: Beyond Beauty Intro (in Great Hall) Welcome to the Wichita Art Museum! Each group: Introduce yourself and go over expectations. Address Basic Needs: make sure students/chaperones know where restrooms and water fountains are, when they can sit down and where, how to let you know if they need something. If any of these go unaddressed, students may have a hard time focusing on the engaging tour you are giving! Setting the stage/getting input Navigating the Tour Remember to start your tour with a brief introduction: i.e. Today we are will look at select artworks and talk about American ideas, history, and identity that is expressed. was born in 1917 in Plainfield, New Jersey to immigrant parents. Soon the family moved to Philadelphia and his father began work as a watchmaker and his mother as a nurse. This story of immigration is often the beginning of the modern American family s story. While Penn s own, personal, American History was undoubtedly important in his work he also felt a drive to document others, in their own cultural dress within their cultural landscape. For the purpose of this tour, the stops have been divided into 4 main categories of identity. Based on the teacher s request, student s interests and time permitted, you may choose one or more categories to focus on in your tour. The categories are: Personal identity Cultural identity National identity Artistic identity For each area of the museum and each category, there will be multiple choices of stops. You will not have time to go to every stop. When a tour is assigned, the tour leader will develop the rotations based on the areas of the museum. If you have a favorite work of art that fits the key ideas and focus of this tour, you are welcome to include it as time permits. Share your passion for our collection with the visitors!
Key Ideas / Definitions American Tour (As a General Blanket Term) The definition of how a person sees or thinks of themselves; can also refer to how people represent themselves to each other. Personal How the uniqueness of a sitter, still life, or photograph is conveyed to the audience. Cultural How ethnicity, nationality, language, religion, and gender are portrayed through s photographs National Since the United States was founded in the 18 th century, Americans have defined themselves by their common values and belief in individual freedom. (from usembassy.gov) What ideas and values are distinctly American, and how does Penn highlight this? Artistic How do the photographs exemplify, or display, Penn s artistic vision?
Young Boy, Pause Pause, American South Silver Print 1941, printed in 2001 Cultural Personal Penn started his career in the late 1930s, photographing street scenes in places like New York and Philadelphia, and captured gritty images of storefronts and working-class people from the American South in the early 1940s. Here Penn was able to photograph the young boy at a close distance, and he almost seems to be in dialogue with the camera, or Penn himself. His strong gaze presents an interesting contrast with the graphic storefront advertising behind him, with the words Pause Pause. What do you see- What do you see? Have students make an inventory, or listing, of all the elements they can find. What comparisons can you make Have you seen storefronts like this before? Is so, where? If not, where do you think this store would be located? Where do you think this photo was taken? Is it a portrait of the boy or the location? What does it mean to you- Do you feel a connection to this boy or the store imagery behind him? Why or why not? Optical Goods, New York Silver Print 1942, printed 2001 Artistic Cultural National Often Penn photographed things that were off-key or unhinged, whether it was shop signs with missing letters, silhouettes of giant scissors, misspelled graffiti or advertising posters. Here three painted eyes peer out of an optician s storefront. The photograph is reminiscent of a surrealist painting with its crisp depiction yet disembodied feel. Each eye is different from the other. Penn captured the dichotomy of symmetrical composition and the uncanny feeling that the three-eyed stare gives those who pass by. What do you see What do you notice about this picture? What kind of style does it have? Is it graphic? Realistic? What is the focal point? What comparisons can you make What is the artist trying to convey about his perception of advertising in our everyday life? What makes you say that? What does it mean to you Is there anything familiar about this store to you? What is different? Have you seen anything like this before? What kind of person do you think works here? Can you describe him?
12 Hands of Miles Davis and His Trumpet, New York Silver Print 1986, printed 1999 Artistic Personal National This piece is a fun, almost abstract, entry into the idea of identity. Miles Davis was born in 1926 to an affluent middle class African-American family in Alton, Illinois. Through preforming Davis realized that New York held the action he desired, and his jazz career began at what would become Julliard. He is considered to be among the most influential and acclaimed figures in the history of jazz and 20th century music. So this piece speaks to Davis artistic and personal identity which is founded upon his music, as well as the national identity that surrounded his acclaim and the American s love of jazz. What do you see What do you find interesting about this image? What kind of instrument is this? What comparisons can you make How is this different from other photography we have seen today? Similar? Would you consider this a portrait? What does it mean to you Is music important to you, as it would be to the musician? Why do you think the hands are important? Bee (A), New York Chromogenic Print 1995, printed 2001 Artistic Cultural National What do you see - What is the first thing you notice when you look at this photograph? What comparisons can you make What senses are stimulated? What does it mean to you What thoughts or feelings are evoked from looking at this photograph? How do you think the model felt? For this shoot, a bee keeper was flown in from New Mexico. Bees become docile and harmless when cold, and the bee keeper knew the exact temperature for this state of induced hibernation he put them in the fridge. Penn remembered that Bee Stung Lips had been a popular expression in the 1950s to characterize full, pouty lips. So in 1995, when women started having collagen injected to make their lips fuller, he thought using this idea was a perfect illustration for the Vogue article. This works through Penn s artistic desire to change the viewer s perception of what is harmful or thus beautiful. At the same time it reflects the American emphasis on injecting beautiful. These impossible standards still exist today, playing into the cultural standards of what it means to be a woman of beauty a concept that is artistic in its own right as well.
Still Life with Triangle and Red Eraser, New York Cibachrome Print 1985 Artistic National American Tour Quite like the famous Penn portraits, this still life depicts the tools of an artist a portrait of the profession. This still life composition is fashioned out of materials used by a graphic artist, including a grease pencil, a triangle, colored pigments, a ruler, and multiple erasers. While clearly speaking to artistic identity ( tools of the trade), both for graphic artists and for Penn s compositional interest, the photograph also lends itself to national identity. America s identity is preformed to the world via our graphic arts and even through Penn s advertising photography. What do you see What do you find interesting about this image? What tools do you see? Do you see anything different from what you ve used in school? What comparisons can you make How is this different from other still life photos or paintings you may have seen before? Any similarities? What does it mean to you Where do we see these tools normally? What kinds of jobs would require these tools? Can you think of any task you would do with them? Does this highlight anything about the American work/art world? and Robert Freson in Henry Moore s Studio, Much Hadham, England Silver Print 1962, printed 2000 Artistic Personal This photography shows two photographers, in another artist s studio. Freson worked under Penn for 13 years at Vogue. It plays into personal identity as Penn showcases a self-portrait, in a mirror, as well as oddities that can be found in a sculptor s studio. Here Penn depicts himself within another s identity though the medium of a studio an intensely personal artistic space.. While Henry Moore is not an American sculptor, we do have one of his sculptures installed on the sculpture deck! So it will be important to emphasize the way that art can disseminate throughout the world, and how American Art practices really do have an influence. What do you see - What is the first thing you notice when you look at this photograph? What comparisons can you make is holding the camera, but is this his studio? What do you see that may suggest or deny your theory? Could this be a portrait or a way to capture what interior space looks like? What does it mean to you Do you take selfies? Are they similar or different than this photo?
Frozen Foods, New York Dye Transfer Print 1977, printed 1984 Personal National Penn s preferred subjects, food, flowers, and fashion, were all inherently ephemeral, and he saw beauty in all manner of things and in every stage of life. There is rigidity to this still life that we are not used to seeing in conjunction with food. Yet as Americans come to rely on frozen or pre-packaged foods these images can seem more commonplace. Though this photograph was taken in 1977, there is still a contemporary feel which is modern and simple. This is coupled with a fascination of decay on Penn s part, for these foods are beginning to thaw and change to their expected colors, and Penn captures this moment of chance. What do you see Can you describe what stands out to you the most? What foods do you recognize? What comparisons can you make Have you seen still life s that are different from this one, maybe even one you ve seen today? Why is this different to you? Where do you think you would find this photograph? What does it mean to you What does this say about Americans and food? Would you use this image to advertise for frozen foods or against them? Engagement: Questioning and Responding Open ended vs close ended questions- As much as possible, present questions with multiple correct answers (open-ended). This gets more minds engaged in the critical thinking and viewing of the works of art. One strategy for asking questions is starting with the right there (or obvious) questions and building to more difficult. By asking open ended questions, whether easy or difficult, students feel safe and unintimidated when they realize there is no wrong answer. Examples of open ended questions: What do you see (describe) -What do you notice? How would you describe this artwork? What comparisons can you make (analyze)- What connections do you make to school/your life/the world/etc? What questions do you have? How are the individual parts put together? What does it mean to you (interpret)- What do you think is going on in this work of art? What does it mean? What does it mean to you? Back up answers with evidence- What do you see that makes you say that?
Be patient. Allow wait time. After you ask a question, give time for visitors to answer. It s easy to want to fill the silence, but try to let it be until someone responds. Other ways to get students involved Le them explore a wall of the gallery, on which your next piece will be, and let them do some self-guided exploration. Think, pair, share- have students pair up to talk about the question then share their partner s thoughts Student choices in viewing- take an inventory of one part of the gallery and pick an artwork they identify with to discuss deeper Responding to their answers: Once you ask the questions, your reaction or response to the students answers is just as important. How you follow up with them will determine how willing they are to continue engaging in conversation. Make sure your responses are neutral and you validate each person s response in some way. Paraphrase to make sure you heard them correctly. Examples: Paraphrasing (also neutral responses): I hear you saying or It sounds like you re noticing Neutral: Thanks for your observation! or You re really noticing the (color, details, etc)! vs. Non neutral: Great answer! or Who has a better idea? or That s the best one I ve heard! Reflection The end of the tour is almost as important as the welcome. Give a summary of what they have seen, ask them what they would consider to be the highlights of the tour! Give your group something to think about as they leave. Make sure chaperones know where to go to return to the museum lobby or another location if they request. Remind your group to return on our FREE Saturdays all year round!
Connection to school curriculum National Core Arts Standards addressed: VA:Pr6.1.6a (Presenting) Access, explain, and provide evidence of how museums or other venues reflect history and values of a community. VA:Re7.1.6a (Reflecting) Identify and interpret works of art or design that reveal how people live around the world and what they value. VA:Cn11.1.6a (Connecting) Analyze how art reflects changing times, traditions, resources, and cultural uses. Kansas College and Career Readiness standards addressed: 4 th grade Elementary School Reading- RL.4.1 Refer to details and examples in a text work of art when explaining what the text work of art says shows explicitly and when drawing inferences from the text work of art. RL.4.2 Determine a theme of a story, drama, or poem work of art from details in the text work of art; summarize the text work of art. Writing- W.4.9 Draw evidence from literary or informational texts works of art to support analysis, reflection, and research. Speaking and Listening- SL.4.1d Review the key ideas expressed and explain their own ideas and understanding in light of the discussion. 5 th grade Reading- RL.5.9 Compare and contrast stories works of art in the same genre (e.g., mysteries and adventure stories) on their approaches to similar themes and topics. Writing- W.5.9 Draw evidence from literary or literary or informational texts works of art to support analysis, reflection, and research. Speaking and Listening- SL.5.1c Pose and respond to specific questions by making comments that contribute to the discussion and elaborate on the remarks of others.
Middle School Reading- RL.6.1, RL.7.1, RL.8.1 Cite textual visual evidence to support analysis of what the text work of art says shows explicitly as well as inferences drawn from the text work of art. RL.6.2 and RL.7.2 Determine a theme or central idea of a text work of art, how it is conveyed through particular details, and analyze its development over the course of the text work of art; provide an objective summary of the text work of art; provide a summary of the text work of art distinct from personal opinions or judgments. RL.8.5 Compare and contrast the structure of two or more texts works of art and analyze how the differing structure of each text work of art contributes to its meaning and style. Writing- W.6.9, W.7.9, W.8.9 Draw evidence from literary or informational texts work of art to support analysis, reflection, and research. Speaking and Listening- SL.6.1c Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion. SL.7.1c Pose questions that elicit elaboration and respond to others questions and comments with relevant observations and ideas that bring the discussion back on topic as needed. SL.7.1d Acknowledge new information expressed by others and, when warranted, modify their own views. SL.8.1c Pose questions that connect the ideas of several speakers and respond to others questions and comments with relevant evidence, observations, and ideas. SL.8.1d Acknowledge new information expressed by others, and, when warranted, qualify or justify their own views in light of the evidence presented. High School Writing- W.9-10.9 and W.11-12.9 Draw evidence from literary or informational texts works of art to support analysis, reflection and research.
Speaking and Listening- SL.9-10.1c Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions + SL.11-12.1c and promote divergent and creative perspectives. Literacy in History and Social Studies- RH.9-10.6 Compare the point of view of two or more authors artists for how they treat the same or similar topics, including which details they include and emphasize in their respective accounts artworks. RH.11-12.6 Evaluate authors artists differing points of view on the same historical event or issue by assessing the authors artists claims, reasoning and evidence. Social Studies Standards for all grades: 1. Choices have consequences. 2. Individuals have rights and responsibilities. 3. Societies are shaped by beliefs, idea, and diversity. 4. Societies experience continuity and change over time. 5. Relationships between people, place, idea, and environments are dynamic. Elementary School 4 th grade focus- Kansas and Regions of the United States (Cultural and National identity) 5 th grade focus- A New Nation: Beginnings through 1800 (National identity) Middle School 6 th grade focus- Ancient World History (Cultural identity) 7 th grade focus- Kansas History (Cultural ) 8 th grade focus- US History: Constitutional Age to International Expansion (National identity)
High School 1900 to the present, including Progressivism, World War I, the 1920s, the Great Depression and New Deal, World War II and its aftermath, the Civil Rights Movement, Vietnam, and the Modern World (National and Cultural ) STEM Practices While on the tour, students will engage in the following STEM practices using works of art. 4. Engage in Inquiry STEM proficient students will engage in inquiry to investigate global issues, challenges, and real world problems. A. Ask questions to identify and define global issues, challenges, and real world problems. 5. Engage in Logical Reasoning STEM proficient students will engage in logical reasoning to answer complex questions, to investigate global issues, and to develop solutions for challenges and real world problems. A. Engage in critical thinking.