For Teaching and Learning in Grades PreK - 12 New York City Department of Education New York City Department of Education • Joel I. Klein, Chancellor • Marcia V. Lyles, Deputy Chancellor for Teaching and Learning • Sharon Dunn, Senior Instructional Manager for Arts Education C o n t r i b u t o r s First edition © 2004, Second edition © 2007 Blueprint Curriculum Development Cultural and University Community Second Edition 2007 Contributors Cultural and University Community Planning Co-Chairs Rikki Asher, Queens College, CUNY New York City Department of Education Melanie Adsit, Whitney Museum of American Art Barbara Gurr, Director of Visual Arts, Kaia Calhoun, Center for Arts Education Nancy Blume, Asia Society and Museum Doris Cordero Office of the Arts and Special Projects, New York City Department of Education Joanne Bernstein-Cohen, Young Audiences, Blase DeCelestino William Crow, Metropolitan Museum of Art New York Thomas Cahill, President and CEO, Maria V. Diaz Mike Deetsch, Brooklyn Museum Studio in a School Judith Burton, Teachers College, Columbia University Laurel Danowitz Ariel Feinberg, Jewish Museum Thomas Cabiness, New York Philharmonic Susan Handwerker Kate Fermoile, Brooklyn Historical Society First Edition 2004 Contributors Diana Cagle, Bank Street College Ronald Klokke Mayrav Fisher, Guggenheim Museum of Art New York City Department of Education Renee Darvin, Teachers College, Columbia University Lisa Knox Sara Guerrero-Rippberger, Queens Museum of Art Madeleine Appell Joan Davidson, New York City Association of Teachers Tamar Laks Jessica Hamlin, Art21 of Art/UFT Doris Cordero Stephen J.
Lasky Joanna Hefferen, ArtsConnection Dipti Desai, New York University Laurel Danowitz Katherine London Aline Hill-Ries, Studio in a School David Elliott, New York University Paul Kaplan Valerie Louzonis Lisa Mazzola, Museum of Modern Art Susan Fleminger, Henry Street Settlement Naomi Lonergan Jeanmarie Martocci Susan McCullough, Museum of Modern Art Hollis Headrick, Carnegie Hall Edward Morgano Nia Mason Barbara Palley, Brooklyn Museum Sandra Jackson, Studio Museum in Harlem Karen Rosner Edward Morgano Caroline Payson, Cooper-Hewitt National Design Susana Torruella Leval, Director Emerita, El Museo Nancy Shankman Museum del Barrio Antonella Natale George York Donnielle Rome, Queens Museum of Art Linda Louis, Brooklyn College, CUNY Maria Palma Lauren Schloss, Queens Museum of Art Stacy Miller, Parsons School of Design Ann Rosen Alice Schwarz, Metropolitan Museum of Art Carol Morgan, ArtsConnection Karen Rosner Amy Brook Snider, Pratt Institute Scott Noppe-Brandon, Lincoln Center Institute Marcia Sherriton Sharon Vatsky, Guggenheim Museum of Art Jane Remer, Consultant Susan Strande Helena Vidal, El Museo del Barrio Jerrold Ross, St. John’s University Janet Velasquez Rose Viggiano, School of Visual Arts Lauren Schloss, Queens Museum of Art Ellen Wong John Welch, Metropolitan Museum of Art Deborah Schwartz, Museum of Modern Art George York Andrea Zakin, Lehman College, CUNY Amy Brook Snider, Pratt Institute Steve Tennen, ArtsConnection Rose Viggiano, School of Visual Arts Randolph Williams, Metropolitan Museum of Art; Manhattanville College ii N Blueprint for the Arts N Visual Arts Letter from the Chancellor Joel I. Klein, Chancellor New York City Department of Education T he publication of the Blueprint for Teaching and Learning in the Arts defines a course of excellence in arts education that begins in early childhood and follows students up through the grades to a commencement level of achievement in art, music, The Blueprint is a result of an exceptional collaboration between educators from the school system and representatives from the arts and cultural community of New York City. It motivates students to go beyond the walls of the classroom, and encourages dance and theater.
them to take advantage of the rich resources available across New York City in museums, concert venues, galleries, performance spaces, and theaters. The Blueprint provides a standards-based, rigorous approach to teaching the arts. It gives New York City’s students the opportunity to delve deeply into these subjects, while We are delighted to introduce the New York City schools to this powerful way of giving their teachers the latitude to create an instructional program that demonstrates teaching and learning in the arts, and look forward to a future filled with artists, student learning over time and in varied dimensions. designers, musicians, dancers, actors, directors, and more—all New York City public school graduates.
More importantly, the sequential study of art, music, dance, and theater will help students achieve both a vocation and an avocation. Their ongoing work will enable them to apply for advanced study or for jobs in the arts-related industries that are so important to the economy of New York City. It will also provide them with a source of lifelong enjoyment as they become the future audience for the arts. iii N Blueprint for the Arts N Visual Arts Acknowledgments W e are pleased to present this stand-alone edition of the curriculum Blueprint for Teaching and Learning in Visual Arts Pre K-12 which originally appeared in 2004 as a combined volume of music and visual arts.
We are extremely appreciative of Kate D. Levin, Commissioner of Cultural Affairs, and her staff who provide steadfast support; to Caroline Kennedy, Vice President of the Fund for Public Schools and Stephanie Dua, CEO of the Fund for Public Schools for being champions of arts education. Most importantly, thanks to Chancellor Joel I. Klein This enhancement includes new sections that address students with special needs and for his belief that arts education can only be effective if we provide teachers and school English Language Learners.
It includes a glossary of art terms, classroom supply lists, a leaders with a coherent sequential plan with benchmarks and expected outcomes for discussion on planning and assessment, an annotated bibliography and webography, as our students’ achievement. well as suggestions for integrating the museum experience into classroom instruction. Foremost, the Blueprint reflects the continuing commitment of art educators in our schools, cultural institutions and universities to provide an excellent education for all Barbara Gurr public school students. Director of Visual Arts We extend our deepest gratitude to all who have contributed to this effort and have worked tirelessly to make this document rigorous and practical.
First, thanks to Sharon Dunn, Senior Instructional Manager for Arts Education, for her leadership and guidance. We are also deeply grateful to Co-chair Tom Cahill, President and CEO of Studio in a School Association, Inc. for his dedication and creativity; and to Studio for its generosity and support of this endeavor. We thank Pam Pollack, our graphic designer for her beautiful work.
We recognize Karen Rosner for her vision and invaluable expertise in integrating art and museum education; and our other committee chairs: Katherine London, Marcia Sherriton, Edward Morgano, Maria E. Palma, and Laurel Danowitz for their commitment to excellence. Thanks also to Diana Cagle for helping to bring the Blueprint to life through the professional development that has been offered to art teachers; to the excellent team in the Office of Arts and Special Projects who lend support on a daily basis: Joan Finkelstein, Paul King, Barbara Murray, Yasmin Fodil, Monica Panzarino, Jill Rashba, Eleanor Rosenthal, Joan Siscaretti, Carol Varikos, and Eddie Villanueva; to Chris Sgarro and Ken Priester for their editorial skills. iv N Blueprint for the Arts N Visual Arts Ta b l e o f C o n t e n t s Contributors.
ii 2nd Grade Information and Resources Letter from the Chancellor. iii Art Making. 8 The Student with Special Needs in the Art Class. 39 Developing Art Literacy.
iv The English Language Learner in the Art Class. 44 Making Connections Through Visual Arts. 1 Community and Cultural Resources. 12 Stocking the Art Studio.
47 Teaching the Arts to the Children of New York City 2 Exploring Careers and Lifelong Learning. 13 Planning and Assessing for Student Success. 50 Five Strands of Arts Learning. 3 5th Grade Integrating the Museum into Classroom Instruction.
55 Student Development and the Visual Arts. 16 Indicators of a Healthy Arts Program. 57 Making Art is the Starting Point. 5 Developing Art Literacy.
18 What the Blueprint Means for School Leaders. 58 Making Connections Through Visual Arts. 19 What the Blueprint Means for Classroom Teachers. 59 Community and Cultural Resources.
20 Exploring Careers and Lifelong Learning. 21 What the Blueprint Means for Parents. 60 What the Blueprint Means for The Arts Community. 61 8th Grade What the Blueprint Means Art Making.
24 for the University Community. 62 Developing Art Literacy. 26 Making Connections Through Visual Arts. 27 Glossary of Art Terms.
63 Community and Cultural Resources. 67 Exploring Careers and Lifelong Learning. 73 12th Grade Art Making. 32 Developing Art Literacy.
34 Making Connections Through Visual Arts. 35 Community and Cultural Resources. 36 Exploring Careers and Lifelong Learning. 37 v N Blueprint for the Arts N Visual Arts Introduction E very New York City public school is capable of supporting an excellent arts program in which arts specialists are key players, the school community is actively involved, and the resources of the city’s cultural community are maximized.
The recent Traditionally, arts curricula have been developed either as subject-based or as outcome- based models. Subject-based curricula define the goals for the content to be learned. Outcome-based curricula define what the goals are for the learners—what they should changes in the New York City public schools have afforded an opportunity to make know and what skills they should possess. The new plan includes both approaches, and the arts central to the education that all children receive regardless of the school they will, as it evolves, provide clear and rigorous forms of assessment based on the best attend.
This Blueprint points the way. practices offered in the field. It contains strong “studio” strands—as well as aesthetic education experiences that include learning about the art form in its context and in the As the term “blueprint” suggests, this document is a map that sets a course for the world. Instead of an exclusive ideology, an inclusive plan allows arts teachers to select Department of Education’s strategic plan to provide an excellent arts education for the approaches and the content that works best for them.
every child in New York City. The standards contained in this Blueprint are grounded in the National and New York State Learning Standards for the Arts, and are addressed in every facet of the document. This Blueprint is distinguished from the New York State Learning Standards by the way teaching and learning are extended into the specific circumstances of New York City schools—most notably the unique collaboration between the schools and the New York cultural community to forge this plan. New York City arts organizations and their funders play an ongoing role in making the arts available to schools.
The schools have always depended on the values and commitment of these organizations, and it is only with the collaborative spirit of the entire arts community that this plan for arts education can succeed. 1 N Blueprint for the Arts N Visual Arts T e a c h i n g t h e A r t s t o t h e C h i l d r e n o f N e w Yo r k C i t y By Professor Judith M. Burton, Art and Art Education Program, Teachers College Columbia University A blueprint is a plan or a scheme for the accomplishment of a task or a goal. In what follows, you will find a blueprint for art education that offers teachers opportunities to draw imaginatively upon their own artistic knowledge, their demands upon all ability levels.
This remains true of all grade levels, for the provision of appropriate and developmentally supportive learning is far from consistent across all schools. For this reason, teachers might need to draw upon earlier or later benchmarks understanding of the culture in which the children they teach grow to adulthood, and in support of the needs and experiences of their particular groups. their insights about youngsters.