Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography

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1 Columbia College Chicago Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography Portraiture and Representation Dawoud Bey, Sharmaine, Vicente, Joseph, Andre, and Charlie, 1993 From the collection of the Museum of Contemporary Photography, Gift of the Artist ABOUT THIS GUIDE This multi-section guide, organized around major genres of photography, was created by Corinne Rose, Manager of Education Museum of Contemporary Photography Columbia College Chicago (MoCP) and Cynthia Weiss, Associate Director of School Partnerships Project AIM, Center for Community Arts Partnerships (CCAP) Columbia College Chicago. This interdisciplinary curriculum was developed over seven years of collaborative work by Weiss, Rose, many talented and dedicated Teaching Artists, and several hundred Chicago youth who have participated in education outreach programs of the CCAP and the MoCP. Their work and this curriculum is featured each spring at the MoCP in the exhibition Talkinʼ Back: Chicago Youth Respond. For more information see or contact Corinne Rose at This section of the guide examines the genre of portraiture and considers issues related to representation and includes a list of suggested artists drawn from the Museum of Contemporary Photographyʼs collection of American Art. Images by the artists and artistʼs biographies can be accessed for classroom use from the museumʼs website at collections.mocp.org/main.php?module=objects. Questions for looking and discussion, which promote reflective thinking and an expanded concept of literacy, as well as activities, that increase teachersʼ capacity to integrate photography into a variety of curricula are also included. Special funding for this guide was provided by the Terra Foundation for American Art. The education outreach programs of the MoCP are sponsored in part by After School Matters, the Lloyd A. Fry Foundation, the National Endowment for the Arts, and the Terra Foundation for American Art. The Center for Community Arts Partnerships is supported by the U.S. Department of Education Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 1

2 Arts in Education Model Development and Dissemination program; the Illinois Arts Council, a state agency; Illinois State Board of Education; Chicago Park District; Chicago Public Schools; the Chicago Community Trust; Crown Family Philanthropies; Lloyd A. Fry Foundation; Leo S. Guthman Fund; JPMorgan Chase Foundation; James S. Kemper Foundation; the Kresge Foundation; Loweʼs; National Performance Network; Polk Bros. Foundation; Terra Foundation for American Art; United Way; U.S. Bancorp Foundation; and an anonymous foundation. PORTRAITURE AND REPRESENTATION Nicholas Nixon, Bebe and Clementine, 1986 A portrait is a photograph that is composed to convey information about a personʼs appearance, identity, and mood. Studio portraits rely on details such as clothing, hairstyle, facial expressions, and body language to teach us about a subject. Environmental portraits present a person in a context or setting that contains details that add to what we learn from their physical appearance. Choices made by the photographer including use of soft versus hard light or framing and vantage point can also influence our perception of the subject. To create the portrait, Bebe and Clementine, 1986, Nicholas Nixon focused on the vulnerability and humanness of his wife and daughter rather than creating a more traditionally idealized image of mother and child. He tightly framed his composition, cropping out the background of the scene as well as most of his subjectsʼ bodies and faces including their eyes. Instead, our attention is drawn to a recently stitched wound on the motherʼs arm and a stream of drool hanging from the babyʼs lower lip. Nixonʼs use of the highly precise 8x10 view camera creates a heightened awareness of the contrast between the babyʼs flawless, soft, new skin and the freckled, aged skin of her mother, as Bebe hugs her daughter to her body. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 2

3 Dennis Stock. Untitled from the James Dean Memorial Portfolio, 1955 In the mid 1950s photographer Dennis Stock, on assignment for Life Magazine created a series of portraits that were intended to teach readers about a promising young actor named James Dean. Stock collaborated with Dean to plan images that would convey information about Deanʼs young life and portray the image Dean was establishing as an intelligent, rebellious, and broody heartthrob. In one untitled environmental portrait, we see Dean reclining is his boyhood bedroom on his aunt and uncleʼs farm in Indiana. Details within the room such as a set of bullʼs horns and a matadorʼs cape hung on the wall, and numerous books and albums including a cover facing the camera that reads Bach provide insight into Deanʼs interests and young life. Another image made on the farm shows Dean looking serious while standing next to an enormous pig, revealing a humorous side to the actor that was not often apparent in his films. A now iconic portrait, perhaps the best-known image of Dean, shows him walking in the rain in New York with his collar turned up smoking a cigarette, confirming the public image he came to establish as a cool loner. The leading lines of the street and an iron fence pull the viewerʼs eye from Deanʼs reflection in a puddle, to him, and beyond to the buildings and signage of a deserted Times Square. Other images within the series are sparser, relying mainly on pools of soft natural light and Deanʼs facial expressions and body language to show his physical beauty and convey a sense of mood. Considered together, Stockʼs portraits of Dean hint at the complexity of his character. Tragically, Dean was killed in a car accident a few months after Stock made these images. In the image Sharmaine, Vicente, Joseph, Andre, and Charlie, 1993, by Dawoud Bey, we learn about these five teenagers exclusively through their appearance, facial expressions, positioning, and body language. Their clothing, accessories and hair give us a sense of their personal style as well as clues as to when the image was made. The girl on the left appears bold, possibly even confrontational because she looks directly at the camera and the viewer. The young man on the left seems studious, and less confident with his glasses and downward gaze. We make assumptions about the personal relationships between the three students on the left of the frame based on the fact that their bodies are touching. The fact that none of the students are smiling lends a somber, contemplative quality to the image. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 3

4 Made in the studio with a rare 20x24 Polaroid view camera, a huge camera that must sit on a tripod, Bey spent time positioning the students in the studio and then checking and rechecking how they appear in the camera before shooting the first frame. He then twice moved the camera, repositioned his subjects including moving the forth sitter farther away from the camera, and shot again. Because the Polaroid camera produces no negative, each 20x24 inch frame is one of a kind. They are mounted together as a triptych in one large frame. Throughout his career Bey has photographed young people of color because he feels they are so often misrepresented or negatively portrayed in image culture and are very underrepresented in the tradition of formal portraiture. To create her series of projects, every few weeks artist Nikki S. Lee would join a different group transforming her outward appearance to fit in with each community. Carrying a small point and shoot camera, identifiable in her work by the time and date stamp in the corner of each image, Lee would pass the camera to a friend who would take a picture of her among her new peer group. Lee was inspired to make this project after she moved from South Korea to New York to study fashion and photography in graduate school and was aware of the big and small ways that her identity shifted as she moved from group to group. She says, I really couldnʼt understand who I was without the people around me. I realize it is only through my relationships with others that I can see myself. Among the communities she joined were skateboarders, senior citizen, lesbians, swing dancers and the Hispanic community. Specific details within each image, such as the robinʼs-egg blue Tiffanyʼs shopping bag a professionally coiffed Lee holds while standing in front of an expensive-looking store in an image from the Yuppie Project, convey clues as to the identity of each of her characters. MoCP Collection Artists Working in the Genre of Portraiture Include: Portraiture: Diane Arbus, Dawoud Bey, Tina Barney, Roy Decarava, Nikki S. Lee, Stephen Mark, Nicholas Nixon, Alec Soth, Carrie Mae Weems, Dennis Stock, James Van Der Zee, and Priya Kambli. Self-portraiture: John Coplans, Jenifer Davis, Sarah Faust, Lee Friedlander, Robert Heineken, Anne Noggle. Images by the artists and artistʼs biographies can be accessed for classroom use from the museumʼs website at collections.mocp.org/main.php?module=objects. Portraiture and Representation - Questions for Looking and Discussion: How can identity be revealed in a portrait? Describe what you see when you look at the image. What is the subjectʼs relationship to the other elements in the photograph such as other people, the environment we find him or her in, or objects within the scene? What do we learn from these details? What moods or feelings are expressed in this portrait? How? Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 4

5 What can you tell about how this picture was made? Consider the visual strategies used by the artist such as use of light, time of day, vantage point, framing, composition, scale, presentation, etc. What do we learn about the subject by looking at this photograph? What details reveal that information? What do we know to be true about this subject? What assumptions might we have made? Other Questions to Consider What makes a portrait a portrait? Are all pictures of people portraits? Why or why not? Does a portrait have to show the subjectʼs face? Can a photograph that does not show a human subject at all still be a portrait? Are there clues in the image that suggest when and where this portrait might have been made? Describe. How are portraits made in the studio different from those made in the natural world? How do other art forms (such as literature, poetry, painting, sculpture, film, music, or dance) depict and describe their subjects? Roy DeCarava and Langston Hughes: The Sweet Flypaper of Life Every so often, every so once in a while, some days a woman gets a chance to set in her window for a minute and look out. New York is not like back down south with not much happening outside. In Harlem something is happening all the time, people are going every which-a-way...itʼs too bad thereʼs no front porches in Harlem. Almost nothing except stoops to set on. -Langston Hughes from the book, The Sweet Flypaper of Life In 1952, photographer Roy DeCarava was awarded a Guggenheim Fellowship to pursue a project documenting his native Harlem. He said in his Guggenheim proposal: I wanted to photograph Harlem through the Negro people. Morning, noon, night, at work, going to work, at play, in the streets, talking, kidding, laughing, in the home, in the playgrounds, in the schools, bars, store I do not want a documentary or sociological statement. I want a creative expression, the kind of penetrating insight and understanding of Negroes, which I believe only a Negro photographer can interpret. Upon completing the project, DeCarava could not find a publisher for the work. He contacted the poet Langston Hughes, who he had met in passing and who shared his love of Harlem as well as his desire to honestly and honorably represent the African American community there. Hughes examined DeCaravaʼs work and pushed aside other projects to help see that it would be published. Hughes edited and sequenced the work and wrote a fictional text to string together the 140 photographs he selected. He created a fictional character, Sister Mary Bradley, (see quote above) and narrated DeCaravaʼs images through her voice and point-of-view. The Sweet Flypaper of Life was published in 1955 to much critical acclaim. DeCaravaʼs imagery and Hughesʼ text evokes the mood, voices, pleasures and concerns of Harlem in the mid 1950s. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 5

6 Activities 1. Creating a Persona from a Photograph Choose a photograph or series of photographs of a person or a group of people. Describe what you see. What do you learn about the person or people depicted in the image? Point to and discuss the visual details reveal that information. Roy DeCarava, for example, used lighting, setting, and framing, and timing--he waited for a particular moment or gesture--to evoke the personalities of his subjects. Langston Hughes consciously employed word choice, diction, sentence structure, descriptive language, and vernacular speech to expand on these portraits and create the voice of his narrator, Sister Mary Bradley. Using The Sweet Flypaper of Life as a model, write a narrative about the subject of the image you selected in first person point-of-view. Consider the back-story of that person; Where are they from? What are their interests and concerns? What might they want others to know? Compare your narrative with those created by other students in the class. Discuss the connections and differences between how voice is revealed through photography and written and spoken language. 2. Creating Portraits What would you like people to learn about you through a portrait? How could you make those qualities show in a photograph? Work with a partner and alternate the role of photographer and sitter to create portraits of each other that teach others about who you are. Create an environmental portrait by photographing your subject in a place that includes details that would help to define or describe him or her such as in their home or workplace. Or, create a studio portrait by photographing against a sparse background (like a studio backdrop or blank wall) that would focus our attention on your subjectʼs body, clothing, physical gestures and facial expressions. Carefully compose your image in the cameraʼs viewfinder. Try to include only those elements that add to not detract from your idea and composition. Your choice of vantage point--where you position your camera in relation to your subject- -can dramatically change the appearance of your sitter and the composition of your image. Look at your sitter through the cameraʼs viewfinder from above, below, from the side, at close range and farther away. Select the vantage point that best represents your subject and concept. Consider your choice of lighting. Hard and high contrast lighting such as light coming from a lamp without a shade or out-of-doors at noon on a sunny day can create a harsh image. Soft or diffused light, such as light passing through a window or a lamp shade or outdoors at the beginning or end of the day can create a soft or romantic mood in a photograph. Print your images or present them as a digital slide show and share them with your classmates. Judging by their comments, did your portraits communicate what you intended? If you were to do this project again, what changes would you make? Critique this work with your peers. Discuss how each photographer used techniques including framing, composition, vantage point and lighting in their work. Discuss what Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 6

7 you learn about each sitter through their portraits and how those qualities are communicated. Judging by the comments of your peers, did your portraits communicate what you intended? If you were to do this project again, what changes would you make? 3. Considering Representation: Identify Clichés and Stereotypes. Teacherʼs note: When students first begin making portraits, they often create images that imitate stereotypical and cliché images they have seen in popular culture without considering how they are portraying their subjects. The best antidote for this is to share with them a range of thoughtfully made and complex images made by other students and professionals such as those featured in this guide. It is also important to teach students to critically examine photographs and to consider how a subject is presented, the context in which the image appears, the purpose for which it was made, and to recognize and discuss limited and negative portrayals when they encounter them. This is a good project to assign before students make self-portraits and portraits so that they will be more conscious of how they choose to represent themselves and others. When we look at images of people we should be aware that all photographs are the result of a series of choices and factors that determine how that person is portrayed. Those choices include many factors such as use of vantage point, framing and composition, setting, lighting, clothing, body language and facial expression. The context in which we find an image can also influence how it is received. For example, how is an image of a person on Facebook different than one that we might find in a newspaper article, advertisement, or on the wall of a museum? Every image represents one among many possible interpretations of a given subject. Sometimes the choices photographers and others make result in images that reflect clichés or stereotypes of race, class, age, gender, sexual orientation or culture. For example, we often see images in popular culture in which teenagers appear rude, wild, or out of control. Street photographer Garry Winogrand ( ) was widely respected for his work but some consider his portfolio Women Are Beautiful (in the collection of the MoCP) to be sexist. Look at pictures of people online, in books, magazines, newspapers, posters, anywhere that you find images. Examine how the subject of each photograph is represented. What do we learn about the subject by looking at this image? What is the mood of the image? What details within the image communicate that information? How do you feel about how this person is represented in the image? Why? Where did you find this image? For what purpose do you think it was made? Who is the target audience for this photograph? Find and bring to class three photographs that you feel reflect clichés or stereotypes of representation. What elements within the photographs contribute to why you selected them? Compare your images with those selected by your classmates. Discuss why and how each image might represent a limited or stereotypical portrayal. Are you all in agreement on each image? Why or why not? What approaches and techniques might a photographer use to make pictures of people that are complex, fresh, and interesting? Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 7

8 Priya Kambli Muma, Sona and Me (Rohan and Kavi) 4. Create a Self-Portrait Montage Photographer and artist Priya Kambli creates photo montages that she says bridge the gap between the two cultures she feels she lives between, India the country she left thirteen years ago and America where she now resides. See: Kambli uses a scanner to capture family snapshots as well as personal objects such as fabrics and small objects represent her heritage and personal history. She then stages images and creates self-portraits that represent her current life and uses digital imaging software to combine the images into simple compositions that evoke the sites, sounds, colors and scents of her past and current life. Collect photographs, objects and mementos that depict or represent aspects of your family, culture, heritage, interests, and current life. Use a scanner to capture these images and items. Consider creating some new images with a digital camera that might add to what others could learn about you. Look at all of the images you have collected or created on the computer screen. Consider what each image might add to the visual composition as well as to the story told. Using the basic photography software that is on your computer, arrange a few of your images into a single composition, so the images so that the colors, shapes and subjects represented will combine cohesively. You could use the imaging software to alter or drop out color or enlarge, reduce or crop images. Variations If you do not have access to digital imaging equipment you could modify this assignment using a photocopier, glue, and colored pencils or paints to create a collage. Or you could scan and print your images and combine them with scissors and glue. This project is based on curriculum developed by MoCP Teaching Artists Daniel Shea and Krystal Meisel with inspiration from the work of Priya Kambli. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 8

9 5. I am the Object/You are the Object Self-Portrait and Portrait Poems In this writing exercise, (created by Arnold Aprill from the Chicago Arts Partnerships in Education CAPE) students create a self-portrait through objects in their lives that help to define their personalities and identities. The repeating opening phrase of I am... or You are takes on a rhythmic phrasing that give shape to this list poem. To begin, students generate a list of common objects that are a part of their everyday lives and objects that hold a special meaning for them. They are coached to write with vivid and descriptive language and focused specificity. For example, students are encouraged to go beyond listing the generic word shoe, to write about a very specific description of their shoe: my red, high-top sneaker with a hole in the sole. They then choose 5-6 lines of their object/image text and sequence them into an autobiographical poem. Students are told to use sensory details and to write a direct metaphor, not a simile. (I am the red, high-top sneaker ) This poetic diction, the language of poetry, evokes a powerful and evocative image. To create portrait poems, students use the same process. They make lists of objects associated with their friends and family and begin each sentence in their poems with the phrase; You are These portraits can be titled with the relationship of that person to the writer: My Grandmother, My Best-Friend, My Brother. These portrait poems can be paired with photographic portraits that evoke the personality of the subject through the careful consideration of lighting, perspective and composition. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 9

10 Portraiture and Representation: Glossary of Terms has been a way of bridging the g collage An artistic composition of materials and objects pasted over a surface, often with unifying lines and color. diction Choice of words, a way of speaking in written or spoken language. environmental portrait A portrait made in a setting, such as a home or workplace that provides details that help us to learn about the subject. framing/composition How one composes an image in the cameraʼs viewfinder. Framing can also refer to how an image is finished for final presentation. montage A single composition made by combining several images. point of view (vantage point) Point of view is where a photographer stands in relation to the subject he or she is photographing. It can also refer to the photographerʼs view or opinion of that subject. point of view (first-person narrative voice) First-person narrative is when a story is narrated by a single character at one time, who speaks for and about themselves and represents a point of view in the writing. scale The relative size of an element within a composition. Scale can also refer to the size of the finished work. sitter The person who is the subject of a formal portrait. stereotype A rigid, oversimplified belief that is applied to all members of a group or culture. studio portrait A portrait made in a studio setting that relies on the sitterʼs appearance, facial expression and body language as well as technical choice made by the photographer such as lighting and composition to describe the subject. vernacular An every day style of language or architecture that is distinctive to a particular region or place. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 10

11 Common Core Language Arts Standards The following standards offer a focus for instruction each year and help ensure that students gain adequate exposure to a range of texts and tasks. Rigor is also infused through the requirement that students read increasingly complex texts through the grades. Students advancing through the grades are expected to meet each yearʼs grade-specific standards and retain or further develop skills and understandings mastered in preceding grades. Common Core Reading Standards in Literature K 12 Craft and Structure Standard # 6: Kindergarten: With prompting and support name the author and illustrator of a story and define the role of each in telling the story. 1st Grade: Identify who is telling the story at various points in a text. 2 nd Grade: Acknowledge differences in the points of view of characters, including by speaking in a different voice for each character when reading dialogue aloud. 3 rd Grade: Distinguish their own point of view from that of the author of a text. 4 th Grade: Compare and contrast a firsthand and secondhand account of the same event or topic; describe the differences in focus and the information provided. 5 th Grade: Analyze multiple accounts of the same event or topic, noting important similarities and differences in the point of view they represent. 6th Grade: Explain how an author develops the point of view of the narrator or speaker in a text. 7th Grade: Analyze how an author develops and contrasts the points of view of different characters or narrators in a text. 8 th Grade: Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony), create such effects as suspense or humor. 9 th -10 th Grades: Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature. 11 th -12 th Grades: Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement). Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 11

12 Common Core Reading Standards for Informational Text K-12 Craft and Structure Standard #6 Kindergarten: Name the author and illustrator of a text and define the role of each in presenting the ideas or information in a text. 1 st Grade: Distinguish between information provided by pictures or other illustrations and information provided by the words in a text. 2 nd. Grade: Identify the main purpose of a text, including what the author wants to answer, explain, or describe. 3 rd Grade: Distinguish their own point-of-view from that of the author of a text. 4 th Grade: Compare and contrast a firsthand and secondhand account of the same event or topic; describe the differences in focus and the information provided. 5 th Grade: Analyze multiple accounts of the same event or topic, noting important similarities and differences in the point of view they represent. 6 th Grade: Determine an authorʼs point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. 7 th Grade: Determine an authorʼs point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and content contribute to the power, persuasiveness, or beauty of the text. 8 th Grade: Analyze various accounts of a subject told in different mediums (e.g., a personʼs life story in both print and multimedia), determining which details are emphasized in each account. 9 th -10 th Grade: Determine an authorʼs point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose. 11 th -12 th Grade: Determine an authorʼs point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and content contribute to the power, persuasiveness, or beauty of the text. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 12

13 Common Core Language Arts Speaking and Listening Standards Presentation of Knowledge and Ideas; Standard # 5 Kindergarten: Add drawings or other visual displays to descriptions as desired to provide additional detail. 1 st Grade: Add drawings or other visual displays to descriptions when appropriate to clarify ideas, thoughts, and feelings. 2 nd Grade: Create audio recordings of stories or poems; add drawings or other visual displays to stories or recounts of experiences when appropriate to clarify ideas, thoughts, and feelings. 3 rd Grade: Create engaging audio recordings of stories or poems that demonstrate fluid reading at an understandable pace; add visual displays when appropriate to emphasize or enhance certain facts or details. 4 th Grade: Add audio recordings and visual displays to presentations when appropriate to enhance the development of main ideas or themes. 5 th Grade: Include multimedia components (e.g., graphics, sound) and visual displays in presentations when appropriate to enhance the development of main ideas or themes. 6 th Grade: Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information. 7 th Grade: Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points. 8 th Grade: Integrate multimedia and visual displays into presentations to clarify information, strengthen claims and evidence, and add interest. 9 th -10 th Grades: Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. 11 th -12 Grades: Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 13

14 Illinois Visual Arts Standard 25: Know the Language of the Arts (25B Students understand similarities, distinctions, and connections in & among the arts.) Descriptors: Stage A-Early Elementary 1. Name one way each art form is different from the others (e.g., music and drama use voice; dance and visual arts do not). 2. Describe the theme, idea, feeling, or story within an art work (e.g., mood in "Starry Night", Peer Gynt Suite). Stage B-Early Elementary 2. Examine the same sensory elements, organizational principles, and expressive qualities in two different works in the same art form. 3. Investigate story, feelings, or expressive ideas shared in the work of two different art forms. Stage C-Early Elementary 1. Compare sensory elements, organizational principles, and expressive qualities shared among several art forms that express a similar idea (e.g. beginning, 2. Compare the use of sound, movement, action, or visual images to express similar ideas (e.g., subject matter such as night, ocean; emotions/moods such as sad, scary). Stage D-Late Elementary 1. Use the vocabulary of elements, principles, and tools when describing a work of art. 2. Plan and create a work of art that expresses a specific idea, mood, or emotion using defined elements, principles, and tools. Stage E-Late Elementary and Middle/Junior High 1. Explain how elements, principles, and tools are combined to express an idea in a work of art. 2. Explain why specific elements, principles, and tools were used in a work of art created by the student or another artist. Stage F-Middle Junior High 1. Analyze how the artistic components (i.e., elements, principles, expressive ideas; tools, processes, technologies; creative processes) are combined within a work of art. Stage G-Early High School Compare and contrast two works in one art form that share similar themes or subject matter examining artistic components (i.e., elements, principles, expressive ideas; tools, processes, technologies; creative processes). Stage H-Early High School Compare and contrast works of art in two or more art forms that share similar artistic components, themes or subject matter (e.g., self-portrait to monologue or solo) using the appropriate artistic component (i.e., elements, principles, expressive ideas; tools, processes, technologies; creative processes) vocabulary. Stage I-Late High School 2. Compare and contrast similar and distinctive artistic components (i.e., elements, principles, expressive ideas; processes, technologies; creative processes) across art forms. 3. Select works from each art form that share similar theme/subject matter and justify selection. Stage J-Late High School 2. Evaluate the use of similar and distinctive artistic components across art forms. 3.Analyze how different art forms combine to create an interdisciplinary work (e.g., ballet, musical theatre, opera, cinematography, music videos). Illinois Visual Arts State Goal 27: Understand the role of the arts function in history, society, and everyday life. Framing Ideas: Interdisciplinary Curriculum across Genres of American Photography 14

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