Teacher’s Guide
(Elementary insert inside)
September/october 2014
Vol. 45 No. 1 ISSN 1060-832X
What is art? This is a question that I love and hate to think about. It is
equally fascinating and frustrating. Is art the representation of beauty?
Expression? Ideas? We decided that to begin the new school year, we
would ask your students to grapple with this very big question, which
philosophers, art critics, and scholars have debated for centuries. The
art in this issue, which spans many centuries and styles, represents just
a slice of art’s history. But we hope it will help your students think about
what art is, how its purpose has changed throughout history, and what
it means to them. Although your students may not find a simple way to
answer the question, I hope that they have as
much fun thinking about it as I have.
Check your printed
—Katie Brickner, Editor
Teacher’s Guide
[email protected]
for registration
information
www.scholastic.com/art
STILL TO COME!
• Nov.: African Masks
• Dec./Jan.: Henri Matisse
• feb.: Children’s Book
FeAtured video:
• A Super Short History of Art
PLUS:
• Printable skills sheets
• Leveled text for elementary readers
• Hands-On Project how-to video
Illustration
• march: Jasper Johns
• April/May: Monumental
Sculpture
national
Core ART
standards
common
core state
standards
Spotlight:
Animals in art,
pp. 4-11
VA1. Generate and conceptualize
artistic ideas and work;
VA6. Convey meaning through the
presentation of artistic work;
VA7. Perceive and analyze artistic
work
R1. Make inferences and cite
textual evidence; R2. Determine
central themes and summarize;
W4. Produce clear and coherent
writing; SL1. Prepare for and
participate in group discussion
• “A Super Short History of
Debate:
hirst’s shark,
p. 12
VA1. Generate and conceptualize
artistic ideas and work;
VA8. Interpret intent and meaning
in artistic work; VA9. Apply criteria
to evaluate artistic work
R8. Delineate and evaluate an
argument; W8. Gather relevant
information from credible
sources; SL1. Prepare for and
participate in group discussion
• Interactive debate
Hands-on:
draw overlapping
animals,
pp. 14-15
VA2. Organize and develop artistic
ideas and work; VA5. Develop and
refine artistic techniques and work
for presentation; VA10. Synthesize
and relate knowledge and personal
experiences to make art
R3. Analyze ideas and sequence
events; R7. Integrate and
evaluate content in diverse
media; SL2. Evaluate information
presented in diverse media
• How-to video
great art jobs:
MUSEUM
PREPARATOR, p. 16
VA11. Relate artistic ideas and
works with societal, cultural,
and historical context to deepen
understanding
R5. Analyze text structure;
R6. Assess author’s purpose and
point of view
• Archive of Great Art Jobs
Features
ONLINE
MATERIALS
www.scholastic.com/art
Art” video
• Printable assessment
worksheets for grades
7-12 and grades 4-6
• Vocabulary sheet
Supplement to Scholastic Art
TEACHER’S GUIDE (remove Elementary insert)
POSTERS
Yellow Cow, 1911
Franz Marc
How does the arbitrary color of the
cow in this painting affect the way
you interpret the work?
horses, repeating the curves of their
figures. He used arbitrary blue to
indicate that the scene isn’t real.
Pages 8-9 (Lexile Measure: 1050L)
FINDING THE ESSENCE
Pages 6-7 (Lexile Measure: 1110L)
VIRTUAL REALITY
Sketchbook Starter
Standards: VA1, VA7, R2, R4, W4
Write About Art
The Sleeping Gypsy, 1897
Henri Rousseau
How has the artist abstracted
this scene?
Pages 4-5 (Lexile Measure: 980L)
WILD HORSES
Standards: VA1, VA7, R1, R2, R3, SL1
Vocabulary: abstracts; arbitrary;
flat color; gesture drawing; incised;
contour lines; overlapping shapes;
repeated; shading; silhouetted
profiles; simplified forms; sketchy
lines; three-dimensional
Background
• Only one human figure was among
the paintings discovered in Lascaux,
France; the rest were animals.
• Leonardo da Vinci (1452-1519) was
able to draw animals and humans with
lifelike accuracy because he was a
self-taught expert in anatomy.
Core Questions
• What is art? Answers will vary but
should touch on storytelling, study of
the natural world, and expression.
• How might we infer that horses
have been important to humans for
thousands of years? Although the
four works shown are from different
cultures and periods in history, each
depicts one or more horses.
• Why don’t we know why
prehistoric people painted? No
written language existed when the
paintings were made, so we have no
recorded explanations for them.
• What techniques did Franz Marc
use to paint The Large Blue Horses
expressively? Marc abstracted the
Answers will vary. Strong paragraphs
will mention texture, detail, line,
perspective, brushstrokes, and
modeling as they apply to the
selected work.
Vocabulary: atmospheric
perspective; background; brushstroke;
cast; detailed; foreground; line; middle
ground; modeled; texture
Background
• To paint his Hare, Albrecht Dürer
(1471-1528) applied washes of brown
watercolor, then built up the layers of
fur, using dark and light brushstrokes.
• French artist Rosa Bonheur (18221899), one of the most famous female
artists of her time, specialized in
highly realistic paintings of animals.
Core Questions
• How can we infer that Dürer
studied the hare very carefully
before he painted it? Dürer captured
the texture of the animal’s fur and
whiskers with great detail.
• How did Jacques-Louis David show
that Napoleon was an important
figure? David placed Napoleon and
his horse in the foreground. The
details in the middle and background
are hazy, bringing the viewer’s focus
to Napoleon, who is painted in crisp,
vivid colors.
• Why is it difficult to distinguish
Bonheur’s painting from a
photograph? Bonheur painted the
animals and the landscape in realistic
detail. No brushstrokes are visible,
giving the image the clarity and focus
of a photograph.
Standards: VA1, VA6, R1, SL1
Successful drawings will show an
understanding of Pablo Picasso’s use
of line and simplified shapes.
Vocabulary: balance; carve;
outline; perspective; stylize
Background
• Before becoming an artist, Henri
Rousseau (1844-1910) was a toll
collector in Paris. Critics called the
untrained artist’s paintings naive.
• Though more closely associated with
his abstract work and Cubism, Picasso
(1881-1973) learned techniques to
create highly realistic drawings and
paintings as a child.
Core Questions
• What effect did the invention
of the camera have on art?
Photography pushed artists to
experiment with abstraction.
• How do you know Picasso’s
drawing is a dove? The few simple
lines suggest the shape of a bird.
He also added defining features,
such as a beak and an eye.
• How did Constantin Brancusi
make Bird in Space—a heavy
marble sculpture—appear almost
weightless? The elongated sculpture
seems to soar upward, creating the
illusion of being lightweight.
Pages 10-11 (Lexile Measure: 1130L)
5 THINGS TO KNOW
Standards: VA1, VA6, R1, R2, R6
Vocabulary: border; elongate;
graphic; pattern; picture plane;
symmetrical
Background
• The Persian miniature painting
tradition began around the 13th
ART LESSONS USING TAPE. SCHOLASTIC.COM/DUCKTAPEART
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teacher’s guide (grades 7-12) • September/october 2014
century. These richly detailed works
usually depict religious or mythological
scenes filled with natural imagery, such
as birds and flowers.
• Stylized images of animals and deep
connections with nature are important
in Native American art.
Core Questions
• Why should we resist analyzing
non-Western art through a Western
lens? The formal characteristics of
non-Western art are often different
from those of Western art because
the cultures, religions, and reasons for
making art are different.
• Which images of birds on pages
10-11 are the most realistic? Which
ones are stylized? The bird in the
Persian miniature and the duck in the
Hokusai work are the most realistic.
The African sculpture and the Native
American house post are stylized.
• What makes Hokusai’s composition
balanced? Hokusai shows the realistic
duck from above, with diagonal
abstract waves in the background.
PERFORMANCE TASKS
• Sketchbook Starter:
Create a drawing of an animal
that synthesizes at least one
formal characteristic from each
of the articles on pages 6-11
of the magazine. For example,
detailed texture (page 6), tipped
perspective (page 8), and a
symmetrical composition (page 11).
• Writing Prompt: Research
the importance of an animal in
two different cultures. Using
new vocabulary, discuss the
ways artists in each culture
portray the animal in their art.
• Discussion Prompt:
Discuss some of the differences
between Western and nonWestern art. Do all cultures
create artworks to be displayed
in museums and galleries?
Does some art serve a practical
purpose?
Hands-on project: Draw overlapping animals
OBJECTIVES: Students will study
the relationship between realism and
abstraction. They will create a
realistic and an abstract drawing of
the same animal and combine them.
Time: 11 hours
Introduction (1 hour)
Introduce examples of realistic
and abstract representations of
animals, including those referenced
in this issue of Scholastic Art.
Supplement these examples with
works featuring animals by other
artists such as George Stubbs,
John James Audubon, and Alexander
Calder. Make many high-quality
color prints of the examples so each
student can create a drawing based
on one of these images.
Select Images and Draw (3 hours)
1. Have each student select one of
the images to use for a value-based,
realistic vine charcoal drawing.
2. Students should do research and
find a second painting or photograph
featuring the same type of animal
in a different pose. The animal in
the second image should be roughly
the same size as the one in the first
image. The second image will be the
reference for an abstract drawing
that will be embedded in the realistic
one. Have students print these
images on 8.5" x 11" paper.
3. Using their realistic reference
images, students should make
a few pencil sketches. When they
are comfortable drawing their
animals, have students create
realistic vine charcoal drawings
on 18" x 24" paper.
Sketch Abstract Animal (3 hours)
1. Have students place tracing
paper over their abstract reference
images and secure the corners with
masking tape. Students will create
a continuous contour line drawing
of the animal in the image with
pencil. Remind students to draw the
contour lines through the animal, not
just around it.
2. On additional sheets of tracing
paper, students should create
several more abstract sketches,
experimenting with varied qualities
of line, pattern, or texture. These
drawings can be a combination of
tracing and freehand drawing.
3. Students should experiment by
placing their abstract sketches over
their realistic drawings one by one
to see which composition is most
interesting. Have them select one
sketch and decide where to add it
to the final composition on their
18" x 24" charcoal paper.
Add Abstract Animal (4 hours)
1. Using vine charcoal, students
should incorporate their chosen
abstract sketches into their realistic
drawings. They can draw over and
erase into their realistic images with
a kneaded eraser.
2. Students may choose to draw a
landscape in the background or may
choose to keep it abstract.
3. Once happy with their
compositions, students can add
limited colors to emphasize the
foreground and background, and add
patterns and textures that represent
their chosen animals.
Assessment Questions:
1. Did each student demonstrate an
understanding of the relationship
between realism and abstraction?
2. Did each student make a drawing
that incorporates a realistic and an
abstract drawing of an animal?
—Prepared by Matthew Capezzuto
and Monica Carrier, Ashcan Studio
of Art, Little Neck, New York
Find videos, extra skills sheets,
and more: www.scholastic.com/art
September/october 2014 • teacher’s guide (grades 7-12)
3
Name: _________________________ Class: ____________
Reading Review: Animals in Art
Use the September/October 2014 issue of Scholastic Art to answer the questions.
Write your answers in complete sentences on a separate sheet of paper.
1. Why don’t we know the reasons the prehistoric cave painting on page 4 was made?
3. Compare the techniques used to paint the horse on the cave wall with those Leonardo
da Vinci used to draw a horse. What makes Leonardo’s horse look more realistic than the
cave painting of the horse? (pages 4-5)
4. H ow does Jacques-Louis David’s use of atmospheric perspective make the portrait of
Napoleon on page 6 look realistic?
5. W
hat qualities of the painting on page 7 tell you that Rosa Bonheur depicts specific
animals in it?
6. W
hat effect did the invention of the camera have on art and artists? (pages 8-9)
7. Describe the techniques Henri Rousseau used to give his painting The Sleeping Gypsy
an otherworldly, mysterious quality. (pages 8-9)
8. In what ways did Pablo Picasso and Constantin Brancusi make it clear that the two works
on page 9 are birds?
9. W
hat are some reasons that non-Western art should not be analyzed from a Western
point of view? (pages 10-11)
10. Which of the artworks shown on pages 10-11 served a practical purpose?
4
Teacher’s guide (grades 7-12) • September/october 2014
Uses: copying machine, opaque projector, or transparency master for overhead projector. Scholastic Inc. grants teacher-subscribers of Scholastic Art permission to reproduce this page for use in their classrooms. © 2014 by Scholastic Inc. All rights reserved.
2. What are some reasons that the ancient Greeks created art? (pages 4-5)
Elementary Teaching Guide Insert
(remove and use separately)
Introduction
Ask students to describe the image on
the cover. Do they notice the lion or the
woman first? What is happening in the
scene? Does it look like something that
could really happen? Why or why not?
Explain that this issue of the magazine
is about animals in art. Ask students
why they think an artist might make a
drawing, painting, or sculpture of an animal.
Pages 4–5
1. Find a 780L version of this
article on our website:
www.scholastic.com/art.
2. As a class, compare and
contrast the four works on
pages 4-5. Discuss the similar
subject matter (horses),
and the formal differences (varied use of outline, flat
color, silhouette, overlapping, gesture drawing, threedimensionality, repetition, and arbitrary color).
3. Divide the class into four groups and assign one artwork
from pages 4-5 to each group. Have students discuss why
they think the artist created their assigned artwork.
4. Have the groups explain their ideas to the class.
As students present, make a list of all the reasons that
people make art.
Discuss: What is art?
Pages 6–7
1. Find a 880L version of this
article on our website:
www.scholastic.com/art.
2. Ask students what they
think realistic means. (Answers
will vary.) Have them observe
the works on pages 6-7 and
discuss the characteristics that make these artworks look
realistic (detail, texture, line, atmospheric perspective,
realistic color, no brushstrokes, smooth surface, modeled
form). Explain that for each of these artworks, the artist
wanted to depict, or represent, “reality.”
3. Make a list of the bold vocabulary words. Ask students
which words can be related to which works on pages 6-7.
4. Divide the class into four groups and assign one artwork
to each. Have each group do the Write About Art activity.
Then allow the groups to present to the class.
Discuss: Which of the works on these two pages looks
most realistic? Why? Encourage students to use
vocabulary words from the text when answering.
Pages 8–9
1. Find a 810L version of this
article on our website:
www.scholastic.com/art.
2. Ask: What do you think
abstract means? (Answers
will vary.) What makes the
works on pages 8-9 abstract?
(stylized, tipped perspective, simplified forms, outlines,
reduced to the essence of the subject, illusion)
3. Explain that the artists who made the works on these
pages didn’t want to show reality. Instead, they show an
idea about the animals they are representing.
4. Have students identify the animals in each of the works
on pages 8-9. Ask: Which animal is the most difficult
to recognize? Why? (the work by Constantin Brancusi,
because it is the most abstract) Ask: How does the title
help us understand Brancusi’s sculpture? (The title tells us
it is a bird and how the artist wants us to see it.)
Discuss: Brancusi’s sculpture is made of heavy
marble, but it looks weightless. How does the artist
create this illusion?
Pages 10–11
1. Find a 790L version of this
article on our website:
www.scholastic.com/art.
2. Have a student read aloud
the section titled “Around
the World.” Then discuss the
concepts of Western and nonWestern art. Have students compare and contrast the
four works shown on pages 10-11 with the other artworks
shown in this issue.
3. Give students time to examine each of the works on
these pages. Then have them write a paragraph describing
the formal characteristics of each work. (2. pattern,
framing; 3. stylized, elongated figure; 4. unusual point
of view, realistic detail and abstraction; 5. functional,
symmetrical, graphic)
4. Have each student select his or her favorite work of art
on these pages. Have students sketch their own animal
designs, incorporating the style of the art they chose.
Discuss: Why should we think about Western art and
non-Western art differently?
—Prepared by Barbara Nueske-Perez
Visual Art/Visual Literacy Educator, Grades 5-12
Tesseract School, Phoenix, Arizona
Find printable skills sheets at www.scholastic.com/art.
September/october 2014 • teacher’s guide (grades 4-6)
1
Name ________________ Class _______________
SUMMARIZE: Animals in Art
Read the September/October 2014 issue of Scholastic Art. Then answer the questions below.
Remember to write in complete sentences.
1. What are three ways that Leonardo da Vinci made his drawing of a horse on
page 5 look realistic?
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
2. Why did Franz Marc paint his horses blue? (pages 4-5)
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
3. How did Jacques-Louis David show that Napoleon was a powerful leader? (pages 6-7)
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
4. How did Constantin Brancusi show the essence of a bird? (pages 8-9)
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
5. What makes the Native American house post on page 11 symmetrical?
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
Uses: copying machine, opaque projector, or transparency master for overhead projector. Scholastic Inc. grants teacher-subscribers of Scholastic Art permission to reproduce this page for use in their classrooms. © 2014 by Scholastic Inc. All rights reserved.
2 TEACHER’S guide (grades 4-6) • September/october 2014
Hands-On Project #1
Animal Self-Portraits
PREPARATION
B 1. Familiarize students with the elements of
art and principles of design, and color schemes.
2. Discuss the elements and principles and
colors in relationship to expression.
session 1
1. Introduce the assignment and look at
GRADE LEVEL: 4 and up
OBJECTIVES:
1. U
sing the elements and
principles of art, students will
be able to describe artworks
featuring animals.
2. Students will each choose an
animal that they identify with
and use it to create a “selfportrait” using the elements
and principles to express an
emotion.
TIME: 3 or 4 class sessions
MATERIALS:
1. large printouts, projectable
slides, and books showing
examples of animals in art
2. sketch paper
3. pencils
4. g
ray and neutral-colored
construction paper
5. oil or chalk pastels
6. blending stumps
VOCABULARY:
blending, color scheme,
composition, expression, line,
pattern, shape, texture
MODIFY FOR K-3:
Use stencils of geometric shapes
or cut paper to assist in creating
the animal forms. Markers or
colored pencils can be used
instead of oil pastels or chalk
pastels.
examples of animals in art in this issue of
Scholastic Art. Encourage students to discuss
the emotion or mood in each work.
2. Explain that students will draw an animal “self-portrait” that represents their
personality. Then they will use color and composition to express an emotion.
3. On practice paper, have students sketch their chosen animals in at least two different
compositions and color schemes. These drawings should fill most of the page.
4. Discuss color, pattern, and texture. Demonstrate the application of oil/chalk
pastels by blending, mixing colors, and adding patterns and textures. Then have
students create four to six pattern swatches using repeated colors, lines, or shapes.
Explain that these will be used in their final compositions.
session 2
1. Allow students to select one of their sketches
and one or two of their pattern swatches.
2. Give each student a sheet of construction
paper. Referencing their sketches, have students
draw their animal on the paper with pencil.
Remind students to make sure the animal image
is large enough so that they have space to add
their patterns. Explain to students that they
will not be able to get fine detail with oil/chalk
pastels, so the details shouldn’t be too small.
3. Remind students how to blend and mix colors, and add patterns and textures.
4. Allow students to begin adding oil/chalk pastels in their chosen color schemes.
session 3
1. Give students time to continue working independently until finished.
2. Ask students to write a reflection on their animal choices, elements and principles,
and the personality traits and emotions they were trying to convey.
3. Conclude the lesson with a class discussion about the assignment. Ask why
students chose their animals, colors, and patterns.
—Prepared by Melissa Hronkin
Houghton-Portage Elementary School
Houghton, Michigan
ASSESSMENT QUESTIONS
1. Were students able to use the elements and principles to describe artworks
featuring animals?
2. Did students choose animals that they identify with and use them to create a
self-portrait using the elements and principles to express an emotion?
September/october 2014 • teacher’s guide (grades 4-6)
3
Hands-On Project #2
color-study animals
PREPARATION
GRADE LEVEL: 4-6
B 1. Introduce Franz Marc’s The Large Blue Horses
(page 5) and Yellow Cow (poster). Ask students: What
do you see? Discuss the simplified abstract style and
use of arbitrary color. Explain that Marc uses color to
express ideas about his subjects.
2. Display a color wheel and define the terms
analogous colors (related), arbitrary color, and
complementary colors (opposites). In small groups,
have students identify areas that show examples of
each in The Large Blue Horses and Yellow Cow.
OBJECTIVES:
session 1
1. Students will learn about
analogous, arbitrary, and
complementary colors.
2. Students will explore ways
of using color to create an
abstract drawing of an animal.
TIME: 3 class sessions
MATERIALS:
1. color wheel
2. 12" x 12" sheets of white
tag board
3. pencils
4. black markers
5. oil pastels
6. colorless blenders
VOCABULARY:
abstract, analogous colors,
arbitrary color, blend,
complementary colors, layer,
overlap, pattern
Modify for K-3:
Provide students with simplified
animal shapes to trace. Then
have students randomly divide
the paper into sections with
a continuous pencil line. Have
younger students work on a
smaller scale with two analogous
colors and a complementary color
for the background.
1. Provide reference images of many different animals.
Allow students to select an animal to draw.
2. Demonstrate how to create a large abstract sketch of an animal by lightly drawing
a series of overlapping shapes with pencil. Give students time to sketch their own
animals using the same method.
3. Students should lightly sketch either a landscape or
an abstract pattern in the background.
session 2
1. Have students select the lines in their sketches that
are essential to the animal’s shape. Then they should
trace over those lines with ink or a black marker.
2. Have students consult the color wheel and select two
or three analogous and arbitrary colors. These will help
students express a feeling about the animal. Then they
can begin coloring their animal sketches with oil pastels. Encourage students to layer
and blend the oil pastels and add patterns.
3. Let students know that they can vary the techniques they use in each section of
the animal. This will abstract their work further.
session 3
1. After students are finished coloring their animals, they can move on to the
background. They should choose a different set of analogous colors. These should be
complementary to the colors used for the animal. Explain that this will help the animal
stand out as the subject of the piece.
2. The completed drawings should have a thick layer of oil pastel covering the surface
of the paper, with little or no white showing.
3. Have students discuss and/or write about what their color choices communicate
about their animal subject.
—Prepared by Rebbie Carleton
Randolph Elementary School
Randolph, Vermont
ASSESSMENT QUESTIONS
1. Did students demonstrate an understanding of analogous, arbitrary, and
complementary colors?
2. Did students successfully explore ways of using color to create an abstract
drawing of an animal?
4 TEACHER’S guide (grades 4-6) • September/october 2014
Core Standards
Quick Reference Sheet
Scholastic Art is designed to meet the 2014 National Core Arts Standards and
the Common Core ELA standards for reading, writing, and speaking and listening.
Keep this page handy to quickly and easily reference the standards throughout the year.
5
THINGS TO KNOW ABOUT
MEETING THE Core Standards
with Scholastic Art
1. Have students read the articles to analyze ideas,
COMMON Core ELA Anchor Standards
Reading
R1
Make inferences and cite textual evidence
interpret works of art, and build understanding
of domain-specific art vocabulary.
R2
Determine central themes and summarize
R3
2. Synthesize information from different kinds of
Analyze ideas and sequence events
R4
Interpret words and phrases
R5
Analyze text structure
R6
Assess author’s purpose and point of view
R7
Integrate and evaluate content in diverse media
R8
Delineate and evaluate argument
R9
Analyze two or more texts on similar topics
R10
Read independently and proficiently
media by pairing articles and art reproductions
with videos available at scholastic.com/art.
3. Use the “Core Questions” in the Teaching
Guide to build critical thinking and generate
discussion about art.
4. Assess student understanding using the
“Performance Tasks” in the Teaching Guide and
the Skills Sheets found at scholastic.com/art.
5. Use the hands-on studio projects to help
students develop their artistic ideas and work.
Writing
W1
Write arguments using sufficient evidence
W2
Write informative/explanatory texts
National Core Arts Anchor Standards
W3
Write narratives or real or imagined experiences
VA1
Generate and conceptualize artistic ideas
and work
W4
Produce clear and coherent writing
VA2
Organize and develop artistic ideas and work
W5
Plan, revise, rewrite, and edit writing
VA3
Refine and complete artistic work
W6
Use technology to produce and publish writing
VA4
Select, analyze, and interpret artistic work for
presentation
W7
Conduct short and sustained research projects
W8
Gather relevant information from credible sources
VA5
Develop and refine artistic techniques and work
for presentation
W9
Draw evidence to support research
VA6
Convey meaning through the presentation of
artistic work
W10
Write routinely for a range of tasks
VA7
Perceive and analyze artistic work
VA8
Interpret intent and meaning in artistic work
VA9
Apply criteria to evaluate artistic work
Synthesize and relate knowledge and personal
VA10
experiences to make art
Relate artistic ideas and works with societal,
VA11 cultural, and historical context to deepen
understanding
For complete standards, go to: nationalartsstandards.org
Speaking & Listening
SL1
Prepare for and participate in group discussion
SL2
Evaluate info presented in diverse media
SL3
Evaluate a speaker’s presentation
SL4
Present clearly and appropriately
SL5
Make use of digital media and visual displays
SL6
Adapt speech to contexts and tasks
For complete standards, go to: corestandards.org
September/october 2014 • teacher’s guide