinci, Rembrandt, and Vermeer had the ability to work in the subtlest of nuances into their portrait paintings to elevate their work into some of the greatest works of art ever produced.

Famous Portrait Artists

As one of the most recognized post-impressionist artists, Vincent van Gogh utilized color as the primary sign of expression. Born in Groot-Zundert, Holland on March 30th, 1853, van Gogh's father was a pastor, so his childhood revolved around a cultured and religious experience.

As a child, he was highly emotional, struggled with self-identity, and lacked self-confidence and direction. He believed his calling in life was to become a preacher, so it took him years to uncover his true artistic nature. Between 1860 and 1880, van Gogh slowly determined that he should be an artist.

Born in Vinci, Italy on April 15th, 1452, Leonardo Da Vinci was a scientist, inventor, and artist during the Italian Renaissance period. He is one of the most intelligent and most talented individuals in history.

The term Renaissance Man was coined due to da Vinci's many talents, so he set the bar for future creators. While not much is known of his childhood, da Vinci's father was wealthy and had multiple wives.

Around the age of 14, he became the apprentice to Verrocchio where he learned to paint, draw, and gained other skills. He is one of the greatest artists in history due to two of his most famous works, the Mona Lisa, and The Last Supper.

His mother was an illiterate housewife since she could only sign 'X' on the marriage certificate. As a teenager, Vermeer became the apprentice painter of his father with the suspected training of Carel Fabritius in his early career.

In 1662, Vermeer rose to be the head of the Guild of St. Luke which exposed him to many Delft artists, collectors, and patrons which kicked off his Mature Period. In December 1675 Vermeer died because of depression and madness.

Born in Malaga, Spain in 1881, Pablo Picasso began to draw at a young age. When the family moved to Barcelona in 1895, Picasso studied at La Longa, the Academy of Fine Arts.

In 1900, he traveled to Paris where he developed the Blue Period from 1901 to 1904, the Rose Period in 1905, moved into Cubism during the Analytic Phase from 1908-1911, and finally his Synthetic phase from 1912-1913. In 1916, he began collaborating on theatrical and ballet productions and his work was characterized by neoclassicism.

Born to the son of a miller of modest means in Leiden, Holland on July 15th, 1606, Rembrandt Harmenszoon van Rijn was highly educated, beginning his studies at the Latin School then entering the University of Leiden at age 14.

Due to boredom, he soon left to study art with Jacob van Swanenburch followed by Pieter Lastman. At only age 22, he took his first pupils with one student being the famous Gerrit Dou. In 1631, Rembrandt moved to Amsterdam where he created mythological and religious works, which were in demand.

Throughout his life, his family situation was marked by a burden with his wife and three of his children dying in their home. Rembrandt died in 1669 leaving behind countless works, armor, and weapons that changed the landscape of the artistic community.

Born in La Casa Azul in Coyocan, Mexico on July 6th, 1907, Frida Kahlo showed a deep sense of independence and rebellion as a child, going against typical moral habits and ordinary social norms.

She was proud of her Mexican and cultural tradition, being moved by sensuality and passion. Her life was stained by physical suffering beginning with contracting polio at age five and a bus accident in 1925 that caused severe injuries.

She had 32 surgical operations throughout her entire life. This resulted in many of her works being painted from her bed where she drew from personal experience, multiple operations, and miscarriages.

Thus, her works were characterized by human suffering and portrayals of pain. She died on July 13th, 1954 from a pulmonary embolism.

John Singer Sargent was born in Florence, Italy in January 1856 to a modest family. His elegant portraits provided a glimpse of Edwardian Age society in which the privileged and wealthy in Europe and the United States traveled to his studio in London.

Sargent first visited the United States in 1876 and almost immediately established citizenship. He was a reserved and serious man with a penchant for drawing.

Before he visited the United States, he studied painting in Paris with Carolus-Duran, a famous society portraitist. During this time, Sargent experimented with Impressionist techniques.

In 1879, he went to Madrid to study the masterpieces of Diego Velazquez then to the Netherlands to be inspired by the works of Frans Hals.

In 1884, Sargent unveiled his best-known work, Madame X, which is a portrait of Madame Gautreau, an infamous Parisian beauty. Sargent's works captured the hearts of the British public and became a popular artist in the United States.

In the early 1900s, Sargent devoted the rest of his life to painting Alpine and Italian landscape murals in watercolor. He died on April 15th, 1925 in London, England.

As an Austrian painter and founder of the Vienna Sezession school of painting, Gustav Klimt (born July 14th, 1862) first opened an independent studio in 1883 after studying at the Vienna School of Decorative Arts.

His early work was set in a classical style which was typical for the period and is evident in murals like Vienna Burgtheater. In 1897, Klimt's style began to mature, and he founded the Vienna Sezession painting school which taught the popular Art Nouveau.

Soon after opening the school, Klimt painted three murals for the ceiling of the University of Vienna auditorium which were highly controversial because of the erotic symbolism and pessimism. This caused the murals to be rejected by the public and the school.

Klimt's most successful masterpieces include Fritza Riedler, The Kiss, and Adele Bloch-Bauer I which shows his treatment of the human figure without shadows thus highlighting the sensuality of skin by encircling it with areas of highly ornamental, flat, and brilliantly composed sections of decoration. Klimt died in Vienna on February 6th, 1918.

As one of the largest exponents of Midwestern Regionalism, Grant Wood was born in 1891 near Anamosa, Iowa so he grew up capturing the typical Midwestern lifestyle.

Knowing little about the substrate, he traveled to Germany to seek assistance. While in Germany, he was heavily influenced by the paintings of 16th century German and Flemish masters.

He abandoned his Impressionist style and started painting in a realistic and detailed manner. While some of his earlier works did not attract attention, American Gothic became a hit in 1930 when on display at the Art Institute of Chicago.

Throughout his life, Wood was a leader in the Regionalist movement. In 1934, Wood became an assistant professor of fine arts within the University of Iowa system.

He continued painting episodes from American history and Midwestern rural landscapes until his death in February of 1942.

Considered the man who kept British figurative painting alive and fresh, Francis Bacon was challenged with the dominance of conceptual and abstract art.

His tortured figures were born from the influences of Surrealism, most from Picasso's works. His well-known series of Screaming Popes, distorted portraits, and crucifixions are unforgettable and incredibly distinct compared to other artists of that time.

Born in Dublin to English parents in 1909, Bacon's father was a retired Army Major who breaded and trained horses. Bacon lived an unsettled childhood, moving to different country homes in Ireland and England.

His emerging homosexuality resulted in estrangement from his father despite attempting to reform him.

Bacon served in civil defense during WWII which had a heavy impact on his art. After returning, he painted Three Studies for Figures at the Base of a Crucifixion, which has a tremendous impact on a 1945 group exhibition.

Bacon destroyed much of his earlier work due to displeasure, but Three Studies showcases the triptych format which displays agonized and distorted figures in an abstract space.

Bacon died on a trip to Madrid in 1992, leaving behind countless works of art set in museums around the world.

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What makes a great portrait artist is more than just painting a good likeness of the model, it is in fact capturing the essence of what makes a person 'that' person. Portraiture throughout history has been practices by all of the great masters. From the as far back as the Egyptian pharaohs through to the ...

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$1500 grants for English schools in QC! ArtistsInspire profiles feature over one hundred talented and diverse Quebec Artists who have experience facilitating high quality Arts & Culture experiences in English schools and communities.

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In this year of many challenges, teachers are eloquent about how the art-making process in 2020-21 ArtistsInspire projects has encouraged students to understand and develop resilience. As Chelsea Elementary School teacher Jennifer Bardell writes of their project with Emily [...]

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In this year of many challenges, teachers are eloquent about how the art-making process in 2020-21 ArtistsInspire projects has encouraged students to understand and develop resilience. As Chelsea Elementary School teacher Jennifer Bardell writes of their project with Emily [...]

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Practical tips for murals in school settings, including priming and paint choices.

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If you've never created a mural with your students, you might be thinking, where do I even begin? Unlike high school students, students in lower grades may need more guidance with planning and skill building to tackle such a big task.

It might feel like they need too much support to venture into the world of mural design. But, don't let that scare you! Elementary and middle school students can absolutely complete a mural design in your school.

Follow these 6 steps to ensure your next mural project is a success!

1. Planning the Design

When working on a mural design with younger students for the first time, it's wise for you to have a clear direction. Many students will never have experienced creating a mural, and it can be difficult for them to grasp the big picture.

If possible, you will want to allow for some student voice. You may ask students to create drawings around a theme or help with color selection. As the lead designer, you can use their ideas to create a cohesive whole.

2. Drawing Your Design

Before you start painting, make sure you have a solid plan in the form of a completed sketch that scales to the wall on which you'll be working. Personally, I find it helpful to create a digital drawing to expedite the planning process.

Another thing to consider at this point is the wall surface itself. If it needs to be primed, now is the time.
Here are 3 tips for getting your design onto the wall.

1. Don't be afraid to use your projector. This can help you enlarge and trace your image with ease.

2. If you are using a repeating shape or pattern, consider using a stencil to expedite the process.

3. When drawing on the wall, make sure you use a drawing material that is easy to see. I recommend a dark graphite stick or a permanent marker. Both go onto the wall easily, can be covered up, and guarantee no design outlines will be lost.

This article is a great place to start when planning a mural project. If you're looking for even more in-depth information, you will want to check out the Mural Painting PRO Learning Pack. High school art teacher and mural expert, Matt Christenson, will take you through the process in full detail from start to finish.

3. Selecting the Right Type of Paint

Unfortunately, if you are creating a mural in your school building, chances are you'll be painting on a cinder block wall. Although not always ideal, you can still make this surface work for a mural.

The most difficult part in choosing materials is selecting the right type of paint. If you will be painting directly on a wall, it is best to use wall paint instead of acrylic. While it does come with a sheen, gloss paint will be most durable. However, semi-gloss will also work well. You might also think about getting a paint you can easily wipe clean. As students walk past the mural in the hallway, things like pencil marks can appear and will need to be cleaned off.

4. Preparing Your Paint

If you are mixing custom colors, make sure to make large batches. You don't want to run into the problem of not being able to match a color halfway through the project. That said, write down your "paint recipes" just in case you do run out!

Using small containers to distribute paint to individuals or pairs of students generally works well. At the end of each day place them in a large plastic container sealed with a lid. This will save the paint for the next day, and you won't have to refill colors as often!

5. Starting Off Slow

As you begin painting with students, be methodical about how you are going to work with the colors. Label the wall with the color each space should be to avoid mistakes. Then, instead of introducing all of the colors at once, try using only one color per day or class period. This method will cause less confusion and allow you to keep track of how many coats have been added to each space.

6. Enlist Help for Final Touchups

After your mural has at least two coats in all areas, it will need some touchups. Having too many students help with this step can be overwhelming. Think about having only a handful of students help with any necessary outlining or fixes. It's even better if you can enlist the help of some of your former students. Contacting high school students you trust and who have a higher skill set will save you a great deal of time. Students might even be able to earn service hours by volunteering their time.

Working on a mural with your students for the first time can be overwhelming. This experience provides students an opportunity to take ownership in their school building and serves as a constant reminder of the teamwork and collaboration used to create such an amazing work of art. Try using these six tips to make your mural creating experience a success.
What tips do you have for creating a mural with your students? Do you have an awesome mural you've created with your students to share?

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How to Create a Successful Mural with Younger Students - The Art of Education University

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If you've never created a mural with your students, you might be thinking, where do I even begin? Unlike high school students, students in lower grades may need more guidance with planning and skill building to tackle such a big task. It might feel like they need too much support to venture into the world of [...]

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34 Best Old image superimposed on a new image ideas | old images, past, modern scene

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Nov 16, 2013 - Ghosts from the past. See more ideas about old images, past, modern scene.

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Historical Photographs Superimposed Over Original Locations

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Esquire's fashion director Nick Sullivan demonstrates his perfectionistic eye for patterns by overlapping photos taken in the same location, decades apart. In doing so, he merges the past and present into a single frame. While we have seen this enlightening technique before, Sullivan's work stands out because of its exemplary precision and attention to detail. No matter what the locale, the photographer is committed to making sure that his historical images line up perfectly with their present-day counterparts.

Throughout the series, there are many familiar streets and landmarks found in London, New York City, and Paris, but the locations aren't the only recognizable subjects. It's easy to pick out several famous faces, as well. Sullivan has given Bob Dylan, The Beatles, Cary Grant, Picasso, and many other iconic figures the opportunity to transcend time in his incredible image arrangements. Ultimately, these photomontages impeccably represent what happens when an interesting moment in time becomes a key part of our world's history.

Nick Sullivan: Instagram | Twitter
via [ Photojojo]

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Overlapping Photos Merge Historic Scenes from the Past with the Present

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Esquire's fashion director Nick Sullivan demonstrates his perfectionistic eye for patterns by overlapping photos taken in the same location, decades apart. In doing so, he merges the past and present into a single frame. While we have seen this enlightening technique before, Sullivan's work stands out because of its exemplary precision and attention to detail.

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High School students face off online with a series of short monologues.

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2021 Virtual Monologue Competition | AT&T Performing Arts Center

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Playlist of all the Heritage Minutes from Historica

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Playlist of all the Heritage Minutes from Historica

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This series can be used to show students examples of short scenes featuring a specific historical event or issue. Each video is only a minute long, and is a good model for student works.

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Heritage Minutes are dramatic interpretations of pivotal events in Canada's history. These 60-second vignettes commemorate notable Canadians, achievements in...

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“You Understand?” - short dramatic monologue

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"Good Deeds and Such" funny acting monologue for female from published play

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There are so many reasons to love the art of collage, from the freedom it allows to the powerful stories that can be told through it. In the classroom, I love the fact that students can mix personal items and traditional materials to create something new and uniquely meaningful. And the fact that students don't feel intimidated when they are encouraged to collage? It's priceless!

I use collage techniques in many of my lessons. But over the years, one lesson stands out as the most successful: Collage to Canvas.

This lesson not only has students experimenting with the art of collage, but it also has them thinking deeply about composition. It's a great primer to get them experimenting with visual storytelling. Although I use this lesson with my secondary students, it could certainly be scaled down for elementary kiddos.

To Begin

I begin the lesson by discussing the art of collage. We discuss how collage means assembling different colors, textures, shapes, and materials to create a new concept.

Then, I share the various types of materials that can be used.

It's also a good idea to provide some examples by sharing master collage artists. Artists I've used in the past include Georges Braque, Picasso, Kurt Schwitters, Romare Bearden, Radcliffe Bailey, Richard Hamilton, and Robert Rauschenberg. These artists and their works lay the foundation for a wonderful class discussion. When students see this work, they become inspired to begin creating their own collages.

Here are the 7 remaining project steps.

Step 1: Set a Theme

There are many themes teachers can use when collaging with their students, but for this specific lesson, I stick with the theme of "self." I tell students they will be creating a type of "self-portrait" collage. Instead of a traditional portrait, however, they will use colors, textures, magazine images, text, fabrics, photos, and maybe even a few special items from home. The only other parameter I give is that the final collage must be smaller than 6″ x 8."

Step 2: Brainstorm

After the theme has been set, I give students a "think sheet" to help them dive deep into what makes them unique and help them brainstorm useful imagery to locate. This acts as a type of mental map for their art piece. You can grab a copy to use with your students below!
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Step 3: Collect Imagery

I usually allow students a few days to search for imagery. They have so much fun with this step! Be sure you don't limit your students to magazine imagery only. My students search for imagery and other items on the Internet, in old photo albums, at their homes, on nature walks, and in other unexpected places. They hold their items in an envelope until they have at least twenty-five things with which to experiment.

Step 4: Create Collage

After students have a variety of items to work with, it's time to create their "self" collages! Many students choose to collage onto a flat surface, like posterboard or cardboard. However, I don't limit them to these materials because often they find objects to collage on top of which adds to their visual stories. For example, one year a student collaged on her flip-flops, and another year a student collaged on a paper fan that belonged to her grandmother.

Step 5: Sketch

Once these awesome collages are complete, students take a 3" x 3" sticky note, fold it in half and cut a small viewfinder out of it. This viewfinder is then placed on top of the collage so students can find new compositions within their collage. Students move their viewfinders around, and I often have them sketch out a minimum of six new compositions.

Step 6: Paint

Students are so excited to see these new compositions and find the gems of imagery that appear when they look closely. From this point, they can either choose one or several combined areas and recreate them on a large, 16" x 20" canvas board using acrylic paint.

Students have about a week to paint this new composition onto their canvas board, creating an exciting piece based on their collage work!

Step 7: Combine Work

As a final step, I have my students combine their collages and paintings into one display. My students mount their paintings onto poster board and consider how they want to add their collage. Some students decide to put the collage to the side while others will glue the collage onto the canvas, it's completely up to them.

This is one of my students' favorite projects because they have so much freedom to create an artwork with such personal meaning. From the simple task of collaging, many of these pieces end up being award-winning artworks!
How do you incorporate the art of collage into your curriculum? Do you have your students create "self" art beyond the traditional self-portrait?
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

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A Creative Collage Lesson for All Students

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A Creative Collage Lesson for All Students Media & Techniques % %

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"Good Deeds and Such" - Monologue, audio only

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"Good Deeds and Such" - Monologue, audio only

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Use this rendition to compare with the other "Good Deeds and Such" monologue version.

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Andrew recites: Hilda’s Monologue from ‘Good Deeds & Such’

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Distance learning has reminded kids and teachers that school is more than a building. Schools give kids a community. It's a place where they belong, and where they matter. So remind your students and the community at large how important your school is. A school mural is a fantastic way to do just that! Need some inspiration? Then check out this roundup for some incredible ideas.

1. Take a reading journey

Wouldn't this be perfect in the hall outside the school library?
Source: @sweetartmurals
2. Journey to space

Every trip to your locker is a voyage to the final frontier!

3. Be kind

This one is simple, bold ... and oh-so-true.

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4. Honor great leaders

Give them role models to inspire and motivate.

5. Go green

If you can't be outside, then bring the outdoors in!

Source: @gayle_mangan_kassal_art

6. Embrace diversity

This is a message that every school should emphasize.

Source: @joepimentalart

7. Be the nice kid

A message like this promotes an anti-bullying community, so it's perfect in any school.

8. Leave your mark

How sweet is this? Every student and teacher added their fingerprint to this school mural.

9. Spark creativity

This Einstein quote is a terrific reminder that creativity is key.

Source: @teachingandteaspills

10. Make an outside space cozy

We love reading nooks, so creating one outdoors? Genius!

11. Spread your wings

This school mural is fantastic on its own. Plus, it also makes an incredible photo op!

Source: @paintslikeagirl

12. Imagine the future

Education is a journey, and the years will go faster than they think.

13. Be the "I" in kind

Encourage kindness wherever and whenever you can.

Source: @hayleymischieflordart

14. Find magic in a book

We love how these murals make use of otherwise empty wall space. And they're simply adorable!

Source: @tbradleymurals

15. We are the world

If you're not able to paint a wall, then create a school mural on a bulletin board instead!

Source: @paintslikeagirl

16. Fill their day with music

Make their hearts sing!

17. Tell them how special they are

They need to hear it, so tell them so every single day.

18. Let the kids design it

Kids will get a kick out of seeing their ideas come to life!

19. Brighten the room

Art teachers make the best murals!

Source: @mrskoslowsartroom

20. Change your mindset

Lots of schools have embraced the Growth Mindset philosophy. Doesn't it make a beautiful mural?

Source: @heavens_country_door

21. Decorate any space

Murals aren't limited to walls. For instance, check out these awesome book spines on the columns!

Source: @tbradleymurals

22. Don't forget the stairs

Stairs work too!

Source: @kidmuralsbydana

23. Aspire to greatness

Kids can't help but be inspired to learn more about these incredible people.

Source: @tbradleymurals

24. Feature your core values

Simple, meaningful, and something to remember every day.

25. Paint a timeline

If they see the events and dates every day, they'll learn history in no time!

Source: @sweetartmurals

26. Enter a world of books

Reading really does open doors.

27. Have them contribute

We love a school mural that gets kids involved. It gives them such a sense of ownership and pride!

Source: @rodrigues.art.classes

28. Treat kids like kings and queens

Now that's just seriously impressive.

Source: @thepaintsmith.co.uk

29. Make it interactive

This is such a clever idea! It uses an existing bulletin board, plus you can add different pics each year.

30. Make sure they know they matter

You never want them to doubt it.

31. Create a colorful shelf

There's something so clean and appealing about this design.

32. Show your teachers some love

Teachers need encouragement too, so why not add a mural to the teachers' lounge?

Source: @tbradleymurals

33. Travel the solar system

We are all space dust.
If you love art projects that bring people together, then here are 23 more collaborative art ideas to try. Plus, 50 of Our All-Time Favorite Classroom Quotes.
Source: @sweetartmurals

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33 Incredible School Mural Ideas To Inpsire You

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From motivational quotes to inspiring leaders, a colorful school mural offers students daily encouragement that makes all the difference.

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How Integrating Arts Into Other Subjects Makes Learning Come Alive

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How Integrating Arts Into Other Subjects Makes Learning Come Alive

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IAA is still a public school, but now parents from outside the North End can choose to send their kids there. "Parents are interested in the arts model, interested in a different approach," Riley said. The first year most kids still came from the neighborhood, but gradually the socioeconomic levels have evened out. Wealthier families are choosing to send their kids to IAA because of its program. Riley says the majority of students still walk to school -- it hasn't lost its sense of place in the community -- but now only about half the students qualify for lunch programs.

The program is also helping connect parents from immigrant communities to the school. "Art is a big part of many of their cultures, so I think they appreciate that experience," Riley said. "I think they like the community vibe of the school."
ART IS NOT EXTRA, IT'S INTEGRAL
Art is not a second thought at the Integrated Arts Academy (IAA). Instead, artistic learning goals are held up as equals to academic standards and teachers work hard to design lessons that highlight content through art.

"If you pick a subject area like science, social studies, math or literacy and you integrate it with an art form, what you do is connect the two and find ways to really integrate the two so they lean on each other," said Judy Klima, an integrated arts coach at IAA. An arts specialist co-plans and co-teaches alongside the general education teacher to help ensure academic learning is happening through an art form and visa versa.

For example, one third-grade science unit on leaf classification integrated visual arts into science. The teaching team used the close observation of leaves in science to teach about realistic versus abstract art. Students drew realistic drawings based on a leaf's edge pattern. Then they made abstract art based on the scientific qualities of the leaf.

"When you engage hands-on and you are creating your own learning, you are deepening your level of understanding about a specific topic," Klima said. In this case, students thought differently both about classification and characteristics, as well as about the differences between art forms.

Teachers rotate through visual art forms, music, dance and theater. One fifth-grade class came up with dramatic renditions of the Revolutionary War. They used the facts in their social studies curriculum to build scripts and then discussed the dramatic connections through volume, tone of voice and perspective.
TRANSITIONING TO AN ARTS FOCUS
The Integrated Arts Academy's success has come with a lot of hard work. "If you taught in a traditional method and then you come to arts integration, you have to change everything," Klima said. "You really have to understand creativity and that it's critical to students' understanding." While all IAA teachers were given the option to stay at the school when it became a magnet, some chose to leave.

"The classroom is a teacher's island," Riley said. "They have their students and their curriculum, teaching the way they teach. The arts integration really pushed us to collaborate. Opening up our practice and reflecting on it is a big part of what we do." He said that's not the norm at many U.S. schools. And that's why he knows the collaboration necessary to integrate arts into academics doesn't necessarily come naturally to many people.

In his role as school leader, Riley has focused on building up educators' capacity to effectively collaborate. "You can't just tell people to collaborate," he said. "You have to put the structures and skill-building in place." IAA has two teacher retreats a year where teachers create art and try out lessons together. It's a time for community-building and collaboration, a space for teachers to stretch themselves as artists, too.

The school has also formed strong partnerships with the arts community in Burlington, taking advantage of its expertise through artist-in-residency programs and in turn helping to create a more vibrant arts scene. They've even started bringing graduate students in from across the state interested to learn and practice arts-integration strategies. While only in its second year, Riley hopes the Art Connect program can help spread these ideas to schools where participating teachers land.
ART AS DIFFERENTIATING TACTIC
At Cashman Elementary School in Amesbury, Massachusetts, Elizabeth Peterson doesn't have the benefit of a schoolwide focus on arts integration to bolster her commitment to the practice. But she perseveres because she sees the approach making a difference for her fourth-grade students.

"I have to keep remembering and reminding myself that this is one of the best avenues to take. Because when kids are learning through the arts, they end up getting a deeper understanding and the concepts end up sticking much better," Peterson said. Her strong suit is music -- she used to teach piano. When she went back to the general education classroom, she thought music could bring some joy and creativity to the academics she taught.

Peterson might ask her students to listen to "Sabre Dance" by Aram Khachaturian several times, often during snacks or at another transition time. As a class they talk about the dynamics of the music, its tempo and instrumentation. Then students draw cartoons illustrating a story they've developed based on their interpretation of the music. Peterson asks students to develop a setting, plot and storyline, ultimately having them write out their story.

"They're definitely more invested because they're pulling from their own experience and it's their own interpretation," Peterson said. They write elaborate stories and then talk about the differences in each student's interpretation of the music.

"Arts integration seems to be the best form of differentiation out there because it taps into so many different interests and abilities and forms of learning," Peterson said. In the writing example, kids who hate writing happily develop complicated storylines and write pages upon pages of their own ideas.
WHY ISN'T ARTS INTEGRATION MORE POPULAR?
As with most deviations from what has been done in schools for hundreds of years, many teachers see art as secondary to the academic standards they must get through. Even Peterson said she feels that pressure, but she knows she can teach the standards through art in a way that also gives students some independence to stretch their creativity.

Arts integration can also be a hard model for teachers to buy into if they don't feel like they themselves are competent artists. "Art scares people who are not in the arts," said Michelle Baldwin, a lead teacher at the private Anastasis Academy, where art is central to everything done in the classroom. "If they don't have a lot of experience or don't feel like they are good at anything in the arts, it becomes a personal insecurity issue."

But she points out that teachers don't have to be experts to open up the door for students. There are experts willing to share their knowledge online, not to mention collaborations with local and state arts organizations to support this kind of work.

Elizabeth Peterson often feels out of her depth in visual arts, but that doesn't mean she discourages it in her class. "I'm not a very good illustrator, but if you bring it into your classroom, some of your students might be," she said. "Having an atmosphere of being open to various art forms is all your students need."

Despite calls for more art in schools, artistic ability often isn't recognized as a skill equal to computer coding or engineering by society. Many parents want their kids to study something that clearly leads to a stable job. Until the arts are held in high esteem, they will always come second in traditional schools, Baldwin said.

"Even if parents say they value the arts, they still have that ingrained industrial method of education that people have a hard time letting go of," Baldwin said. And, in her opinion, it's very hard to be creative within the narrow limitations of what traditional school and its standards ask kids to do. "You can't be creative when you are in a box, when you have no way to make your own choices and decisions," she said.

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How Integrating Arts Into Other Subjects Makes Learning Come Alive | KQED

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Several schools, including ones in high-poverty areas, are making art critical to the learning of more academic subjects. They're seeing remarkable student improvement as a result of arts integration.

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To mark the 80th anniversary of Oliver Jones (September 11th, 2014), MU celebrates the immense talent of this great Montrealer, pianist and teacher by producing a large outdoor mural in Little Burgundy where he grew up. He will now be immortalized on the wall of Habitations Albert, near the Parc des Jazzmen.

The mural is part of a series entitled Hommage aux bâtisseurs culturels montréalais initiated in 2010 to highlight the contribution of the creative minds and forces behind Montreal's reputation as an exceptional North American city. Since the launch of this ambitious project, a series of murals have been created to pay homage to the creative talents who have made outstanding contributions to the local, national and international reach of the city's cultural scene. MU also produced in 2011 in Little Burgundy a mural in tribute to Oscar Peterson, pianist and friend of Oliver Jones.

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Hommage à Oliver Jones | Art Public Montréal

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To mark the 80th anniversary of Oliver Jones (September 11th, 2014), MU celebrates the immense talent of this great Montrealer, pianist and teacher by producing a large outdoor mural in Little Burgundy where he grew up. He will now be immortalized on the wall of Habitations Albert, near the Parc des Jazzmen.

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Greatest Acting Monologues Of All Time PART 1

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Born in Montréal in 1949, Gascon founded "the Murality Squad" in 1971 which goal is to take art down to the street. He participates to Corrid'art in 1976, the exhibition of Olympic Game's that was supposed to take place on Sherbrooke street.

During the 80's and 90's he explores different mediums. In 2000, he starts creating ceramics and mosaics in a very personal way in the Dominican Republic.

He makes his first mosaic mural in Montreal in 2009. His work is dedicated to the poster designer Vittorio, to the comedians Robert Gravel and Paul Buissonneau, to the rock singers Marjo and Plume, to poets and singers Raymond Lévesque, Pauline Julien and Gilles Vigneault.

Commission from the artist

Arrondissement de Mercier-Hochelaga-Maisonneuve, Comité musique Maisonneuve

Maison de la Culture Maisonneuve

4200 Rue Ontario E, Montréal, QC H1V 1K1

Artwork description

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Greatest Acting Monologues Of All Time PART 2

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Mural depicting historical scenes from Plaza St-Hubert in Montreal.

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Narrative murals by Mona Caron

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Murals about history & place | monacaron.com

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These are murals telling a story about the very place they are located in. All my murals are site specific, but these are more literally so. They are centered on the social practice of using art to create social interaction, in which people reflect on the history, current state, and better potential…

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>> Download this Classroom Resource
About the Subject

Michelle Obama

Michelle LaVaughn Robinson Obama is a lawyer, writer, and the wife of the 44th president, Barack Obama. She was the first African American first lady of the United States. As an advocate for healthy families, service members and their families, higher education, and international adolescent girls' education, she has become a role model. Mrs. Obama remembers growing up on the South Side of Chicago and thinking "being smart is cooler than anything in the world." After earning degrees from Princeton University and Harvard Law School, she joined Sidley Austin LLP, where she met Barack Obama in 1989. Guided by the desire to improve her community, she left the firm in the mid-1990s to begin a career in public service. She directed community and external affairs for the University of Chicago Medical Center prior to moving to Washington in 2009. During her husband's two presidential campaigns, Mrs. Obama delivered poignant speeches that centered on her family's commitment to serving others and highlighted the importance of her role as a parent.

About the Artist

Amy Sherald

In 2016, Amy Sherald became the first woman to win the National Portrait Gallery's Outwin Boochever Portrait Competition with her painting Miss Everything (Unsuppressed Deliverance): https://portraitcompetition.si.edu/content/amy-sherald. Based in Baltimore, Maryland, Sherald focuses on African American cultural history and the representation of the African American body. She uses a grayscale to paint skin tones as a way of challenging the concept of color as race. This grayscale technique, also called grisaille, is connected to the artist's early personal experiences. Sherald, who was born in Columbus, Georgia, remembers looking at family photo albums as a child and getting to know her grandmother Jewel through a black-and-white photograph. She was captivated by her grandmother's beauty, self-possession, and confident, direct gaze in the photograph. When Sherald looked for painted portraits of people who looked like her in art history books in local libraries, she realized that her family's story was absent in the history of painted portraiture. She was also discouraged when she did not find people who looked like her in the public spaces of museums. Sherald's larger project of painting portraits of African Americans seeks to make up for this absence by addressing the history of representation. She has notably described her paintings as a "meditation on photography." Her subjects are often set in whimsical, nondescript settings with occasional surreal details that add a bit of satire. The dreamlike backgrounds create what the artist refers to as "the amorphous personal space of my own existence within the context of black identity and my search for ways to clarify and ground it."

About the Painting

Portrait unveiling

The portrait celebrates Michelle Obama, the former first lady of the United States and the wife of the 44th president, Barack Obama. In this elegant and enigmatic painting, she gazes directly out at the viewer, hand under her chin, inviting contemplation. Painted using the artist Amy Sherald's signature grayscale, Mrs. Obama's unnaturally colored skin asks us to consider both her race and her humanity. While the use of gray in lieu of more natural skin tones reduces the reference to her race, the blunt removal also draws attention to her skin color, highlighting her racial identity. The gray tones, in particular, reference nineteenth-century photographic traditions, wherein the emerging photographic medium allowed free African Americans to celebrate themselves and craft their own unique (and positive) identities. Whereas the grand portraiture traditions of painting and sculpture were largely out of reach, photography was an accessible medium. Instead of representing a particular time or place, Sherald strives to make Mrs. Obama timeless and therefore eternally relevant for viewers. Dominating the composition is Mrs. Obama's monumental dress. Designed by Michelle Smith, for her label Milly, and selected for the portrait by Mrs. Obama, Sherald, and Mrs. Obama's stylist, the dress is symbolic, referencing the former first lady's modernity and approachability. While the dress was originally designed by Smith with modern art, such as Pop and Op art, in mind, Sherald recognized its visual affinities with the quilts of Gee's Bend, Alabama. The quilts of Gee's Bend, a remote black community of the descendants of former slaves, are bold and improvisational, and reference the independence and resourcefulness of the African American experience.

Outwin Boochever Portrait Competition

Miss Everything (Unsuppressed Deliverance)

Amy Sherald received first prize in the 2016 Outwin Boochever Portrait Competition for an oil on canvas titled Miss Everything (Unsuppressed Deliverance). Every three years, the National Portrait Gallery invites artists who are at least eighteen years old to submit their work to the Outwin Boochever Portrait Competition. The competition welcomes all media, including painting, drawing, sculpture, photography, textiles, video, performance, and digital or time-based media. The competition's focus is on broadening the definition of portraiture and highlighting the genre's relevance in contemporary art. Artists are encouraged to think about portraiture's potential to engage with the social and political landscape of our time. The juried competition results in an exhibition of about fifty finalists, with the prizewinners announced at the opening. The winner receives a grand prize of $25,000 and an opportunity to create a portrait for the Portrait Gallery's permanent collection. A fully illustrated publication accompanies the exhibition. The competition is named for Virginia Outwin Boochever (1920-2005), a former Portrait Gallery docent whose generous gift endowed this program. Amy Sherald says: Miss Everything was inspired by Alice in Wonderland. The big dress, the teacup. You're left with the impression that she's playing dress up but that she's also striving for something different than who she is. And seeing herself in a way that other people may not see her. Miss Everything is who she is now in this present moment. The idea of being seen as anything other than the color of her skin. Her name is Krystal. It took us about an hour just for her to relax to give me that pose where her shoulder went up and her chin went up and she just became Miss Everything in that one moment.

Portrait Observations and Analysis

* What aspect of the portrait do you notice first and why?

* Michelle Obama's dress dominates the composition. Describe her dress. What shapes do you see? Why might the artist have chosen to highlight this element of the portrait?

* Consider the background. Why might it be significant? * Consider Michelle Obama's facial expression. How would you describe it? * What adjectives would you use to describe Michelle Obama's pose?

* Look at Michelle Obama's skin color. Describe the color. How does the artist use color to reference past portraiture traditions? How does she use color to emphasize Michelle Obama's humanity?

* Michelle Obama and Amy Sherald both expressed an interest in bringing "black and brown bodies" into the museum. How does this portrait accomplish that goal?

* How does this portrait express Michelle Obama's individuality?

* Michelle Obama is the first African American first lady of the United States. "How" she is represented and "who" painted her portrait are important considerations. Why? How does Mrs. Obama stand for more than just herself through this portrait?

* How does Michelle Obama's portrait connect us to past artistic traditions? Why might it be important to look to the past?

* Consider the artist's use of color. How does the color palette help establish an overall mood in this portrait?

Extensions

* Discuss the significance of Michelle Obama's quote at the unveiling: "I'm also thinking about all the young people-particularly girls and girls of color-who in years ahead will come to this place and they will look up and they will see an image of someone who looks like them hanging on the wall of this great American institution. I know the kind of impact that will have on their lives, because I was one of those girls."

* Michelle Obama once said, "When someone is cruel or acts like a bully, you don't stoop to their level. No, our motto is, when they go low, we go high." What did she mean by that? Do you agree or disagree? Why or why not?

* Amy Sherald saw echoes of the quilts of Gee's Bend in Michelle Obama's Milly dress. The quilts of Gee's Bend represent the shared culture and heritage of a small group of African Americans in Alabama. Create your own quilt to illustrate your own culture and heritage.

* Michelle Obama said: "No country can ever truly flourish if it stifles the potential of its women and deprives itself of the contributions of half its citizens." Consider the women in your life. Compose a group portrait of the women who inspire you through their accomplishments and actions.

Michelle Obama's portrait:

Michelle LaVaughn Robinson Obama by Amy Sherald, oil on linen, 2018. National Portrait Gallery, Smithsonian Institution; gift of Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia; Clarence, DeLoise, and Brenda Gaines; Jonathan and Nancy Lee Kemper; The Stoneridge Fund of Amy and Marc Meadows; Robert E. Meyerhoff and Rheda Becker; Catherine and Michael Podell; Mark and Cindy Aron; Lyndon J. Barrois and Janine Sherman Barrois; The Honorable John and Louise Bryson; Paul and Rose Carter; Bob and Jane Clark; Lisa R. Davis; Shirley Ross Davis and Family; Alan and Lois Fern; Conrad and Constance Hipkins; Sharon and John Hoffman; Audrey M. Irmas; John Legend and Chrissy Teigen; Eileen Harris Norton; Helen Hilton Raiser; Philip and Elizabeth Ryan; Roselyne Chroman Swig; Josef Vascovitz and Lisa Goodman; Eileen Baird; Dennis and Joyce Black Family Charitable Foundation; Shelley Brazier; Aryn Drake-Lee; Andy and Teri Goodman; Randi Charno Levine and Jeffrey E. Levine; Fred M. Levin and Nancy Livingston, The Shenson Foundation; Monique Meloche Gallery, Chicago; Arthur Lewis and Hau Nguyen; Sara and John Schram; Alyssa Taubman and Robert Rothman

Amy Sherald by Justin T. Gellerson; courtesy of the artist and Hauser & Wirth. © Amy Sherald
Michelle Obama by Lawrence Jackson; Official White House Photo
Michelle Obama and Amy Sherald by Pete Souza; courtesy of the National Portrait Gallery. © 2018 Pete Souza
Miss Everything (Unsuppressed Deliverance) by Amy Sherald, oil on canvas, 2013. Frances and Burton Reifler. © Amy Sherald

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Download this Classroom Resource Michelle LaVaughn Robinson Obama is a lawyer, writer, and the wife of the 44th president, Barack Obama. She was the first African American first lady of the United States. As an advocate for healthy families, service members and their families, higher education, and international adolescent girls' education, she has become a role model.

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'Life-changing' Kehinde Wiley portrait goes on show at V&A

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'Life-changing' Kehinde Wiley portrait goes on show at V&A

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A young EastEnder has described the "life-changing" moment she saw her portrait on the wall at the V&A.

Melissa Thompson was walking through Ridley Road market in Dalston when she was spotted by US artist Kehinde Wiley, who shot to fame when he painted Barack Obama's presidential portrait.

The resulting two-metre oil painting was first shown at the William Morris Gallery in Walthamstow but has now been bought by the V&A.

Thompson, who grew up in Hackney and now lives in Ilford, was with her family when she was approached by the painter.

She said: "It was such a surreal moment when Kehinde Wiley approached me at Ridley Road Market and asked to take my portrait - I never thought I would end up in a museum.

"His work is so unique and powerful, it was a really life-changing thing for me. I love this portrait - it captures a moment in time. Seeing it on the wall at the V&A feels really special - I can now see parts of my own culture and east London represented in a museum."

Los Angeles-born Wiley made his name by creating Old Master style portraits of people of colour and made history in 2018 when he became the first African-American artist to paint an official U.S. Presidential portrait for the Smithsonian National Portrait Gallery.

The painting of Ms Thompson will eventually become part of the collection at the V&A's new site in Stratford which is set to start opening in 2024.

Gus Casely-Hayford, Director of V&A East, said: " One of our first acquisitions for V&A East, the painting speaks to the creative heritage and cultural diversity of east London and will help realise our ambitions to spotlight previously underrepresented artists and movements through V&A East's programme, which tells global stories of creativity and reflects the pressing debates in society today."

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'Life-changing' Kehinde Wiley portrait goes on show at V&A

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Melissa Thompson was walking through Ridley Road market in Dalston when she was spotted by US artist Kehinde Wiley, who shot to fame when he painted Barack Obama's presidential portrait. The resulting two-metre oil painting was first shown at the William Morris Gallery in Walthamstow but has now been bought by the V&A.

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Discover recipes, home ideas, style inspiration and other ideas to try.

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Student may be inspired to recreate important photos or paintings from your community.

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"Take a photo of the Rembrandt type" is an ongoing project on vk.com, where people submit their own recreations of famous artworks. So far, over 300 submissions were made and they range from realistic to downright hilarious.

The project isn't limited to just Rembrandt - you'll see the recreated artworks of Gustav Klimt, Egon Schiele, Johannes Vermeer and many more. Check them out in the gallery below!

More info: vk.com | h/t: Bored Panda

#1

Image source: Lina Groza

#2

Image source: Viktor Brig

#3

Image source: Lina Groza

#4

Image source: Ignat Derbenev

#5

Image source: Katherine Cusack

#6

Image source: Vk.com

#7

Image source: Viktor Brig

#8

Image source: Lina Groza

#9

Image source: Handsome Rhys

#10

Image source: Ulyana Nukolova

#11

Image source: Yulia Lyashenko

#12

Image source: Alexandra Polyanskaya

#13

Image source: Ulyana Nukolova

#14

Image source: Ignat Derbenev

#15

Image source: Anastasia Scheremeteva

#16

Image source: Lina Groza

#17

Image source: Sergey Kuznetsov

#18

Image source: Nelli Yavorskaya

#19

Image source: Vk.com

#20

Image source: Ulyana Nukolova

#21

Image source: Regina Akimkina

#22

Image source: Vk.com

#23

Image source: Alexander Andreevich

#24

Image source: Elena Gabdlakhatova

#25

Image source: Veronika Bragina

#26

Image source: Olga Limanets

#27

Image source: Paulina Andreevna

#28

Image source: Anna Artman

#29

Image source: Polina Teys

#30

Image source: Gallateya Brik

#31

Image source: Biblioteka Dobrolyubova

#32

Image source: Ekaterina Peruanskaya

#33

Image source: Nastya Nastya

#34

Image source: Maria Druzhinina

#35

Image source: Yulia Petrova

#36

Image source: Dima Kudashkin

#37

Image source: Yellow Submarine

#38

Image source: Yulia Petrova

#39

Image source: Marfa Shvarts

#40

Image source: Anya Morozova

#41

Image source: Mari Rokudzyo

#42

Image source: Maria Sechina

#43

Image source: Ekaterina Gvozdeva

#44

Image source: Nastya Bukhvalova

#45

Image source: Evgenia Devyatova

#46

Image source: Tatyana Makotra

#47

Image source: Cosmic-Microwave Background

#48

Image source: Anastasia Shmelkova

#49

Image source: Valentina Lugovaya

#50

Image source: Bella Vyzhigina

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These People Recreated 50 Famous Artworks And Some Might Be Better Than The Originals | DeMilked

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"Take a photo of the Rembrandt type" is an ongoing project on vk.com, where people submit their own recreations of famous artworks. So far, over 300 submissions were made and they range from realistic to downright hilarious. The project isn't limited to just Rembrandt - you'll see the recreated artworks of Gustav Klimt, Egon Schiele, Johannes Vermeer and many more.

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Vintage Crime scene photos on NY streets

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Vintage Crime scene photos on NY streets

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Vintage Crime Scene Photos Superimposed on Modern NY St