Acting Out Arts Integration

Teacher Institute Jacob Lawrence 1

Teachers spent time learning about Jacob Lawrence and practicing playwriting in the galleries where The Migration Series is on view.

On July 7 and 8, teachers from schools in Washington, DC, and Prince George’s County spent two days at the Phillips working together to discuss and practice strategies for arts integration. The experience not only incorporated lesson planning, but it brought the group together to form a teacher cohort community. With a focus on Jacob Lawrence’s Migration Series, the focal point of an exhibition this fall, the cohort used playwriting to navigate Lawrence’s work. From playing theater games to writing their own monologues, the cohort practiced ways to bring stories to life for their students with the help of playwright Jacqueline Lawton.

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Left: Former Phillips’s Curator Beth Turner video conferenced with the cohort to provide behind-the-scenes information about Jacob Lawrence and The Migration Series. Right: Teachers use artworks and photographs to tell stories.

The two-day institute also familiarized teachers with Prism.K12, the museum’s teaching tool to create arts integration for any subject. As they brainstormed ideas of how to incorporate Prism.K12 arts integration strategies and playwriting in their classrooms, they also used social media as a way to share their thoughts with one another and the greater educator community. Teachers are already sharing classroom tips and will document classroom process; follow along in Twitter and Pinterest with #PrismK12 and #MigrationExperience for more!

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Teachers explored theater games to build community and boost creativity!

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Laura Hoffman, Manager of K–12 Digital and Educator Initiatives ran a “Social Media Bootcamp” for teachers.

Artist as Poet: The Purest Red

On July 21, 2016, Deputy Director for Curatorial and Academic Affairs Klaus Ottmann shares an overview of Karel Appel: A Gesture of Color. In anticipation, we’re sharing examples of Appel’s poetry paired with his artwork on the blog. 

Appel_Wounded Nude

Karel Appel, Wounded Nude, 1959. Oil on canvas, 72 x 95 5/8 in. Musée d’Art Moderne de la Ville de Paris

In my inner life exists a desire
for the purest red
my nervous system is red
my tissues are red
my entire being is red
the primal animal lies
on the beach
as a broken red sun
drenched with dark red blood

Karel Appel, “Ode to Red”

 

 

 

 

 

 

Appel_Floating Like the Wind

Karel Appel, Floating like the Wind, 1975. Oil on canvas 78 3/4 x 102 3/4 in. Private Collection © Karel Appel Foundation, c/o ARS New York, 2016

Never heard the sound of her voice
floating over the desert
full of space nostalgia and loneliness
where yellow camels stare into infinity

Karel Appel, “Fata Morgana”

A Portrait of Texture

William Merritt Chase, The Turkish Page (Unexpected Intrusion), 1876. Oil on canvas, 41 1/4 x 37 1/8 in. Cincinnati Art Museum, Gift of the John Levy Galleries, 1923

William Merritt Chase completed The Turkish Page during his student years at the Royal Munich Academy. As was common practice with the Academy’s students, he and his classmate Frank Duveneck arranged for a local boy to model for them in Chase’s Munich studio. Bathing the composition in shimmering reflections of artificial light and shadow, Chase captures the boy dressed in exotic Turkish costume feeding a cockatoo from a shiny copper bowl. The artist’s choice of accessories, from the hanging patterned textile, to the plush red velvet blanket and striped leopard rug, reveal his early talent for the illusionistic depiction of shiny surfaces and layered textures, qualities that became the hallmarks of his mature style. Moreover, the painting anticipates Chase’s developing appetite for collecting and adorning his studio with a vast array of objects, as seen in his Tenth Street studio paintings.

Elsa Smithgall, Exhibition Curator