Moadsf mayhew curriculum guide

Copyright © 2009 Museum of the African Diaspora. All rights reserved.

Museum of the African Diaspora - Education Department

Curriculum Resource Guide

BY DEMETRIE BROXTON - EDUCATION PROGRAM MANAGER

AND HENRY S. FRANCISCO & SARAH LOYD – EDUCATION PROGRAM ASSOCIATES

Copyright © 2009 Museum of the African Diaspora. All rights reserved. 2

Contents How To Use This Guide When Visiting MoAD ……… 3

About the Exhibition ………………………………….. 4

Fact Sheet: Speaking of Richard Mayhew ………………. 6

Questions To Use While At MoAD ………………….. 7

Reflection Questions – After Your Visit ….………….. 8

Images ......................................................................................... 9

Palette: From landscape to Cityscape……………..…..... 15

“I Like This One” .......................................………………... 20

Realism to Abstraction .………………............................. 21

Place, Power & Race ..…………………........................… 26

Timeline of Historical Events ...................................................36

Building a Class Website ……………….……………… 39

California State Standards Addressed ……………...….. 40

Cover Art: Untitled, 2000


How to Use This Guide When Visiting MoAD

The Fact Sheet, Question Sheet, and Lesson Plans should be used to prepare

students for a focused museum visit. MoAD group tours can be used to introduce

students to the exhibition and related MoAD core exhibitions. The Fact Sheet can be

used to give students a more knowledgeable approach to the subject matter of the

exhibition that will in turn help students look more carefully at the photographs found in

the exhibition. Speaking of Richard Mayhew introduces students to some of the art

and historical movements which inspired the work of Richard Mayhew. With this

information, students can identify some of the shifts in style present in the work of

Mayhew throughout this exhibition and the history behind these styles.

The Timeline of Historical Events may be used as a tool to place moments in

the life of Richard Mayhew into historical perspective along with other subjects in your

existing classroom curriculum.

While visiting MoAD, give each of your students a copy of the Questions To Use

While At MoAD to further engage them in the context of the exhibition. Younger

students can draw pictures in lieu of words. Be sure to have your students answer the

Reflection Questions as soon as possible after your visit to the Museum. These are

designed to further students understanding and awareness of what they have seen. You

may also opt to choose either of the grade level specific projects to complete before

(recommended) or after your Museum visit. Again, these can be used as they appear or

modified to accommodate other age groups.


About the Exhibition

MoAD proudly presents Richard Mayhew

Painter Richard Mayhew is quite simply one of America’s most important abstract landscape artists of

the twentieth century. Mayhew infuses his Barbizon-style landscapes with bright, often psychedelic,

colors creating a mysterious world of vivid trees, meadows, creeks, and mountains. He masterfully

follows and breaks the rules of color theory to engage and manipulate viewers’ encounters with his

fantasy environments.

Mayhew’s signature fiery vistas and cool misty fields evoke an emotional engagement from his viewers

that has kept him at the forefront of landscape painting in America for the past fifty years. His paintings

are found in the collections of the nation’s most prestigious museums including the Metropolitan

Museum of Art, The Brooklyn Museum of Art, The Fine Arts Museums of San Francisco, The Los

Angeles County Museum of Art, Smithsonian American Art Museum, and The National Academy of

Design.

The Art of Richard Mayhew is a retrospective of Richard Mayhew’s paintings, prints, and illustrations. It

traces his life trajectory beginning with his years as a young teenager watching summer seaside painters

on the beach of his home town in Amityville, New York, through his most recent canvasses finished this

year.

This exhibition features Mayhew’s landscapes and seascapes from the late 1950s through the 1970s,

which have not been exhibited for decades. In 1957, Mayhew enjoyed his first solo exhibition as an

academically trained artist and announced his unique style of presenting the natural milieu to the New

York art world. During the tumultuous period of social and cultural transformation of the 1960s,

Mayhew worked as an artist and an activist most notably as a founding member of Spiral, the legendary

group of Black artists including Romare Bearden, Norman Lewis, and Hale Woodruff, organized in 1963

to address issues of civil rights and racial equality through their art.

Through the 1960s and 1970s, Mayhew established his career as an artist tirelessly working with a sense

of spiritual depth and freedom of color, form, and space. The Art of Richard Mayhew explores the

personal and professional foundations of Mayhew’s style as a young man of African and Native American

descent coming of age in New York during the 1950s explosion of Abstract Expressionist art. It gathers

together the best of Mayhew’s paintings that combine his unique style, philosophy for painting, and

synthesis of artistic and social influences.

Since the 1980s, Mayhew has been prolific in the production of the bright moodscapes that he is most

well known for What we find in this period of intense focus is a journey inspired by all of the places

Mayhew has lived and travelled- Upstate New York, Florence, Amsterdam, Santa Fe, Soquel, Qatar. But,

the journey is more than the literal memory of these places. Mayhew creates a spiritual reverence for

the land through his paintings- and in our lingering before his canvases, we are able to take part in these

spaces of meditation and reflection. His master of color and light as form captivate us from one painting

to the next.

Bridget R. Cooks, PH.D, Guest Curator


MoAD’s exhibition is the largest of three exhibition of Mayhew’s work:

The Art of Richard Mayhew

Museum of the African Diaspora

San Francisco, California

October 10, 2009 – January 10, 2009-09-23

The Art of Richard Mayhew: After the Rain

The Museum of Art and History, Santa Cruz

Santa Cruz, California

September 12 – November 22, 2009-09-23

The Art of Richard Mayhew: Journey’s End

de Saisset Museum

Santa Clara University

Santa Clara, California September 26 – December 4, 2009


Speaking of Richard Mayhew Student Fact Sheet

Ecology

Ecology is the relationships between

organisms (living things) and how they

affect each other and their surrounding

environment.

Surrealism

Surrealist art looks like images from

dreams. Artists working in this style

will depict regular objects, but make

them look strange or mysterious.

Surrealist work is usually interested in changing

people’s ideas about the world.

Abstract Art

When an artist chooses to not create

art which is recognizable as a specific

object, person, animal, or place, it is

called abstract. Sometimes this type of

art is called Non-objective art.

Abstract Expressionism

Abstract Expressionism is an American

post-World War II art movement.

Often art in this style is abstract (not

looking like a specific object), because the

artist wants to create artworks which deal with

issues of spirituality and inner feelings.

Impressionism

Impressionism is an art movement in

painting where the artist chooses to

focus on the light, atmosphere, and

colors of a scene. The subject is usually outdoors

scenery and the artists often used sharp, broken

brushstrokes.

Color Field Painting

Color Field Paintings are paintings that

focus on large areas of usually one color,

where the artist focuses on the feeling of

a color.

Civil Rights Movement

A movement of the 1960’s, which was

primarily led by African Americans

fighting to receive the fundamental

freedoms and privileges guaranteed by

the 13th and 14th amendments as well as acts of

Congress including the right to legal, social and

economic equality.

Spiral Group

In 1963 Romare Bearden and fellow

artist Hale Woodruff invited other

artists, including Richard Mayhew to

meet to discuss political events

related to the Civil Rights Movement and the plight

of blacks in America. Spiral sought to define how it

could contribute to the civil rights movement and to

what author Ralph Ellison called a "new visual

order."

Hudson River School

A group of American landscape

painters active from about 1825 to

1875 whose works depict the beauty

and grandeur of areas in the Eastern

United States, such as the Hudson River Valley, the

Catskill Mountains, and Niagara Falls.


Questions to Use While At MoAD

1. Find one of Mayhew’s paintings. Is this work of art true to life? How real has the

artist made things look? Have you seen other paintings that remind you of his work?

2. Find one of Richard Mayhew’s paintings that uses bright colors. Do the colors

make you feel a certain way? If so, describe.

3. Look at the titles of a group of 3 paintings in the gallery. Do you think the artist

chose titles which reflect what you see in his work? If you could change the titles of the 3 paintings you chose, what would you call them?

4. Find one painting you haven’t looked at yet. Take a look at the other works of art

displayed around this one. Do they look alike? What is similar about the way they look? What is different?

5. Use the space below to sketch one of Mayhew’s paintings.


Reflection Questions

1. After visiting the Richard Mayhew exhibit, has this experience inspired you to

create art or have you learned something new about art?

2. Do you think art and painting can be a tool for social change? Why or why not?

Note: think about Mayhew’s experience during the Spiral Group.

3. Do you think Mayhew’s artwork has influenced other contemporary artists? Why

or why not? Explain.

4. Are there any influences or techniques from other great artists you notice in

Mayhew’s paintings? What are they? Explain.

5. Were there any signs of Mayhew’s ethnic identities (Native American and African

American) present in his work? How or how not?


Images

Love Bush, 2000


Monument, 2002


Cello Solo, 2002


Untitled, 2000


Sarah Steele (Mayhew’s Grandmother)


Richard Mayhew (c) with Romare Bearden (l) and Nanette Bearden (r)


RICHARD MAYHEW “Palette: From Landscape

to Cityscape”

Grades: 6-12 Lesson Plan

OBJECTIVES: Students will critically analyze the inspiration of landscape paintings of Richard Mayhew. They will examine his works during the Civil Rights Movement of the 1960s and 1970s. Students will create a hands-on visual art project (i.e. painting, collage, or drawing) on their neighborhood and environment in which they live in. In addition, they will write an excerpt explaining their project and about their neighborhood. OVERVIEW: In this lesson, students will:

Critically analyze the influences of Richard Mayhew’s landscape paintings.

Learn about their neighborhoods through a social, political, and economic framework.

Learn how to create art for social change.

Create their own cityscape painting, collage, or drawing depicting their neighborhood and environment.

BACKGROUND: Richard Mayhew was born in Amityville, Long Island in 1934. He is an acclaimed painter of landscapes, who has an intense connection with nature. Early in his career he was challenged by theater, dance, and music as well as painting. His total involvement in the arts began to have an effect on his painting. His formal training at the Brooklyn Museum Art School in the late 40’s and early 50’s, at the Art Students League and finally at Columbia University provided him with a thorough knowledge of draftsmanship and anatomy. With a heritage of both American Indian and African American people (father, Alvin Mayhew, is of African American and Shinnecock Indian descent and his mother, Lillian Goldman Mayhew, is of Cherokee Indian and African American ancestry), Mayhew attributes the attraction to the land, his own desire to rediscover the land his indigenous ancestors were so much a part of. His close connection with


nature was forged early in his career when he traveled up and down the northeast coast working from nature in the Hudson River Valley, Vermont, Massachusetts, Maine, and later in the Midwest in Ohio, Pennsylvania and Indiana. He senses that part of his interest resides in his acknowledgement of his personal history. By 1962, Mayhew returned to the United States from his travel to Europe. He witnessed the mood of the country, during the Civil Rights Movement, was strikingly different from when he initially left it. For most Black artists the political and social issues were difficult to ignore. In July of 1963, just prior to the great March on Washington, a group of Black New York painters came together and decided to go as a group. In the fall of 1963, they organized and named themselves the Spiral Group. The group’s name refers to the outward and upward movement of the spiral- a direction the artist hoped they could help their own society to take.

Mayhew’s work is represented in permanent collections throughout museums across the nation. After retiring as a professor emeritus at Pennsylvania State University, Mayhew moved to Soquel Cruz, California, where he continues to paint and exhibit. He is married to Rosemary Gibbons, an award winning documentary filmmaker.

TIME: Three- 45 minute to 1 hour class periods. MATERIALS:

Construction paper or poster board- variety of colors

Markers

Pens & pencils

Glue

Magazines

Scissors

White 81/2” X 11” blank paper DAY 1: Explanation and understanding of Richard Mayhew and the visual

art project STEP 1:

The teacher will hand out an overview of Richard Mayhew of his early life, inspiration to his landscape paintings, and his artwork during the Civil Rights Movement (1960s & 1970s).

The teacher will focus on Mayhew’s life, artwork, and involvement during the Civil Rights Movement and the Spiral Group.


Focus on the following: 1. Civil Rights Movement during the 1960s &1970s- A movement that resisted the status

quo. Protesting Black disenfranchisement and social apartheid was rapidly moving all across the nation. For most Black artists the political and social issues were difficult to ignore. Therefore, they reflected the turmoil environment into their art.

2. The Spiral Group- In 1963 Mayhew and several other

artists helped to form the Spiral Group, an organization that met weekly to discuss art and political engagement. The group’s name refers to the spiral- a direction the artists hoped they could help their own society to take. For Mayhew, Spiral confirmed his personal and individual acknowledgement of his African American past in his paintings without a breach of his aesthetics. During the 70s he began to organize a variety of communal experiences. Spiral intensified his sense of the need for community, for artists coming together, and for the shared experience of art.

STEP 2:

Once the teacher and students have reviewed Richard Mayhew’s life and artwork during the Spiral Group, the teacher will explain the visual art project- “From Landscape to Cityscape”.

Students will create a drawing, painting, or collage depicting the neighborhood and environment they live in. Since Mayhew’s paintings were more focused on landscapes, the students will focus their visual art projects on a cityscape- San Francisco, the districts they live in, neighborhood, family, and community.

Students will need to understand the context of Mayhew’s life during Spiral and the influences of the Civil Rights Movement.

Students should see their neighborhoods through a social, political, and economic lense. Some questions to consider, but are not limited to:

A. Who lives in your neighborhood? What ethnicities, races, class (upper, middle, or lower class), gender, cultures, or communities are in you neighborhood?

B. How long have you or your family lived there? C. Why do you love or hate your neighborhood? D. Do you consider your neighborhood home? What does home mean to

you? E. Why is your neighborhood or the place your from important to you?

Vocabulary words to define, but not limited to: A. Justice B. Resistance C. Race D. Culture E. Ethnicity F. Identity G. History


STEP 3:

In addition to the visual art project, the students will write a half page (this writing assignment can be longer if you wish) paper explaining their project.

Once students have an understanding of Mayhew and how to vision their neighborhoods, begin the visual art project and the writing assignment.

DAY 2: Creating the cityscape

STEP 1:

Break students into groups of 4-5 students in each group and pass out materials needed.

In each group, have students introduce themselves and what neighborhood they are from.

After the introductions, students will begin working on their cityscape STEP2:

Save 20 minutes towards the end of class for students to finish their written assignment about their cityscape.

By the end of class, the cityscape and the written assignment should be finished and each student ready to present their cityscape the next class session.

DAY 3: Cityscape presentations STEP 1:

Students will break into the same groups they were working with. Each group member will present his or her individual cityscpae.

Each student will present their cityscape to the entire class and can either read from their written assignment or discuss their cityscape with the class.

STEP 2:

Leave 10 to 15 minutes at the end of class to debrief and process what the students have learned and ask questions on Richard Mayhew and their personal journey in creating their cityscape. Questions to consider, but not limited to:

A. Why do you see your neighborhood like that? B. What made you draw, paint, collage, etc. your neighborhood in that way? C. What did you learn about Richard Mayhew and his experience during the

Spiral Group and the Civil Rights Movement? D. After this project, do you see your neighborhood or environment in a

different perspective? E. How do you feel when others (who do not live in your neighborhood)

narrate, portray, or dictate where you live? STEP 3:

After each presentation, collect all projects and display them on the walls or have a designated area where everyone can see all of the cityscapes.

Students should see where their classmates come from and read their personal stories.


EXTENSIONS:

Students can create an art gallery on this cityscape project.

Since Richard Mayhew spoke about an artist community and creating spaces for artists to be exposed, students can have an art gallery event displaying their cityscapes and a reading about their neighborhood.

This art gallery can be held in the library, multi-purpose room, teacher’s classroom, or auditorium.

The duration of the art gallery is determined accordingly to teachers, students, and curriculum scheduling.

Along with the art gallery, students can read what they have written about their neighborhoods and where they come from.


RICHARD MAYHEW “I Like This One!!!”

Grades 6-12 Lesson Plan

OBJECTIVES: Students will examine and analyze Richard Mayhew’s paintings and write a one-page paper on their favorite painting. BACKGROUND: Mayhew’s abstractions, easel paintings for the most part, immediately raise the issue of his relationship to other abstract idioms. He began to paint seriously as an artist at a time when abstraction was becoming the dominant mode of American painting. His paintings have been described as 19th century landscapes. Certainly the concrete physical world is ever present in his paintings, but Mayhew has linked the 19th century love of nature with a thoroughly 20th century introspection. His introspection though personal, is not entirely private as is the case with Abstract Expressionism; rather, it is linked to an ethnic group association. His close ties to the Blues and Jazz also emphatically mark the paintings as 20th century products. His creative process is twofold: initially experiencing the environment though sight and feeling and then selectively, from memory, interpreting that experience through paint. Mayhew saw his work as a means of expressing the spiritual dimensions of nature. He works from memory, not from sketches of photographs, and created images that do not depend on aprecise geographic location. His paintings are characterized by diffused contours with minimal detail, with forms conveyed largely through color. OVERVIEW:


In this lesson, students will:

Critically examine Mayhew’s paintings.

Develop a sense of why Mayhew used certain vibrant colors for his paintings.

Pick 2-3 favorite paintings and write about them in their paper.

Create an artistic vision by analyzing Mayhew’s artwork. TIME: At least two 45 minute to 1 hour class periods MATERIALS:

A handout of the art and paintings of Richard Mayhew, early career: 1950s-1970s (from the MoAD exhibit).

81/2 X 11 line paper & white typing paper

Pens or Pencils

Computer & printer DAY 1- Students visit MoAD and see the Richard Mayhew exhibit STEP 1

Students will go around the exhibit and take a look at Richard Mayhew’s paintings and artwork.

Students should have a notebook to take notes in. They will examine his work through an artistic vision and take notes on his use of color, technique, style, inspiration, etc.

The following questions to consider when looking at Mayhew’s work, but not limited to: 1. Why do you think he uses certain colors (i.e. red, blue, green, etc.)? 2. What are some frequent themes in his paintings? 3. Why do you think he chooses certain environments for his landscape paintings? 4. How do you think nature and the environment has inspired his life to create his

paintings? 5. Compare and contrast his work from each other (pick 2-3 pieces to compare and

contrast from one another). 6. What do you think his paintings are saying? How would you interpret them? 7. What activity’s are there in his paintings? 8. How has he created movement, point of view, or contrast in his paintings?

STEP 2

After students have examined all the paintings, they will pick 2-3 of their favorite pieces and will construct a one-page written assignment on Mayhew’s paintings.

Students will write a draft on their favorite Mayhew painting (at least 2-3 pieces).

Things to consider when writing (students DO NOT need to answer all of these questions. The questions are to help them during the writing process): 1. Compare and contrast paintings from one another. How are they alike and different?

Why did you pick these two paintings? Explain why do you think he painted these pieces?

2. Can you relate to his paintings? Explain why or why not? 3. Why does he choose nature and the environment as his main subjects in his

paintings?


4. Does his African American and Native American culture exist in his paintings? Explain why or why not?

5. As a painter, visual artist, do you think it matters what your art conveys? Do you care what type(s) of messages your art says?

6. What aspects of Mayhew’s artwork and paintings do you like and dislike? Explain. 7. Describe the type of visual art you would create. How would your art impact your

community, culture, and the world? 8. Why do you think Mayhew continues to paint and create art? 9. Do you think Mayhew’s art has any connection to his African American and Native

American culture? 10. How will you incorporate your culture with your art?

STEP 3

Once students have finished their first draft, have them take it home and revise them and turn it the next day typed.

Explain to the class that the next day, the assignment is due and that each student will present only KEY POINTS about their favorite paintings from the exhibit and participate in a question and answer session with another student, then with the entire class.

DAY 2- Richard Mayhew exhibit written assignment due and key points presentations STEP 1

Have students take out their 1 page written assignment.

Break the class into groups with either 2-3 students in each group. STEP 2

Each group member will share their key points (as written in their paper) on what they liked, learned, and discovered about Richard Mayhew’s paintings.

After each student has presented their key points (within their small groups), the class will reconvene (students will stay in their small groups) and each group will present any key points from their group members (not all group members need to present).

After each group shares their key points, have a reflection and questions & answer discussion with the entire class.

EXTENSIONS:

For more information on Richard Mayhew please visit:

http://www.santacruzmah.org/index.php?page=the-art-of-richard-mayhew-after-the-rain.

http://www.scu.edu/desaisset/collection/Richard-Mayhew.cfm

Research Mayhew’s colleagues, great Abstract painters, such as: Romare Bearden, Norman Lewis, or Hale Woodruff.

http://www.santacruzmah.org/index.php?page=the-art-of-richard-mayhew-after-the-rain

http://www.santacruzmah.org/index.php?page=the-art-of-richard-mayhew-after-the-rain

http://www.scu.edu/desaisset/collection/Richard-Mayhew.cfm


Realism to Abstraction

Grades: 6-12 Lesson Plan (May be adapted for younger students)

Richard Mayhew, Untitled (2006)

OBJECTIVES:

Students will understand the transition from realism to abstraction by creating their own original

artworks by exploring line, color, texture, and shape.

OVERVIEW:

In this lesson, students will:

Discuss and compare a series of realistic and abstract art

Create a realistic drawing from a still life or object

Re-draw their realistic drawing as an abstract drawing

BACKGROUND:

TIME:

Two - 45 minute to 1 hour class periods.

MATERIALS:

Drawing paper cut into squares, minimally 8” X 8”

#2 or softer graphite pencils

Colored pencils and/or pastels (pastels will require spray fixative)

Objects to set up a still life, or have students bring in their own objects

Illustration board or chip board

Spray mount or glue sticks

DAY 1: Still life drawing

1. (Before class period)

Set up a still life scene.

Choose a location with good lighting, near a window is good if you do not have access to

spotlights.


If you only have fluorescent lights in your classroom, set up boards to block some of the

light.

Consider using architectural features, such as window frames or picture frames to add interest. Contrasting colors are helpful.

Cover your table or surface with either a plain tablecloth or a broad checkered pattern

Choose industrial shapes (cones, cubes, pyramids, etc.) combined with natural shapes (plants, feathers, fruit, etc.). Avoid shapes that are odd.

Create an interesting arrangement. Avoid centralized, static designs. Consider the flow

and movement of objects in the composition. Remember, your still life is a form or art in

itself.

Create a viewfinder to observe your composition from various angles. A viewfinder can be made by cutting a square out of the center of a piece of paper.

2. Distribute drawing paper and pencils to each student.

3. Have students begin to create their still life drawings based on a small area of the still life. Have

them create their own viewfinders to select their composition. The objective is to draw what

they see as accurately as possible, but not get too hung up on small details.

4. If students are not able to complete their drawing in the allotted time, allow them to complete

their drawings at home.

Day 2: Moving Into Abstraction

Roy Lichtenstein, Cow Going Abstract (1974)

Collection of the National Gallery of Art, Washington, D.C.

1. Remove the still life from your classroom, or cover it up if you need to keep it.

2. Give students another sheet of paper, and have them redraw their original (realistic) drawing but

abstract it this time. Abstraction can be achieved using many techniques. Students may choose to

Zoom in on one particular part of their picture

Redraw the same image but from a made up angle

Alter the colors, sizes, and shapes of the parts of the drawing

Use simplified angles

What is most important is that they maintain the same feel as the original drawing, keep some

components so there is a relationship to the original.

3. Have students take their abstraction even further by abstracting their second drawing, as in the

example of Roy Lichtenstein’s piece, Cows Going Abstract.

4. The pieces should be mounted on a slightly larger sheet of illustration or chip board. Use either

spray mount or glue sticks, depending on what you have available.


5. Students should create labels for their work. Labels should be about 4” – 5” wide, and about 3” –

4” in height, and include the following:

EXTENSIONS:

Students can mount their own exhibition. Have them create didactic panels – longer text panels, which explain the purpose of the project.

Have students write a 1 page reflection on their project. Have students address what they

learned from the project. Have they learned to appreciate abstract art more? Have they

gained a new appreciation or understanding of the art of Richard Mayhew?

Create an online gallery showcasing student work. See the sheet with instructions on how to build a class website near the end of this Curriculum Guide.

ARTIST:

TITLE:

MEDIUM: (materials used)

DATE:


PLACE, POWER & RACE Grades: 8-12 Lesson Plan

Time Allotted: Two - 1 hour class blocks

Learner Population: 8th

Grade or 11th

Grade Social Studies students in California or any other moment in

grades 5-12 where social justice and teaching about stereotypes is appropriate.

Curricular Context:

May be used to in conjunction with the following California State Content Standards or adapted to raise

larger issues with other content areas.

Standard 8.5.3 Outline the major treaties with American Indian nations during the administrations of the first four presidents and the varying outcomes of those treaties. Standard 11.10.5 Students analyze the development of federal civil rights and voting rights. Discuss the diffusion of the civil rights movement of African Americans …and how the advances influenced the agendas, strategies, and effectiveness of the quests of American Indians…for civil rights and equal opportunities.

Introduction:

The artist featured in the Museum of the African Diaspora’s (MoAD) exhibition, The Art of Richard

Mayhew, repeatedly refers to his African American and Shinnecock (American Indian) background as a

key influence in his art making. U.S. media outlets usually always depicts American Indians as

stereotypes and rarely are students exposed to the lives of contemporary living American Indians.

Contrarily, the Bureau of Indian Affairs lists 562 federally recognized tribes with distinctive cultures

living within the continental United States and Alaska. This lesson plan will briefly introduce students to

the history of one of the tribes—the Shinnecock Indians of Long Island, New York, the dispossession of

their land, and their current fight to regain control of their land. Students will investigate how history gets

told, whose voices get heard, and how true identities are often very different and much more complex than

popular, essentialist stereotypes. Students will be asked to look more deeply into common media to

interpret how power relations are present in maps, newspapers, and historical accounts.

Guiding Questions:

How are American Indians represented in the media and in history books? When we read history, whose

story is being told and who is left out? How are issues of land, power, and race linked together?


Learning Objectives:

After completing the lessons in this unit, students will be able to:

Understand the difference between stereotypes and true complex identities

Compare and contrast the way American Indians are represented in the media and in historical accounts

Describe the historical and present day sites of the Shinnecock Indian lands. Connect the power of land to

contemporary times

Understand that American Indians are still alive and part of American society

Make connections with other groups they have learned about in history class

Day 1 (1 Hour)

Part 1 (30 minutes)

Vocabulary

The following terms will be used throughout this unit. Break students into groups of 2. Have the

groups read each definition and come up with their own definition. If your class has access to

computers and/or dictionaries, allow students to look up definitions they do not understand. Have

students write their own definition for each word or term. Allow 20 minutes for this first part. Now,

have students share out definitions for each term. Write agreed upon definitions on the classroom

board and have students write the final definitions in a notebook.

1. Stereotype- to reduce the qualities and characteristics of a whole group of people (ethnicity, race, gender,

age, etc) to a few general qualities which are untrue.

2. Identity- the characteristics which make a person who they are.

3. Hybrid cultures- the result of two dissimilar cultures coming together.

4. Tribe- any group of people who are united by common ancestry, customs, and leaders. Usually this term is

applied to indigenous people.

5. Ethnicity –relating to a group who share common race, language, cultural practices, etc.

6. Multi-ethnic- the offspring of people from two different ethnicities.

7. Reservation- a tract of land set aside for American Indian tribes. Usually considered to be separate from

governance by the United States Government.

8. Bureau of Indian Affairs- the governing body created by the U.S. Government, whose role is to administer

laws and act on behalf of American Indians.

9. Federal Recognition- the process by which the U.S. Government grants an American Indian tribe legal

status as a tribe. Recognized tribes are allowed to govern themselves outside of the rule of the U.S.

Government and gain many privileges.

10. Wampum- beads carved from shells, used by many coastal American Indian tribes as money.


PART 2 (30 Minutes)

Interpreting

the Politics of

Land

Figure 1. Map of Long Island, New York 1609. From Our Long Island by George Manello.

Figure 2. Contemporary Map of Long Island. Source: www.loving-long-island.com

Long Island, NY

http://www.loving-long-island.com/


Interpreting the maps: 1. In the 1609 map, Long Island is shaped like what creature? Why do you think the artist chose to make

Long Island in this shape?

2. Locate the Shinnecock territory in the contemporary map. What is the territory now called?

3. Using the internet, research the new name of the Shinnecock territory. What is the popular use of this

area today?

Day 2

Interpreting Media (1 hour)

Read the following 3 articles. Use the graphic organizer as you read:

Source of first 2 articles: http://www.hamptonbaysonline.com/history.php#indians

ARTICLE 1: INDIANS BEFORE SETTLEMENT The first Indians came to Long Island about 5,000 years ago. They were of the Algonkian group and by the time the white man came to the area, they were one of thirteen tribes on Long Island.

Five of these tribes lived in the areas bordering Southampton Town. The principal tribe in the immediate area being the Shinnecocks.

Much of what we know of the Shinnecocks before the coming of the white man was obtained by an archeological study done in the Sebonic Creek area of Southampton in 1902 by Mark R. Harrington and the American Museum of Naturual History. Harrington and his expedition found sites of ancient Indian villages along the creek. From these diggings, they

were able to piece together much about the life of the Indians before the coming of the settlers.4

The piles of shells found at the Sebonic sites tell us that the Shinnecocks diet consisted of shellfish which they steamed open in large kettles, fish, snails, turtles and occasionally whales which they found stranded on the beach. There is also evidence that the Indians ventured into the surf in their canoes, which were oak logs hollowed out with the help of fire, to kill the whales which were much more plentiful close to shore than they are today. The Indians taught these whaling techniques to the early settlers.

The Shinnecock as well as other tribes on Long Island were a peaceful group. They paid tribute for protection to the more warlike Iroqois in upstate New York and the Narragansetts in Rhode Island.

The men wore breech clothes at all times and added robes of fur and moccasins in colder weather. They burned their hair off with hot rocks, leaving only a central comb of hair. Various feathers were also worn on the head. Children ran naked

until puberty.5

4 Mark R. Harrington, Reading in L.I. Archaeology and Enthnohistory, Vol, I, 1977, p. 40-45. 5 George R. Howell, The Early History of Southampton, Yankee Peddler, Southampton, 1887, p. 164-170.

http://www.hamptonbaysonline.com/history.php#indians


ARTICLE 2: FIRST SETTLERS

In 1524, Verazzano of Florentine wrote of his voyage to the new world…

"…We discovered an Ilande in the form of a whale…distant from the mainland 3 leagues, about the bigness of the Isle of

Rhodes, it was full of hills, covered with trees, well peopled, for we saw fires all along the coast."10

This is one of the earliest accounts of Long Island by a white man. In 1633, Governor Winthrop of Connecticut came to the east end of Long Island and returned with the tales of its beauty, leading colonists to the area.

On April 30, 1636, Charles I asked the Corporation for New England of Plymouth Colony to give a patent to William Alexander, Earl of Sterling, for Long Island and the islands adjacent. Later in 1637, the Earl gave the power of attorney to James Farret to the east end of Long Island.

These happenings eventually led to an expedition of eight men, lead by Daniel Howe to leave Lynn, Massachusetts in the Spring of 1640 to set up a new settlement on Long Island. They were given the authority by the Earl of Sterling to settle on

any part of Long Island, an area eight miles square of wilderness territory.11

The band of settlers was led by Indians from North Sea to a flat area near the ocean. Here they set up their first houses in

an area later called Old Towne about ¾ of a mile from town, near the present sight of Southampton Hospital.13

The settlers purchased land from the Indians through several deeds; the first of these was the "Indian Deed of December 13, 1640". This deed was made between thirteen leaders of the settlement… and nine Indians.

In return, the Indians received sixteen coats, three score bushels of Indian corn and the protection from raiding Indian tribes.

The early settlers protected the Shinnecocks from Indian raids from New England and in return the Indians taught the colonists how to plant corn and beans, to use fish for fertilizer, the use of succotash, shellfish, wild plants and techniques of whaling in canoes off the south coast of the town. Whales were plentiful off the coast at the time and in 1644 people were posted to watch for beached whales.


ARTICLE 3

Shinnecock Tribe plans suit, claiming

land in Hamptons June 12, 2005

By Bruce Lambert

New York Times

The Shinnecock tribe on Long Island says it will sue in federal court this week, claiming ownership of

thousands of acres of prime Hamptons real estate worth billions of dollars. Based on property values, the

case would rank as one of the biggest Indian land disputes in history, experts say.

Tribal leaders say their suit seeks to reclaim 3,600 acres in Southampton that include the Southampton

College campus, the Shinnecock Hills Golf Club, where the United States Open is played, and the bay

front resort community Shinnecock Hills.

The tribe says it will also file a second suit, within a month, claiming much more of Southampton -

possibly the entire town, which has 57,000 residents, major parks, Grabeski Airport, Suffolk County's jail

and courts, many businesses and spectacular oceanfront homes.

The suits will be filed in United States District Court in Central Islip against New York State, Suffolk

County, Southampton and others.

Several officials said they had not seen the suit and declined to comment on it. But Gov. George E.

Pataki's office, in a statement it released Friday, said, "We will take whatever steps may be necessary to

protect the interests of property owners and taxpayers on Long Island."

On the East End, the heritage of the Shinnecocks, renowned for whaling and carving seashells into

wampum, dates back 3,000 years. They long predated the first European settlers, who arrived in 1640, as

well as the trophy waterfront homes, and summering entertainment celebrities and Wall Street tycoons

that have become synonymous with the Hamptons.

"We only seek what is due us," said Randy King, the chairman of the Shinnecock Indian Nation's

trustees.

He denounced what he described as "hundreds of years of lies, broken promises and exploitation."

Mr. King said the tribe would like "to settle these issues" and find a "win-win solution." The tribe has

about 1,300 members, with roughly 500 living on the reservation, and its leaders say they desperately

need better housing, jobs, health care and schools.

United States Representative Timothy H. Bishop, a Democrat who represents the area the tribe is

claiming, called the planned litigation "both alarming and unacceptable," and said, "State law is very

clear, and has been for over a century, on the boundaries of the Shinnecock Reservation."


Though recognized by the state for two centuries, the Shinnecocks are struggling to win federal tribal

status from the United States Bureau of Indian Affairs, a process that could take years. [Lack of] Federal

certification… could pose a hurdle for its land claims.

The contrasting prosperity on the surrounding land that the tribe once occupied is not lost on the

Shinnecocks. One trustee, Charles Smith, said, "From my house, I can see other houses where the garages

are as big as my house."

The lawyer devising the tribe's legal strategy is John M. Peebles of Sacramento, whose firm, Monteau

& Peebles, specializes in Indian issues.

The first lawsuit stems from a lease for the 3,600 acres that Southampton gave the Shinnecocks in

1703, which was supposed to last 1,000 years. But in a deal that the State Legislature approved in 1859,

white residents used a fraudulent Indian petition to break the lease, Mr. Peebles said, enabling railroad

construction and land development. Such a change of Indian rights requires Congressional approval,

however, and that was never given, he said.

The second suit, for far more land, will be based on a more general argument that the Indians once

occupied the area and are entitled to its return, Mr. Peebles said. Both cases have ample precedents, he

said. The tribe also seeks damages for the decades it was deprived of the land.

"We have been good neighbors to the very people who stole our ancestral land for their own financial

gain," Mr. King said.

Kevin Gover, a professor of Indian law at Arizona State University and a former assistant secretary of

the federal Bureau of Indian Affairs, said the Shinnecocks had a strong case for federal status and a viable

claim on the land, "though I'm not saying they'll necessarily win."


Use this organizer as you read.

Interpreting the articles:sds

Who is the Narrator?

Article 1:

________________________________

__

________________________________

__

Article 2:

________________________________

__

________________________________

__

Article 3:

________________________________

__

________________________________

__

The article is written from whose

perspective?

Article 1:

__________________________________

__________________________________

Article 2:

__________________________________

__________________________________

Article 3:

__________________________________

__________________________________

How was the land acquired in each

article?

Article 1:

_________________________________

_

_________________________________

_

Article 2:

_________________________________

_

_________________________________

_

Article 3:

_________________________________

_

_________________________________

_

How are the Long Island Indians

portrayed? Noble? Savage?

Cooperative? Friendly? Etc.

Article 1:

________________________________

__

________________________________

__

Article 2:

________________________________

__

________________________________

__

Article 3:

________________________________

__

________________________________

__


Questions about the articles.

Divide students into groups of 3 or 4. Have students discuss the following questions and write down their

answers on a separate sheet of paper.

1. What does the first article suggest about the culture of the Long Island Indians? How advanced does

their culture seem?

2. In article 1, whose viewpoint is being told? Is it from a Long Island Indian point of view or a European

American point of view?

3. The first article states that most of the evidence for how the Long Island Indians lived before the white

man came from archaeological digs. What does this say about the current Long Island Indians?

4. Does the first article allow living Long Island Indians any influence on how their history is told? Why or

why not?

5. According to article 2, how did the European American settlers gain ownership of the land?

6. How does article 2 describe the relationship between the Indians of Long Island and the European

American settlers? According to the article was the relationship a good one, with equal power given to

both sides or was there inequality?

7. From whose viewpoint is article 2 written from? In your opinion, is the article written by a Long Island

Indian or a European American? Explain.

8. How does reading article 3 affect your opinion of the first 2 articles? Do you think the Shinnecock

lands were sold with the full consent of the Shinnecock Indians? Why or why not?

9. In your opinion, who is the audience the authors are writing for? Is there a difference between the

first two articles and the third article? How might an American Indian react by reading each of these

articles? Explain.

10. BONUS: How have power relationships changed over time between the Shinnecock Indians and

European Americans? From the 3 articles, can you tell if the Shinnecock now have equal rights? Have

the Federal Government and the New York State Government helped to correct injustices of the past

relating to Shinnecock land issues?

Written Assessment

(Homework). Have students summarize what they have learned about the Shinnecock Indians in a 1-2

page paper. Some guiding questions are: were the Shinnecock Indians stereotyped in any of the articles? If

so, how? What affect does stereotyping have on the amount of power the Shinnecock have to control their

land? Is history always written in a way that shows the perspectives of more than one ethnicity or race?

Whose perspective is usually written as the official history? Can you make connections between what you

have learned about the Shinnecock Indians and any other group of people you have learned about in

history?


Extensions:

Divide students into two groups. Divide students into teams of 3 or 4, this can be the same groups

created earlier. Evenly assign each group either the role of the contemporary ‘American’ Settlers of Long

Island or the role of the contemporary Shinnecock Indians. Tell students that they will be conducting a

debate about who has the best claim to the contested property called the Hamptons on Long Island. Tell

students that they do not necessarily have to agree with the position from which they are arguing. The

purpose of a debate is to try to understand an issue as fully as possible from both sides. Allow students

one class period to research their topic online. Groups can choose to meet outside of class or, if time

permits, you can assign another class period for students to organize their arguments. On the day of the

debate, you may want to invite other teachers into the classroom to act as judges and choose which

groups have assembled the strongest arguments defending their given position.

Have students write critical papers connecting the Shinnecock land issues with the Lewis and Clark

Expedition. How are the two historical moments similar? How are they different?

Other curricular resources relating to American Indians may be found online at Native Web:

http://www.nativeweb.org/resources/education_and_youth_resources/teaching_resources/

http://www.nativeweb.org/resources/education_and_youth_resources/teaching_resources/


TIMELINE OF HISTORICAL EVENTS:

1924- Richard Mayhew born

1924-Indian Citizenship Act- all Native Americans have the right to vote

1926- Shinnecock Indians choose not to be involved in the Algonquian Council of Indian Tribes

1927-t.v. invented

1929- Stock market crashed

1932-Hitler comes to power

1934- Indian Reorganization Act attempted to reorganize tribes, Shinnecock Nation unaffected

1936-NAACP sues for equal pay

1941-FDR forbids discrimination

1943-Race Riots in Harlem

1946- Indian Claims Commission Act- to address tribal grievances

1948-military desegregated

1949-W.W. Bill Keeler appointed Cherokee Nations Chief by Pres. Harry Truman

1951-Mayhew attended Columbia University

1954-schools desegregated

1954-segregation declared illegal

1955-Bus riots

Mayhew has his first exhibit at the Brooklyn Museum

1957-Voting Rights Act

1957- Mayhew has his first solo exhibit at the Morris Gallery

1958-Mayhew receives MacDowell Colony Fellowship and studies in New Hampshire

1959-Mayhew travels to Europe on a John Hay Whitney Fellowship


1960- Protests in the South

1960- Mayhew attended Academia in Florence, Italy and later studies in Paris and Amsterdam

1961-Freedom Riders

1962- Mayhew has a solo exhibit as the Robert Isaacson Gallery, NY

1963-March on WA

1963- Mayhew begins teaching at the Brooklyn Museum of Art School and the Pratt Institute

1963- Spiral Group Begins meeting

1964- Civil Rights Riots throughout US, MLK Jr. Receives Nobel, Selma to Montgomery March

1965- Malcolm X assassinated

1965-Voting Rights Act of 1965

1965- Mayhew receives the National Institute of Arts and Letters Award

1967-Cherokee Foundation formed to purchase lands for the Cherokee Nation

1968- MLK Jr. assassinated

1968 Mayhew’s work is included in “The American Landscape” at the Perdot Gallery in NYC.

1969-Woodstock

1969- Mayhew begins teaching at Smith College

1970- Mayhew receives the Benjamin Altman Award from the National Academy of Design

1971- Mayhew helps to organize a discussion panel entitled “The Black Artist” at the Art Students League of New York

1972-Mayhew builds a community art program in Hill burn, NY

1973-Wounded Knee seized by members of the American Indian Movement

1974- Mayhew has solo exhibits at Hamilton College and Midtown Galleries, NY

1975- Cherokee Nation writes its Constitution

1976- Mayhew begins teaching at San Jose State Universit1976- Mayhew is involved in the groundbreaking exhibit “ Two Centuries of Black American Art” curated by Prof. David C. Driskell


1977- “Richard Mayhew: An American Abstractionist” exhibited at the Studio Museum, NYC

1980- Mayhew included in the “Black Masters” group exhibition at Harlem Sate Office Building, NYC

1983- Mayhew received the Grumbacher Gold Medal from the National Academy of Design

1984-Jesse Jackson runs for President

1985-Mayhew received the Djerassi Foundation Fellowship

1987-Colin Powell appointed Security Advisor to the President

1989-Powell appointed Chairman to the Joint Chiefs of Staff

1990-Cherokee Nation signs Self-Governance Agreement

1992- Mayhew retired as Professor Emeritus of Art and Fellow from Pennsylvania State University

1994- Solo exhibits in Detroit, Michigan, Chicago, Illinois, and Los Angeles, California

1997- Mayhew has solo exhibits in Detroit and San Francisco

2001-Sept. 11

2003-US invades Iraq

2004-Shinnecock Indians participated in the opening at the National Museum of the American Indian in Washington, D.C.

2005-Shinnecock Indians recognized as an Indian Nation by the Federal Government

2008-B. Obama nominated for President

2009- Obama inaugurated.


Building a class website to showcase projects

1. This tutorial will help students and beginners learn how to make their own

Web pages step-by-step and publish it online: http://www.lissaexplains.com/basics.shtml

2. Building a school website for beginners: http://www.wigglebits.com/

3. Guides to help you in creating a personal website:

http://personalweb.about.com/od/gettingstarted/a/gettingstarted.htm

4. Create your own blog website:

http://personalweb.about.com/od/bloghosting/Blog_Hosting_Get_Your_

Own_Blog.htm

5. How to create a webpage using html commands: http://www.make-a-

web-site.com/

6. Creating a website fast, free, and easy: http://www.weebly.com/

http://www.lissaexplains.com/basics.shtml

http://www.wigglebits.com/

http://personalweb.about.com/od/gettingstarted/a/gettingstarted.htm

http://personalweb.about.com/od/bloghosting/Blog_Hosting_Get_Your_Own_Blog.htm

http://personalweb.about.com/od/bloghosting/Blog_Hosting_Get_Your_Own_Blog.htm

http://www.make-a-web-site.com/

http://www.make-a-web-site.com/

http://www.weebly.com/


California State Standards

Addressed In This Guide

NOTE: The following is meant to serve as a map to guide educators toward specific

standards addressed in this curriculum guide. In most cases, specific sub-strands are

omitted in the interest of saving space. To get more in-depth content standards

information, please visit the California State Content Standards online at

http://www.cde.ca.gov/be/st/ss/.

Richard Mayhew, Palette: From Landscape to Cityscape (Grades 6-8) Grades 6-8 Visual and Performing Arts: Visual Arts Content Standards. 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to the Visual Arts

Students perceive and respond to works of art, objects in nature, events, and the environment. They also use the vocabulary of the visual arts to express their observations.

Develop Perceptual Skills and Visual Arts Vocabulary 1.1 Identify and describe all the elements of art found in selected works of art (e.g., color, shape/form, line, texture, space, value). 1.2 Discuss works of art as to theme, genre, style, idea, and differences in media. 1.3 Describe how artists can show the same theme by using different media and styles. Analyze Art Elements and Principles of Design 1.4 Describe how balance is effectively used in a work of art (e.g., symmetrical, asymmetrical, radial).

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in the Visual Arts

Students apply artistic processes and skills, using a variety of media to communicate meaning and intent in original works of art.

Skills, Processes, Materials, and Tools 2.1 Use various observational drawing skills to depict a variety of subject matter. 2.2 Apply the rules of two-point perspective in creating a thematic work of art. 2.3 Create a drawing, using varying tints, shades, and intensities. Communication and Expression Through Original Works of Art 2.4 Create increasingly complex original works of art reflecting personal choices and increased technical skill. 2.5 Select specific media and processes to express moods, feelings, themes, or ideas. 2.6 Use technology to create original works of art.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts

Students analyze the role and development of the visual arts in past and present cultures throughout the world, noting human diversity as it relates to the visual arts and artists.

Role and Development of the Visual Arts 3.1 Research and discuss the role of the visual arts in selected periods of history, using a variety of resources (both print and electronic). 3.2 View selected works of art from a culture and describe how they have changed or not changed in theme and content over a period of time. Diversity of the Visual Arts 3.3 Compare, in oral or written form, representative images or designs from at least two selected cultures.

http://www.cde.ca.gov/be/st/ss/


4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works in the Visual Arts

Students analyze, assess, and derive meaning from works of art, including their own, according to the elements of art, the principles of design, and aesthetic qualities.

Derive Meaning 4.1 Construct and describe plausible interpretations of what they perceive in works of art. 4.2 Identify and describe ways in which their culture is being reflected in current works of art. Make Informed Judgments 4.3 Develop specific criteria as individuals or in groups to assess and critique works of art. 4.4 Change, edit, or revise their works of art after a critique, articulating reasons for their changes.

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in the Visual Arts to Other Art Forms and Subject Areas and to Careers

Students apply what they learn in the visual arts across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn about careers in and related to the visual arts.

Connections and Applications 5.1 Research how art was used in theatrical productions in the past and in the present. 5.2 Research how traditional characters (such as the trickster) found in a variety of cultures past and present are represented in illustrations. 5.3 Create artwork containing visual metaphors that express the traditions and myths of selected cultures. Visual Literacy 5.4 Describe tactics employed in advertising to sway the viewer's thinking and provide examples.

Careers and Career-Related Skills 5.5 Establish criteria to use in selecting works of art for a specific type of art exhibition.

Historical and Social Sciences Analysis Skills History-Social Science Content Standards: Grades Six Through Eight.

The intellectual skills noted below are to be learned through, and applied to, the content standards for grades six through eight. They are to be assessed with the content standards in grades six through eight.

In addition to the standards for grades six through eight, students demonstrate the following intellectual reasoning, reflection, and research skills:

Chronological and Spatial Thinking

1. Students explain how major events are related to one another in time.

2. Students construct various time lines of key events, people, and periods of the historical era they are studying.

3. Students use a variety of maps and documents to identify physical and cultural features of neighborhoods, cities, states, and countries and to explain the historical migration of people, expansion and disintegration of empires, and the growth of economic systems.

Research, Evidence, and Point of View

1. Students frame questions that can be answered by historical study and research.

2. Students distinguish fact from opinion in historical narratives and stories.

3. Students distinguish relevant from irrelevant information, essential from incidental information, and verifiable from unverifiable information in historical narratives and stories.

4. Students assess the credibility of primary and secondary sources and draw sound conclusions from them.


5. Students detect the different historical points of view on historical events and determine the context in which the historical statements were made (the questions asked, sources used, author's perspectives).

Historical Interpretation

1. Students explain the central issues and problems from the past, placing people and events in a matrix of time and place.

2. Students understand and distinguish cause, effect, sequence, and correlation in historical events, including the long-and short-term causal relations.

3. Students explain the sources of historical continuity and how the combination of ideas and events explains the emergence of new patterns.

4. Students recognize the role of chance, oversight, and error in history.

5. Students recognize that interpretations of history are subject to change as new information is uncovered.

Students interpret basic indicators of economic performance and conduct cost-benefit analyses of economic and political issues. Writing Strategies and Applications Organization and Focus Write short_narrative stories_that include the_elements of setting_and characters._Narrate with some_detail a sequence of_events._Narrate a sequence of_events and communicate their significance_to the audience._Narrate a sequence of_events and communicate their significance_to the audience._Produce independent writing that is_understood when_read but may_include inconsistent_use of standard_grammatical forms._Produce independent_writing that is under-stood when read but_may include inconsistent use of standard_grammatical forms._Write brief expository_compositions_(e.g., description,_comparison and_contrast, cause and_effect, and problem_and solution) that_include a thesis and_some points of support._Write brief expository_compositions and_reports that (a)_include a thesis and_some supporting_details; (b) provide_information from_primary sources; and_(c) include charts and_graphs._Following a model,_proceed through the_writing process to_independently write_short paragraphs of_at least three lines._Begin to use a variety_of genres in writing_(e.g., expository,_narrative, poetry)._Develop a clear_purpose in a short_essay by appropriately_using the rhetorical_devices of quotations_and facts._Recognize elements_of characterization in_a piece of writing and_apply the same_techniques when_writing._Independently create_cohesive paragraphs_that develop a central_idea with consistent_use of standard English_grammatical forms._(Some rules may not_be followed.)_Write responses to_selected literature that_exhibit understanding_of the text, using_detailed sentences and_transitions._Write responses to_selected literature that_exhibit understanding_of the text, using_detailed sentences and_transitions._Write simple_sentences appropriate for language_arts and other_content areas_(e.g., math, science,_social studies)._Use more complex_vocabulary and_sentences appropriate_for language arts and_other content areas_(e.g., math, science,_history–social_science)._Use more complex_vocabulary and_sentences appropriate_for language arts and_other content areas_(e.g., math, science,_history–social_science)._Recognize structured_ideas and arguments_and support examples_in persuasive writing._ Organization and Focus Write a friendly_letter of a few lines._Write documents_related to career_development_(e.g., business letter,_job application)._Write a letter independently by using_detailed sentences._Fill out job applications and prepare_résumés that are clear_and provide all needed_information._Use complex sentences_in writing brief_fictional biographies_and short stories that_include a sequence of_events and supporting_details._Use complex sentences_in writing brief_fictional biographies_and short stories that_include a sequence of_events and supporting_details.

Richard Mayhew, Palette: From Landscape to Cityscape (Grades 9-12) Grades 9-12 Visual and Performing Arts: Visual Arts Content Standards.


1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to the Visual Arts

Students perceive and respond to works of art, objects in nature, events, and the environment. They also use the vocabulary of the visual arts to express their observations.

Develop Perceptual Skills and Visual Arts Vocabulary 1.1 Identify and use the principles of design to discuss, analyze, and write about visual aspects in the environment and in works of art, including their own. 1.2 Describe the principles of design as used in works of art, focusing on dominance and subordination. Analyze Art Elements and Principles of Design 1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work. 1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular principle of design. Impact of Media Choice 1.5 Analyze the material used by a given artist and describe how its use influences the meaning of the work. 1.6 Compare and contrast similar styles of works of art done in electronic media with those done with materials traditionally used in the visual arts.

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in the Visual Arts

Students apply artistic processes and skills, using a variety of media to communicate meaning and intent in original works of art.

Skills, Processes, Materials, and Tools 2.1 Solve a visual arts problem that involves the effective use of the elements of art and the principles of design. 2.2 Prepare a portfolio of original two-and three-dimensional works of art that reflects refined craftsmanship and technical skills. 2.3 Develop and refine skill in the manipulation of digital imagery (either still or video). 2.4 Review and refine observational drawing skills. Communication and Expression Through Original Works of Art 2.5 Create an expressive composition, focusing on dominance and subordination. 2.6 Create a two or three-dimensional work of art that addresses a social issue.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts

Students analyze the role and development of the visual arts in past and present cultures throughout the world, noting human diversity as it relates to the visual arts and artists.

Role and Development of the Visual Arts 3.1 Identify similarities and differences in the purposes of art created in selected cultures. 3.2 Identify and describe the role and influence of new technologies on contemporary works of art. Diversity of the Visual Arts 3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art. 3.4 Discuss the purposes of art in selected contemporary cultures.

4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works in the Visual Arts

Students analyze, assess, and derive meaning from works of art, including their own, according to the elements of art, the principles of design, and aesthetic qualities.

Derive Meaning 4.1 Articulate how personal beliefs, cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in a work of art. 4.2 Compare the ways in which the meaning of a specific work of art has been affected over time because of changes in interpretation and context. Make Informed Judgments 4.3 Formulate and support a position regarding the aesthetic value of a specific work of art and change or defend that position after considering the views of others. 4.4 Articulate the process and rationale for refining and reworking one of their own works of


art. 4.5 Employ the conventions of art criticism in writing and speaking about works of art. 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in the Visual Arts to Other Art Forms and Subject Areas and to Careers

Students apply what they learn in the visual arts across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn about careers in and related to the visual arts.

Connections and Applications 5.1 Design an advertising campaign for a theatre or dance production held at a school, creating images that represent characters and major events in the production. 5.2 Create a work of art that communicates a cross-cultural or universal theme taken from literature or history. Visual Literacy 5.3 Compare and contrast the ways in which different media (television, newspapers, magazines) cover the same art exhibition.

Careers and Career-Related Skills 5.4 Demonstrate an understanding of the various skills of an artist, art critic, art historian, art collector, art gallery owner, and philosopher of art (aesthetician).

Moadsf mayhew curriculum guide

Documents

Transcript of Moadsf mayhew curriculum guide