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SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
SSCA Presentation 2013-Visual Arts and Visual Literacy:  Gateways to the Common Core
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SSCA Presentation 2013-Visual Arts and Visual Literacy: Gateways to the Common Core

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  • 1. Social Studies Council of Alabama October 14, 2013 Susan Pitts Santoli, Ph.D. ssantoli@southalabama.edu PaigeVitulli, Ph.D. pvitulli@southalabama.edu University of South Alabama 1
  • 2. Visual literacy is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. Images and visual media may include photographs, illustrations, drawings, maps, diagrams, advertisements, and other visual messages and representations, both still and moving.Visual literacy skills equip a learner to understand and analyze the contextual, cultural, ethical, aesthetic, and technical components involved in the construction and use of images and visual media. A visually literate individual is both a critical consumer of visual media and a competent contributor to a body of shared knowledge and culture. ~ from the Association of College and Research Libraries (ACRL) http://acrlvislitstandards.wordpress.com/2010/08/06/working- definition-of-visual-literacy/ 2
  • 3.  Seeing and interpreting images is a vital part of what it means to learn and know…in order to support teaching multiple literacies, students must be overtly taught to engage in and critically reflect.  Crawford, S. Hicks D. and Doherty N., (2009).Worth theWAIT: Engaging Social Studies students with art in a digital age. Social Education, 73(3), 136-139. 3
  • 4.  Studies done by Lynn O’Brien of Specific Diagnostic Studies – students whose strongest learning channel is auditory comprise less than 15% of the population. On the other hand, students who comprise a visual learning style are about 40% of the population…kinesthetic students form around 45% of the population.”  Dickinson, D. (2002). Learning through the arts. Seattle,WA: New Horizons for Learning. Retrieved from Http://www.newhorizons.org 4
  • 5. Key words from standards:  Analyze  Interpret  Assess  Draw evidence  Use technology  Write arguments  Gather relevant information  Present  Make use of visual media  Integrate 5
  • 6. MappingTools  http://www.visual- literacy.org/pages/maps/mapping_tools_radar/radar.html Visual Literacy slides  http://www.slideshare.net/cadelarge/visual-literacy-week-6-of-6-slides Mind Mapping  http://librariesandtransliteracy.wordpress.com/2010/07/23/visual- learning-and-mind-mapping-2/ 6
  • 7. 7
  • 8. Resources Observing & Describing Making Connections Creating/ Producing Questioning & Investigating Exploring Perspective/ Point of View
  • 9.  Elements of Art  Line  Shape & Form  Space  Color  Value  Texture The ABCs of Art http://www.awesomeartists.com/ART/ mTableOfContentsTheABCsOfArt.htm The Artist's Toolkit http://www.artsconnected.org/toolkit/in dex.html 9
  • 10. 1010 Observing & Describing
  • 11. As a group, observe and describe several different sections of an artwork.  One person identifies a specific section of the artwork and describes what he or she sees.  Another person elaborates on the first person’s observations by adding more detail about the section. A third person elaborates further by adding yet more detail, and a fourth person adds yet more.  Observers: Only describe what you see. Hold off giving your ideas about the art until the last step of the routine.  http://www.moma.org/explore/multi media/audios/1/4 11
  • 12. •Daumier- •Orchestral Stalls •Horace Pippin- •Christmas Morning Breakfast 12
  • 13. 13
  • 14.  What details are present in the painting?What do you feel is missing?  What would you like to ask the artist about the painting?  What social class do the figures represent?What supports your answer?  Explain whether or not you feel this was a formally composed painting.  Extension: Daumier was in prison several times for his political and social caricatures. He produced nearly 4,000 for Parisian journals. Explain the political events that were occurring in France from the 1830s through the end of the century that might have been subjects of Daumier’s political satire. 14
  • 15. 15
  • 16.  Give an approximate date for the time period you think is being depicted in this picture. On what details did you base your decision?  What is the economic status of the family shown in the picture? On what details did you base your opinion?  What are some things you might smell or hear in this picture?  What mood was the artist trying to convey when he painted this picture, which was based on his childhood memories? Extension:  The title of this painting is Christmas Morning Breakfast. What is occurring here that might have been a tradition in this family?What are some traditions that you have in your family that center around holidays? 16
  • 17.  Students will provide “many, varied, and unusual” single words to describe selected or assigned works of art. No repetition of words!  The words may be dictated and recorded by the teacher on Post-it Notes or written by the students on Post-it Notes.  Students will stick Post-it Notes to the laminated artwork to for all to view, respond to, and reflect upon.  More than one piece of artwork may be described at a time.  Students may be divided into teams for cooperative work and may compete for the quantity and/or quality of responses.  Can also use the rapid fire feature of Inspiration. 17
  • 18.  http://voicethread.com/ #home http://padlet.com/ 18
  • 19. Picturing America : Resource from National Endowment for the Humanities: http://picturingamerica.neh.gov/index.php?sec= home Selma to Montgomery March
  • 20. 20 Selma to Montgomery March, James Karales
  • 21.  Describe what is observed in selected works of art.  Describe subject matter in works of art.  Describe elements of art and principles of design.  Observe, describe and identify features, similarities, and differences in artwork.  Express feelings generated by a work of art.  Identify and describe the historical period/event being represented in the artwork.  Compare art associated with various cultures.  Discriminate between actual and dramatic or romanticized portrayals of persons or events.  Analyze various works of art for clues depicting time periods and places.  Use technology to investigate visual images. 21
  • 22.  Give a title to an artwork.Write why you would call it this.  If the artist were in the room, what questions would you ask him/her?  Write a letter to an artist, asking questions about the artwork.  Describe an abstract work of art in writing.  Look at a photograph or painting and write about the “sounds” you might hear in the background.  Describe how a work of art reflects and differs from real life.  Tell what you think it would be like to live in this painting/drawing.  Write a conversation between characters seen in a work of art (or two works of art).  Imagine an artist’s show has just opened; Write a press release or review for a newspaper describing his/her artwork. 22
  • 23.  Look at a painting or poster, and then invent a history.Write something about how the artist was feeling when it was painted, why the curator purchased this painting, or something about the subject.  Write about three works of art you would purchase if price were no object.This is the beginning of a personal art collection. Write about the choices.  Collect a variety of reproductions from various historical periods (post cards, art memo cards, calendar prints, etc…). Students are provided with a random group of reproductions and assigned a specific historical period. Students trade with one another to obtain works representative of their assigned period. When the collections are complete, students arrange works and as the “curators,” and describe the show for a potential audience.  Groups find several works of art that are based on a myth, historical event, or person, and then write about the events or people that inspired the works of art. 23
  • 24. 2424 Questioning & Investigating
  • 25.  Integrating Social Studies and theVisual Arts  Observation vs. Interpretation  Dividing up the artwork  5W’s and an H:  Who,What,When, Where, Why, How  MatchingText and an Image  http://americanart.si.edu/education/pdf/learning_to_look. pdf
  • 26. First, the name. We owe the name "Photography" to Sir John Herschel , who first used the term in 1839, the year the photographic process became public. The word is derived from the Greek words for light and writing. There are two distinct scientific processes that combine to make photography possible. It is somewhat surprising that photography was not invented earlier than the 1830s, because these processes had been known for quite some time. It was not until the two distinct scientific processes had been put together that photography came into being. The first of these processes was optical. The Camera Obscura (dark room) had been in existence for at least four hundred years. There is a drawing, dated 1519, of a Camera Obscura by Leonardo da Vinci; about this same period its use as an aid to drawing was being advocated. The second process was chemical. For hundreds of years before photography was invented, people had been aware, for example, that some colors are bleached in the sun, but they had made little distinction between heat, air and light. 26
  • 27. Additional Resources History of PhotographyTimeline  http://www.photo.net/history/timeline The American Museum of Photography  http://www.photography-museum.com/ History of Photography and the Camera  http://inventors.about.com/library/inventors/blphotography.htm History of Photography  http://www.azuswebworks.com/photography/history.html Photograph Analysis Sheet  http://www.archives.gov/education/lessons/worksheets/photo.html 27
  • 28. 28 Beginning, Middle, End? ~If this artwork is the beginning of a story, what might happen next? ~If it this artwork is the middle of a story, what might have happened before? What might be about to happen? ~If this artwork is the end of a story, what might the story be? ~Use your imagination http://usaeyesonireland.blogspot.ie/2012/10/the-meeting-on-turret- stairs.html http://usaeyesonireland.blogspot.com/2012/10/we-finally-viewed- original.html
  • 29. 2929 Making Connections
  • 30. http://www.uflib.ufl.edu/ufdc/?m=hd1J&i=108500
  • 31. This project is an opportunity for you to express your creativity while researching some aspect of the culture, politics or economy of World War and Its Aftermath. It covers the years 1914-1929. You may make some references to the war, but do not make that the primary focus of your book. Instead focus on the home front and the period of the 1920s. We viewed a primary document titled, ABCs for Baby Patriots, a story book for British children that glorified the British Empire. Your assignment is to produce a similar ABC book focusing on this era. Have fun with this. Let your imagination run wild! Specifics: Your book may be a hard copy or in digital format You must select an aspect of European life or a particular country as a focus for the book You must have one page per letter of the alphabet. There must be at least one visual on the page for each letter. Your book must have a cover with the title and your name as author. Your book must be attractive and free of spelling and grammar errors. Additional points may be earned for rhyming, original art work, special effects, or especially creative additions to be the basis book format. Your book is due to theT drive if digital, or in hard copy, at the beginning of class onThursday, April 1, 2010. 31
  • 32. Student Created ABC Book 32
  • 33. Use 10 x 2 process  Look at image quietly for 30 seconds  List 10 words or phrases that come to mind  Repeat Headlines for any work of art or visual image  If you were to write a headline that captures the most important aspect that should be remembered, what would the headline be? 33
  • 34. 34 "The Old Grass Road, Kinsale" 1925 Oil, 18 x 24 ins Geography and Art from Project Zero
  • 35. 35 Looking Down Yosemite Valley, California - Albert Bierstadt Geography and Art from Project Zero
  • 36. 36 Georgia O'Keeffe, My Front Yard, Summer, 1941, Oil on canvas, 20 x 30 inches, Gift of the Georgia O'Keeffe Foundation, ©Georgia O'Keeffe Museum Geography and Art from Project Zero
  • 37. 37 Geography and Art from Project Zero What landforms can you identify? What would it be like to walk through this picture? What would you see and hear? What would the weather be like in this picture?
  • 38. 38 Set Induction Activity
  • 39.  Find an image from each of the panels and write what you see.  Discuss as a class or in student groups.  Tell students that the painting imaginatively depicts a real event and ask if they know what it may be. If they say “Black Death,” ask them some things they know or believe they know about the plague.  After studying the Black Death, use the painting again and ask students how the painting relates to what they’ve learned  and what questions they still have about the Black Death or the painting. 39
  • 40. 4040 Exploring Perspective/ Point of View
  • 41. 41
  • 42.  Symbols Introduction  Summer Cartoon  Cartoon Analysis Worksheets can guide student analysis  National Archives and Records Administration http://www.archives.gov/education/lessons/worksheets/ca rtoon_analysis_worksheet.pdf  Editorial CartoonAnalysis http://politicalcartoonanalysis.wikispaces.com/Analysis+To ol 42
  • 43.  It’s No Laughing Matter (LOC) http://www.loc.gov/teachers/classroommaterials /presentationsandactivities/activities/political- cartoon/  Interpreting Political Cartoons in a History Class http://teachinghistory.org/teaching- materials/teaching-guides/21733  Zoom In Inquiry http://www.youtube.com/watch?v=BDjzeS6jZqY
  • 44.  The Political Dr. Seuss http://tfaoi.com/aa/1aa/1aa291.htm  Harper’sWeekly http://www.harpweek.com
  • 45.  American Political History Online http://tigger.uic.edu/~rjensen/pol-gl.htm  British Cartoon Archive http://www.cartoons.ac.uk/  Daryl Cagle’s Professional Cartoonists Index http://cagle.com
  • 46. Westward Expansion  Activities and Options  Resources
  • 47. 47 Students are in pairs or threes Each group receives a primary source which is numbered Each group answers these basic questions regarding the source: • What are you viewing? • What message does it contain about western expansion in the 1800s? At end of 4-5 minutes, each group passes its primary source to another group, receives another source and answers the same questions for the new source
  • 48. 48 http://www.loc.gov, ppmsca 09855
  • 49. 49 http://www.archives.gov/education/lessons/homestead- act/images/homesteading-family.gif
  • 50. 50 Excerpts from western diaries
  • 51. 51 Library of Congress Call number Portfolio 134, Folder 13
  • 52. 52 John McCarthy, photographer. John Bakken Sod House, Milton, ND, c 1895. NDSU Institute for Regional Studies. Reproduction Number 120mm-0144 copy neg. 2029.061
  • 53. 53 After all items are viewed, students are asked to complete the following questions: Did you find any conflicting messages? Why do you think these occurred? If you were summarizing, in one sentence, what westward expansion was like, what would you say? Extend assignment by having students read the Homestead Act, examine homestead applications, design their own ad encouraging or discouraging settlers from moving west.
  • 54. 54 Creating/ Producing
  • 55. Tagxedo http://www.tagxedo.com/ Tagxedo turns words -- famous speeches, news articles, slogans and even themes, -- into a visually stunning word cloud, words individually sized appropriately to highlight the frequencies of occurrence within the body of text. Wordle: http://www.wordle.net/ Word Clouds for Kids http://www.abcya.com/word_clouds.htm ABCya! word clouds for kids! A word cloud is graphical representation of words allowing for creativity, expression and imagination beyond that of lists or graphic organizers. This application was designed specifically for primary grade children. The navigation and controls are simple and easy to learn. Saving and printing a word cloud is only one click away! Neoformix http://www.neoformix.com/index.html Discovering and illustrating patterns in data 55
  • 56. 56
  • 57. 57
  • 58. 58
  • 59.  The Official Blog ofTagxedo - 101Ways to Use Tagxedo  http://blog.tagxedo.com/101-ways-to-use-tagxedo- completed  TheWhiteboard Blog  Word Cloud Makers forTeachers  http://www.whiteboardblog.co.uk/2011/09/8-word- cloud-makers-for-teachers/ 59
  • 60. 60 Student Created Newspapers: Civil War Newspaper Lesson Plan http://www.civilwar.org/education/teachers/lesson-plans/civil-war- newspaper-lesson-plan/creating-a-civil-war.html Lesson Plan for a French Revolution Newspaper http://curriculalessons.suite101.com/article.cfm/lesson-plan-for-a-french- revolution-newspaper Colonial Newspaper http://www.pghs.org/library/colonial_newspaper.htm
  • 61. 61
  • 62. 62
  • 63. 63
  • 64. 64
  • 65. Masks http://ignca.nic.in/mask.htm Another Face: Masks around theWorld http://gallery.sjsu.edu/masks/menu.html Mexican Masks http://www.mexicanmasks.us/ The Art of the African Mask http://cti.itc.virginia.edu/~bcr/African_Mask.html MasksTheme Page http://www.cln.org/themes/masks.html Mask Examples at ArtTalk http://arttalk.wetpaint.com/page/Mask-Making 65
  • 66.  ”It is unclear exactly when humans first starting using masks, but there is evidence of them even in prehistoric cave art. There are numerous styles of masks around the world, and they are used for a variety of purposes. Most began with a religious, ritualistic, and/or social purpose. Some masks are considered to be alive and possess great power, whereas others may mark a rite of passage, such as that from childhood to adulthood. Some funerary masks are used to help the spirit find the correct body, and others are meant to keep the spirit from possessing the body. In contemporary western society, masks are commonly used in role playing for theatrical or holiday festivities. The purposes of masks are numerous, but the human need for them is perhaps universal.”  From:University of Missouri-Columbia Museum of Anthropology 66
  • 67. 67 Visual Arts, Social Studies, and LanguageArts Integration PaigeVitulli, Ph.D. pvitulli@southalabama.edu
  • 68.  An Artist’s Ireland  An Artist’s Alabama 68
  • 69.  Art at the HeART of Social StudiesWIKI  http://artandsocialstudi es.wetpaint.com/  Vitulli & Santoli: Eyes on Ireland  http://usaeyesonirelan d.blogspot.com/ 69
  • 70. 70 http://edu.glogster.com/
  • 71. 71 Resources
  • 72. http://artandsocialstudies.wetpaint.com/page/Differentiated+Instruction 72
  • 73.  National Archives and Records Administration  http://archives.gov/education Library of Congress  http://www.loc.gov/teachers/ Smithsonian  http://www.smithsonianeducation.or g/educators/index.html 73
  • 74.  Education Resources  http://americanart.s i.edu/education/clas sroom/results/
  • 75.  http://americanart.si.edu/education/pdf/Posters_ to_Go.pdf
  • 76.  A Journey through Art withW.H. Johnson  http://americanart.si.edu/education/johnson/
  • 77. http://www.smithsonianjazz.org/class/armstrong/kit/kit.asp
  • 78.  http://americanart.si.edu/education/rs/index.cfm  http://artandsocialstudies.wetpaint.com/page/Electronic+Su perhighway%3A+State+History
  • 79. 79
  • 80. More Image Resources  Google Image: http://images.google.com/  Images, Clip Art, Pictures, Image Search, News Photo Galleries: www.libraryspot.com/images.htm  Life Magazine: http://www.life.com/  Online Image Resources: http://copyright.columbia.edu/copyright/special- topics/art-and-other-images/online-image- resources/  25,000 Images of Art that you can re-use for free: http://www.freetech4teachers.com/2013/06/25000- images-of-art-that-you-can-re-use.html 80
  • 81.  Calendars  Posters  Overheads  Podcasts  Websites  TeacherTube 81
  • 82.  Vitulli, P., Santoli, S. P., Fresne, J. (2013). Arts in Education: Professional development integrating the arts and collaborating with schools and community. International Journal of Pedagogies and Learning, 8(1), 45-52.  Santoli, S. P.,Vitulli, P. (2013). Picture this:The integration of social studies and visual arts. InT. Lintner (Ed.), Integrative strategies for the k-12 social studies classroom. Charlotte, NC: Information Age Publishing. www.infoagepub.com/products/Integrative- Strategies-for-the-K-12-Social-Studies-Classroom  Vitulli, P., Santoli, S. P. (2013).Visual arts and social studies: Powerful partners in promoting critical thinking skills. Social Studies Research and Practice, 8(1), 18 pages. www.socstrpr.org  Santoli, S. P.,Vitulli, P. (2012). Examining the 1963 March on Washington for Jobs and Freedom through primary sources. Black History Bulletin/Association for the Study of African American Life and History, 75(2), 7-15. www.asalh.org/bhb.html 82
  • 83. I have a GREAT Idea! 83

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