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Blog Category: Primary and secondary schools

March 4, 2016

Introducing the Artstor-K-12 discussion list

Josef Albers, Hommage au Carre, 1965. The Josef and Anni Albers Foundation, albersfoundation.org© 2008 The Josef and Anni Albers Foundation, Bethany, CT/Artists Rights Society, NY. Photograph by Tim Nighswander.

In the last three years, it’s been wonderful to see such a large increase in K-12 institutions using Artstor.  This provides a great opportunity to bring users together to compare notes and best practices to get the most out of the Digital Library.  We are pleased to invite you to join the new Artstor K-12 discussion list, a forum for exchanging ideas and questions about teaching with Artstor.

Share tips with your colleagues and brainstorm ways to find the perfect images for teaching in the K-12 classroom. In addition to Artstor-related topics, we welcome other helpful websites and resources.

Whether you are a seasoned teacher or just starting out, we want to hear from you! To join, simply send a blank email to join-artstor-k-12@lyris.artstor.org. We encourage you to invite your fellow instructors!

Dana Howard, Senior K-12 Relationship Manager

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February 3, 2016

Reading the Codex Mendoza

The Codex Mendoza, early 1540s

The ‘Codex Mendoza’, pt. I.; fol. 002r, early 1540s. Image and original data provided by the Bodleian Library, University of Oxford. Copyright Bodleian Library, University of Oxford.

As we built our AP® Art History Teaching Resources over the last three years, we found ourselves fascinated by some of the newly required content. Over the next year, we will offer periodic webinars on some of these works of art and architecture; the first one will be on the Colonial Americas.

The art of the Colonial Americas is represented in the curriculum framework by six distinct objects. One of these is the “Codex Mendoza,” named for the first viceroy of Mexico (1535-1550), who commissioned it c. 1542 (contributed to the Artstor Digital Library by the Bodleian Library). Intended as a gift to Charles V, the manuscript never reached the monarch.

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July 22, 2015

Create your best syllabus ever at the AP® Annual Conference

Raphael | School of Athens | circa 1510-1512 | Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y.; artres.com

Raphael | School of Athens | circa 1510-1512 | Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y.; artres.com

This July 22–26, visit Artstor at the AP® Annual Conference booth 313 to learn about our new AP® Teaching Resources, including Art History, US History, and European History.

Also, join  Dana Howard, Artstor’s Senior K-12 Relationship Manager and an experienced AP® Art History teacher, who will be doing two presentations on Saturday, July 25:

Creating Your Best AP® Art History Syllabus Ever
9:00-10:15 AM, Hilton room 415B
As we prepare our AP® Art History teaching practice to fit a new curriculum framework, designing a dynamic syllabus is the key to a great year. Using the syllabus guidelines established by the College Board, teachers can become chief curators in their classroom, creating a vibrant learning environment of inquiry and discovery. We will explore curating online content that links old favorites to new material in the curriculum. Teachers will draw connections that will enable them to make classroom preparation a creative experience. New pathways to understanding can be charted by drawing on thematic, cross-cultural, and formal relationships in your syllabus. Participants will emerge from this session with ways to create a syllabus to both meet the requirements of the new curriculum and guide students in an engaging learning environment.

Reading Visual Primary Sources in AP® European History (with Paul R. Deslandes, University of Vermont)
2:45-4:00 PM, Hilton room 404
Strong, historically contextualized visual literacy skills can be key to student success in AP® European History. In this session, participants will explore ways to meaningfully integrate the close reading of paintings, prints, cartoons, posters, and photographs into classroom activities. The activities will help prepare students to successfully address exam questions and craft essays from prompts that include visual documents.

Advanced Placement® and AP® are trademarks registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this website.

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April 20, 2015

Drawing Connections with Artstor’s AP® Art History Teaching Resources

Kwakiutl, Transformation mask, 1917 or earlier. Peabody Museum of Archaeology and Ethnology

Kwakiutl, Transformation mask, 1917 or earlier. Peabody Museum of Archaeology and Ethnology

I continue to be amazed by the possibilities for teaching the new Advanced Placement® Art History Curriculum with Artstor. As we gather images to place in our growing AP® Art History Teaching Resources and draft the accompanying essays and links, I sometimes pause to marvel at how the curriculum interconnects. Those key works of art and architecture required for AP® Art History tell a powerful story. Along with the Digital Library’s 1.8 million images, I am seeing how having a deep reservoir of images really helps makes the large task of preparing to teach this new curriculum manageable and fun.

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November 12, 2014

Leonardo’s Last Supper through the ages

Leonardo da Vinci's Last Supper during restoration, 1982-1999

Leonardo da Vinci’s Last Supper during restoration, 1982-1999. Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y. http://www.artres.com/

I continually come across astounding images when crafting our resources for use in the AP® classroom; they serve as a reminder that a work of art is often subjected to dramatic events. Moreover, that these images stem from so many different places underlines the special value of the Artstor Digital Library.

Recently, in gathering the 24 images to support the teaching of Leonardo’s Last Supper, I found that we had seamlessly accessed eleven different repositories, from the Royal Library in Windsor Castle to the Musée national de la Renaissance–Château d’Écouen.

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October 15, 2013

Webinar: Resources for teaching the revised AP Art History curriculum

EventARTstor’s Selected Monuments project is a new teaching resource in support of the newly-required 250 key works of art and architecture in the Advanced Placement® Art History curriculum. Join Dana Howard, experienced AP® Art History teacher, on a free webinar to learn how the project and the Digital Library’s 1.6 million images enhance classroom teaching and assist students in preparation for the AP® exam.


Advanced Placement® and AP® are trademarks registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this website.

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October 9, 2013

Introducing Artstor’s AP® Art History Teaching Resources

Jacques-Louis David | The Oath of the Horatii | 1784 | Musée du Louvre | Image and original data provided by Réunion des Musées Nationaux / Art Resource, N.Y.; artres.com

Jacques-Louis David | The Oath of the Horatii | 1784 | Musée du Louvre | Image and original data provided by Réunion des Musées Nationaux / Art Resource, N.Y.; artres.com

Artstor’s AP® Art History Teaching Resources support the revised Curriculum Framework for the Advanced Placement® Art History course. The image groups and accompanying essays will eventually cover all 250 key works of art and architecture required for AP® Art History courses. Along with the Digital Library’s 1.8 million images, the project enhances classroom teaching in preparation for the AP® exam and provides support for anyone teaching these works of art.

Senior K-12 Relationship Manager Dana Howard, an experienced Art History teacher, has been leading the team creating the project.

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August 29, 2013

Teaching with Artstor: We Are What We Ate (and Drank)

Wine Making (Vine Shoots, Putti Gathering Grapes and Male Bust; Grape-gathering Cupids); detail | c. 350 CE | Chiesa di S. Costanza (Rome, Italy) | Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. ; artres.com ; scalarchives.com | (c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

Wine Making (Vine Shoots, Putti Gathering Grapes and Male Bust; Grape-gathering Cupids); detail | c. 350 CE | Chiesa di S. Costanza (Rome, Italy) | Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. ; artres.com ; scalarchives.com | (c) 2006, SCALA, Florence / ART RESOURCE, N.Y.

Gregory K. Martin, Ph.D.
Upper School Director, La Jolla Country Day School

In a compelling study of Western United States history, Patricia Nelson Limerick quotes Nannie Alderson, a former Virginian who moved to Montana in 1883. Alderson, looking back on a unique feature of her experience, recollected that there was on the frontier an abundance of cans: “Everyone in the country lived out of cans […] and you would see a great heap of them outside every little shack” (“Closing the Frontier and Opening Western History”).

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June 25, 2013

Artstor and the Common Core State Curriculum Standards

Jacob A. Riis | East Side Public Schools 1; ca. 1890 | Museum of the City of New York

Jacob A. Riis | East Side Public Schools 1; ca. 1890 | Museum of the City of New York

When I first joined Artstor, it was from the perspective of an art history and humanities teacher. In my own little niche, the Artstor Digital Library was what one friend called “the candy store for art historians.” As I familiarized myself with the wide array of candy available, I was also building my understanding of the way the Common Core State Curriculum Standards include visual resources in research, analytical, and presentation skills across the K-12 curriculum. It was then that I began to see the Digital Library as the candy store for all of us, including K-12.

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March 27, 2013

Meet ARTstor staff at the FATE 2013 Conference

Foundations in Art: Theory and Education (FATE)
April 4 – April 6, 2013
Hyatt Regency Savannah, Savannah, GA

Dana Howard, Senior K-12 Relationship Manager, will be presenting at the FATE 2013 Conference in Savannah as part of a panel discussion called “Building Bridges: AP Art History and the Studio Art Student.”

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