This assignment is designed as a mini-research project with the purpose of …
This assignment is designed as a mini-research project with the purpose of having students engage with marginalized actors in history. The purpose is to help students find themselves in the archives by focusing on self-representation that is important to their own socio-economic and ethnic groups. By providing historical research in the form of primary and secondary documents on figures that have been historically "left out" of the historical narrative, the students will help fill the gaps in the archive, be active in the creation of new curriculum, and gain a better understanding of marginalization and the power of historical memory in the process.
Can performance art be re-performed? How can it be collected by the …
Can performance art be re-performed? How can it be collected by the museum? To explore what artists have to say, take our online course, Modern and Contemporary Art, 1945-1989. Created by The Museum of Modern Art.
Maritime Theatre at Hadrian's Villa, Tivoli, Villa begun in 117 C.E. A …
Maritime Theatre at Hadrian's Villa, Tivoli, Villa begun in 117 C.E. A conversation with Dr. Bernard Frischer and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Mark Bradford’s “150 Portrait Tone” is a mural-sized composition that the artist …
Mark Bradford’s “150 Portrait Tone” is a mural-sized composition that the artist conceived after the fatal shooting of Philando Castile by a Minnesota police officer in July 2016. The title “150 Portrait Tone” refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box, the color “portrait tone” carries inherent assumptions about who is being depicted and presents a sobering commentary on power and representation. Video by Bank of America. Created by Smarthistory.
Mark Hopkins House Side Chair, c. 1878-80, designed and made by Herter …
Mark Hopkins House Side Chair, c. 1878-80, designed and made by Herter Brothers (New York), rosewood, inlaid and veneered with various woods, silk (of the period, but not original) (Cooper Hewitt, Smithsonian Design Museum, Museum purchase from General Acquisitions Endowment Fund, 2010-5-1) A conversation with Emily Orr (Assistant Curator of Modern and Contemporary American Design, Cooper Hewitt, Smithsonian Design Museum) and Dr. Beth Harris (Smarthistory). Created by Beth Harris and Steven Zucker.
This art history video discussion examines the Painting Techniques of Mark Rothko: …
This art history video discussion examines the Painting Techniques of Mark Rothko: No. 16 (Red, Brown, and Black). Abstract Expressionist New York (The Museum of Modern Art) October 3, 2--April 11, 2011 MoMA.
Francesco di Giorgio Martini (attributed), Architectural Veduta, c. 1490, oil on poplar, …
Francesco di Giorgio Martini (attributed), Architectural Veduta, c. 1490, oil on poplar, 131 x 233 cm (Gemäldegalerie, Staatliche Museen zu Berlin). Created by Beth Harris and Steven Zucker.
A figure who has polarized political opinion from the Civil War to …
A figure who has polarized political opinion from the Civil War to today. Thomas Hovenden, The Last Moments of John Brown, c. 1884, oil on canvas, 117.2 x 96.8 cm (de Young Museum, Fine Arts Museums of San Francisco), a Seeing America video Speakers: Dr. Lauren Palmor, Assistant Curator of American Art, Fine Arts Museums of San Francisco and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/
Video by Art21. How does a painter translate the real into the …
Video by Art21. How does a painter translate the real into the abstract? From her Brooklyn studio, artist Maryam Hoseini explores the spaces in between painting and drawing, figuration and abstraction, and the personal experiences embedded in her work and the multiple interpretations viewers can bring to it. As she flips through her pencil drawings and resumes work on an acrylic painting, the artist recounts her early interest in drawing classes and the strong, female art teacher in her native Iran that inspired her. Hoseini's current work depicts fragmented—often female—bodies floating in abstract, flattened architectural spaces, in suggestive, but open-ended narratives. Maryam Hoseini (b. 1988, Tehran, Iran) lives and works in Brooklyn, New York. Learn more about the artist at: https://art21.org/artist/maryam-hoseini
Masaccio, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria …
Masaccio, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424--1427. Fresco, 7' x 2' 11". Created by Beth Harris and Steven Zucker.
Masaccio, The Tribute Money, 1427, fresco (Brancacci Chapel, Santa Maria del Carmine, …
Masaccio, The Tribute Money, 1427, fresco (Brancacci Chapel, Santa Maria del Carmine, Florence) Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Masaccio, The Virgin and Child (Pisa polyptych), 1426, tempera on poplar, 134.8 …
Masaccio, The Virgin and Child (Pisa polyptych), 1426, tempera on poplar, 134.8 x 73.5 cm (The National Gallery, London) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Met curator Joanne Pillsbury on immortality in Mask, 10th–6th century B.C.E., by …
Met curator Joanne Pillsbury on immortality in Mask, 10th–6th century B.C.E., by the Olmec peoples of ancient Mexico. Depicting a typical Olmec face with slanted, almond-shaped eyes and a toothless, slightly downturned mouth, this mask is rendered with simplicity and elegance. Its harmonious proportions are indicative of the sophistication attained by Olmec sculptors. The smooth, highly polished planes of cheek, forehead, and chin plus the almost fleshy quality of the nose and parted lips belie the incredible hardness of the jadeite cobble from which the mask was made. The face itself is neither human nor supernatural but, rather, an idealized type that incorporates otherworldly aspects—such as the mouth, with its reference to the so-called were-jaguar, a powerful mythic being with human and jaguar traits. Masks of this size in stone have not been excavated in archaeological sites and it is difficult to determine their function. Lacking holes for eyes and nose, it could not have been worn over a living face, but there are attachment holes along the edges by means of which it might have been used as a costume element or adhered as a face to a mummy or a sacred bundle. There is a polished, circular depression on the back of the mask. Created by The Metropolitan Museum of Art.
Mask of Agamemnon, from shaft grave V, grave circle A, c.1550-1500 B.C.E., …
Mask of Agamemnon, from shaft grave V, grave circle A, c.1550-1500 B.C.E., gold, 12 inches / 35 cm (National Archaeological Museum, Athens). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
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