AP® Art History Course Planning and Pacing Guide Marsha K. Russell St. Andrew’s Episcopal School ▶ Austin, Texas © 2014 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. About the College Board Welcome to the AP Art History Course Planning and Pacing Guides The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, This guide is one of three course planning and pacing guides designed the College Board was created to expand access to higher education. for AP Art History teachers. Each provides an example of how to Today, the membership association is made up of more over 6,000 of the design instruction for the AP course based on the author’s teaching world’s leading educational institutions and is dedicated to promoting context (e.g., demographics, schedule, school type, setting). These excellence and equity in education. Each year, the College Board helps course planning and pacing guides highlight how the components more than seven million students prepare for a successful transition to of the AP Art History Curriculum Framework — the big ideas and college through programs and services in college readiness and college essential questions, enduring understanding and essential knowledge success — including the SAT® and the Advanced Placement Program®. statements, learning objectives, and works of art within the image The organization also serves the education community through research set — are addressed in the course. Each guide also provides valuable and advocacy on behalf of students, educators, and schools. For further suggestions for teaching the course, including the selection of information, visit www.collegeboard.org. resources, instructional activities, and assessments. The authors have AP® Equity and Access Policy offered insight into the why and how behind their instructional choices — displayed along the right side of the individual unit plans — to aid in The College Board strongly encourages educators to make equitable course planning for AP Art History teachers. access a guiding principle for their AP® programs by giving all willing The primary purpose of these comprehensive guides is to model and academically prepared students the opportunity to participate approaches for planning and pacing curriculum throughout the in AP. We encourage the elimination of barriers that restrict access school year. However, they can also help with syllabus development to AP for students from ethnic, racial, and socioeconomic groups that when used in conjunction with the resources created to support have been traditionally underserved. Schools should make every the AP Course Audit: the Syllabus Development Guide and the four effort to ensure their AP classes reflect the diversity of their student Annotated Sample Syllabi. These resources include samples of evidence population. The College Board also believes that all students should and illustrate a variety of strategies for meeting curricular requirements. have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. It is only through a commitment to equitable preparation and access that true equity and excellence can be achieved. AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. i Contents Please note that the information included in this course planning and pacing guide is aligned with the AP Art History Course and Exam Description (available February 2015). 1 Instructional Setting 2 Overview of the Course Course Planning and Pacing by Unit 3 Unit 1: Mastering the Approach 7 Unit 2: Global Prehistory and the Pacific 18 Unit 3: Indigenous Americas and Africa 30 Unit 4: South, Central, East, and Southeast Asia 37 Unit 5: Ancient Mediterranean 52 Unit 6: West and Central Asia and Early Europe, through 1400 C.E. 63 Unit 7: Early Modern Atlantic World, 1400–1750 C.E. 74 Unit 8: Later Europe and Americas, 1750–1900 C.E. 86 Unit 9: Later Europe and Americas, 1900–1980 C.E. 97 Unit 10: Global Contemporary 110 Resources 130 Appendix: Title Index AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. ii Instructional Setting St. Andrew’s Episcopal School ▶ Austin, Texas School St. Andrew’s is an independent Episcopal school. Student AP Art History is a humanities elective offered to 11th preparation and 12th graders. There is no prerequisite. Student There are 415 students in grades 9–12. The population student population is 78 percent Caucasian and 22 Textbooks and Stokstad, Marilyn, and Michael W. Cothren. Art percent ethnically diverse. One hundred percent other main History. 5th ed. Boston: Pearson, 2013. of St. Andrew’s students go on to college, and resources approximately 30 percent of St. Andrew’s students take AP® Art History. Instructional Classes at St. Andrew’s start in mid-to-late August. time There are 137 class sessions before the exam. We are on a rotating schedule in which classes meet six out of seven days. Five of those class periods run 50 minutes, while the sixth runs 75 minutes. AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 1 Overview of the Course The central questions of this course include the following: What is paradigms to architectural plans, for example, inferring much about a art and how is it made? Why and how does art change? How do we building before ever seeing what it looks like. Students establish the describe our thinking about art? As they address these questions, practice of verbalizing the visual, as they keep continual notes from students master effective and precise articulation of an artwork’s reading, research, video viewing, and discussion on individual Wiki blog meaning and function, its maker’s methodology, and the ways it reflects pages. These function as a source of formative assessment to which I and affects its historical and cultural context. With these core questions give individual responses. as its foundation, this planning and pacing guide emphasizes daily As we move through the course, students begin to think globally, practice of questioning techniques, discussion methods, analytical applying what they’ve learned in ever-deepening cross-cultural and paradigms, guided discovery, and independent learning. Students thematic comparisons that work effectively as an ongoing review, develop critical thinking and visual literacy skills with which they can keeping works from all units fresh in students’ minds. Always extract meaning from any artwork they encounter throughout their lives. encouraged to connect current and previous learning, students The course begins with a brief introductory unit establishing key learn independently, with partners, in small groups, and as a class, concepts. Most students come into the course with very little training demonstrating their knowledge and skills in a wide range of formats. in visual literacy. Rather than being a disadvantage, this creates a level Together we look, analyze, converse, write, evaluate, revise, and share playing field for students with widely disparate skill sets — a powerfully online. The focus throughout is collaborative, with our common goals of positive factor in establishing class culture. mastering all the learning objectives, integrating essential knowledge, speaking and writing about artworks with precision, authority, and In the early units, I place special emphasis on skills acquisition. We specificity, and growing together as a community of learners. may spend entire class periods focusing on only one or two learning objectives so that students have ample opportunity to master them before moving on. I regularly incorporate connections with students’ lives and experiences, working to “familiarize the unfamiliar.” We establish our basic routine in the early units: Students come into class after doing independent reading and they sit in new arrangements daily, with constantly revolving discussion partners. We spend time looking closely at artworks. Then student partners discuss ideas using questions I pose for their consideration. I believe that helping students develop visual literacy requires me to have the pedagogical discipline not to tell students anything they can discover through guiding questions. After partner discussions, we explore students’ responses as a class through cold calling; this enables an ongoing assessment and helps me differentiate instruction. We use analytical paradigms — sets of questions that move from concrete to abstract in ways all students can master. Students learn to independently create and apply such AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 2 1 Mastering the Approach Targeted Enduring Understanding/ Estimated Time: T Essential Knowledge: 8 class periods I N ▶▶2-2, 2-3, 2-4, 4-1, 4-2, 4-3, 5-2, 6-2, 8-2, 8-3, 10-1, 10-2 U Guiding Questions: ▶ How do we talk with a work of art, and how does it talk to us? ▶ Why do some subjects, by artists from different times and places, look so similar, while others look so different? ▶ Why don’t we always agree about what we see? Works of Art Resources Instructional Activities and Assessments Wall plaque, from Oba’s Instructional Activity: Visual and Contextual Analysis ◀ Sketching enables students to palace For 2 minutes students sketch the Benin plaque. I then guide them through practice looking closely and Presentation of captives an analytical paradigm, posing questions on content, form, function, actively and to begin forming to Lord Chan Muwan* patronage, and setting. In pairs, students talk about the questions before a ideas independently. discussion with the entire class begins. I fill in gaps in the conversation with Partnering students prior to contextual material before we apply the paradigm to the Lord Chan Muwan the group discussion ensures mural. After discussing its context, I display it and the wall plaque and that every student engages in student pairs compare the two, focusing on the ways in which the works active speaking and listening, communicate the power of the patron. builds confidence, and provides (Primary learning objectives addressed: 1.1, 1.3, 1.4, 3.5) me opportunities to check for understanding. I use this method for all class discussions. King Menkaura and Stokstad and Cothren, Instructional Activity: But Is It Art? queen introduction Before class, students read “What Is Art?” in the textbook and watch Fountain (second Web the Colbert Nation videos. In class, students blog for 5 minutes regarding version) “Steve Martin Pt. 1” whether the portrait of Stephen Colbert is art. Partners discuss their Spiral Jetty “Steve Martin Pt. 2” responses, and then as a class we discuss the question, What is art? I Terra cotta warriors explain the contextual background of King Menkaura and queen, including from mausoleum of the its function as a substitute body for the ka. I ask whether it is art since that first Qin emperor of was not its intended function. We discuss ways that its medium, function, China form, and context intersect. We then discuss Spiral Jetty, the terra cotta warriors, and Fountain using the same approach. (Primary learning objectives addressed: 1.2, 1.4) * Works marked with an asterisk are those from outside the image set defined in the curriculum framework. AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 3 1 Mastering the Approach (continued) T I N U Guiding Questions: ▶ How do we talk with a work of art, and how does it talk to us? ▶ Why do some subjects, by artists from different times and places, look so similar, while others look so different? ▶ Why don’t we always agree about what we see? Works of Art Resources Instructional Activities and Assessments Palette of King Narmer Stokstad and Cothren, Instructional Activity: Tradition and Change King Menkaura and chapter 5 Before class, students read about Anavysos Kouros, Kritios Boy, Riace queen Web warrior, Doryphoros, Hermes and the Infant Dionysos, and the seated boxer Last judgment of Peanuts characters in the textbook. In class, I project the Peanuts characters, and student Hu-Nefer, from his groups of three each invent and sketch a new character, describing details tomb (page from the that individualize their characters and details that make them appear Book of the Dead) “part of the gang.” Groups display their sketches. We explore the terms Anavysos Kouros naturalistic, idealized, and stylized in the context of Peanuts characters. Kritios Boy* Referencing these terms along with tradition and innovation, students analyze features of tradition in the three Egyptian works. We then compare Riace warrior* King Menkaura and queen with the Greek Anavysos Kouros. We use Kritios Doryphoros (Spear Boy, Riace warrior, Doryphoros, Hermes and the Infant Dionysos, and seated Bearer) boxer to explore innovation, tradition, influence, and change. Hermes and the Infant Dionysos* (Primary learning objectives addressed: 2.1, 2.2, 2.3, 3.5) Seated boxer Ludovisi Battle Stokstad and Cothren, Instructional Activity: Audience Response ◀ Debriefing is a technique I use in Sarcophagus introduction Before class, students read the textbook section on formal analysis. In class, class as a follow-up to partnering Isenheim altarpiece MC Yogi, “Ganesh Is I play the MC Yogi song without introductory comment. After 30 seconds, (when pairs of students have Liberty Leading the Fresh” I ask students to look around and observe what they see. Students are discussed specific points or People given crayons and they listen again; this time they respond by using their questions). To debrief, I cold call Memorial Sheet for Karl crayons to make nonrepresentational lines and shapes. We use this exercise individual students for responses, Liebknecht to discuss ways in which music elicits a response from listeners. We then and I ask follow-up questions talk about the range of responses visual artworks may elicit and how artists (usually for a more thorough can shape those responses. Partners view Liberty Leading the People and explanation, specific examples, or the sarcophagus and discuss possible viewer responses, paying attention to alternative views). This ongoing both content and formal elements. We debrief. They do the same exercise assessment process enables me to with the other two images. gauge both individual and group (Primary learning objective addressed: 3.2) learning and instantly address areas of misunderstanding. AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 4 1 Mastering the Approach (continued) T I N U Guiding Questions: ▶ How do we talk with a work of art, and how does it talk to us? ▶ Why do some subjects, by artists from different times and places, look so similar, while others look so different? ▶ Why don’t we always agree about what we see? Works of Art Resources Instructional Activities and Assessments Formative Assessment: How Do Works of Art Evoke Responses? ◀ I use this analytical exercise to From the art in the image set that we have already studied, students choose see how effectively individual a work that they've had a strong reaction to, and in either a spoken or students are developing the written format, each student identifies the work, explains his or her reaction, skills we have been addressing. and analyzes the content and formal elements in the work that provoked I provide feedback in the form of the stong response. Students can use video presentation software (such brief written comments on a copy as Windows Live Movie Maker) to embed the artwork and add their own of the assignment sheet, noting spoken commentary, and these will be uploaded to the class SchoolTube site, things done particularly well and or they can choose to do the work in writing on the class blog. In a follow-up suggesting ways to improve in assignment, students read and/or watch at least three other responses and similar assessments. offer comments and suggestions. (Primary learning objectives addressed: 1.1, 3.2) Yaxchilán Miner, “Body Ritual Instructional Activity: Differing Interpretations Power figure (Nkisi Among the Nacirema” Students read the Miner article before class. We use this as a springboard for n’kondi) a discussion of how outsiders can easily misinterpret works of art removed Untitled (Portrait of Ross from their cultural contexts. I show a piece of hard candy and ask students in L.A.)* whether it is art, what their response is upon seeing it, and what its function is. As students view the Gonzalez-Torres candy dump, I ask the same questions again. After group discussion, I explain that the artist’s intent was for visitors to eat the candy and realize it symbolizes the shrinking body of a dying man. At this point we look at the African and Mayan works and discuss potential misinterpretations by outsiders along with the meaning of the works within their cultural contexts. (Primary learning objective addressed: 3.3) AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 5 1 Mastering the Approach (continued) T I N U Guiding Questions: ▶ How do we talk with a work of art, and how does it talk to us? ▶ Why do some subjects, by artists from different times and places, look so similar, while others look so different? ▶ Why don’t we always agree about what we see? Works of Art Resources Instructional Activities and Assessments The Saint-Lazare Station Instructional Activity: Thematic Connections ◀ After my introductory portion, The City Rises* I model thematic comparison for the class using the subtheme of urban this activity can also function experience. In pairs, students draw an image matched with one of the pedagogically as a formative Nighthawks* optional course themes or subthemes they’ve chosen from a hat. Students assessment, since I will have the Dream of a Sunday choose two other works from the image set that offer different approaches opportunity to hear students put Afternoon in the Alameda Park to their themes, and they prepare for a roundtable discussion over the their comparative analytical skills following two days to discuss their works using the skills we have been into practice and offer them oral practicing. They prepare to do both visual and contextual analysis as they feedback. justify their thematic choices and “connect the dots.” (Primary learning objective addressed: 3.5) Alexander Mosaic from Stokstad and Cothren, Summative Assessment: Comparative Analysis ◀ This summative assessment the House of Faun, chapters 5 and 12 Before class, students read the essay scoring rubric I pass out and the addresses the following guiding Pompeii sections relating to The Night Attack on the Sanjô Palace and Alexander questions: Night Attack on the Mosaic in the textbook. In class, partners spend 5 minutes discussing the ▶ How do we talk with a work of Sanjô Palace form, function, content, and context of the works, as well as ways responses art, and how does it talk to us? are elicited from the viewer. Students write an in-class 30-minute essay ▶ Why do some subjects, by synthesizing those issues as they relate to the images. artists from different times and (Primary learning objectives addressed: 1.1, 3.2) places, look so similar, while others look so different? AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 6 2 Global Prehistory and the Pacific Targeted Enduring Understanding/ Estimated Time: T Essential Knowledge: 10 class periods NI ▶▶1-1, 1-2, 1-3, 9-1, 9-2, 9-3, 9-4 U Guiding Questions: ▶ How are groups of people shaped by their relationships with the natural world? How is that expressed through art? ▶ How have artists adapted human and animal forms to depict both natural and supernatural beings? Works of Art Resources Instructional Activities and Assessments Apollo 11 stones Web Instructional Activity: Prehistoric Art Great Hall of the Bulls MacGregor, “Swimming Before class, students listen to the podcast. In class, using Google Earth, Reindeer” I fly to the locations of the activity’s six works, noting humankind’s spread Camelid sacrum in the shape of a canine outward from Africa. I display each work for 90 seconds, while partners brainstorm things that can be said with certainty about it. I use student Swimming Reindeer* responses to emphasize that works from prehistory must be discussed Bushel with ibex motifs cautiously as we cannot “know” anything other than what scientific The Ambum Stone evidence or formal analysis tells us. We examine the works again, and I present statements about each, asking students to judge their validity. For the Hall of Bulls, a valid statement might be, “The artists were familiar with horses,” while an invalid one might be, “These people worshipped horses.” Students write and share valid and invalid statements about each. (Primary learning objectives addressed: 1.1, 3.2) Apollo 11 stones Stokstad and Cothren, Instructional Activity: The Ancients Portray the World Around Them ◀ In the latter part of the activity, Great Hall of the Bulls chapter 1 Before class, students read the textbook’s introduction to prehistory and the before addressing the Great first half of the Paleolithic section. In class, students sketch the Great Hall Hall of the Bulls, we take the Camelid sacrum in the Web shape of a canine “Visite de la Grotte” of the Bulls and bushel with ibex motifs, and partners discuss what these virtual tour of the Lascaux caves works suggest about the relationship between prehistoric peoples and the so that students have a fuller Bushel with ibex motifs natural world. I address prehistoric hunting/gathering and the concept of understanding of its siting. The Ambum Stone shamanism. We work through the images chronologically, and after we do a formal analysis, I teach what is known about each, emphasizing distinctions between solid contextual evidence, scholarly conjecture arrived at through interdisciplinary collaboration, and irresponsible speculation. (Primary learning objectives addressed: 3.2, 3.3, 3.5) AP Art History ■ Course Planning and Pacing Guide ■ Marsha K. Russell © 2014 The College Board. 7