HANDBOOK FOR LET’S LOOK AT ART DOCENTS

2019

MUSEUM INFORMATION

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Phone Alysia Caryl: (408) 271-6846

Jeff Bordona: (408) 291-5387

Lobby Desk: (408) 271-6855

Fax Downstairs offices: (408) 294-2977

MEE (upstairs offices): (408) 288-6588

Address 110 South Market Street

San Jose, California 95113-2383

Hours Tuesday through Sunday

11 a.m. – 5 p.m.
9 a.m. – 11a.m. open only for school tours

Closed Mondays, Thanksgiving Day, Christmas Day, and New Year's Day

Admission $10 Adult, $8 Seniors (65+), $6 College, $5 Youth (7-17)

Children 6 and under: Free Museum Members: Free

Parking SJMA has two tandem parking spaces below the Museum in the 50 West San
Fernando Garage, designated for all Museum volunteers. Entrance to the
spaces is by parking key only, and LLAA has been assigned one key to be used
by the Training Chair.

Paid parking is available at open pay lots on San Fernando between Market
Street and First Street, First and Second Streets, and Second and Third
Streets. Underground parking is available in the Knight Ridder building.

Visit SJDowntownParking.com for the latest list of places to park.

Up to 40 minutes of validated parking is available with a nominal purchase

in the Museum Cafeé . Cafeé patrons receive validation in lots displaying the "Pv"
symbol. Privately owned parking facilities downtown do not honor the
validation stamps.

SJMA Web Site www.sanjosemuseumofart.org

LLAA Training Site https://llaadocent101.weebly.com

LLAA Web Site www.sjmusart.org/llaa

Username:
Password:

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TABLE OF CONTENTS

Section 1 San Jose Museum of Art Introduction

4 SJMA Mission and Vision Statement
4 History of the San Jose Museum of Art
6 SJMA Organizational Structure
7 Museum Experience and Education Department
12 Looking at Art: SJMA’s Philosophy
13 Let’s Look at Art: Mission Statement
13 Let’s Look at Art: History and Timeline
22 Volunteer Groups
23 Trainee Docent Roster
23 LLAA Board
24 LLAA Docent Roster
24 SJMA Staff List

Section 2 About Let’s Look at Art

26 Requirements and Responsibilities of LLAA Docents
29 Delivering a Presentation: Start to Finish
34 Inquiry and Dialogic Teaching
36 Keeping Students Involved
37 Student Behavior
38 Unexpected Circumstances
39 Tips for Effective Presentations
40 Advice for New Docents

Section 3 The LLAA Curriculum: Grades K-6

41 Kindergarten – Grade 6

Section 4 Aesthetic Development and Art Criticism

47 Aesthetic Development
48 Lowenfeld’s Stages of Artistic Development
50 Aesthetic Games
51 Formal Elements of Art
55 Taking a Visual Inventory

Section 5 School Curriculum and State Standards

57 California Visual Arts Standards– Condensed for SJMA
61 California Curriculum Standards: What CA Kids Must Know

Section 6 Appendix
78 Glossary of Art “isms”
82 Let’s Look at Art By-Laws
90 Museum Visit / Field Trip Information
91 Bibliography

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MISSION STATEMENT

The San Jose Museum of Art reflects the diverse cultures and innovative spirit of Silicon Valley.
Through its exhibitions, educational programs, scholarship, and collections, SJMA connects the
present and the past and the art of the West Coast and the world. The Museum fosters awareness of
artists’ broad contributions to society: it engages audiences with the art of our time and the vitality
of the creative process.

VISION STATEMENT

The San Jose Museum of Art will be the preeminent modern and contemporary art museum in
Silicon Valley. SJMA will enrich its communities through inviting, innovative programs and creative,
interactive experiences. It will provide dynamic learning opportunities for adults as well as vital
educational services for youths and families, to encourage inquiry and visual thinking. As a
consequence, SJMA will be recognized internationally for high-quality programs, fresh collaborative
endeavors, a distinctive permanent collection, and adventurous approaches. The Museum will
connect art and life; work across cultural boundaries; and promote deeper awareness, enjoyment,
and knowledge of modern and contemporary art, architecture, and design. SJMA will be a cultural
hub for the residents of the region, a space for personal reflection, a gathering place for creative
thinkers, and a source of vibrancy for the city center.

HISTORY OF SAN JOSE MUSEUM OF ART

History of the Building and Association
The San Jose Museum of Art encompasses two buildings--a Richardsonian Romanesque historic
building, originally a Post Office built in 1892, and a new addition opened in 1991. The museum is
located on Fairmont Plaza, which was the center of the Old Pueblo of San Jose established in 1777 by
Lieutenant Jose Moraga in the name of Charles III, King of Spain. This plaza became the seat of the
Municipal Government of Pueblo San Jose de Guadalupe in 1778, and it served as the meeting place
for the people. It was the site of many bullfights, rooster snatchings, cock fights, church processions,
town crier announcements and even hangings. Although Pueblo San Jose was primarily a Spanish
town, a large Chinese population also settled in the area.

In his congressional campaign of 1888, the Honorable T.J. Clunie promised that, if elected, he would
secure an appropriation to build a Federal building for the people of San Jose. After his election, he
kept his promise, and with help from Senator Hearst and the Honorable W.W. Markham, Clunie was
able to secure a $200,000 appropriation from Congress on April 18, 1890, for the construction of a
Post Office in San Jose. The cornerstone of the building was placed in 1892.

The design architect for the project was Mr. Willoughby J. Edbrooke (1843-1896). The post office
was completed under the on-site construction architect Jeremiah O'Rourke, Edbrooke's successor as
Supervising Architect for the Department of the Treasury. The architects worked in the style of H. H.
Richardson, and the result was the Romanesque building that stands today. Construction was
completed in 1894, and on February 1, 1895, the new Post Office opened for business.

No expense was spared in this building's construction. The finest and heaviest glass available was
used in both interior and exterior windows. The metal work in the interior was done with ornately
embossed copper. A secret tunnel was constructed with a basement entrance outside of the postal
room and was used for surveillance by postal inspectors. No one working in the post office had a

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key to the tunnel. This tunnel is now incorporated into the basement of the historic building. The
doors were made of solid oak with bronze hinges, and marble was imported for the floors in the
entrance halls. The basement housed the heating and ventilating machinery, and a chimney for this
system was also built. Gas heating and lighting were utilized. Interior columns were made of cast
iron, and interior beams were constructed of steel. The roof was framed with heavy redwood timber
and covered with slate.

The exterior of the building is sandstone from the Levi Goodrich Quarry located about eight miles
south of San Jose in the Almaden Hills. The sandstone is of premium quality and has a beautifully
consistent color that remains unchanged by time or weather. Other buildings of Goodrich sandstone
in the area include the Quadrangle at Stanford University, Old Santa Clara College, and the San Carlos
Hall of Justice. After the sandstone was quarried, it was shaped and carved by Italian artisans
working here in San Jose. Carvings of little faces peering out from classic acanthus leaves are present
on many of the exterior arches found around the building.

Although the building stood in one of the areas of heaviest earthquake damage in the 1906
earthquake, it suffered little damage. The original clock tower and steeple were destroyed, but most
of the heavy stone facades survived. The post office apparently stayed open the day of the
earthquake because it remained structurally sound, while many other San Jose buildings were
nearly destroyed. Analysis of the original architectural plans revealed that the tower and steeple
were built taller than the drawing, and the part that the earthquake destroyed was all of the
additional height added in the on-site construction.
From 1908-1909, James Knox Taylor designed and built a new shorter tower for the building. In
1908, Nels Johnson created a three-faced clock, a Danish immigrant who designed the world famous
Century Tower Clocks. The new clock was installed in 1909 and is still in use today. The clock is
powered by gravity. The simple mechanism is operated by 500-pound weights suspended from
cables that descend two stories. A hand crank raises the cables and their weights when the clock is
wound every 3-4 days. The bell is housed in an adjacent compartment and was manufactured by
McNeely and Company West in Troy, New York, in 1908. The clock is one of only five Nels Johnson
clocks known to be in existence and one of the two that has not been converted to electric power.
In 1933, the Post Office moved to another location, and the building remained empty for two years
until the City of San Jose purchased it from the Federal Government. The building was remodeled
and became the Main City Library in June, 1937. When the library moved to West San Carlos Street
in 1970, the City Council voted to convert the building again for the San Jose Civic Art Gallery. On
February 24, 1970, a proposed contract between the Fine Arts Gallery Association and the City of
San Jose was presented to the City Council. It was approved and signed on July 13, 1970.
After the library vacated the building, the lumber from the old library bookshelves was sheet rocked
to construct panels suitable for hanging artwork. Only the first floor of the building was in use for
exhibitions. On September 19, 1971, the San Jose Museum of Art (then known as the Civic Art
Gallery) was opened. The building was declared a California Historical Landmark in October, 1972,
and placed on the National Registry of Landmarks in Washington, D.C. In 1974, the building became
a historical landmark in the City of San Jose as well.
In 1975, a major renovation project for the building was undertaken that provided 17,000 square
feet of gallery space. Below the galleries, 10,000 square feet in the basement level was made to be
used for storage, art classrooms, exhibit preparation and administrative offices.
The name change of the Gallery and Association also took place in 1975. The Civic Art Gallery
became the San Jose Museum of Art, and the Civic Arts Gallery Association became the San Jose
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Museum of Art Association. The Association still has the contract with the City of San Jose to operate
the Museum.
A new building addition, opened in June of 1991, added 45,000 square feet to the museum at a cost
of approximately $14 million. It has state-of-the-art environmental, security and humidity control
systems. Skidmore, Owings and Merrill of San Francisco did the exterior architecture and
engineering and the interior was designed by Robinson, Mills and Williams. The building has a
sandstone base with tinted pre-cast concrete upper stories. The lobby has a granite floor while the
galleries have a light, fine-grained maple. The new building was designed as a contemporary
addition to the Richardsonian-Romanesque facility, and the architects planned for a building that
would not distract from the original museum.

BUILDING DATES TO REMEMBER

1892 Cornerstone laid

1895-1933 Building housed San Jose Post Office
1937 Building becomes San Jose Public Library
1969 Fine Arts Gallery Association formed
1970 Civic Art Gallery opens; first docent class
1972 Building declared a State Historical Landmark
1974 Building declared a City Historical Landmark
1975 Name change to San Jose Museum of Art (building and Association)
Renovation begins
1991 New addition opens
1997 Retrofitted and renovated Historic Wing re-opens

SJMA ORGANIZATIONAL STRUCTURE

The San Jose Museum of Art Association consists of more than 4,500 individual members who
subscribe to the purpose of the Association and pay dues in a variety of classifications. The
Association has a Board of Trustees, all of whom are members of the SJMA. The Board of Trustees is
the governing body of the San Jose Museum of Art Association, which has a contract with the City of
San Jose to operate the Museum. The building itself is owned by the City of San Jose who provides
electricity, water and janitorial services.
The annual budget of the SJMA is approximately $5 million. Each year the Museum applies for two
grants from the City of San Jose which generally result in support of approximately $1 million
dollars. The responsibility for raising money for all operating expenses including exhibitions,
educational programs, research, publications, etc. lies with the Museum’s Board of Trustees and the
Development Department.

The Board of Trustees employs an Executive Director who is responsible for the administration of
the affairs of the Museum including programs, expenditures and employment of staff in accordance
with the policies and budgetary limitations established by the Board. The Director is a non-voting
member of the Board of Trustees. The staff consists of roughly 40 full-time employees.

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DEPARTMENT OF MUSEUM EXPERIENCE AND EDUCATION (MEE)

Philosophy
The Museum Experience and Education Department at the San Jose Museum of Art believes that art
enriches and transforms lives. The Museum serves as a vital community gathering place which
encourages dialogue about the cross-cultural understanding of art. Art is a conduit for social and
community interaction. Through our myriad multigenerational programs—public, school, and in-
gallery interpretation—we strive to be intellectually rigorous, boldly open-minded, accessible to
the diverse constituents of the Bay Area, and champions of the artistic process. The MEE
Department values the contributions that artists make to society and strives to connect our visitors
with the artists whose work is in our permanent collection. The MEE Department aims to make the
Museum a true resource for lifelong learning.

Public Programs
The MEE Department is dedicated to building new audiences by launching wide-ranging and cross-
disciplinary public programs for adult constituents including regional university professors and
students, young professionals, and lifelong learners. The MEE Department will present a roster of
educational programs which are academically oriented and build intellectual capital. Youth and
family audiences will be served by culturally diverse and creative hands-on events designed to
foster creative thinking. The connection with artists, emerging and established, will be highlighted
to increase awareness of the artistic process and engage the artists’ community. By seeking out
meaningful collaborations with area arts organizations and cultural resources, the department will
increase its relevance to the community.

School Programs
SJMA’s off-site and museum-based school programs provide multiple points of contact which are
linked sequentially to build essential visual and critical thinking skills, as well as knowledge on the
formal elements of art. Through consistent and ongoing contact with the Museum, the MEE
Department provides critical early exposure to the visual arts and builds a community of youth
familiar with the Museum. SJMA aims to increase the number of Museum contacts with each
student by linking the Let’s Look at Art Docent Program more closely with the Multi-Part Art and
Museum visit programs.

Interpretation
Answering the questions that visitors have while visiting art museums is one of the most
challenging goals of any museum. The sheer number of visitors range widely in age, cultural
background, and level of expertise resulting in millions of possible questions each year. SJMA’s
solution is to build environments that are maximally responsive to the ways that we learn. By
designing interpretive strategies that engage the visitor while making sure that the necessary
components to facilitate learning are in place, we have created a space where visitors have the
opportunity to answer their own questions. Through the creative use of technology, interpretation
stations, and in-person contact with Docents and Museum Experience Representatives, the MEE
Department implements a constructivist approach to learning.
SJMA is committed to creating meaningful and relevant experiences for all its visitors.
The criteria below are specifically targeted towards visitors’ experiences in the galleries.

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We achieve this by:
 increasing the choices for what visitors experience and learn in the galleries in an effort
to ensure that our visitors never feel intimidated, alienated, or out of place.
 creating environments/conditions for engagement and inquiry, in which adults and
children naturally enjoy learning.
 increasing the kind and accessibility of information available to visitors in an effort to
accommodate different learning styles.
 creating vehicles for a continuous dialogue between the Museum and its visitors in order
to let visitors reflect on and share their ideas about the art.
 designing gallery environments and convocation spaces that are based on current
audience research and feedback in order to ensure that the museum is accommodating
visitor needs.
 designing gallery environments that foster looking and first-hand experience of original
art objects, regardless of experience level with the subject matter.
 recognizing that the content and context of the exhibition plays an important role in
influencing the design of the gallery environment in order to ensure that the visitors
form connections among the artists, images, ideas, processes, and creative experiences.
 recognizing that our museum exists because artists have experiences that inspire them
to make works of art and visitors have the opportunity to share in that experience.

MEE Department Staff Responsibilities:

Director of Education
The Director of Education (DE) is responsible for overseeing all aspects of the Museum’s
interpretive and educational programs and providing the conceptual and creative leadership
thereof. The DE creates educational and experiential components relating to exhibition
interpretation and is responsible for creating welcoming, comfortable public spaces that promote
high-quality leisure and educational activities.

The Director of Education:

 Manages and administrates the department
 Conceives and implements exhibition interpretation and educational interactive
technologies
 Supervises, trains and manages the in-house volunteer docents
 Supervises and streamlines department scheduling
 Conceives and coordinates adult programs
 Participates in fundraising and grant writing initiatives for education programs

Manager of Museum Experience

The Manager of Museum Experience (MME) is responsible for administering educational, cultural,
and audience-building public programs and experiential components for SJMA visitors. The MME
also oversees all the operations of the front-line Museum Experience Representatives (MERs) who
are responsible for processing admissions, greeting and orienting visitors in the lobby, gallery
security, customer service, and on-site membership solicitations and sales. The MME is the liaison
between the MEE department and Curatorial, Events, Exhibitions, Facilities and Marketing
departments.

Manager of Youth Programs

The Manager of Youth Prograns (MYP) is responsible for the leadership of all programs and staff
dedicated to school, youth, and family audiences; including the supervision and training of the
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Education Programs Coordinator, Gallery Teacher and Studio Art Educator staff; Let’s Look at Art
volunteers and education interns. The MYP manages all administrative aspects, conceptual
development, content, and assessment for School and Teacher, Family and Community, Studio Art,
and Art Camp Programs. These programs include: School Tours, 2-Part Art, Multi-Part Art, Teacher
Workshops, and Kids Art Camps.

Education Program Coordinator

The Education Program Coordinator (EPC) coordinates administrative aspects of programs for
school, youth, and family audiences, including the scheduling of school tours, private tours, and
Kids Summer Art Camp. The MEEC is also responsible for development and administration of in-
gallery DIY programs and Community Days.

MEE Program Descriptions:

Public Programs
The San Jose Museum of Art strives to bring art education to people of all ages throughout the
communities of San Jose, the South Bay, and the Peninsula. The Museum delivers a wide range of
interactive, experiential programs that highlight and celebrate the diversity and the rich cultural
heritage of the region.

Docent-led Public Tours

SJMA’s docents go far beyond relaying information about a particular exhibition. As they walk
visitors through the galleries, docents prompt lively, participatory discussions about selected works
and foster an open exchange of opinions and ideas. SJMA’s docents engage the public’s imagination
and encourage new ways of seeing and thinking about art. Public tours are offered twice a day
(1:00pm and 2:30pm), Tuesday – Sunday. Special “Spotlight Tours” are typically held on the third
week of every month (on Tuesdays at 1:00pm and Thursdays at 2:30pm). Docents also provide
adult private tours for groups of six or more visitors. Adult private tours require six weeks advance
notice and a small fee.

Community Day
SJMA’s free community days include in-gallery and hands-on art activities, taught by Gallery
Teachers and Studio Arts Educators, as well as live performances by dance troupes, storytellers,
musicians, and eclectic performers. Programs are geared for children and family audiences, with a
focus on multicultural celebrations and multigenerational activities. These dynamic family days
further the Museum’s commitment to reach a broad cross-section of the region’s population.

Kids Art Camp

This program offers a safe, fun, and enriching adventure for children ages six to fourteen. Kids
participate in a week of art activities that balance visual inquiry and practical arts instruction and
encourage self-expression. Students grow creatively and strengthen their artistic capabilities while
developing social and intellectual skills. Held at the Museum in the spring and summer, camp
culminates in a one-day public exhibition of the campers’ artwork. By nurturing creativity, this fun
and educational camp experience is a lively alternative to a summer of video games and television
watching.

Two-Part Art for Adults

Two-Part Art adult workshops are specifically designed for private and corporate groups, to foster
interaction, team-building, and creative thinking. These sessions include both looking and doing—
the best of both worlds. The program starts with an engaging visit to the galleries, where a docent
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leads an interactive discussion. Participants then move into a 90-minute art- making workshop
facilitated by a professional artist.

Creative Minds Series

SJMA is dedicated to building new audiences by launching wide-ranging and cross-disciplinary
public programs for adult constituencies, including university professors and students, young
professionals, and lifelong learners. These Programs give audiences the opportunity to meet artists
and gain insights on the artistic process.

Lunchtime Lectures
The Museum’s monthly series of Lunchtime Lecture is designed for San Jose’s downtown
workforce. From September through May, the series illuminates and grapples with contemporary
art issues through cross-disciplinary perspectives offered by experts and educators.

DIY Art
SJMA embraces the popular “do-it-yourself” culture with programs that bring out the inner artist in
everyone. SJMA’s staff or guest artists lead family drop-in programs inspired by selected exhibitions
or artworks. Indie art projects bend the rules of traditional art-making and encourage participants
to use everyday materials in new ways.

ART 101
The ART 101 programs are three-hour studio “crash courses” that are inspired by the artistic
processes used to create artworks in current exhibitions. SJMA’s staff or guest artists teach the
hands-on workshops. Past ART 101 programs included block printing and industrial design
sketching.

Curator-led Gallery Talks

To personalize the museum experience and connect the public to our behind-the-scenes team,
SJMA offers curator-led gallery talks for every exhibition. Curators discuss the major themes of an
exhibition, share interesting anecdotes about the artworks and artists, and answer visitors’
questions.

Third Thursdays and ArtRage

Extended evening hours on the third Thursday of each month offers a casual, social-networking
experience for a wide variety of audiences, many of whom were new to the Museum. Each month
features a public program to engage and delight audiences. Three times over the course of the year
the Museum offered ArtRage, a program that includes live music, a photo booth and photo sharing
opportunities, hands-on DIY activities, and exhibition-themed cocktails.

Community Collaborations
SJMA seeks out meaningful collaborations with area arts and cultural organizations in an effort to
showcase the many connections between art and other disciplines.

School Programs
SJMA’s school programs provide multiple points of contact for students, in the classroom and onsite
at the Museum. Activities are sequenced to build visual and critical thinking skills, as well as
knowledge about the formal elements of art. The MEE Department’s programs (linked to state
curricular standards) provide critical, early exposure to the visual arts and foster familiarity with
the Museum among an ever-growing community of youths.

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Let’s Look at Art
Let’s Look at Art is a volunteer docent program that offers lessons in art history and in visual
thinking in the classroom at no cost. This longstanding program introduces children to the
importance as well as the excitement of learning about the visual arts, with the goal of stimulating
curiosity and cultivating visual cognition, comprehension, and self-expression. Each student
receives a bookmark valid for free Museum admission for their family.

School Tours:
 Guided and Self-Guided Visits
During students’ guided visits to the Museum, Gallery Teachers engage classes in active
discussions about artworks, using specific strategies to develop the students' visual thinking
skills. These highly participatory gallery programs may also include gallery games,
storytelling, writing exercises, and short hands-on activities. Gallery programs are tailored
for various grade levels and based on the California Visual Arts Framework and the
California State Board of Education’s Content Standards, to thus provide connections
between the skills students are learning in school and their experiences at the Museum.

 Two-Part Art
The Museum’s Two-Part Art program is designed to introduce school children of all ages to
contemporary art and, in turn, to build bridges to the Museum. Two-Part Art encourages
children to experience art as both viewers and makers. After a guided Museum visit,
students exercise their imaginations and creativity in a 60-minute, hands-on art workshop.

Multi-Part Art (in school residencies)

The Multi-Part Art program (MPA) extends SJMA’s visual arts education resources directly into
Santa Clara County schools via 6-, 8- or 10-week residencies. Conducted by Studio Arts Educators,
MPA delivers a series of stimulating art-making experiences in the school classroom, where
professional artists lead students in challenging and engaging hands-on art activities for 60-90
minutes. A visit to the Museum enhances the classroom activities and rounds out this exemplary
arts education program.

Sowing Creativity
SJMA’s experienced museum educators and teaching artists have joined forces with public school
teachers and math and science educators to develop a rigorous S.T.E.A.M. curriculum. Now in its 4 th
year, this newer version of the Multi-Part Art program uses Creativity as a theme to connect Science
and Art, and teach children about the creative process across disciplines. The is a 10-week program
and currently serves over 1500 students each year, which equates to 15,000+ art activities in the
classroom. In January of 2017, Sowing Creativity won the prestigious California Superintendent
Award for Excellence in Museum Education Programming,

Exhibition Interpretation
SJMA's Museum Experience and Education Department presents a range of exciting and stimulating
activities to enrich each Museum visit. Our innovative in-gallery interpretation, hands-on gallery
activities, and reading galleries are suitable for children and adults, and make the artwork on view
more engaging and accessible.

In-gallery Interpretation
Conceptually or artistically linked to the exhibition in which they are situated, in-gallery
interpretation areas encourage visitors to spend time in the galleries considering the themes of the
exhibition and creating something to take home. SJMA strives to have an interpretation area in each
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major exhibition. Recent areas have engaged visitors in creating a barcode design in the exhibition
Hidden Heroes: The Genius of Everyday Things; building a robot out of Legos in the exhibition
Robots: History of a Cultural Icon; contributing to the ofrenda or altar to Frida Kahlo by making a
butterfly in Frida Kahlo: Portraits of an Icon; and drawing a family portrait in The Family Alcove.

Art Packs
Art Packs, designed for families and other intergenerational groups while in the Museum's
galleries, are currently available for visitors to borrow for free. This non-exhibition specific
interpretive vehicle has three activities which elicit visitor’s opinions and inspire creativity.

Reading alcoves
Exhibition galleries often feature reading areas, which allow interested visitors access to more in-
depth information about the works on view. SJMA's curatorial and education departments assemble
a collection of books and catalogues related to the exhibition on view for visitors to peruse while in
the gallery. Selections vary from biographies of artists to novels that highlight the zeitgeist of a
particular era; collections are diverse in art historical content and targeted audience. When
available, children’s books are also included.

LOOKING AT ART: SJMA’s PHILOSOPHY

An aesthetic experience at SJMA aims to help viewers engage deeply with the visual world through
active looking and discourse that centers on art objects. This experience encourages viewers to ask
questions, search for universal truths and discover inspiration and personal satisfaction in their
discoveries, leading them to make meaningful connections to questions in their own lives.

SJMA’s School Tour and School Outreach Programs are committed to helping children build their
ability to make sense of modern and contemporary art and know about a broad sense of artists and
the roles they play in our society. Gallery Teachers and Docents aim to help students look at the
world from various perspectives, learn art vocabulary that can be utilized in other aspects of their
education, build self-esteem, and discuss how art plays a critical role in their communities.

SJMA’s approach to teaching draws on museum and education-based research and theories that
show that children learn best in a museum context, or when looking at art, when they are
encouraged to develop their interpersonal and cognitive skills. On our tours, in-school residencies,
and during LLAA presentations, Gallery Teachers, Studio Art Educators, and Docents play the role
of facilitator and support children in their quest to analyze artworks and interpret them for
meaning. While Gallery Teachers, Studio Art Educators, and Docents are trained on the content of
artworks, inquiry-discussion strategies, rather than a lecturing approach, is at the heart of our
teaching methodology.

Of this approach, teachers say it “engages the students” and that students enjoy being “asked to
explain what they observed.” One teacher remarked, “I especially appreciated the differentiated
questions and patience – this allows students to think before raising their hands.” Through our
school programs, it is our hope that children will grow creatively and strengthen their visual
thinking capabilities while developing social communication and intellectual skills.

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LET’S LOOK AT ART: MISSION STATEMENT

Let's Look at Art is a volunteer outreach program of the San Jose Museum of Art. Our mission is to
provide interactive visual arts education to K-12 students. We strive to educate students in the
formal elements of art appreciation while presenting significant artists of historic importance. We
believe that learning to appreciate art will not only raise awareness of cultural and ethnic diversity
but will foster an environment that builds self-esteem and promotes creativity in the student. We
realize that the Let’s Look at Art program is the first exposure many students will have to fine art,
and it is our goal to make the experience fun and exciting. We encourage students to expand their
horizons by participating in the many art education programs that the San Jose Museum of Art has
to offer.

LET’S LOOK AT ART: HISTORY AND TIMELINE

1968-69 A San Jose Junior League “Let’s Look at Art” committee proposes a program of cultural
enrichment for Santa Clara County elementary students. The program is fashioned after
“Art in Action” conducted by the Palo Alto Junior League. With a budget of $1900, eight
League members develop the program. Nancy von Konsky creates the art history
1968 curricula, selects and sources prints. Doris Standerfer, San Jose State Professor of Art
The San Joseé Education, creates the training portion and gives the ten meeting instructional course,
Junior League beginning in October, which focuses on fourth grade elementary school students.
writes Seventeen (17) League members graduate as volunteer Let’s Look at Art classroom
proposal
docents. The program is called “How to Read a Painting”.

The pilot program is first given in Union School District in spring, 1969. The 17 docents
1969
Pilot program visit 29 fourth grade classes. They offer 45 minute presentations encouraging
in Union observation and discussion of the art, sharing one portfolio, passing it from volunteer to
School District volunteer as needed. They leave a print for each class as a gift. In the fall, Moreland
School District also welcomes the program.

1970 San Jose Unified District joins the program in January. The Let’s Look at Art program is
offered to other school districts and community organizations. The Fine Arts Gallery
Museum Association’s Civic Art Gallery, later named the San Jose Museum of Art (SJMA), opts to
adopts the adopt the program.
program

1971-72 Jr. League members, Let’s Look at Art Chair Shelly Rolfe and Co-Chair Karen Bates, recruit
and present the project to community volunteers who will take the project over for the
1971 FAGA Fine Arts Gallery Association. The newly formed FAGA Docent Council and the trained
Docent Council Junior League volunteers cooperate in this joint effort. (Others form the Arts Docents of
Formed Los Gatos, and the Cupertino and Alum Rock School District art programs, training
parents).

1972-75 Ann (Herman) Walton is chair for FAGA’s new Let’s Look at Art (LLAA) program and will
Ann lead LLAA for three years. The pilot program provides one 4th grade portfolio of 12
(Herman) prints. In January, 1973, the first Docent Council chair Anne Marie Mix, officially accepts
Walton
13
 the Let’s Look at Art program into the Museum. After the League transfers LLAA to the
January 1973 Docent Council, League members move on and volunteer participation more than halves,
LLAA transfers from 40 to 15, with only 8 truly active members. Rolfe leaves the area soon after and
to FAGA Docent Bates remains as an advisor only.
Council
Using flyers, the League advertises the Museum’s LLAA program to all Santa Clara County
school districts and luckily, only a few schools reply. Walton, Eric Hoffman (Museum
desk-sitter and SJS student artist), Jane Starbird and others, scramble to mount more
reproductions to fill newly purchased portfolio cases. The League funds the project with
$400 over three years. The remaining eight docents work very hard to meet the requests,
and remarkably see 8,000 students the first year.

LLAA is now fully a museum project under the direction of the Museum Curators
Margaret Adams and then Elizabeth Gaidos. The Docent Council and the Museum
Director decide at this time to make the LLAA program a separate Museum department
1972-75
under the direction of the Curator. This is due to the different needs of the Docent
cont’d
Council and the LLAA docents for materials and training. Individuals can choose between
either or can be in both programs at the same time.

1973-1974 The Museum gives financial support to increase the number of available fourth grade
LLAA portfolios. The American Association of University Women (AAUW) selects LLAA to
separates from receive their cultural grant. This money is the start of the fifth grade program allowing
Docent Council purchase of portfolios, prints and matting. LLAA has its own desk, mailbox, bulletin
board and a cupboard to store portfolios in the Museum basement. With no elevator,
docents enlist museum guards help to bring the heavily laden portfolios up and down the
stairs. Fourteen docents see 6300 students in 210 classes at 40 schools.
1974-75
Museum The program continues to be widely publicized as the recently opened Museum is
renamed SJMA officially renamed the San Jose Museum of Art. For Ann Herman, in her 3 rd year as Chair,
the challenge is to frantically recruit and train new docents, build the collection of
materials, and keep the promise to teachers, students and museum.

1975-76 Jane Lowrimore is the new chair of LLAA. As the publicity raises expectations greatly,
Jane advertising controls are put in place offering the program to a limited group of districts
Lowrimore on a limited time basis. The transition between chairs is challenging and there are gaps
in records of presentations. Ann Herman creates LLAA By-Laws and Let’s Look at Art is
LLAA By-Laws officially a separate council from the Docent Council.
created

1976-78 Valerie Peters is chair for two years. Recruitment for LLAA is the focus, as well as
Valerie Peters evaluation of docents by their peers and evaluation of the LLAA program by teachers.
The passage of Proposition 13 in 1978 limits and redirects property taxes, causing most
art specialists to lose their jobs and increases the community need for the LLAA
programs. In 1976-77 a new high of 13,830 students served is reached.

14
 1978-79 Mary Therese Torre takes over as chair and urges a continuing education program for
Mary Therese LLAA docents after their initial training. Torre focuses on encouraging and enabling
Torre docents to develop their knowledge of the arts, especially of the contemporary arts by
helping facilitate their participation in all programs available at SJMA. A large drop in
New requests, to 7,260, is attributed to new requirements placed on teachers, limiting their
Continuing Ed.
time for the visual arts.
program

1979-80 Janet Fohs takes the LLAA helm. She attempts to revitalize LLAA with innovative training
Janet Fohs and meetings, improving relations with the Museum and volunteer groups, and
providing all docents with a handbook, including all training information, museum
Revitalization history and LLAA by-laws. Additional prints are purchased with a grant from the
of LLAA: Community Foundation of Santa Clara County. In evaluating the LLAA prints, it is
handbooks &
suggested to include more contemporary art, as the audience will be 21st century adults
training
and will benefit from exposure to contemporary works. The number of students visited
returns to 13,000+.

1980-81 With a new decade, Chair Susie Krause seeks to energize LLAA as she offers quality
Susie Krause continuing education at the bimonthly meetings, improves the mechanics of the
meetings, while coordinating with other museum volunteers and bolstering membership
with 11 new members. Several new portfolios are created. In 1981, new SJMA Curator
Martha Manson begins overseeing the LLAA program.

1981-83 Chair Dorothy Wilkinson focuses on recruitment and training, expanding the docent pool
Dorothy from 28 to 38. Vice President Diane Baer encourages a shift from leaving a print packet
Wilkinson with the classes to leaving suggested art projects, with simple materials for a teacher
follow-up after docent classroom visits. Docents now have a reserved parking area for
pick up and return of portfolios in the San Fernando parking lot next to the Museum.

1983-85 As Chair, Diane Baer leads an evaluation of the 4th & 5th grade portfolios, using standard
Diane Baer criteria to increase the quality of the portfolios in relation to the LLAA presentation.
Prints from the ‘Woman’s Series” SJMA exhibition are added to the portfolios. As part of
LLAA Training, Coordinator Alice Pratte adds a quiz to the curriculum. LLAA by-laws are
revised and updated. To improve continuing docent education, outside field trips for
Volunteers
docents are introduced. A Museum Volunteers Steering Committee is formed to establish,
Steering
Committee is within one umbrella, better communication and activities for all Museum volunteers.
formed
Showing steady growth the active LLAA docent roster numbers 35, the portfolios
number 25, and docents visit over 440 classes per year. Docents visit than 150,000
children between 1971 and 1985.

1985-87 For Chair Susan Hunn, flexibility is key over the next two years, as she guides LLAA
Susan Hunn through the early construction of the Museum expansion, moving the portfolio room,
LLAA meetings, parking places, museum entrances to the building, etc. All portfolios
formerly housed at the Museum move out into LLAA docents’ homes, with five docents in
The “garages”

15
 open various locations becoming “garage ladies.”
Other “firsts” include the addition of a Continuing Education Chairperson and the further
development of 4th & 5th grade individual portfolios. Jeanette and Ken Gilbeau, with a
major donation, augment the portfolios, allowing LLAA to add 20 new portfolios cases
with 200 prints!

1987-88 Dorothy Wilkinson returns to lead LLAA one more year. Don Jones (LLAA docent Shirley
Dorothy Jones husband) speaking at a Museum meeting, announces to the packed house “This
Wilkinson museum’s Let’s Look At Art program is the envy of the museum world!” Susan Hunn
garners press in the San Jose Mercury News with a photo presenting to a 4th grade, a
lengthy article about LLAA programs and a Silver Pen Award for her response to a letter
to the editor denouncing San Jose as “the largest city without an art gallery-museum
facility.”
In 1987 the Volunteer Council is born. LLAA presidents act as members and numerous
LLAA presidents serve as Chair of Volunteer Council. With “Art for Wearing” fashion
1987 shows of local designers creations and SJMA volunteers as models, money generated
Volunteer publishes the annual Museum Volunteer Rosters (by Gretchen & Bob Beers). Alice Pratte
Council is born and Sandra Rice chair the fashion shows for many years with generous support of Pat
Bowles. Nancy Wylde. Toby Fernald, Jenny Ludwig (Auxiliary) and Linda Gallo are future
Chairs.

1988-90 Flo Abshire takes over the helm of LLAA, leading a large expansion of docent numbers
Flo Abshire and schools served. After 17 years of service, LLAA is awarded the Junior League of San
Jose’s “Women in Action Volunteerism at its Best Award of Distinction” for dedication to
JLSJ awards excellence in collaborative efforts and contributions to improving our community. In
LLAA 1989-90, forty-five LLAA active members reach 19,351 students.

1990-93 In Toby Fernald’s 3-year presidency a $1000 grant from Arts Council of Santa Clara
Toby Fernald County Partners Program funds eleven new portfolios (with 10 prints each) for art
presentations to 4th and 5th grade students. As always, LLAA docents busily mat the art
prints and create the artist’s background and questions for the back of each print. LLAA
begins plans to expand into K-3rd and 6th-8th grades. In 1992, the Ehrmann Foundation
1990
(Mikki & Stanley Weithorn) donates for development of 6th grade portfolios. The teacher
program
expands with response is huge with over 97 classrooms requests for K-3rd and 45 classrooms of 6th-
k-3rd & 6th-7th 7th grades as of October, 1990. A meeting focuses on how to adjust our presentation
techniques for these grade levels. Beginning in 1990, Madelyn Crawford, Curator of
Education-Programs, oversees LLAA programs and annual trainings.

In 1991, a grant $1,140 from the Arts Council of Santa Clara County funds the formation
1991 of a new LLAA program, called “Art in the Dark,” using slide presentations for sixth and
The birth of seventh grade students and adult groups. In an effort to serve the diverse student
AITD population of Santa Clara County, each of the slide programs focuses on two significant
artists from different backgrounds in time and/or culture, showing the influence of one
artist on another. The grant assists in the purchase of slides and program materials. LLAA
docents Flo Abshire, Fernald and Sandra Rice create five programs and curriculum
guides.
Picasso and Rivera: A Comparison
Jacob Lawrence and the Struggle for American Civil Rights
O’Keeffe, Stieglitz and Strand and the American Southwest
Heroes and Heroines in Art through the Ages
Van Gogh, Hokusai and Hiroshige and their Influences

16
 In 1991, the Girl Scouts of Santa Clara County at their 30th Celebration award LLAA the
“World of Arts Award” jointly with the San Jose Museum of Art.
Girl Scouts of The San Jose Museum of Art opens the doors of its $14 million wing on October 30 th,
SCC award 1991. LLAA docents attend the Gala as guests and/or volunteers.
LLAA
In 1992, Tonya Carpenter designs a new LLAA brochure with assistance of Fernald, Susan
Hunn, Barbara Zahner, Carole Harris and Lee Kucera. With an in-kind grant, Lockheed
Missile and Space Corporation, Inc. prints 22,000 brochures. In 1992-93, LLAA reaches
24,160 students with forty-three active docents presenting to 824 classes at 142 schools.

1993-95 Diane Stoiber is the new two-year president. Martha Kozlowski, in honor of her mother,
Diane Stoiber supports the purchase of a slide projector for AITD. A major grant received in the fall
from National Semiconductor Corporation further enables the expansion of the slide
1993 presentation program. This grant assists with costs associated with duplicating all
6th grades” AA existing slides and program materials, as well as funding the purchase of a second slide
1900-1940
projector. This support also leads to the development of a sixth slide program. Written by
from Whitney
Show Education Director Cheryl Kiddoo, Fernald and Flo Abshire, it relates to the Museum’s
upcoming collaborative exhibition with The Whitney Museum, NYC, American Art 1900-
1940: A History Reconsidered.

Twenty returning docents train in October to present the six AITD slide programs now
offered to middle and high school students. LLAA docents also prepare 200 posters of
images from the exhibition. Cheryl Kiddoo guides LLAA in the years from 1993-’96.

The same year, with a goal of training 20+ new docents, eighteen (18) trainees become
active and six of those serve on the 1994-95 Board, showing a large commitment to
LLAA. Under the leadership of Mikki Weithorn, with a second Ehrmann Foundation
grant, LLAA introduces an entire set of new third grade portfolios, including prints and
cases. A revision of our training materials brings the entire program into a digital format
for easy future revision.

In 1993-94, LLAA reaches to 21 school districts, 21 private schools and 6 adult groups, as
66 active LLAA docents (our all-time high) present to 20,019 students in 670 classes at
142 schools.

1995-97 Chair Helga Eagle continues with LLAA educational programs through lecturers, tours
Helga Eagle and an annual study group held at Martha Kozlowski’s. The Museum Education
Department underwrites the cost of a new slide program American Art 1940-1965:
Added : AA Traditions Reconsidered, to complement the Museum’s current exhibition, written by
1940-1965, Director of Education Cheryl Kiddoo, and Fernald. LLAA participates in the new 3-Part
and Alexander
Art program with SJMA.
Calder to
compliment
exhibits In 1995-96, LLAA reaches a new presentation high of 25,370 students, only superseded
in 1998-99 with 26,034 and in 2011-12 with 31,273 students reached.
From 1996-2000, Val (De Lang) Miranda takes over as Director of Education.
In 1997, the formation of a slide presentation to complement the Museum’s exhibition,
“The Flying Colors of Alexander Calder,” is written and funded by Fernald.

1997-99 Two-year president Sue Bisceglia oversees LLAA’s teacher postcard issues; the Museum
Sue Bisceglia includes LLAA as part of its ArtWorks brochure and the results are down considerably;
Val DeLang works on the design of a new LLAA brochure, which will be ready for the

17
 1998 school year. A slide program Introduction to American Photography created by
First computer LLAA docent Barb Purdy, is ready for presentation. The Museum provides a Volunteer
generated Room and LLAA is given a file cabinet. In 1998, the first computer generated LLAA
newsletter newsletter is created by Cindi Mulloy. SJMA Board of Trustees provides a training budget
for LLAA, including materials.

1999-2000 Under President Jo Ariko’s leadership, follow-up art lesson plans for teachers are
Jo Ariko developed from lessons designed by Peggy Johnston with assistance of Mark McClane.
Examples such as “Doodle Drawing” and “Balance” in water color are ready to pilot in the
classroom. Two slide projectors are purchased for AITD. The Museum prints new LLAA
Follow-up art nametags attached to lanyards for all docents. Margie Maynard works with LLAA and
plans added
oversees many aspects of Museum Education from 1996-2007. Nelya Maryahkin acts as
Coordinator for Schools.

2000-02 Mary Ann Barr takes over the presidency for two years. A LLAA committee writes new
Mary Ann portfolio guidelines for first, second, third and fourth grade presentations,
Barr complementing the social science goals of California Frameworks for each grade level. A
revitalizing of the portfolios is generated by a major grant from the Saratoga Rotary
Service Fund (through the efforts of Diane & Tom Stoiber) allowing purchase of new
Portfolios
prints and portfolios for the first and second grades. Jo and Barry Ariko donate for the
revitalized
purchase of new prints and portfolios as well, and Fernald donates prints. All portfolios
care updated to meet the new guidelines and reach consistent goals at each level.

For the first time, LLAA sends two delegates to the National Docent Symposium (NDS)
(in San Antonio, TX)-Mary Ann Barr and Linda Higgins. They encourage LLAA to support
its own delegates in attending NDS as it is a great resource for sharing and learning. In
LLAA Book early 2002, Joan Sharrock organizes the LLAA Book Club to resounding success.
Club
The traditionally fall LLAA training is postponed to the spring due to lack of recruits. Val
De Lang leads the training and also an energizing workshop for all LLAA docents,
Brushing Up Your Skills, to share presentation tips for engaging the student with fellow
docents. Nancy Wylde offers to become the first LLAA Historian.

2002-04 President Linda Higgins leads LLAA in new directions for the 21st century. A new
Linda Higgins Museum flyer advertises LLAA, AITD and other Museum programs. Museum Volunteer
Agreement forms are now included with requests for LLAA dues each year. The
Museum’s 35th Anniversary is celebrated.

In 2003, LLAA receives a large anonymous donation affording the development of

kindergarten portfolios for 3 centers, as well as many other projects. In 2004, LLAA
participates in a Walkathon March for the Arts, with the resultant $3200 also used for
kindergarten portfolios. Joan & Peter Sharrock donate towards portfolios and The Hans
& Elizabeth Wolf Foundation donates in support of LLAA programs. Volunteer Council
2002-04 donates $500 for the purchase of six new portfolio cases. There are presently 86
Cont’d portfolios in the 8 “garage” centers.

Linda Higgins and Joan Sharrock attend the 2003 NDS conference (Chicago). They
More portfolios observe there are not many other programs like LLAA. Most seem to be slide programs
added and for high school students.
updated
LLAA docent Diane Stoiber updates the popular slide program Georgia O’Keeffe, showing

18
 more samples of O’Keeffe’s art and expanding the biography of her life. The portfolio
committee, led by docents Joan Gorham, Rosemarie Mirkin and Judy Cathcart present
new sixth grade portfolios, related to the sixth grade social-science curriculum of
prehistoric to medieval world history and multiculturalism

2004-06 Under President Joan Sharrock’s leadership, a LLAA website is set up and teachers are
Joan able to email their requests for presentations on the SJMA website. LLAA can now
Sharrock produce reports by school district, docent activity and open and completed requests.

LLAA website A Ways and Means committee of eight is formed under the leadership of Karen Lantz.
is developed They address the issue of the number of students LLAA serves declining by 50% in just a
few years (from 22,986 in ’98-99 to 11,239 in 2003-04). They question the effectiveness
of the museum brochures sent to schools, as there is less than a 20% response rate. The
Ways & Means committee works on marketing the program, adding personalized business cards, 3 new
Committee flyers and a heavy card-stock postcard to hand out to schools and teachers. Linda Higgins
formed
and Van Tran create an LLAA information card, which is distributed to 141 schools in
Santa Clara County. LLAA surges upward with 21,222 students visited in the 2005-06
year.

Donations to LLAA in memory of Judy Cathcart equal $1300 allowing two portfolios in
her honor. A record 3000 postcards are sent to Santa Clara County schools through the
‘pony’ mail and to the Catholic Diocese of San Jose. Joan Gorham and Joan Sharrock
attend the 2005 NDS conference (Boston).They learn how other institutions educate
their docents, market and fund their programs and work inside and outside their
museums.

2005 Birth of Fernald begins the conversion of slide programs to digital, with a committee of Rosie
AITD digital Mirkin and Jeanne Langridge assisting. Each slide is converted to digital format and then
programs the former slide programs are slowly updated with new digital imagery (plus video
eventually). The AITD outreach program to the schools is minimal during this process.

The Hans & Elizabeth Wolf Foundation makes two large donations in 2005 and 2006.
With these grants, between 2004-’06, LLAA is able to update and enhance our extensive
portfolio collection, print bookmarks to take to the students and partially revamp our Art
in the Dark program for intermediate and high school students. Beginning in 2006, the
funds support the purchase of laptops, projectors, speakers and printing of manuals.

2006-08 President Joan Gorham continues the upswing with 22,000 and 23,000 students reached
Joan Gorham in her years of leadership. In an effort to increase connections between Docent Council
and LLAA, Brown Bag sessions begin, sharing learning through lectures. Chris Paulsen as
Webmaster provides many new reports and forms to download from the LLAA website.
The Training Committee institutes a new Docent Mentor Program. In 2006, Rachelle
Docent Mentor Doorley begins her management of LLAA, becoming Interim Director of Education.
Progam Paulina Vu is Museum Education Coordinator.
instituted
The Ways and Means Committee, under Fernald’s leadership, develops LLAA bookmarks
(designed by son, Brett Fernald) offering free museum entrance for students and their
families and PR for LLAA and SJMA, replacing the “free” carnival style tickets of the past.
Birth of the

19
 Bookmark The first bookmark is printed for the 2006-07 school year. Garnering publicity for LLAA,
a photo shoot with Linda Hignite at Horace Mann School leads to an article published in
Gentry Magazine.

Courtney Thiesen (intern and SJMA gallery teacher) creates Women in Western Art with
the assistance of Fernald, Mirkin and Langridge.
AITD Programs With two large grants from The Hans & Elizabeth Wolf Foundation, in ’07 and ’08, a
added
major effort is put forth to update the AITD programs under direction of Fernald and
assisted by intern Jenny De La Cruz.
 American Art: 1600-1900
 American Art: 1900-1940 (also Mirkin and Langridge)
 California: History and Landscapes of the Golden State
 Diego Rivera & Frida Kahlo
 Jacob Lawrence & the American Experience
 Renaissance Art (update)

2008-2010 President Karen Lantz launches the first refresher training class required for all docents
Karen Lantz every 3 years. Lantz develops a Power Point presentation “LLAA- What we do, How we
do it and Who in the community benefits”. Her presentation to the Los Gatos Morning
Rotary Club secures $1000 funding.

Joan Gorham garners a grant from the Delta Kappa Gamma International Society of
retired teachers, earmarked for a new 4th grade portfolio to showcase California art
and/or California artists. LLAA submits a second grant to them and receives funds to
print the bookmark for the following ’09-10 school year.

Rachelle Doorley continues the training programs in 2009-’10. In 2009, the Docent
Council and LLAA join forces for a collective training session under the leadership of
Doorley and Jeff Bordona. Their ’09 and ’10 classes make a strong commitment to LLAA,
both in presentations and involvement in the board leadership. Jeff Bordona, Manager of
Youth and Family Audiences/Services oversees the Let’s Look at Art program, being its
primary Liaison with the Museum. In 2009, Lucy Larson takes the lead as the Director of
Education.

AITD programs are expanded and/or updated with the addition presentations created by
Added Lonnie Gummow and Fernald, assisted by intern De La Cruz:
LLAA: 4th
grade,  Ancient Civilizations (Partially based on the LLAA Ancient Cultures portfolio)
AITD: Anc Civ  Pablo Picasso: Art, Love & War
Picasso
 The East-West Connection - Hokusai, Hiroshige and van Gogh
East West
Leo Villareal  Leo Villareal: Digital Light Artist
 American Art after 1940 (updated)
A sixth donation, in 2009, by The Hans & Elizabeth Wolf Foundation funds additional
AITD equipment and development of the new programs. Jan Nelson gives several grants
to LLAA in Lonnie Gummow’s (her daughter) honor.

San Jose Museum of Art opens the Koret Gallery, which highlights LLAA and its programs
with thematically linked artworks and multi-sensory activities. It showcases the artwork
chosen for that year’s LLAA bookmark. For ’08-09, 1,974 SJMA visitors use the bookmark
Koret Gallery
highlights for admission. In 2012, Lucy Larson focuses the gallery on LLAA, teaching the “elements”
LLAA of art. At the close of the ’09-10 school year, LLAA docents have presented to a near
record 25,940 students, with 99% of the teachers saying they would request LLAA again

20
 in the future..

Under Linda Goldberg’s leadership LLAA continues to improve the quality of our docent
2010-2012 support: revising the training syllabus and schedule, updating the LLAA By-Laws,
Linda expanding useful and up-to-date information available to our members on our website,
Goldberg and updating the data base system to provide a more current and useful set of results.

The more expensive postcard mailing program is converted to an electronic mailing to

promote the program to teachers, and an electronic sign-up method for teachers is
developed. Several “garages’ are relocated. Linda Goldberg and Kathleen Callan attend
Electronic the NDS 2011 (St. Louis, MO) conference and come up with a better understanding of
Postcards LLAA uniqueness in terms of students served, our programs and professionalism.
Launched
Lucy Larson and Jeff Bordona oversee large training classes in January of ’11 and ’12,
with a stimulating curriculum, guest speakers and a hands-on prop project.

LLAA receives a major grant from Delta Kappa Gamma Loretta Claypool Foundation for
bookmarks, posters and VTS training. A major donation from The Hans & Elizabeth Wolf
Foundation augments the AITD equipment and programs, and fulfills LLAA needs. A new
position of Auxiliary Art in the Dark docent is added to the LLAA By-Laws, allowing
Auxilary AITD Docent Council docents to join LLAA for no additional fee and with more limited
docent requirements than fully active LLAA docents. One docent joins as an Auxiliary AITD
category
docent of LLAA.
Added

LLAA surges to 0ver 31,000 students served, including expansion to over 6,000 upper
grade students through the AITD program.

2012-2013 Kathleen Callan begins her leadership with the first months completing many projects.
Kathleen The portfolios are completely organized, with records of every print and its location
Callan digitalized. A thorough AITD training for new docents as well as a refresher training for
all returning AITD docents helps grow the number to 15 AITD active docents.

The Museum website is redesigned to create two separate links for teachers/educators:
one for LLAA K-6 grade classes and one for AITD 6-12 grade classes. The new links
provide greater clarity for teachers on LLAA programs and procedures for requesting
presentations. Postcards/flyers continue to be e-blasted to school districts and teachers
with whom we have established relationships.

A complete study of LLAA history is undertaken to provide detailed information on its

evolution, its programs, organization, docents and statistics. An addition soon, a LLAA
LLAA Historian Historian on the board will keep these records current and complete.
position
reinstated
Based on Callan’s and Goldberg’s NDS observations of LLAA’s uniqueness Karen Lantz,
Tricia Hill and Fernald apply to give a breakout session titled “Art Education and
Technology: How to Connect, Collaborate and Inspire” at the coming 2013 NDS
conference (San Francisco). The proposal is accepted. Presentation includes the
evolution of LLAA from prints to digital for Middle and High Schools, and the myriad of
ways in which digital enhances LLAA/AITD’s programs for students, teachers, the
museum, and our docents.

VOLUNTEER GROUPS

21
Docent Council
Docent Council members support the visitor experience mission of SJMA by leading tours of
exhibitions in the Museum galleries and by participating in on-going training. The exhibition
curators and the Director of Education conduct training sessions prior to each new show. Docents
create their own tours based on the interests and experience of their visitors. Tours are offered to
the public twice a day, Wednesday through Sunday. Docents are available for special events held at
the Museum and by special appointment. In addition, some docents assist the MEE department
with research and administrative work. The Docent Council raises funds for the purchase of works
for the Museum's permanent collection, produces a monthly newsletter, conducts continuing
education sessions—field trips to artist's studios, to other museums and to private collections. The
Docent Council also holds monthly meetings and organizes several social events during the year.
New docents are recruited and trained approximately every 2 years.

Let's Look at Art (LLAA)

LLAA docents visit K-12 students in Santa Clara County schools to teach art appreciation and visual
literacy skills. These docents select their presentation materials and tailor their talks to various age
levels, curriculum and state guidelines. Reproductions of paintings and digital images are used.
LLAA produces a newsletter and meets bi-monthly to conduct business, attend lectures and
socialize. Training for new docents is held in the winter.

Museum Store Guild

Volunteers work as sales personnel in the Museum Store. Their primary responsibility is to staff
the store as sales associates during museum hours and special events. They get together for
member luncheons four times a year, and host a winter holiday party and a summer party. They
also receive a monthly newsletter. Prospective volunteers may inquire at any time and receive one-
on-one training.

Research Library
The San Jose Museum of Art Library, located in the Tower room of the museum, contains
approximately 6000 exhibition catalogs, 3500 books and a dozen art periodicals. The materials are
to be used on site and limited to SJMA staff and museum volunteers. The Library is available by
appointment only. Please contact the Education Program Coordinator for access.

22
TRAINEE DOCENT ROSTER: 2018

Apprentice Docent Phone Email Mentor Docent

Jody Foster 202 250 9469 jmfoster27@verizon.net Nancy Unger
Suman Ganapathy 408 863 0549 sumanmitraganapathy@gmail.com Barbara Nelson
Ligia Oliveria 408 655 2453 ligiaolive9@gmail.com Linda Klein
Mary Perry 408 955 9558 Mlperry2@gmail.com Barbara Nelson
Louise Persson 408 629 8614 louise.persson1@gmail.com Susan McGowan
Liana Salikhova 669 264 9929 salikhova.lr@gmail.com Nancy Unger
Sherry Tsai 813 316 8726 ysutwfrip@hotmail.com Susan McGowan
Lotte Van De Walle 650 460 4483 lottevandewalle@gmail.com Linda Klein
Martha Weber 408 483 1413 mweb3@comcast.net Susan Curtin
Jai Zhang 510 356 7631 jaizhangarts@gmail.com Susan Curtin

LLAA BOARD 2018- 2019

President Susan McGowan

Vice President Susan Curtin
Secretary Nancy Dunne
Treasurer Chuck Lucchesi
Membership Julie Anderson
Portfolio Norma Faulkner
Webmaster Carrie Ross
Ways & Means/Publicity Beth Herner
Parliamentarian Cathy Fraser
Art In The Dark Toby Fernald, Tricia Hill
Coordinator Susan Curtin, Karen Lantz, Barbara Nelson
Newsletter Kathleen Callan
Training Jean Kellet
Hospitality Lisa Gallo
Historian Open
Continuing Education Tony Misch

23
LLAA DOCENT ROSTER

Active Members
Absslom, Carol Fernald, Toby Jacobson, Julia Misch, Tony
Anderson, Julie Fraser, Cathy Karra, Teja Mitchell, Linda
August, Marilyn Gallo, Lisa Kefauver, Gail Muntz, Mary
Bower, Carol Ghavi, Melinda Kellett, Jean Klein, Linda Nelson, Barb
Brasfiled, Eve Harrington, Karen Klein, Marcia Parkin, Debbie
Cambiano, Kathi Harris, Kim Kotadia, Anar Rapport, Amy
Curtin, Susan Hartman, Julia Lantz, Karen Ryalls-Boyd, Pamela
DeVargas, Ellen Herner, Beth Lee, Andrea Quillard, Maria
Dunne, Nancy Hill, Tricia Lucchesi, Chuck Seiden, Elizabeth
Erbes, Harriet Himmelblau, Dave Mandella, Loyce Unger, Nancy
Faulkner, Norma Hoff, Lorraine Mathews, Nancy Wolden, Sybil
FeinMan-Marino, Robin Horn, Judith McGowan, Susan Wood, Bobbie

Sustaining Members
Barr, Mary Ann Gallo, Linda Lopez, Loretta Ross, Carrie
Bee-Gates, Donna Goldberg, Linda Mannina, Janet Sharrock, Joan
Cali, Christy Gorham, Joan McInnis, Ellen Summerhayz, Liz
Callan, Kathleen Hansen, Barbara Mirkin, Rosemarie Wylde Nancy
Devich, Char Harris, Carole Morishige, Lupe Zheng, Christine
Diehl, Beverly Kilik, Carole Pfeiffer, Linda
Dimmitt, Connie Lee, Christene M. Pomeroy, Jane
Fitch, Lorraine Lewis, MaryAnn Robles, Linda
Foster, Linda

SAN JOSE MUSEUM OF ART CURRENT STAFF TITLE LIST

January 16, 2019

Administration
S. Sayre Batton Oshman Executive Director
Jessica Yee Assistant to the Executive Director
Holly Shen Deputy Director
Karen Rapp Assistant Director, Strategic Initiatives

Business Office
Brian Spang Director of Finance
Khai Nguyen Accountant
Daphne Deitchman Accounting Specialist

Curatorial
Lauren Dickens Curator
Rory Padeken Assistant Curator

24
Kathryn Wade Curatorial Associate
Anamarie Alongi Registrar
Amanda Helton Project Registrar

Development
Kristin Bertrand Director of Development
Open Director of Corporate Relations
Claire Tsai Individual Giving Officer
Adrianna Nunez Membership and Annual Fund Manager
Athena Snyder Development and Membership Assistant
Natalie Sanchez Development Stewardship Coordinator
Bbora Park Nguyen Development Events and Rentals Coordinator
Open Development Events and Rentals Assistant

Exhibitions
Richard Karson Director of Design & Operations
Dan Becker Associate Exhibition Designer
Arron Lee Preparator
Randy Bricco Facilities Technician
Installation Crew (rotates)

Marketing and Communications

Melanie Samay Director of Marketing and Communications
Aquiles de la Torre Digital Content and Graphic Design Specialist
Robin Treen Special Projects Coordinator
Frederick Liang Public Relations and Marketing Assistant

Museum Experience and Education

Jeff Bordona Director of Education
Paulina Vu Manager of Museum Experience
Alysia Caryl Manager of Youth Programs
Samantha Hull Education Program Coordinator

Museum Experience Representatives

Erin Jessica
Berenice Gilbert Marygrace
Brooke Christina Di

Gallery Teachers
Katie Andres Dovey Khechfe Linda Franklin Nathalie Verna
Maria Fox Hannah Lehman Brittany Amante
Carol Pfahl Shannon Steans Radhika Tandon

Studio Art Educators

Katie Peck Stuart Mahoney Emilio Banuelos
Abbey Sinclair

Retail Operations
Pat Downward………………………Director of Retail Operations

25
Cherri Rediger……………………….Sales Associate

REQUIEMENTS AND RESPONSIBILITIES OF LLAA DOCENTS

What are the three roles of the docent?

Teacher The term docent is derived from the Latin docere which means "to teach." A docent
uses knowledge of basic elements of design, art history, and technique to interpret works of art
with students. A docent endeavors to make all students feel comfortable and welcome during LLAA
presentations by using the teaching techniques best suited for individual classroom environments.

Catalyst The role of the docent goes far beyond merely relaying information about art.
Effective docents combine information with questioning techniques to encourage students to think
for themselves. A docent encourages participation by engaging students in thought-provoking
dialogue while providing students accurate, precise information. A docent piques the student's
imagination by demonstrating new ways of seeing and thinking about art. The goal is to help
students find something in the art that they might not have discovered alone.

Liaison A docent is a vital link between the San Jose Museum of Art and the public. Docents
not only provide students with positive and meaningful classroom experiences but also represent
the Museum. Docents help to fulfill the Museum’s mission to raise awareness, appreciation, and
understanding of 20th and 21st century art. Docents respond to cultural diversity by adapting
presentation material.

What’s required to be a Let’s Look at Art docent?

 A love of learning
 A broad-based knowledge of art
 A desire to share with others
 Good communication and people skills
 Organization and research capabilities
 Satisfactory completion of the LLAA docent-training program
 Membership to the San Jose Museum of Art Association
 A commitment to serve as a docent for a minimum of two years

What are my responsibilities as a Let’s Look at Art docent?

 Meet your service commitment as defined by your category (See What Are the LLAA Docent
Categories?)
 Give classroom presentations as assigned
 Attend general meetings
 Contribute ideas to program development
 Have thorough knowledge of the reproductions
 Find your own replacement docent when necessary
 Maintain a record of volunteer hours and mileage driven
 Pay annual LLAA and SJMA membership dues

When do I pay my dues?

Docent dues are payable no later than the first General Meeting held every September. Docent dues
are used for newsletter printing/postage, continuing education, special events, supplies,
hospitality, miscellaneous printing/postage expenses, etc.

26
What are the Let’s Look at Art docent categories?

Trainee Trainee docents are those currently in the training program.

Active Active docents are available for 15 presentations per year and are expected to be
active for at least two years. Active docents are expected to attend general meetings.

Auxiliary Auxiliary Art in the Dark docents are comprised of current Docent Council members
and are required to present eight AITD presentations per year.

Sustaining After two years of service, active docents may request a change of status to
Sustaining. Sustaining docents do not give presentations, but they do continue to receive the
newsletter and may attend general meetings, continuing education and special events.

Honorary The LLAA Board may grant Honorary status to an individual who has served for
many years in an exemplary manner. Honorary docents have the privileges of Sustaining Docents
but do not pay dues.

How do I change my docent category?

Docents may request a change of docent category only
after two years of active service. All change of status
requests must be done in writing and submitted to the
Membership Chair. The Membership Chair will then
notify the museum staff.

How do I access the Museum offices and

galleries?

Entrance: Check-in with Security or Museum Experience Representative (MER) at the Main
Lobby entrance (in the new wing) when attending docent apprentice classes, meetings in the staff
offices, using the volunteer office, or Library.

All docents and staff are required to wear their I.D. badges at all times to access staff and public
areas of the Museum. Obtain a key from Security or MER staff to operate the staff elevator.

Museum Galleries: As Museum members LLAA docents may visit the galleries free of charge
during normal operating hours. Please contact the Manager of Youth and Family Services for gallery
access outside of normal business hours.

Museum Library: Docents may use the Library on the second floor of the Historic Wing anytime
during Museum hours. Please remember that it is a staff only access area.

Because of the "charming quirks" of old buildings, the Library is accessible only by the front stairs
in the Historic Wing. Use of the elevator for Library access requires a security guard to disarm a
secure door in the second floor Davies gallery.

Books and exhibition catalogs in the library are for on-site reference only and cannot be checked

27
out of the building.

For those needing assistance, the library is staffed on Wednesday and Thursday mornings by a
volunteer librarian.

Volunteer Office: The Volunteer Office is located in the basement of the historic wing, in the
administrative office area. Docents may use the Volunteer Office anytime during Museum hours.
Please remember that it is in a staff only access area.

What should I wear to a presentation?

Casual business attire is recommended. Choose a
modest outfit that makes you feel comfortable and
confident, while keeping in mind that you are
representing the Museum.

What if I lose my Docent badge?

All docents and staff are required to wear their I.D.
badges at all times to access staff and public areas
of the Museum. If you lose your badge, please notify
the LLAA membership chairman immediately to
order a replacement. The Museum has temporary
badges available for check-out in case you have lost
or forgotten yours.

What if one of my posters is damaged?

If a poster is damaged you should let the
garage/center person know, who will then notify
the portfolio chairperson. The poster be repaired
or replaced by the portfolio committee.

28
DELIVERING A PRESENTATION: START TO FINISH

Overview
Teaching children through the San Jose Museum of Art can be a stimulating and enjoyable
educational experience for all those involved. The success of any classroom visit depends upon
addressing the child's needs and interests. Children learn best through activities that require their
participation and relate to their experiences of the world.

Presentation Objectives
In designing and implementing an art appreciation experience for children, the most important
factors to consider are your objectives: What does the docent hope to achieve? What are the
children expected to learn? Let’s Look at Art objectives are to:

 Motivate children to utilize inquiry-based looking strategies to engage with and respond to
works of art.
 Increase awareness of how visual language and the formal art elements (e.g. color, line,
shape, etc.) are used to communicate feelings and ideas.
 Communicate that artists make choices and decisions and are often inspired by the world
around them.
 Provide an enjoyable and stimulating experience unique to the LLAA program.

Before the presentation

The LLAA Coordinator will provide you with an assignment email (sample Assignment Email
below) providing all the information given by the teacher or administrator (the requestor) who is
interested in scheduling a LLAA/AITD program. If you cannot do the assignment let the LLAA
Coordinator know immediately, so that they can reassign the request. If you will do the
assignment, save the assignment email until you have completed the presentation at which time
you will reply to the Coordinator by sending the original assignment email along with the following
data: Date Completed, Number of Classes, Number of Hours, Number of Students, and Number of
Miles Driven

Sample: Assignment Email

29
Scheduling Your Presentation
After reviewing your schedule, it is your responsibility to immediately contact the requestor
(teacher/administrator). You might want to look at the Portfolio Reservation Calendar (if your
convenient Portfolio Center uses an on-line reservation system) to make sure the portfolios are
available on the dates you provide to the requester. Email to the teacher/administrator who
requested the program, and include text similar to one of the two examples below:

Example1:
Hi Roselle,
I am your docent who will be presenting LLAA to the 4th and 5th grade classes at Trace Elementary. I
am scheduling presentations for the month of November and I can visit your school on the 15th, 23rd, or 24th.
I’d like to do all 4th grade one day and the 5th grades another day. Please let me know if these dates
work. If you prefer a later date please tell me and we can work that out.

Please also include your school’s bell schedule (with recesses and lunch breaks) in your response, so
that I can plan my visit. I look forward to working with you,

Jeanne Toms, Volunteer

Example 2:
Hi Roselle,
I am your docent who will be presenting LLAA to your 4th and 5th grade
classes at Trace Elementary. My schedule the next two months is already full with volunteer work
and a little bit of travel. Would you mind if I contacted you again in January to set up some times and
dates for your classes? I look forward to working with you,

Jeanne Toms, Volunteer

In order to gain a better understanding of your audience, you should review the class information
given in the assignment. Teachers will often give us specific information about the class that will
assist you in tailoring the presentation, such as:

 Is it a magnet school?
 Are there any special education or English Language Learner (ELL) students?
 Is the class culturally diverse?

You should design an appropriate presentation for the class by: selecting the key works you will
talk about, and planning questions and activities appropriate to the grade level of the class.
Remember to always be flexible, so that you can respond to the mood and ability of the class.

Be sure that the teacher understands that he or she must remain in the classroom during your visit,
and he or she is not permitted to invite other classes to share the experience (Sorry, this is the law).
You should always refer inquiring teachers to the online LLAA/AITD Request form.

Ask the teacher if he or she can arrange for the children to sit close to the presentation area, so the
students have a clear view of the art. You should request adequate whiteboard space to write your
name, the museum’s name and address, and any other information you would like to emphasize
during your presentation. The teacher should arrange an area for you to safely place the print you
are discussing.

30
LLAA Presentation Calendar
When you and the requester have agreed on presentation dates put those dates on the LLAA
website Presentation Calendar.

To access the LLAA web site: go to www.sjmusart.org/llaa/, enter user name and password when
requested, go to the LLAA Presentation calendar. Or go directly to calendar -
www.my.calendars.net/llaa_calendar

When the calendar opens, click on the desired month and then the actual day. Create New Calendar
Entry window will pop up. Fill in the calendar text, and start and end time boxes like the sample
below. Click on submit. You are finished.

Create New Calendar Entry Tuesday, February 5, 2013

Calendar Text Start Time am/pm End Time am/pm

Walla Elem 5th, J. Toms 8:30 a.m. 12:30 p.m.

If you want to correct an error, click on your date, click on edit on the left in the calendar entry
window and make your changes.

Checking out materials

In order to give a presentation one of the following materials is required depending on grade level:
a grade level portfolio, or laptop and projector (for AITD). Only LLAA members can check out
materials. There are seven portfolio checkout stations (located in various docents’ garages), and the
Portfolio Chairperson can assist you in finding the location that is most convenient for you. You
must schedule an appointment prior to checking out and returning all materials. Since there is
sometimes a great demand for materials, you should pick-up your materials the day before the
presentation and return them as soon as possible.

To reserve the appropriate portfolio and number of bookmarks once you have set the date for your
presentations, go to the Portfolio Center page on the LLAA website. Find the center that is most
convenient for you. If the Portfolio Center uses an on-line reservation process, click on the link to
the reservation calendar to make your reservation. Portfolio Reservation calendars are modified
just like the Presentation calendar so you can follow the same instructions. Each calendar lists the
information required at the top of the page so be sure you read and follow those instructions.

For the other centers please email your reservation to the center coordinator.

31
Presentation Confirmation
Send a confirmation email to the LLAA Requester a week to 10 days before the presentation (see
sample below). You can also download a confirmation email from the LLAA website from the
Resources page www.sjmusart.org/llaa/resources.htm.

Sample: Confirmation Email

Day of Your Presentation

a) Download and print the Teacher Evaluation Form from the Resources page of the LLAA
website www.sjmusart.org/llaa/resources.htm (enough copies for all teachers).

b) Bring Portfolio, bookmarks, and Teacher Evaluation Forms.

c) Arrive 10 to 15 minutes early and sign in at the office. Always allow time for traffic snarls
and parking challenges at the school, especially if you arrive at the start of the school day.

d) Collect completed evaluations forms from the classroom teacher on the day of the
presentation if possible. If the teacher is uncomfortable handing the form to you they can
mail or fax it to the address on the form. However, we get a much better return rate if you
collect the completed forms.

e) Sign out at the office when you have completed your presentations.

32
During the presentation
We recommend that you arrive at the school 15 minutes early in order to allow yourself time to
check-in at the school’s main office, as well as to give yourself adequate set-up time.

Always keep in mind the goal of the presentation: to provide the children with a pleasant
experience and to help develop their thinking skills. You can create a more pleasant experience by
encouraging comments and questions with a gracious and pleasing tone of voice. To spark their
interest and make them feel more confident about themselves you
can go the extra step by presenting works that you know (from
asking the teacher) that they are somewhat familiar with. Be
sensitive to the importance of the children's participation in
looking at art. Please remember to allow as many children as
possible to have a turn at speaking about the print.

In order to avoid rushing through the conclusion of your

presentation, you should always keep an eye on the clock and pace
yourself accordingly. Each presentation should last 30-60 minutes,
according to grade level and class dynamics.

At the end of your presentation you should praise the class for their
cooperation and kindly thank them for having you. Conclude by
inviting them to visit the museum and inform them of the many
programs that the San Jose Museum of Art has to offer, such as
Community Day or visiting the Koret Family Gallery.

After the presentation

After the presentation you should return your materials to the garage location immediately to allow
other docents access to them. The standard check-out duration is three days, but if you are working
with a partner it is extended to one week.

Complete the bottom of the assignment email where it asks for the following information:
completion date, number of students, number of classes, number of hours, and number of miles.
Reply to the assignment email with your presentation information to llaa@sjmusart.org. Do not
send the email to the Coordinator’s personal email address. A sample Completed Assignment
Email can be found below.

Sample: Completed Assignment Email

33
INQUIRY & DIALOGIC TEACHING

Open-ended questions should be an integral part of any tour. These are questions that cannot be
answered with a simple “yes” or “no” or right or wrong answer, but rather encourage thought and
contemplation. These questions are designed to get tour participants to think about what they’re
seeing.

If possible, it is a good idea to occasionally address a question directly to one of the group
members. This is especially useful for a student who seems interested, but shy, or for a trouble-
maker. For example: "Mike, what different shapes can you find in this painting?" Even if the
students don't have nametags, you can draw one of them to the front and direct a question to
him/her. Be careful that the student is not being questioned in an embarrassing or punitive manner.

Follow-up questions should be asked to clarify and expand important points. Interpretive questions
always call for a few follow-ups, but fact and evaluation questions also need this next step to dig
into a work more fully. "Where do you see that, Jane?" "Why do you feel that way, Bob?" This
encourages museum visitors to substantiate their answers with evidence from the artwork being
discussed.

Why use inquiry?

Inquiry, or instruction by asking questions, is a facilitated discussion. Many studies of museum
education, and education in general, show that learners remember and retain much more if they
are active participants in the learning process. Inquiry can also help teach museum visitors skills
that they can learn on subsequent visits to museums. The San Jose Museum of Art is ideal for the
inquiry technique as much of the art on view is about thinking critically and asking questions.
Students can learn as much from each other as they can from you. By effectively facilitating the
discussion you can aid in this learning process.

Types of Questions

 Description Identifying what can be seen, elements and materials, describing the visual
qualities.
 Formal analysis How is the work put together physically and compositionally, and
identifying style or subject matter.
 Interpretation Why did the artist make the choices he/she did about materials,
composition, subject matter? What is he/she trying to say?
 Evaluation/judgment How does the work compare with similar works? Did the artist make
the right decisions? Does the work convey a meaning successfully?

Interpretive questions often work best for grades 6-12 and adults, but questions of observation and
evaluation can be asked at any age.

34
Planning Questions
As with any part of the experience, good open-ended questions should be well-considered.

 Is the question answerable by looking at the work of art (the child does not need prior
knowledge to answer the question)?
 Is the question truly open-ended, or does it have one right answer?
 Does the question call for thought and contemplation?
 Is the question clearly stated?
 Is the vocabulary appropriate for this age group?
 If technical terms are used, does the group understand these terms?
 Is the group interested in the question?
 Does the question relate to my theme?

Questioning Strategies: Questioning strategies are ways or devices to help children brainstorm
ideas and feelings about a work of art. They can be used with students, but they can also help
Gallery Teachers prepare for a gallery program. VTS and the discovery method are examples of
questioning strategies.

Learn by doing: Learners access knowledge and interpret the world through multiple forms of
intelligence, and physical activity should be included in developing a tour. Many children learn by
engaging in kinesthetic activities. Some examples: participatory activities such as interpreting a
painting through movement or making lines and shapes with the body.

Repetition: Repetition is essential to learning and helps children create memories. Repeating
activities can increase opportunities for learning.

Flexibility and sensitivity: Be flexible in addressing the child's needs and interests. Be sensitive to
and respect individual reactions to artworks and relate these works and their observations and
experiences.

Attention to multiple learning styles: Offer a variety of experiences (i.e. activities, discussions,
questions, etc.) to address different learning styles of the children in the group.

Be a good listener: Listen to children’s comments and observations and weave them into your
tour.

35
KEEPING STUDENTS INVOLVED

How do you keep a classroom of students involved during a presentation?

Applying Questioning Strategies will help to actively engage the students and make the artwork
more meaningful. Remember, presentations are not lectures. Successful presentations are fun,
interactive experiences.

“I’ve always asked teachers to have name tags either on the

kids or at their desks. I prefer to call them by name rather
than point at them.”

“ASK QUESTIONS – what do they see, what do they think is

happening, what did they see that made them say that,
etc. Let them tell you what comes up for them – no judgments,
just respond to what they see.” – Lizzie Yount

“By asking questions and having a discussion between them.”

– Rosemarie Mirkin

“By asking lots of questions, trying to call on every student

and alternating calling on them from one side of the
classroom to the opposite side and back.” – Diana Taylor

“I ask a lot of questions. I try to keep the discussion focused

on the children's responses.” – Ellen McInnis

“I call the children by name and recognize what they say. Example, “Johnny thinks the tiger is hunting
because of the way he crouches down, what do you think…” I move around the room so all the children
can see the posters up close. Sometimes I have them name a picture. Younger kids seem to enjoy
coming up and pointing out something on a picture or even imitating a pose.” – Norma Faulkner

“We all respond to laughter. The students seem to listen a bit more carefully or raise their hands more
after witnessing me do something that makes them giggle. Jumping up, down and all around, while
pretending to be the color red screaming for attention in a painting, is a surefire way to capture their
attention. And once you have done that, Visual Thinking Strategy will do the rest to keep them
involved.” – Karen Lantz

“Ask exploratory questions. I spend time asking questions that relate to what the students think the
artist is “telling” them about the story and/or the feelings in the picture. Some questions are: If you
were in the picture, what would you ask one of the figures? What do you think the figures in the
picture are thinking about? What do you think they are doing? Use your senses to smell, hear, touch
and taste the picture.” –Fern Geschwind

“Let them talk.” – Jeanne Langridge

36
STUDENT BEHAVIOR
Dealing with unruly, unpleasant, or disruptive students can be especially challenging during a
presentation. Remember, disruptive children are often bored or in need of attention. Varying
activities throughout the presentation will alleviate boredom will also provide attention-seeking
students with a chance to participate. Some helpful advice:

Realize that no two classes will be the same

“I have been sooo lucky to have not had a totally unpleasant experience. All classes are different
naturally. Some are noisier than others. Some are more interested in art. Those are my favorites of
course.” – Norma Faulkner

Rowdy classes
“When kids get loud, I usually ask the entire class to be respectful to the one student talking (trying to
share). I put my hand next to my ear and tell them, “Listen to your classmate, he/she is sharing. Let’s
listen.” When kids are doing a good job at looking and using good descriptive sentences, I will tell
them how happy I feel to listen to all their wonderful comments, and how great it is to listen to them
all.”

Let the teacher handle the situation

“I’ve had [students] try [to be disruptive], but I either ignored them or the teacher took over the
discipline. Most teachers are very aware of class behavior and really zero in on the disruptive
students. One time, I had to ask the teacher to ‘help me with this situation.’” – Diana Taylor

Get the rowdy child involved

“What I do is go stand by the student and ask he/she what do they see and why. That
usually works. They got the attention they wanted. Once, when the whole class was talkative I used
what was in the classroom to begin the discussion on color, line, shape and texture. They became
aware of their environment and then I went into the portfolio.” – Rosemarie Mirkin

“I get the rowdiest one to be my assistant. They are usually needy children and just want attention. I
have had teachers amazed at the response I get from the disruptive children. They are usually visual
learners and do much better in my style than the traditional read and rote style that most classes use.”
– Jeanne Langridge

Understand the age group

“Kindergartners can get like b-b’s in a matchbox, but teachers have always been good to get them
back in order.” – Lizzie Yount

37
UNEXPECTED CIRCUMSTANCES
Without a doubt, unexpected things are bound to happen during a presentation. As each of these
accounts illustrate, you never know what might happen during your well-planned presentation.
Though you may be caught off guard, remember to respond calmly and graciously; reschedule if
necessary; and above all, be flexible. Here are just a few of the experiences docents have shared:

“There was an assembly called 10 minutes into a 4th grade presentation and the teacher said they
were not going because I was there. I said I would come back. I was not going to compete with a
skateboard assembly. I returned the next day and the students were wonderful.”
– Rosemarie Mirkin

“Late one May, I went to a 3rd grade classroom that had a long-term substitute (who had been on the
job about a month after the original teacher finally had been fired). It took the substitute about five
minutes to get the class under control (it was the beginning of the day). I started the presentation,
then, of course, the loud speaker crackled on and we had five minutes of announcements (read by
other students) and the pledge of allegiance. I continued with the presentation and about 10 minutes
into it, the fire drill went off, so we all trooped out onto the school grounds. When we got back to the
classroom, there was time spent once again
settling the kids down at which time I had less
than 10 minutes left. By this time, I had only done
about 1/3 of my presentation. I asked the
teacher if I could schedule to come back the
next week because I felt so strongly that these kids
deserved to hear the full presentation, and I
really wanted them to have that opportunity.
We rescheduled, and I went back the next week at
which time the kids were very well behaved,
and we had an excellent presentation and a really
good experience.” – Diana Taylor

“In a presentation I observed in 3rd grade class, one

student was extraordinarily articulate – more so than most adults! – with well developed critical
thinking skills. The docent called on him as much as other students (who were clearly used to him),
and it seemed to make a real contribution to the interaction.” – Lizzie Yount

“A teacher was sitting in her chair in the center of the group and was comforting a boy who was
restless. She closed her eyes and nodded off for several minutes, not once, but twice! I had almost
finished what I had planned but added two other pieces, so she could finish her nap!” – Ellen McInnis

“After posing a question to a class of 3rd grade students, I heard that familiar sound that every docent
has heard at one time or another. It was “the grunt:” an overly ambitious, loud and syncopated kind
of noise, usually coming from the student whose hand is wildly waving in the air just begging to be the
first to answer. I usually try to resist the temptation to call on that student, not wanting to reinforce
the behavior. On this particular day, however, I got a surprise. One by one, I called on all of the
students whose hands were raised, but the noise persisted. As I tried to identify where it was still
coming from, my ears followed the grunts to the back of the room where I discovered the culprit…the
teacher! It was at that moment that I truly understood the power of using the Visual Thinking
Strategy. And yes, I did call on her after which both she and the students had the biggest smiles on
their faces. And I’m sure that I did too!” – Karen Lantz

38
TIPS FOR EFFECTIVE PRESENTATIONS
Docents share the teaching techniques they have found to be most effective:

Use visual teaching and questioning strategies

“Draw out their opinions and ask questions. For an abstract piece, ask what they see and follow a
color through the work to see where the eye goes. In a representational piece we talk more about
what is going on and the possible time it was painted. Use the senses to see what is in the work.” –
Rosemarie Mirkin

“Compare and Contrast” – Ellen McInnis

“The Yenawine V.U.E. Method” – Jeanne Langridge

Incorporate a picture book

“In the lower grades I usually include a beautifully illustrated picture book, so I can tie the lesson into
an area of art available to most children. If I have the time, or the kids are getting restless with the
presentation, I may end up reading them a book like “Where the Wild Things Are,” one of the Caldecott
Award winning picture books, or a book about the color mice (teaches Kindergarteners and young
first graders about primary colors).” – Norma Faulkner

Tailor to the age group

Younger students “responses are more in reaction to the visual – colors, movement, etc.” For older
students, “art is communication (of feeling, history, new way to see the commonplace, a vision of the
unknown/unseen, or combination of these) and it is often a reflection of what is going on in the
artist’s world (religion, warfare, Age of Reason, symbols, realism/perfection, etc.).” The goal is to
“connect the artistic expression to the context or world of the artist.” – Lizzie Yount

Play the “Detective Game”

“Lower grades: I briefly present the art elements to
provide them with the confidence to analyze the
paintings and raise their hands. I also play a detective
game with them and request that once I get out the prints
there be a period of “silent detective work.” During this
time I walk around the classroom while they use magnifying-glass eyes to identify the clues (art
elements) they discover. By providing them with extra time to observe, think and then respond, I’m
emphasizing the need to apply critical thinking skills to the process. Teachers respond especially well
to seeing this technique. In addition, at another point in the presentation, I encourage them to close
their eyes, open them and respond quickly to what they saw first. This dual method shows them the
benefits of both spontaneous and well-thought out answers.” – Karen Lantz

“ For younger classes, I may lead them a bit more into the areas we are
discussing. Sometimes in the older classes, I give them more background
information about the art work or the time period or the artist.” – Diana
Taylor

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ADVICE FOR NEW DOCENTS

“Relax and have fun because you have more knowledge than the students. Also, VTS is a technique that
allows you to turn a question back around to the student to answer for themselves.” – Karen Lantz

“Remember the children are really curious, that you will not know which piece will be their favorite or
what they will notice first, so just enjoy what happens. Also choose pieces that you find comfortable at
first.” – Ellen McInnis

“Familiarize yourself with the actual portfolios – presentation options for each grade become clearer
when you have a focused view of the prints that the ‘experts’ (veteran LLAA docents) have compiled
for each grade. Talk to veteran docents – go see their presentations, particularly to several different
grades to really understand the ‘transitions.’ Find themes to work with, using the prints to
demonstrate, for example, different ways portraits can be done; different ways an artist might
generate emotion; different ways to show animals; ways that families / communities are portrayed.
Try to use prints from different schools of art, periods - students respond to the variety – some really
embracing even the prints you may think well beyond what you may think. If you capture their
imagination, you have made a major score!!” – Lizzie Yount

“B e flexible. Take more pictures than you need. Be enthusiastic, it’s

catching. Try to engage each child in the class at least once.” –
Norma Faulkner

“Yo u know more than the students so relax and enjoy yourself. If
you are having fun, so will the kids.” – Diana Taylor

“B e patient and don't take things personally. Be prepared and

know the order of how you want to present. If a picture is not
working go to another. Don't feel that you have to present everything in the portfolio.” – Rosemarie
Mirkin

“Observe a seasoned Docent, and then just jump in with both feet. I think many new docents make it
harder than it is.”
– Jeanne Langridge

40
THE LLAA CURRICULUM: GRADES K-6

KINDERGARTEN: The World of Color

Explore the artist’s use of primary and secondary colors in visual art prints

ART FOCUS:
Introduce Primary and Secondary colors
School Focus: Self & Group

PRINTS:
Story prints including children and animals (Marc, Wilcox, Rockwell)
Abstract (Calder and Kandinsky)

Portfolio Samples:

41
GRADES 1-3: THE BASICS OF ART
Introduce the art elements of color, shape, line, and texture through a variety of age-appropriate art
reproductions

Grade 1
ART FOCUS: COLOR, LINE, & SHAPE
School Focus: Self & Group

PRINTS:
 Children’s book illustrations to emphasize art environment
 Animals
 Children
 Abstract
 Limit to a few artists that highlight the grade focus. (ex: Klee, Calder, Miro, Haring,
Delaunays, Stanton Mcdonald-Wright, Chagall, Matisse (cut-outs especially), Japanese
woodblock prints, Rivera, Kandinsky)

Portfolio Samples:

42
GRADE 2

ART FOCUS: Review COLOR, LINE, & SHAPE and introduce TEXTURE
School Focus: Families

PRINTS: Art Genres

 Portrait (Sully’s Torn Hat, Gainsborough’s Blue Boy, Reynolds, etc; group portraits (Peale
Family, Rockwell, Night Watch, etc.)
 Still-life ( Cezanne, Dutch still-lives, Van Gogh, Monet, etc)
 Landscape (Constable, Turner, Monet, Hiroshige & Hokusai, Hockney, Thiebaud, Diebenkorn,
Grandma Moses)

Portfolio Samples:

Grade 3

ART FOCUS: Review COLOR, LINE, SHAPE & TEXTURE

School Focus: Bay Area Community

PRINTS:
 Abstract and non-representational art (compared to Realist; Mondrian, etc)
 2-dimensional and 3-dimensional artworks (sculptures: Rodin, Statue of Liberty and other
public sculptures: Calder, Luis Jimenez)

Portfolio Samples:

43
GRADE 4: “Reading” a Painting
Review the primary grade art elements and introduce perspective and composition. Examine
masterworks from a variety of cultures and time periods.

ART FOCUS:
Review LINE, COLOR, SHAPE, TEXTURE
Introduce COMPOSITION and PERSPECTIVE
School Focus: California History

PRINTS:
 Cave Painting
 Medieval Art
 Renaissance (ex: Mona Lisa, da Vinci)
 Baroque (ex: Rembrandt, Vermeer, Goya, El Greco)
 Modern Art: Impressionism, Post-Impressionism (ex:
Monet, Van Gogh, Gauguin)
 Cubism (ex: Picasso)
 Abstraction (ex: Kandinsky)
 Surrealism
 Abstract Expressionism (ex: Pollock, Frankenthaler)
 Pop Art (ex: Warhol, Lichtenstein)
 California Art (ex: Diebenkorn, Thiebaud, Hockney)

Portfolio Samples:

GRADE 4: California Themed portfolio:

Art about California and by Californian Artists

This portfolio features examples of the variety and beauty of the

Californian landscape and the diversity of the ethnic and cultural
background of its population.

PRINTS:
 Mountain Landscape: Bierstadt, Ansel Adams
 Ocean : Santa Monica Bike Trail by Morris, Skaters in Venice by Hockney, Monterey Cypress
by Guy Rose
 Desert: Riders of the Dawn by Johnson
 Central Valley: Thiebaud’s Ponds and Streams
 Ethnic backgrounds and art:
Ruth Asawa (Japanese- American), abstract sculpture
Hung Liu (Chinese-American), portrait
Carmen L. Garza (Mexican-American), storytelling
Mildred Howard (African-American), installation art

44
GRADE 5: America and American Artists
Focus on American artists, past and present. Connect art to historical and current events.

ART FOCUS:
Review LINE, COLOR, SHAPE, TEXTURE, COMPOSITION & PERSPECTIVE
School Focus: American History

PRINTS: Art of America and American Artists

 Petroglyphs
 Various genres
 Women artists
 Multicultural influence on art
 Various media
 2-dimensional and 3-dimensional artworks
 Gradation form realism to abstract
 Interdisciplinary connections

Portfolio Samples:

45
GRADE 6: Art of Ancient Civilizations
Explore an overview of the art of Mesopotamia, Egypt, India, China, Greece and the Roman Empire.
Review the civilizations of the Americas, the Olmec and Mayan.

ART FOCUS:
An exploration of all the art elements in the creation of art in all cultures
School Focus: Ancient Civilizations

PRINTS:
 Minimum of 2 representational prints for each civilization
 A map and timeline tracing the civilizations

ITEMS:
A small three dimensional art piece

Portfolio Samples:

46
AESTHETIC DEVELOPMENT

It’s tough to know what to do in a presentation if you don't know what kind of viewers your
audience is. Knowing a little bit about aesthetic development can help immensely in planning
which works to show on tours, what kind of information to present, whether or not to include any
gallery activities, and what kinds of questions to ask. Here are some touring tips based on age and
aesthetic development.

Grades 1-2
 Organizing thematically helps students become familiar with sources of inspiration used by
artists and by themselves.
 Students react well to presentation styles that are active, inquiry-based, and improvisation
centered.
 Activities that employ multi-sensory awareness can be used; receiving information visually
from an object, then translating it into body movements, facial expressions, sounds, etc.
 Use hands-on activities that help students understand composition by recreating elements
of the artwork with puzzle pieces or by color matching with color swatches.

Grades 3-5
 Students’ interests are growing to include people beyond themselves and larger
communities.
 Students tend to be interested in the real world, with very little abstraction. Responses tend
to be concrete, literal, and realistic. They can learn to understand symbols and metaphors,
but not ones that are too subtle or complex.
 They begin to develop an appreciation for artistic skill and admire craftsmanship. They can
recognize styles characteristic of individual artists or schools.
 Students benefit from active, inquiry-based, improvisational tours.
 Utilize anecdotes about works of art and artists that bring out the students’ fascination with
things and events removed from their own experience.
 Have students identify similarities and differences between works, perhaps through
activities that focus on how variations in visual elements might change the mood or message
of the artwork.

Grades 6-8
 Individual students in this age group may vary widely from one another, in social ability,
physically maturity, and intellectual development.
 Students begin to appreciate artistic purpose and styles that move beyond realism to
expressionism.
Students enjoy participating in the discovery of new ideas, and in learning about other
peoples’ ways of doing things.
 Students are very self-aware and highly conscious of judgments made by their peers.
 Provide opportunities for students to express themselves and their opinions, making sure
the environment and group is supportive.
 Give some structured opportunities for the group to talk amongst themselves, or in small
groups.
 Treat students with respect, and if possible, allow them to make some of the decisions about
how the tour will go.

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LOWENFELD'S STAGES OF ARTISTIC DEVELOPMENT

1. SCRIBBLE (2 to 4 years)

The Scribble stage is made up of four sub-stages. (a) Disordered - uncontrolled

markings that could be bold or light depending upon the personality of the child.
At this age the child has little or no control over motor activity. (b)Longitudinal -
controlled repetitions of motions. Demonstrates visually an awareness and
enjoyment of kinesthetic movements. Circular - further exploring of controlled
motions demonstrating the ability to do more complex forms. Naming - the child
tells stories about the scribble. There is a change from a kinesthetic thinking in
terms of motion to imaginative thinking in terms of pictures. This is one of the great occasions in
the life of a human. It is the development of the ability to visualize in pictures.

2. PRESCHEMATIC (4 to 6 years)

The preschematic stage is announced by the appearance of circular images with lines
which seem to suggest a human or animal figure. During this stage the schema (the visual
idea) is developed. The drawings show what the child perceives as most important about
the subject. There is little understanding of space - objects are placed in a haphazard way
throughout the picture. The use of color is more emotional than logical.

3. SCHEMATIC (7-9 years)

This stage is easily recognized by the demonstrated awareness of the concept of

space. Objects in the drawing have a relationship to what is up and what is down. A
definite base and sky line is apparent. Items in the drawing are all spatially related.
Colors are reflected as they appear in nature. Shapes and objects are easily
definable. Exaggeration between figures (humans taller than a house, flowers bigger
than humans, family members large and small) is often used to express strong
feelings about a subject. Another technique sometimes used is called "folding over"
this is demonstrated when objects are drawn perpendicular to the base line.
Sometimes the objects appear to be drawn upside down. Another Phenomenon is
called "X-ray". In an x-ray picture the subject is depicted as being seen from the
inside as well as the outside.

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4. DAWNING REALISM (9-11 years)

(Dawning realism is also known as the gang age. Group friendships of the same sex are
most common. This is a period of self awareness to the point of being extremely self
critical. The attempts at realism need to be looked at from the child's point of view.
Realism is not meant to be real in the photographic sense rather than an experience
with a particular object. In this regard this stage is the first time that the child becomes
aware of a lack of ability to show objects the way they appear in the surrounding
environment. The human is shown as girl, boy, woman, man clearly defined with a
feeling for details often resulting in a "stiffness" of representation. Perspective is
another characteristic of this stage. There is an awareness of the space between the
base line and sky line. Overlapping of objects, types of point perspective and use of
small to large objects are evident in this stage. Objects no longer stand on a base line.
Three dimensional effects are achieved along with shading and use of subtle color combinations.
Because of an awareness of lack of ability drawings often appear less spontaneous than in previous
stages.

5. THE PSEUDOREALISTIC STAGE (11 to 13 years)

In the previous stages the process in making the visual art was of great importance.
In this stage the product becomes most important to the child. This stage is marked
by two psychological differences. In the first, called Visual, the individual's art work
has the appearance of looking at a stage presentation. The work is inspired by
visual stimuli. The second is based on subjective experiences. This type of
Nonvisual individual's art work is based on subjective interpretations emphasizing
emotional relationships to the external world as it relates to them. Visual types feel
as spectators looking at their work form the outside. Nonvisually minded
individuals feel involved in their work as it relates to them in a personal way. The
visually minded child has a visual concept of how color changes under different
external conditions. The nonvisually minded child sees color as a tool to be used to
reflect emotional reaction to the subject at hand.

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AESTHETIC GAMES

 Rename an artwork and state your reasons.

 Memory Test: Look at a painting, close your eyes, and turn away. Name the objects, colors,
people, or any other visual elements in the painting.
 Focusing Attention: Close your eyes and then open them. What is the first thing you see?
Discuss colors, objects, gestures, etc.
 Impersonations: Assume the position of a figure in an artwork. How does it feel? Where would
you hide in the painting?
 What time do you think it is? What do you see that makes you say that?
 If you could be inside the artwork, how would it feel? What would the weather be like?
 Counting: How many _______ are there?
 Storytelling: Begin a story about a work of art, with each person taking a turn and developing
the story.
 What would you do you were in this painting? Where would you go? Who would you be? State
your reasons.
 You’re the artist: What would you change or add to this artwork?
 Portraits: Look at the face(s) in the artwork and imitate their expressions. Do they look like
anyone you know?
 When looking at a two- or three-dimensional work, how are the portraits like or not like
photographs?
 What do you think the person(s) in the portrait is thinking about?
 If you met this person on the school bus, what would you talk about?
 What kind of present would you choose for this person’s birthday?
 Sculpture:

o As a group, imitate a piece of sculpture.

o In a heavy rain, which sculpture would you choose for shelter?
o Pretend you are an ant crawling over a sculpture, what would you discover?
o What would you change or add to the artwork?

 Aesthetic Awards: Prepare a few cards with phrases such as “Most original idea”, “Took the
most time to make”, “Most emotional”, etc. Allow the groups five to ten minutes to discuss
the works and decide which card is appropriate for each. Then each group places their cards
by the works they have chosen. The game concludes with a full-class discussion, during
which each group is given the opportunity to explain why members placed the cards as they
did.

 Abstract art:

o All children shut their eyes except for one child who describes the work and then the
group guesses which work was described.

o Decide which works match or belong together.

o Choose flavors for each color in the painting.

o Pretend the painting is a maze and find a path from one end to the other.

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FORMAL ELEMENTS OF ART

LINE
Line can be straight, curved, wavy, zigzag, vertical, horizontal, diagonal, or implied. Line may
suggest:

outline/identity gesture movement/fluidity narrative

rhythm weight (thin/thick) volume emphasis
light radiation mood power/impact
direction continuity drama/dynamics stability

Line is sometimes “implied” through a series of marks or dots …….

Kindergarten
1. Identifies straight, curved, and diagonal lines.
2. Describes lines as long-short, thick-thin, light-dark, fine-rough.

First and Second Grade

1. Names and use various lines (thick, thin, straight, curved, wavy, sharp, soft, hard).
2. Identifies lines in own and artists’ work.
3. Can draw lines to describe feelings, poems, music.

Third and Fourth Grade

1. Observes and practice line directions – vertical, horizontal, diagonal, curved, jagged
2. Finds examples of lines in nature, manufactured objects, artist’s works.
3. Identifies how lines create movement, patterns, textures, shapes.
4. Analyzes lines in artwork

Fifth and Sixth Grade

1. Identifies various types of lines.
2. Practices using converging lines to show perspective.
3. Analyzes how artists use line to create form, texture, pattern, space, etc.
4. Practices and experiments with detail, contour, gesture, outline drawing, calligraphy, and
cartooning.

SHAPE/FORM
Shape is two dimensional (height and width)
Form is three dimensional (height, width, and depth)

outlined solid recognizable/abstract

positive/negative geometric/organic weight
volume silhouette movement
rhythm/pattern flat / 3-D stability /dynamics
power provides emphasis (placement)

Kindergarten
1. Identifies basic geometric shapes: square, circle, rectangle, oval, triangle, diamond.
2. Points out differences in shapes: large-small, many-few, etc.

51
 3. Uses geometric shapes in first attempts to draw the figure.

First and Second Grade

1. Identifies and describes basic shapes and sizes: circle, square, rectangle, triangle, oval,
diamond.
2. Identifies and describe organic shapes in the environment.
3. Observes differences in shapes: large-small, in-out, etc.

Third and Fourth Grade

1. Identifies basic shapes: circles, cubes, triangles, squares, cones, spheres.
2. Discusses differences and similarities in shapes, sizes.
3. Practices finding organic and geometric shapes 9in buildings, animals, natural forms, etc.
4. Identifies realistic shapes, abstract shapes.
5. Identifies how abstract shapes are formed (simplification).
6. Analyzes how artist use shapes: for overlapping, to show near-far, etc.

Fifth and Sixth Grade

1. Observes more complex shapes in nature and human-made environment.
2. Compares and contrasts different shapes: large to small, simple to complex, etc.
3. Analyzes and practices using basic geometric shapes – cones, cubes, cylinders, triangles, etc.
– and organic shapes in compositions.
4. Observes similarities and differences in usage of shapes in portraits, figures, landscapes, still
lifes.
5. Practices positive-negative shape relationships.
6. Analyzes how artists use shapes in artworks.

COLOR
Color is perceived when light strikes an object and is reflected back to the eye. Color has three main
properties: Hue is another word for color (green, red, blue, etc. are all hues), Value (how light or
dark the color is), and Intensity (how bright or dull, refers to purity of color). Colors can be
described as warm (red, yellow) or cool (blue, green, gray).

Color Theory:
Light color = Additive color
Pigment color = Subtractive color

symbolic emotional associative warm cool advances

recedes atmospheric mood meditative contrast
successive (aura) gradation emotional associative symbolic
depth

Schemes:
Primary secondary tertiary analogous
complementary monochromatic neutral

Types of light:
natural fabricated reflected directional/spot ambient fluorescent
incandescent

Kindergarten, First, & Second Grade

52
 1. Name and identify the primary and secondary colors
2. Identify and discriminate between colors that are light-dark, bright-dull, and warm-cool
3. Talk about color as it relates to feelings and moods, differences and similarities in colors,
and the use of color in artworks
4. They can actively participate in color-sorting and matching activities
5. Have them investigate relationships of color: i.e. how their pants look next to their shirt.

Third & Fourth Grade

1. Begin to think of color in more realistic ways: i.e. grass is green, the sky is blue.
2. Concept of color is simplified: i.e. all grass is green and all sky is blue (they won’t distinguish
nuances).
3. Work with students to learn names for different shades of colors.

Fifth & Sixth Grade

1. Develop color consciousness. They analyze why they like certain colors and may select
personal colors to indicate moods, atmosphere, and feelings.
2. Define and discuss the concepts of hue, value, and intensity.
3. Discuss color preferences.
4. 5th and 6th graders begin to understand how color is one aspect of an artwork’s overall
design and composition. Show examples of artworks in which color is used to create
contrast, balance, harmony, movement, dominance, space, repetition, and rhythm.
5. Show how warm and cool colors can be used to indicate depth, modeling, roundness, and
form.
6. Discuss how light on the surface changes color, such as in a landscape.
7. Explore how perspective changes color and light.

TEXTURE
The surface quality of an object that we sense through touch. All objects have a physical or actual
texture. Artists can also convey texture visually in two dimensions (simulated texture).

In a two-dimensional work of art, texture gives a visual sense of how an object depicted would feel
in real life if touched: hard, soft, rough, smooth, hairy, leathery, sharp, etc. In three-dimensional
works, artists use actual texture to add a tactile quality to the work.

simulated—visual actual—tactile realism volume surface

familiarity scale pattern/repetition associative
contradictory

Kindergarten, First, & Second Grade

1. Name and identify the actual textures
2. They can actively participate in color-sorting and matching activities

Third & Fourth Grade

1. Identifies and uses actual and simulated texture in works of art
2. Identifies and uses line to create simulated texture

Fifth & Sixth Grade

1. Recognizes and uses simulated texture to depict 2D and 3D objects on 2D surface

53
SPACE

Real space is three-dimensional. Space in a work of art refers to a feeling of depth or three
dimensions. It can also refer to the artist's use of the area within the picture plane. The area around
the primary objects in a work of art is known as negative space, while the space occupied by the
primary objects is known as positive space.

Space can impact our feeling or mood of the art work:

solitude freedom infinite closed

claustrophobic isolation open

Kindergarten, First and Second Grade

1. Creates space in an artwork using the spatial devices of overlap and relative size

Third & Fourth Grade

1. Defines space using horizon/ground line, foreground, middle ground & background
2. Identifies and demonstrates symmetrical (formal) asymmetrical (informal) and radial
balance in two and three dimensions

Fifth & Sixth Grade

1. Recognizes and utilizes special devices and concepts to create the illusion of depth
2. Identifies and uses warm and cool colors as advancing and receding in space

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TAKING A VISUAL INVENTORY

Taking a visual inventory of an artwork

Children and adults oftentimes examine artworks all too quickly, only giving them a cursory glance
or quick analysis. While this passing look succeeds at providing one with a first impression, it can
also result in a hasty judgment or an incomplete picture of what an artwork is about. This method
of visual analysis, sometimes call Formal Analysis or Visual Inventory can help viewers dig deeper
into their understanding of an artwork as well as help them organize their thoughts into a
sequence of that can be used for deeper analysis.

DESCRIPTION
1. How big is it? How would I describe its size?
2. What objects do you see?
3. Is it 2-D or 3-D?
4. What media (materials) did the artist use? (paint, pencil, digital, etc.)
5. What subject matter is represented?
6. How is the artwork hanging/placed/displayed?
7. What words would you use to describe this painting?
8. Look at this painting for a moment. What do you notice first?
9. How is this sculpture like the one we just looked at? What are some important differences?
10. What do these two paintings have in common?
11. What things do you recognize in this painting? What things seem new to you?
12. Which objects seems closer to you? Further away?

ANALYSIS – color, balance, space, line, shape, light, technique, perspective

1. What colors do you see? Which colors are important to the artwork?
2. Does the color lead your eye anywhere? Would this effect be different if the colors were
changed?
3. Is the image balanced?
4. What makes this painting look crowded?
5. Where does the image lie within the artwork? If it’s 2-D, does it go past the edges?
6. How does our eye “travel” through or around the artwork? Does it move slowly or fast? Does
it move diagonally or straight?
7. Are lines important to this artwork? Are they the same throughout the piece?
8. Are the lines thick, thin, smooth, crooked, etc.?
9. What shapes are there? Are they geometric or organic? How are they arranged?
10. Is there a light source? Are parts of the artwork illuminated by light?
11. How are the materials applied (by hand with a brush, made by a machine, etc.)
12. Is the technique hurried, meticulous, rough, etc.?
13. Where was the artist “standing” when he/she made this? Or, where does the artist position
us?

55
INTERPRETATION
1. Why did the artist make this?
2. What does everything in this painting add up to?
3. What does it seem to mean?
4. How would this artwork be different if “x”?
5. What is the mood of the artwork?
6. Imagine that you were in this artwork: Where would you like to be and what might you be
doing?
7. What does this painting remind you of?
8. What title would you give to this painting? What made you decide on that title?
9. What do you think is happening in this painting? What else could be happening?
10. What sounds would this painting make (if it could)?
11. What do you think is going on in this picture?
12. What do you think this painting is about? How did you come up with that idea?
13. Why do you suppose the artist made this painting? What do you see that makes you think
that?
14. What do you think it would be like to live in this drawing?
15. What do you think is the most important part of this picture?
16. If I could ask the artist a question, I would want to ask him/her…

JUDGMENT
1. I like this artwork/don’t like this artwork because….
2. If I were the artist, this is what I would do differently…
3. Would I place this artwork in my home? If so, why, and where would I put it? If not, why not?
4. Where can I imagine this artwork might hang/be installed?
5. What do you think is good about this painting?
6. Do you think the artist who made it did a good or bad job? What makes you think so?
7. Why do you think people should see this work of art?
8. What do you think other people would say about this work?
9. What grade would you give the artist for this work? How did you arrive at that grade?
10. What would you do with this work if you owned it?
11. What do you think is worth remembering about this sculpture?
12. Did the artist accomplish the task he seemed to set for himself?
13. How have my feelings about this artwork changed since I started this analysis?

56
CA VISUAL ART STANDARDS: Condensed for SJMA Gallery Visits

Kindergarten
1.1 Recognize and describe simple patterns found in the environment and works of art.
1.2 Name art materials (e.g., clay, paint, crayons)
1.3 Identify the elements of art (line, color, shape/form, texture, value, space
3.2 Identify and describe works of art that show people doing things together.
3.3 Look at and discuss works of art from a variety of times and places
4.2 Describe what is seen (including both literal and expressive content) in selected work of art.
5.1 Draw geometric shapes/forms (e.g., circles, squares, triangles) and repeat them in dance/movement
sequences.
5.3 Point out images (e.g., photos, painting, murals, ceramics) and symbols found at home, in school, and in
the community
5.4 Discuss the various works of art (e.g., ceramics, sculpture) that artists create and the type of media used.

Grade 1
1.1 Describe and replicate repeated patterns in nature, in the environment, and in works of art.
1.2 Distinguish among various media when looking at works of art
1.3 Identify the elements of art in objects in nature, in the environment, and in works of art, emphasizing
line, color, shape/form, and texture.
3.2 Identify and describe various subject matter in art (e.g., landscapes, seascapes, portraits, still life)
3.4 Identify art objects from various cultures and describe what they have in common and how they differ
4.2 Identify and describe various reasons for making art
5.1 Clap out rhythmic patterns found in the lyrics of music and use symbols to create visual representations
of the patterns.
5.3 Identify and sort pictures into categories according to the elements of art emphasized in the works (e.g.,
shape, line, color)

Grade 2
1.1 Perceive and describe repetition and balance in nature, in the environment, and in works of art.
1.2 Perceive and discuss differences in mood created by warm and cool colors
3.1 Explain how artists us their work to share experiences or communicate ideas.
3.2 Recognize and use the vocabulary of art to describe art objects from various cultures and time periods.
3.3 Identify and discuss how art is used in events and celebrations in various cultures, past and present,
including the use in their own lives.
4.2 Compare different responses to the same work of art
4.4 Use appropriate vocabulary of art to describe the successful use of an element of art in a work of art.
5.1 Use placement, overlapping, and size differences to show opposites (e.g. up/down, in/out, over/under,
together/apart, fast/slow, stop/go).
5.4 Discuss artists in the community who create different kinds of art (e.g., prints, ceramics, paintings,
sculpture).

Grade 3
1.1 Perceive and describe rhythm and movement in works of art and in the environment.
1.2 Describe how artists use tints and shades in painting.
1.3 Identify and describe how foreground, middle ground, and background are used to create the
illusion of space.
1.4 Compare and contrast two works of art made by the use of different art tools and media (e.g.,
watercolor, tempera, computer).
1.5 Identify and describe elements of art in works of art, emphasizing line, color, shape/form,
texture, space, and value.
3.1 Compare and describe various works of art that have a similar theme and were created at
different time periods.
3.2 Identify artists from his or her own community, county, or state and discuss local or regional art
57
traditions.
3.3 Distinguish and describe representational, abstract, and nonrepresentational works of art.
3.5 Write about a work of art that reflects a student's own cultural background.
4.1 Compare and contrast selected works of art and describe them, using appropriate vocabulary of
art.
4.3 Select an artist's work and, using appropriate vocabulary of art, explain its successful
compositional and communicative qualities.
5.3 Look at images in figurative works of art and predict what might happen next, telling what clues
in the work support their ideas.
5.4 Describe how artists (e.g., architects, book illustrators, muralists, industrial designers) have
affected people's lives.

Grade 4
1.1 Perceive and describe contrast and emphasis in works of art and in the environment.
1.2 Describe how negative shapes/forms and positive shapes/forms are used in a chosen work of
art.
1.3 Identify pairs of complementary colors (e.g., yellow/violet; red/green; orange/blue) and discuss
how artists use them to communicate an idea or mood.
1.4 Describe the concept of proportion (in face, figure) as used in works of art.
1.5 Describe and analyze the elements of art (e.g., color, shape/form, line, texture, space, value),
emphasizing form, as they are used in works of art and found in the environment.
3.1 Describe how art plays a role in reflecting life (e.g., in photography, quilts, architecture).
3.2 Identify and discuss the content of works of art in the past and present, focusing on the different
cultures that have contributed to California's history and art heritage.
3.3 Research and describe the influence of religious groups on art and architecture, focusing
primarily on buildings in California both past and present.
4.1 Describe how using the language of the visual arts helps to clarify personal responses to works of
art.
4.2 Identify and describe how a person's own cultural context influences individual responses to
works of art.
4.3 Discuss how the subject and selection of media relate to the meaning or purpose of a work of art.
4.4 Identify and describe how various cultures define and value art differently.
4.5 Describe how the individual experiences of an artist may influence the development of specific
works of art.
5.1 Select a nonobjective painting, work in small groups to interpret it through dance/movement, and then
write a paragraph reporting on the arts experience.

Grade 5
1.1 Identify and describe the principles of design in visual compositions, emphasizing unity and
harmony.
1.2 Identify and describe characteristics of representational, abstract, and nonrepresentational
works of art.
1.3 Use their knowledge of all the elements of art to describe similarities and differences in works of
art and in the environment.
3.1 Describe how local and national art galleries and museums contribute to the conservation of art.
4.1 Identify how selected principles of design are used in a work of art and how they affect personal
responses to and evaluation of the work of art
4.2 Compare the different purposes of a specific culture for creating art.
4.3 Develop and use specific criteria as individuals and in groups to assess works of art.

Grade 6
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.

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1.3 Describe how artists can show the same theme by using different media and styles.
1.2 Describe how balance is effectively used in a work of art (e.g., symmetrical, asymmetrical, radial)
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.
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.
4.3 Develop specific criteria as individuals or in groups to assess and critique works of art.

Grade 7
1.1 Describe the environment and selected works of art, using the elements of art and the principles
of design.
1.2 Identify and describe scale (proportion) as applied to two-dimensional and three-dimensional
works of art.
1.3 Identify and describe the ways in which artists convey the illusion of space (e.g., placement,
overlapping, relative size, atmospheric perspective, and linear perspective).
1.4 Analyze and describe how the elements of art and the principles of design contribute to the
expressive qualities of their own works of art.
3.2 Compare and contrast works of art from various periods, styles, and cultures and explain how those
works reflect the society in which they were made.
4.2 Analyze the form (how a work of art looks) and content (what a work of art communicates) of
works of art.
4.3 Take an active part in a small-group discussion about the artistic value of specific works of art,
with a wide range of the viewpoints of peers being considered.
4.4 Develop and apply specific and appropriate criteria individually or in groups to assess and critique
works of art
5.3 Examine art, photography, and other two and three-dimensional images, comparing how different visual
representations of the same object lead to different interpretations of its meaning, and describe or illustrate
the results.
5.4 Identify professions in or related to the visual arts and some of the specific skills needed for
those professions.

Grade 8
1.1 Use artistic terms when describing the intent and content of works of art.
1.2 Analyze and justify how their artistic choices contribute to the expressive quality of their own
works of art.
1.3 Analyze the use of the elements of art and the principles of design as they relate to meaning in
video, film, or electronic media.
3.1 Examine and describe or report on the role of a work of art created to make a social comment or
protest social conditions.
3.2 Compare, contrast, and analyze styles of art from a variety of times and places in Western and
non-Western cultures.
3.3 Identify major works of art created by women and describe the impact of those works on society
at that time.
3.4 Discuss the contributions of various immigrant cultures to the art of a particular society.
4.1 Define their own points of view and investigate the effects on their interpretation of art from
cultures other than their own.
4.2 Develop a theory about the artist's intent in a series of works of art, using reasoned statements to
support personal opinions.
4.3 Construct an interpretation of a work of art based on the form and content of the work.
4.4 Develop and apply a set of criteria as individuals or in groups to assess and critique works of art.
4.5 Present a reasoned argument about the artistic value of a work of art and respond to the
arguments put forward by others within a classroom setting.
5.3 Demonstrate an understanding of the effects of visual communication media (e.g., television,
music videos, film, Internet) on all aspects of society.

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Grade 9-12 – Proficient
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.
1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular
principle of design.
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.
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.
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.
4.1 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.
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.
4.5 Employ the conventions of art criticism in writing and speaking about works of art.
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).

Grade 9-12 – Advanced

1.1 Analyze and discuss complex ideas, such as distortion, color theory, arbitrary color, scale,
expressive content, and real versus virtual in works of art.
1.2 Discuss a series of their original works of art, using the appropriate vocabulary of art.
1.4 Compare how distortion is used in photography or video with how the artist uses distortion in
painting or sculpture.1
1.7 Analyze the works of a well-known artist as to the art media selected and the effect of that
selection on the artist's style.
3.1 Identify contemporary styles and discuss the diverse social, economic, and political
developments reflected in the works of art examined.
3.2 Identify contemporary artists worldwide who have achieved regional, national, or international
recognition and discuss ways in which their work reflects, plays a role in, and influences present-day
culture.
3.3 Investigate and discuss universal concepts expressed in works of art from diverse cultures.
3.4 Research the methods art historians use to determine the time, place, context, value, and culture
that produced a given work of art.
4.1 Describe the relationship involving the art maker (artist), the making (process), the artwork
(product), and the viewer.
4.2 Identify the intentions of artists creating contemporary works of art and explore the implications
of those intentions.
4.3 Analyze and articulate how society influences the interpretation and message of a work of art.
4.5 Construct a rationale for the validity of a specific work of art artwork that falls outside their own
conceptions of art.
5.1 Speculate on how advances in technology might change the definition and function of the visual
arts.
5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological
content found in the symbols and images.

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CALIFORNIA STATE CURRICULUM STANDARDS
WHAT CALIFORNIA KIDS MUST KNOW…

The following K-6 curriculum is adapted from State Curriculum Standards developed by the California
Department of Education. Curricula will vary among districts. Each bullet point reflects an individual
skill that students are expected to master by the end of the school year.

KINDERGARTEN

READING

Vocabulary

 Have confidence in themselves as potential readers.

 Expect words to make sense.
 Understand that a sequence of written words is related one-to-one with a sequence of spoken
words.
 Recognize letter names, and associate sounds and letters.
 Match likenesses in form, color, letters, numbers and words.
 Strengthen visual and auditory discrimination.
 Identify rhyming words.
 Recognize color words.
 Recognize main ideas from a story.
 Recall sequence of three events.
 Identify consonant and vowel sounds.*
 Match words with same beginning sounds.*
 Recognize certain words by sight.*
 Blend sounds to read words.*
 Read a picture story from left to right, top to bottom.
 Follow directions accurately.
 Enjoy books and being read to.
*Depends on readiness.

Literature
 Participate in dramatizations.
 Name the characters in a story.
 Describe the problem a character faces.
 Listen to and discuss the characteristics of literature.
 Listen to several forms of literature, including rhymes, folk tales, fairy tales, short stories,
riddles and poems.

LANGUAGE ARTS

ORAL

 Recall information from listening.

 Tell a story with a beginning, middle and end.
 Speak in complete sentences.

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 Describe actions, objects and what happened.
 Express ideas in front of a group.
 Participate in group discussion.
 Participate in dramatizations.
 Listen to gain information and follow directions.
 Develop basic concepts such as big, little, behind, over, under, beside, etc.
 Print own first and last name.
 Define a word orally.
 Compare opposites and categorize objects.
 Recognize words that name things and actions.
 Describe what happens as a result of a cause.

MATHEMATICS

 Count to 20 with and without manipulatives.

 Identify numbers zero through 20, and write numbers to 10.
 Match objects to determine equivalent sets.
 Match sets of objects to a number
 Manipulate objects to complete a set for a given number.
 Identify ordinal numbers first to 10th.
 Join/separate sets up to 10 with manipulatives.
 Estimate/measure objects using nonstandard units.
 Identify a penny, nickel and dime.
 Tell time by hour intervals.
 Identify and sort geometric units.
 Reproduce simple patterns.
 Collect, organize, represent and interpret data.
 Solve problems systematically and creatively.
 Be familiar with the concept of graphing and representing values in picture form.

SCIENCE

 Use unifying concepts to study the major areas of science, e.g., Earth Science-”Changes on the
earth are observable.” Life Science-”There are living and nonliving things.” Physical Science-
”Matter can be observed.”
 Use observation involving all five senses to actively gather information.
 Use comparison, ordering and categorization to organize, understand and learn more about
what has been observed.
 Communicate about what has been learned through such activities as discussion, charting and
drawing pictures.

SOCIAL STUDIES

 Use pictures and illustrations to gain information.

 Use films, filmstrips, radio and television as other sources.
 Distinguish between storybooks and factual books.
 Understand that real objects can be represented by pictures or symbols on a map.
 Work effectively with others as members of a group.

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FIRST GRADE

READING

Vocabulary

 Identify beginning and ending consonants.

 Identify consonant digraphs: ch, sh, th, wh.
 Identify short and long vowel sounds and basic sight words.
 Recognize compound words.
 Recognize ed, ing, and s as endings.
 Apply skills to sound out words.
 Blend sounds into a spoken word.

Comprehension

 State the main idea.

 Recall the sequence of events.
 Recall information read.
 Understand story characters.
 Draw conclusions or predict outcomes.
 Distinguish between fact and fiction.
 Summarize a story.
 Link personal experiences and prior knowledge with text.
 Use context clues (pictures, surrounding words, punctuation).

Literature

 Identify and understand characters.

 Listen to and discuss a variety of literary styles, including nursery rhymes, poems, fairy tales,
fiction and non-fiction.
 Be sensitive to syntactic clues such as repetition, thyme and rhythm.

LANGUAGE ARTS

Oral

 Respond to questions orally.

 Speak in complete sentences.
 Differentiate between questions and statements.
 Speak loudly enough to be heard.
 Tell a story (real or imaginary) in own words.
 Listen to and follow directions.
 Describe an object, a feeling, etc.
 Tell about a happening using correct sequencing.
 Categorize things that go together.

Written

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 Capitalize names of people and the first word in a sentence.
 Write name, address, phone number and date of birth.
 Spell simple phonetic words.
 Use manuscript writing of both upper-case and lower-case letters.
 Write complete sentences.
 Appropriately use a period or a question mark at the end of a sentence.
 Write simple sentences from dictation.
 Write several related simple sentences.
 Use dictionary and library skills as needed.

MATHEMATICS

 Read and write numbers to 100.

 Name and use ordinal numbers, such as first, second, third, etc.
 Add and subtract numbers through 18.
 Add the value of pennies, nickels and dimes up to 50 cents.
 Compare nonequivalent sets by using the symbols for greater than, less than and equals.
 Tell how many groups of 10s and ones there are in any number up to 100.
 Make and extend a simple pattern (5, 10, 15, etc.).
 Decide whether two sets contain equal numbers.
 Be familiar with idea of dividing into equal fractions (1/2, 1/3, 1/4).
 Use number lines and coordinates.
 Compare volume and weight of objects.
 Estimate/measure objects using nonstandard and standard units.
 Read time to the half-hour.
 Read monthly calendar.
 Classify geometric shapes by attributes.
 Collect, organize and interpret data from surveys and experiments.
 Know basic parts of a computer.

SCIENCE

 Use unifying concepts to study the major areas of science, e.g., Earth Science- “Sun, air and
water affect the earth.” Life Science- “Living things are grouped by commonalties.” Physical
Science-“Matter has different properties and different states.”
 Use observation to actively gather information.
 Use comparison, ordering and categorization.
 Communicate through discussion, charting, drawing pictures and simple writing

SOCIAL STUDIES

 Identify what makes a family.

 Study the family and one’s role in it.
 Learn that people have similarities and differences.
 Begin study of basic map and globe skills.
 Acquire information through listening and observing.
 Locate information from various sources.
 Compare and classify information.
 Learn the significance of holidays.
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SECOND GRADE

READING

Vocabulary
 Identifying beginning sounds and like endings.
 Identify consonant digraphs: sh, ch, th, wh.
 Identify beginning consonant blends.
 Write beginning and final consonants.
 Identify long and short vowel sounds.
 Know the two sounds of s.
 Define a word orally.
 Compare opposites/antonyms.
 Arrange words alphabetically using first letter.
 Read from left to right.
 Use context clues.
 Identify root words and endings: er, s, ing, ed.
 Use decoding strategies including phonetics.

Comprehension
 Arrange four pictures in sequence.
 Identify missing detail.
 Recall details of selection.
 Follow written directions.
 Arrange pictures into categories.
 Identify the main idea.
 Draw conclusions from what is read.
 Predict what will or could happen next.
 Distinguish between fact and fiction.

Literature
 Identify characters and setting.
 Listen to, read, and discuss a variety of literary styles, including folk tales, fairy tales, free
verse, fixed verse and fables.
 Analyze characters.

LANGUAGE ARTS

Oral
 Describe an object.
 Create a conclusion for a story.
 Recall information from listening.
 Respond appropriately to peers and adults.
 Listen to what others have to say.
 Use courteous expressions regularly.
 Relate a real experience.
 Give three-step oral directions.

65
 Recite a poem, song or refrain.
 Retell a story in own words.
 Practice correct word usage when speaking.

Written
 Recognize nouns and verbs.
 Recognize a sentence.
 Write sentences from dictation.
 Capitalize the pronoun “I”.
 Capitalize the first word in a sentence.
 Capitalize names of people.
 Use a period or quotation mark at the end of a sentence.
 Write upper-case and lower-case letters in a manuscript.
 Use apostrophes in contractions.
 Write complete simple sentences.
 Be attentive to grammar and correct usage.
 Add descriptive words to sentences.
 Write sentences relating to a given topic.
 Participate in activities that expand the writing process, such as pre-writing activities,
revising, editing and post-writing activities.
MATHEMATICS

 Read and write numbers to 100.

 Count by twos, fives and tens through 200.
 Place the correct number before or after any number up to 900.
 Add and subtract facts through 18.
 Add three one-digit numbers.
 Add and subtract two-and three-digit numbers with and without regrouping.
 Subtract money under amounts of $1.
 Determine the missing symbol in an addition or subtraction equation.
 Know the place value for each digit for any number to 999.
 Consider the reasonableness of an answer.
 Record of complete simple patterns.
 Identify odd and even numbers.
 Recognize/compare fractions 1/4, 1/2, 1/3.
 Recognize figures that have symmetry, similarity and congruency.
 Estimate/measure length, volume and weight in customary and metric systems.
 Determine most efficient measuring device.
 Tell time to hour, half-hour and quarter-hour.
 Solve measurement problems in concrete situations.
 Read a thermometer.
 Determine a location by using ordered pairs of numbers on a grid.
 Predict outcomes in probability.
 Determine essential information of a word problem.
SCIENCE
 Use unifying concepts to study the major concepts of science, e.g., Earth Science- “Different
forms of energy change the earth.” Life Science- “Living things grow and change.” Physical
Science-“Matter can change from one form to another.”
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 Use observation, including some use of scientific tools, to actively gather information.
 Use comparison, ordering and categorization.
 Communicate using description in oral reports, charts and graphs, pictures and written
reports.

SOCIAL STUDIES

 Acquire information through listening and observation.

 Locate information through books and media.
 Understand the concept of time and time lines.
 Make simple sketch maps.
 Locate streets, etc., on a simple community map.
 Learn social participation skills.

THIRD GRADE

READING

Vocabulary
 Form new words by substituting initial consonant/blends.
 Write consonant digraph in any position.
 Form new words by substituting final consonants.
 Learn three-letter consonant blends.
 Identify long and short vowel sounds in words.
 Recognize r -controlled vowels as in fur, firm, over, horn, art and order.
 Recognize that c and g have both a hard and soft sound.
 Identify the silent letter(s).
 Count the number of syllables in a word.
 Identify words as singular or plural.
 Identify prefixes: un-, dis-, a-, and be-.
 Give a synonym or antonym for a word.

Comprehension
 Recall details from a passage.
 Answer literal questions from a passage.
 State the main idea.
 Tell how an unfinished story might end.
 Distinguish between the implied and stated.
 Distinguish between fantasy and reality.
 Draw conclusions that are implied.
 Follow written directions.

Literature
 Explain make-believe aspects of a situation.
 Discuss characters, setting, and plot.
 Listen to, read and discuss a variety of literary styles, including myths, legends, poetry, fables,
fairy tales and biographies.

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LANGUAGE ARTS

Oral
 Describe characters or events in a story.
 Demonstrate the ability to follow the standards of informal speaking.
 Retell the events of a story in proper sequence.
 Practice correct word usage when speaking.
 Listen courteously to others.
 Learn to generate a variety of responses.
 Participate in a choral reading or as a character in a play.
 Respond appropriately to peers and adults.

Written
 Supply the end punctuation for all types of sentences.
 Write common abbreviations correctly.
 Use the comma in dates and after the salutation in a friendly letter.
 Form and join correctly both upper-case and lower-case cursive letters.
 Describe an imaginary event or action.
 Record simple information given orally.
 Write a friendly greeting, note or letter.
 Write a short, factual report.
 Write dictated material appropriate to grade.
 Recognize words that describe.
 Differentiate between common and proper nouns.
 Complete sentences by adding subject to predicate.
 Identify statements and questions.
 Join subjects and predicates to make a sentence.
 Spell phonetically regular words.
 Divide compound and double-consonant words.
 Be aware of spelling rules and utilize them in daily writing.
 Use correct subject/verb agreement.
 Capitalize days of the week, months, holidays and streets.

MATHEMATICS

 Read/write to 9,999.
 Multiply one-, two-, and three-digit numbers without carrying.
 Divide by one-digit number with no remainder.
 Know multiplication/division facts through 81.
 Add and subtract in problems using money.
 Compare three- and four-digit numbers and simples fractions using <, >, or =.
 Supply the missing symbol (addition, subtraction, multiplication, or division) to make an
equation true.
 Identify the place value of any number to 10,000.
 Complete a given number pattern.
 Round off numbers.

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 Understand certain geometric terms, such as line segment, square, circle, rectangle, diameter,
point, etc.
 Estimate and measure a length in inches or centimeters.
 Tell time, use a calendar and read a thermometer.
 Write a fraction to identify a portion of a region.
 Analyze and solve word problems using any of the four operations.
 Create own word problems.
 Extract data from a simple graph.
 Identify/write the value of coins to $10, and make change to $5.
 Write an addition or subtraction equation from a problem stated in words or pictures.
 Measure outdoor temperature.
 Measure/calculate the perimeter and attributes of multi-sided polygons.
 Estimate/measure area by using square units.
 Describe the relationship in a given table.

SCIENCE

 Use unifying concepts to study the major concepts of science, e.g., Earth Science- “Earth is
composed of different materials that change over time.” Life Science- “Plants and animals
have identifiable characteristics.” Physical Science- “Sounds are produced by vibrations
and are a form of energy.”
 Use observation, including some use of scientific tools.
 Use comparison, ordering, and categorization.
 Communicate using descriptive language in oral reports, written reports, charts and graphs.

SOCIAL STUDIES

 Acquire information through listening and observing.

 Locate information using the library and other media.
 Use the table of contents.
 Categorize and classify information.
 Interpret pictures and their meaning.
 Understand map symbols.
 Map a simple map.
 Read a map of the community.
 Participate in a school project.
 Learn about democracy in a school setting.
 Develop skills to work cooperatively with others.

FOURTH GRADE

READING

Vocabulary
 Form new words by substituting final consonant blends.
 Decode words with blends in any position.
 Decode words when y is used as a vowel.
 Identify words with schwa sound.
 Know the sounds of x and quiz .
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 Identify the parts of a two-syllable word.
 Identify and make up compound words.
 Identify prefixes: a-, bi-,re-, sub-.
 Identify suffixes: -ly, -s, ped, -ing, -ness, -ful, -ican.
 Use homonyms correctly.
 Be able to group words as antonyms and synonyms.
 Identify the meaning or words using context clues.

Comprehension
 Identify or state the main idea.
 Explain the meaning of a sentence or passage.
 Begin to understand what is implied.
 Compare reading passages to personal experience.
 Identify statements that are out of context with the passage.
 Recall details of a passage.
 Respond to questions about the passage.
 Restate the events in sequence.
 Draw conclusions and predict outcomes based on a passage.

Literature
 Read and discuss a variety of literary styles, including short stories, fables, tall tales,
nonfiction, poetry and newspapers.
 Compare the mood of passages read.
 Trace character development.
 Describe the problem a character faces.
 Describe the differences in poetic form.

LANGUAGE ARTS

Oral
 Listen carefully by shutting out distracting noises.
 Practice correct usage when speaking.
 Avoid run-on sentences when speaking.
 Demonstrate ease in making introductions.
 Give oral directions correctly.
 Dramatize through pantomiming.
 Describe a character in own words.
 Demonstrate self-confidence when speaking in front of a group

Written
 Express a thought or feeling in free verse and in fixed verse.
 Keep a journal.
 Write a short imaginary story.
 Write a simple biography or autobiography.
 Write expository paragraphs and essays.
 Proofread own work.
 Write a friendly greeting, note or letter.
 Use nouns and pronouns correctly.
 Understand that sentences are composed of subject and predicate.
 Transform an affirmative sentence into a negative one.
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 Spell words correctly.
 Apply spelling knowledge to all areas.
 Practice correct word usage when writing.
 Capitalize days of the week, names of the month, holidays, streets, places, states and
countries.
 Use contractions correctly
 Use correct punctuation at the ends of sentences.
 Write fluently in the cursive form.
 Locate information through books and other media.
 Practice good study habits.

MATHEMATICS

 Arrange, in order, numbers to 100,000.

 Read and write numbers to 99,999.
 Recognize odd, even, prime and composite numbers.
 Know place value to 1,000,000ths.
 Know addition, subtraction, multiplication and division facts.
 Add, subtract and multiply facts with time as an element.
 Add and subtract two-, three-, and four-digit numbers with or without regrouping.
 Multiply and divide two-and three-digit numbers.
 ply by multiples of 10.
 Add and subtract sums of money under $100.
 Add and subtract fractions.
 Explore decimals-10ths and 100ths.
 Measure using the metric and customary systems.
 Given any two whole numbers <, >, or = to make a true statement.
 Given whole numbers, make true statements using +, -, x or -.
 Find factors and multiples of numbers.
 Demonstrate the inverse relationship between addition/subtraction and
multiplication/division.
 Use order of operations to solve equations.
 Define geometric terms: parallel, square, rectangle, quadrilateral, parallelogram and triangle.
 Locate points in all four quadrants in the coordinate planes.
 Write a rule to describe the relationship of ordered pairs in a table.
 Identify figures that are open, closed, convex, and concave.
 Calculate perimeter, area and volume.
 Calculate distance/scale on a map.
 Analyze a word problem to determine its solution.
 Solve simple one- and two-step word problems.
 Correctly label answers to word problems.
 Use lists, graphs or tables to help solve problems indicating mean, median, mode and range.
 Express a relationship using a mathematical sentence.
 Predict, perform, and record results of probability experiments.
 Solve simple logic problems and formulas.
 Estimate/select appropriate unit to measure length, perimeter, area, volume and weight.
 Use computers and calculators.

SCIENCE

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 Use unifying concepts to study the major concepts of science, e.g., Earth Science-”Water has
unique and changeable properties.” Life Science-”Systems within the body are inter-
dependent.” Physical Science-”Energy causes changes in matter.”
 Use observation, comparison, ordering and categorization.
 Begin to study relationships between and among things, including interactions, dependencies,
and cause-and effect events.
 Communicate about what has been learned.

SOCIAL STUDIES

 Acquire information through listening and observing.

 Locate information through books, media and interviews.
 Distinguish between fiction and nonfiction materials.
 Arrange ideas, facts and events in sequence.
 Make simple time lines.
 Know directions: N, E, W, S.
 Learn about student government.
 Participate in problem-solving situations.
 Discuss current events.

FIFTH GRADE

READING

Vocabulary
 Understand syllabification.
 Identify singular and plural.
 Identify compound words.
 Use knowledge of suffixes and prefixes to decode new vocabulary.
 Identify words having a schwa sound.
 Increase knowledge of figurative and colorful expressions.

Comprehension
 Draw conclusions after hearing a story.
 Predict outcomes.
 Describe how characters feel and look.
 Select statements or reasons for action.
 Identify the main idea.
 Recall details of selection.
 Locate specific information.
 Identify irrelevant details.
 Identify a cause, given the effect.
 Identify an effect, given the cause.
 Skim for information.
 Read for pleasure.
 Read a variety of materials and styles.

Literature
 Read and discuss significant core works of literature from a variety of literary forms.
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 Discuss the effect of the setting on the characters and the events that occur.
 Discuss the author’s purpose.
 Identify the plot of the book or the story.
 Compare story events with the real world.

LANGUAGE ARTS

Oral
 Practice good listening habits.
 Ask questions for clarification.
 Demonstrate an ability to converse with new acquaintances.
 Use courteous expressions for greeting, requests and farewells.
 Give a speech using proper technique.
 Recall a story in own words.
 Give a book report or review.

Written
 Write a description of an imaginary event or action.
 Write a fantasy about something that could not actually happen in real life.
 Write a dialogue.
 Express a thought or feeling in fixed-verse form.
 Formulate the ending of a story.
 Write a short story that has a beginning, middle and an end.
 Construct paragraphs.
 Receive input from peers during the editing process.
 Write friendly greetings, notes and letters.
 Write dictated material.
 Write exclamatory and imperative sentences.
 Proof read own writing.
 Identify nouns, verbs, adjectives and adverbs.
 Identify the subject and the predicate.
 Distinguish between a sentence and a fragment.
 Expand sentences through compounding.
 Spell words appropriate to level.
 Spell abbreviations.
 Use correct verb forms.
 Use correct subject/verb agreement.
 Capitalize titles (stories, books and poems) and proper names correctly.
 Use periods after abbreviations and initials.
 Use commas appropriately.
 Use commas to separate words in a series.

MATHEMATICS

 Read and write numbers to 1,000,000.

 Order numbers to 1,000,000, including whole numbers, decimals, fractions and integers.
 Read and write decimals to the 1,000ths.
 Add and subtract numbers with up to four digits, using carrying and borrowing.
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 Multiply three-digit numbers with carrying.
 Divide by a two-digit number.
 Add and subtract amounts of money
 Add mixed decimals in 10ths or 100ths in either vertical or horizontal form.
 Subtract decimals using zero as a place holder.
 Multiply any sum of money by a number of two of more digits.
 Subtract fractions with different denominators.
 Compare fractions using the symbols greater than, less than, equal to not equal, greater than
or equal to, or less than or equal to.
 Reduce fractions to lowest terms.
 Change a fraction to an equivalent one with a larger denominator (1/2=2/4).
 Know if a number is divisible by 2, 3, 5, 6 or 10.
 Find factors and prime factors of a number
 Express repeated factors in exponent form.
 Identify an ordered pair of numbers for a point in all four quadrants.
 Find the perimeter of a polygon using metric and U.S. customary units.
 Estimate and measure length to the nearest inch or nearest millimeter.
 Estimate and measure the mass of objects to the nearest ounce and to the nearest 5 grams.
 Identify key phrases when analyzing and classifying word problems.
 Write an equation to solve problems with fractions or decimals.
 Solve percent and proportion problems.
 Calculate perimeter, area and volume.
 Identify and measure angles.
 Find equivalent ratios.
 Solve simple one-, two- or three-step problems.
 Express answers in the proper units.

SCIENCE

 Use unifying concepts to study the major concepts of science, e.g., Earth Science-”Change takes
place when things interact.” Life Science-”Foods have identifiable characteristics and contain
nutrients that affect health.” Physical Science-”Machines help make better use of forces.”
 Use observation, comparison, ordering and categorization to actively learn about objects, ides
and events.
 Study relationships between and among things, including interactions, dependencies and
cause-and-effect events.
 Begin studying scientific principles, generalizations and laws.
 Communicate about what has been learned using descriptive language in oral reports,
scientifically appropriate charts and graphs, pictures and written reports.

SOCIAL STUDIES

 Distinguish between fact, opinion and fiction.

 Determine which source of information is appropriate.
 Read maps of various types.
 Describe various types of land forms.
 Know directional terms.
 Name and locate the states and their capitals.
 Begin to understand the structure of our governmental system.
 Learn to organize material through note-taking and outlining.
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SIXTH GRADE

READING

Vocabulary
 Decode words with long vowel sounds of a and e such as weigh, key, believe.
 Divide three-syllable words into syllables.
 Write regular and irregular singulars and plurals.
 Use prefixes in-, upper-, non-, anti-, hemi-, tri-, ex-, con-, and over-.
 Use suffixes -er, -or, -al, -able, -ive, -ous and -an.
 Pronounce heteronyms correctly.
 Define given words.

Comprehension
 Retell events in order.
 Recall details of a selection.
 Locate specific information in a selection.
 Draw conclusions after reading a selection.
 Describe characters through emotion, speech and appearance.
 Infer the emotion of the character.
 Identify the main idea when it is implied.
 Identify the author’s opinion.
 Apply reading skills to other areas of the curriculum.

Literature
 Determine the setting and its influence of the characters and the plot.
 Identify the mood of the selection.
 Identify the climax.
 Discuss the realistic aspects of a short story.
 Discuss the meaning of similes, proverbs and other forms of figurative language.
 Interpret the main idea and plot of a story.
 Read and discuss a variety of literary forms, including science fiction, historical fiction, plays
and nonfiction.

LANGUAGE ARTS

Oral
 Listen to follow directions and to recall information.
 Actively participate in group discussions. Recognize devices of persuasion.
 Practice standard usage when speaking.
 Utilize brainstorming techniques.
 Participate in a variety or oral interpretation activities.
 Demonstrate self-confidence when speaking orally.
 Illustrate a point with a story or an anecdote.

Written

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 Take notes during an oral presentation or from written material.
 Accurately complete forms.
 Expand sentences through compounding or modifying.
 Write from an inanimate object’s point of view.
 Write a report.
 Write a biography or autobiography.
 Proofread and edit own writing.
 Identify and use nouns, verbs interjections and conjunctions correctly.
 Identify and use the four types of sentences correctly.
 Apply spelling skills in all written work.
 Correctly capitalize within quotations.
 Punctuate a direct quote.
 Use commas to separate words, phrases and clauses in a series.
 Use comma in a compound sentence.
 Write legibly.
 Write in a variety or styles: poetry, narrative, short story, news reporting, etc.

MATHEMATICS
 Recognize even, odd, prime and composite numbers.
 Round whole or decimal numbers to any place.
 Read, write, order and compare decimals through 1,000ths.
 Apply specific operations or addition, subtraction, multiplication and division for any
combination of whole numbers, fractions, and decimals.
 Understand relationship between addition, subtraction, multiplication and division.
 Understand zero as a place holder in a quotient.
 Interpret remainders.
 Compare estimate whole-number, decimal and fraction answers for all operations with
calculated answers to determine reasonableness.
 Determine if two ratios are equivalent.
 Solve for the missing term in a proportion.
 Use calculator to solve any whole number/word problem.
 Choose an appropriate unit of metric or standard measure to measure length, volume, weight,
area and time.
 Estimate length, area, weight and volume in metric or standard units.
 Convert standard and metric measurements.
 Calculate surface area.
 Solve for rate, time and distance.
 Create or read a scale drawing, map or model.
 Apply measurement concepts in problem-solving situations.
 Identify parallel, perpendicular and intersecting lines and planes.
 Measure and classify angles and triangles using a protractor.
 Estimate the size of an angle.
 Explore the tiling of a plane.
 Identify the center, radius, diameter, arcs, chords, degrees and circumference of a circle.
 Identify various perspectives of three-dimensional objects.
 Discover relationships within geometric figures by measuring and looking for patterns.
 Apply knowledge of geometric shapes and relationships in problem-solving.
 Find, analyze, extend and predict numerical patterns in a sequence of whole numbers or
ordered pairs.
 Collect, organize and represent data in lists, tables or graphs.
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 Interpret lists, tables and graphs, refuting or defending a given inference.
 Perform simple probability experiments.
 Use knowledge of probability in the context of a word problem.
 For a given poll, determine whether whole population or random segment should be used.
 Classify and sort objects, using one or more attributes.
 Make reasonable conjectures about situations, using the words and, if, then, all, some, none,
not and out.
 Understand that a set of numerical relationships can be expressed through the use of
variables.
 Determine whether a sentence is true, false or open.
 Find values for the variables in a given number sentence that make it true.
 Express simple word problems or sentences as algebraic expressions.

SCIENCE

 Use unifying concepts to study the major concepts of science, e.g., Earth Science-”Energy from
the sun can be captured and put to use.” Life Science-”Plants and animals have adapted to
survive in diverse environments.” Physical Science-“Mixtures and solutions have identifiable
characteristics.”
 Continue to use observation, comparison, ordering and categorization.
 Continue studying relationships between and among things.
 Study scientific principle, generalizations and laws.
 Begin to use inference to deal with ideas remote in time and space.
 Communicate using descriptive language.

SOCIAL STUDIES

 Recognize and name land and water masses on a map or globe.

 Identify equator, circles, tropics, latitude and longitude on a map or globe.
 Recognize propaganda, its purpose and effect.
 Compare and analyze cultures of the world.
 Utilize time liens.
 Develop decision-making skills.
 Organize material through note-taking and outlining.

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GLOSSARY OF ART “ISMS”

Abstract: Generally understood to mean

art that does not depict objects in the natural
world, but instead uses shapes and colors in a
non-representational or subjective way.
(Painting by Wassily Kandinsky)

Abstract Expressionism: Painting style of the late 1940s and 1950s, in

which abstract or non-representational forms were used to represent
emotional content. Such style emphasized spontaneity and often
employed bold colors and/or strong value contrasts. The paintings were
usually quite large in scale. Because this art often involved energetic
physical involvement by the artist, it is also referred to as Action Painting.
Jackson Pollock is one of the artists most commonly associated with
Abstract Expressionism.
(Photo by Jackson Pollock)

Baroque: Is both a period and the artistic style that

dominated it. The Baroque style used exaggerated motion and
clear, easily interpreted detail to produce drama, tension,
exuberance, and grandeur in sculpture, painting, literature, and
music. The style started around 1600 in Rome, Italy and
spread to most of Europe.
(Painting by Federico Barocci)

Classicism: Classicism refers to 19th Century art that was inspired by the arts
and culture of ancient Greece and Rome.
(Photo by Charles-Amable Lenoir)

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Cubism: Regarded as the most important and influential art
movement since the Italian Renaissance. Cubism was an avant-
garde art movement that revolutionized European painting and
sculpture in the early 20th century. Objects are broken up,
analyzed, and re-assembled in an abstracted form. Instead of
rendering objects from a single fixed angle, the artist depicts the
subject from multiple angles simultaneously as an attempt to
present the subject in the most complete manner.
(Photo by Parascan Luminita)

Dada: A movement that emerged during World War I in Europe that professed to
be anti-everything, even anti-art. Dada artists such as Marcel Duchamp poked fun at
all established traditions and tastes in art with works that were deliberately
shocking, vulgar, and nonsensical.
(Painting by Antoine de Villiers)

Expressionism: is the tendency of an artist to distort reality for an emotional

effect. Expressionism is exhibited in many art forms, including painting,
literature, film, architecture and music. Additionally, the term often implies
emotional angst – the number of cheerful expressionist works is relatively small.
(Painting by Ernst Kirchner)

Fauvism: A short-lived and loose grouping of early Modern artists

whose works emphasized painterly qualities and use of deep color over the
representational values retained by Impressionism. Fauvists simplified
lines, made the subject of the painting easy to read, exaggerated
perspectives and used brilliant but arbitrary colors. They also
emphasized freshness and spontaneity over finish.
(Painting by Henri Matisse)

Gothic Art: A style of art and architecture that developed in Europe in

the 12th century and was widely adopted until the Renaissance.
Profoundly steeped in religiosity, Gothic artists used elongated forms
that appeared to attempt to reach the heavens. Gothic painting is
rich and colorful, often employing a gold leaf ground.
(Painting by Simone Martini)

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Impressionism: A 19th century art movement that began as a loose association of Paris-based artists who
began publicly exhibiting their art in the 1860s. Characteristics of Impressionist painting include visible
brushstrokes, light colors, open composition, emphasis on light in its changing qualities (often
accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles.
(Painting by Claude Monet)

Minimalism: Describes movements in various forms of art and

design where the work is stripped down to its most fundamental
features. It is identified with developments in post-World War II
Western Art, most strongly with the visual arts.
(Painting by an unknown artist)

Neo-Expressionism: A style of modern painting that emerged in the late 1970s and
dominated the art market until the mid-1980s. It developed as a reaction against the
conceptual and minimalistic art of the 1970s. Neo-expressionists returned to
portraying recognizable objects, such as the human body (although sometimes in a
virtually abstract manner), in a rough and violently emotional way using vivid
colours and banal colour harmonies.
(Painting by Julian Schnabel)

Popular (Pop) Art: An art style born in the 1960s, most commonly associated with artist Andy
Warhol, deriving its imagery from the popular, mass-produced culture.
Deliberately mundane, Pop Art focused on the over-familiar objects of daily
life to give them new meanings as visual emblems.
(Print by Andy Warhol)

Post-Impressionism: Although all painted in highly personal

styles, the Post-Impressionist artists, who were French or lived in
France from 1885 to 1900, were united in rejecting the relative
absence of form characteristic of Impressionism. The group
included artists such as Vincent van Gogh, Paul Cezanne, and Paul
Gauguin, among others. (Painting by Henri Rousseau)

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Realism: The depiction of subjects as they appear, without
embellishment or interpretation. It was also a mid-19th
century cultural movement with its roots in France. (Painting by
Jean-François Millet)

Renaissance: The period in Europe from the 14th to the 16th

centuries, characterized by a renewed interest in Classicism. The
Renaissance began in Italy and gradually spread to the rest of
Europe. This style is most closely associated with Leonardo da
Vinci, Michelangelo, and Raphael.
(Painting by Leonardo da Vinci)

Surrealism: A cultural, artistic, and intellectual movement of the early

20th century oriented toward the liberation of the mind by
emphasizing the critical and imaginative faculties of the
unconscious mind and the attainment of a state different from, and
ultimately truer than everyday reality: the “sur-real,” or “more than
real.”
(Painting by Salvador Dalíé)

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LET’S LOOK AT ART BY-LAWS

ARTICLE I NAME

The Name of this organization shall be Let's Look at Art of the San Jose Museum of Art, and shall be
a subsidiary organization to the San Jose Museum of Art Association. All activities of this
organization shall be governed by these Bylaws and the Bylaws of the San Jose Museum of Art
Association. In case of conflict the Bylaws of the San Jose Museum of Art Association shall prevail.
For purposes of brevity this organization shall be referred to by its initials, LLAA.

ARTICLE II PURPOSE

The Purpose of this organization shall be:

1. To maintain the Let's Look at Art Project, a program that teaches art appreciation to
groups in Santa Clara County.
2. To train and organize volunteers to teach art appreciation.
3. To aid the purposes of the San Jose Museum of Art Association.
4. To further the scope and intensity of art appreciation among the members of LLAA for
their own enjoyment.

ARTICLE III ADMISSIONS & MEMBERSHIP

A. The Board of Directors of LLAA shall control the admissions and membership policy
of the organization. The categories of membership are: Trainee, Active, Sustaining,
Auxiliary and Honorary

B. Eligibility and requirements of a trainee shall be as follows:

1. Candidate shall complete a written application form and fulfill the following
requirements:
a. subscribe to the purposes of LLAA
b. sign an acknowledgment of a two-year commitment of service
c. pay annual LLAA dues and training program fees
d. attend all training sessions and satisfactorily complete all requirements
e. be a member of the San Jose Museum of Art Association

2. Evaluation of completion of training shall rest with the Training Chair and the Museum
Experience and Education Department and they shall then declare the trainee a LLAA
Docent.

C. Eligibility and requirements of an Active docent shall be as follows:

1. meet all training requirements

2. commit to a minimum 15 school presentations per school year, as assigned or approved by the
Coordinator. (NOTE: The President, Coordinator, Training and Portfolio Chairs may elect a
reduced schedule of presentations.)
3. attend the General Meetings

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 4. pay annual LLAA dues
5. be a member of the San Jose Museum of Art Association
Failure to fulfill docent service obligations may result in termination of active status by action
of the LLAA Board of Directors.

D. Eligibility and requirements of a Sustaining docent shall be as follows:

1. After a docent has fulfilled the basic commitment of two years, the docent may request
sustaining status. This membership category:
a. allows non-voting membership privileges in LLAA
b. requires a higher membership fee than active status
c. removes service obligations
d. requires membership in the San Joseé Museum of Art Association

2. If the sustaining or returning member wishes to return to active status and has been inactive
for two or more years, the basic training program must be repeated.

E. Eligibility and requirements of an Auxiliary Art in the Dark (AITD) docent shall be as follows:

1.Attend specialized training provided by experienced AITD docents, focusing on the logistics of
AITD equipment and classroom management skills.
2. Study each manual to become proficient in the associated AITD topic(s) they have chosen to
present in the classroom.
3.Observe a minimum of two AITD presentations prior to giving their own in the classroom.
4.Commit to a minimum of 8 AITD presentations per school year.
5.No additional fees will be required to become an Auxiliary AITD docent beyond existing Docent
Council dues and SJMA membership fee.
6.All Auxiliary AITD docents will have the privilege of attending LLAA meetings, lectures, field trips
and workshops.
a. An exception will occur for any capacity controlled events, whereby all LLAA paid
membership categories will be given priority.
7. All Auxiliary AITD docents will have the privilege of receiving LLAA newsletters and emails and
will also have access to the LLAA/AITD website and calendar.
8. In the event an Auxiliary AITD docent chooses to join LLAA as an Active member, all eligibility
and requirements of active status must be met. This will include any training, as determined
necessary by the Training Chair and Museum Education and Experience Department.

F. Honorary docent status may be granted by the LLAA Board to a docent or individual who has
served for many years in an exemplary manner. This docent will have the membership
privileges of a sustaining docent, with membership fees waived.

G. Privileges

1. All classification of membership may receive the LLAA Newsletter for one year upon
admission and payment of appropriate fees.
2. All classifications of membership may attend lectures, field trips, and workshops unless
specified otherwise.
3. Only active members shall have the right to vote at general meetings.
4. Only active members may hold the elected positions of President and Vice President. Both
active and sustaining members may hold other positions on the board. The whole slate of

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 officers and board members shall be voted on by the membership at the May General
Meeting each year.
5. Only active members may use the educational materials for presentation or be scheduled to
make presentations.
6. Publications distributed by the curator's office, including exhibit catalogs, research
publications and briefing information are available, to trainees and active members.

H. Dues

1. The Board of Directors of LLAA shall periodically review and recommend the establishment
of fees, dues, and method of payment when the need arises.
2. Annual LLAA dues are payable for the coming year no later than the first General Meeting
(September). Anyone who joins the organization between May and September is considered
paid through the coming year.
3. If a new docent training occurs at a time other than the fall, the Board may elect to pro-rate
the current year dues for those trainee docents.

ARTICLE IV LLAA BOARD OF DIRECTORS

A. The elected officers of the LLAA Board of Directors shall be as follows:

1. President 9. Parliamentarian
2. Vice President 10. Continuing Education
3. Secretary 11. Membership
4. Treasurer 12. Ways & Means/Publicity
5. Coordinator I3. Newsletter
6. Training 14. Hospitality
7. Art in the Dark 15. Webmaster
8. Portfolio 16. Historian

B. The nonelected officers of LLAA are:

1. Parliamentarian
2. Any appointed special project chair

C. The officers shall be elected at the General Election Meeting in May from a single slate selected
by the Nominating Committee and submitted to the active membership one month in advance.
D. Officers shall serve a term of one year until their successors are elected. They may serve
several terms.
E. Meetings.
1.Board of Directors Meetings
a. The LLAA Board of Directors shall meet to conduct the business of the organization
seven times a year. They are: the June turnover meeting, August, October, December
February, April, and the May Election meeting.
b. Special meetings can be scheduled at the call of the President or any four or more
Members of the LLAA Board.
2. General Meetings

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 a. The LLAA Board of Directors shall also attend all General Meetings of the
Membership. They are: September, November, January, March, and the May Election
meeting.
F. Quorum – A Majority of the LLAA Board will constitute a quorum.
G. Vacancies in all offices, except the President, shall be filled by Presidential appointment, with
approval of the LLAA Board of Directors.
H. Officers shall maintain a file of procedures and materials pertaining to the office.
I. Officers shall write a summary report of activities during their term, and turn over the
files and reports to the newly elected (or appointed) officers, within 30 days of leaving
office, or when the officer assumes the duties. A copy of this summary report goes to the
President.
J. Officer shall know and uphold the LLAA Bylaws.
K. Powers Duties of all LLAA Board Members
1. Be responsible to assist the President in the conduct and management of LLAA
2. Establish policies and procedures of all aspects of LLAA
L. Powers and duties of each elected LLAA Board Member shall be:

1. President
a. the official representative to all other Museum organizations and salaried staff.
b. coordinates all LLAA activities
c. presides at the General Meetings and at the LLAA Board of Directors' meetings
d. has the responsibility of supervision and management including calling special
meetings and appointing chairpersons and creating committees as needed
e. serves as advisor and Parliamentarian to the LLAA Board of Directors during the
year following the term of office as President
f. is a member of all committees except the Nominating Committee
g. prepares annual report for the Museum staff

2. Vice President
a. is ready to assume the duties and powers of the President when that officer is absent;
assumes the office of President when current President's term ends
b. assists the President when asked to do so
c. is responsible for the following: Coordinate with Hospitality, for the New Docent
Graduation Luncheon and annual social event In coordination with the President,
arranges for any service awards and Above and Beyond Award.

3. Secretary
a. records minutes of all meetings and keeps a notebook file of these minutes as
approved
b. performs special tasks as requested by the President

4. Treasurer
a. Submits a proposed budget to LLAA Board by June 15 for the coming fiscal year
b. keeps proper books detailing the use of all moneys earmarked for LLAA projects and
expenses; records all moneys due LLAA and deposits same in the LLAA account
c. submits LLAA books to the San Jose Museum of Art Association Treasurer for Annual

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 Review when requested
d. presents the Treasurer's report at meetings of the general membership and LLAA
Board meetings

5. Coordinator(s)
a. receives requests for presentations and gives assignments to active members
b. maintains records for number of presentations, students visited and miles traveled
c. assists training chair in the transition of trainees to active status
d. presents the Coordinator's status report at meeting of the general membership and
LLAA Board meetings

6. Training Chair
a. supports the Museum in its efforts to develop and present a comprehensive training
program
b. collaborates with Museum to declare active status of trainees after all requirements
have been satisfactorily completed.
c. assists in the transition of trainees to active status

7. Art in the Dark Chair

a. maintains and updates Art in the Dark digital presentations and accompanying
docent/teacher materials
b. trains qualified docents

8. Portfolio Chair
a. maintains and up-dates portfolios for LLAA members
b. maintains current inventory lists

9. Continuing Education Chair

a. develops and presents education programs at General Meeting
b. develops and organizes educational meetings and/or tours throughout the year as
desired/requested
c. organizes an annual study group

10. Membership Chair

a. maintains and publishes the LLAA roster to members
b. responsible for distribution and collection of volunteer agreement form and
accompanying LLAA dues
c. in coordination with President, determines docent eligibility for annual service award
pins

11. Ways & Means/Publicity Chair

a. develops materials about LLAA suitable as PR materials for LLAA
b. develops methods to publicize LLAA and solicit active members
c. works with Museum staff contacting suitable sources for disseminating LLAA
materials

12. Newsletter Chair

a. edits and mails newsletter to all members

13. Hospitality Chair

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 a. sets up hospitality tables for meetings
b. assists Vice-President in organizing new docents' graduation luncheon and annual
social event
c. organizes annual May General Election Meeting

14. Webmaster
a. monitors, improves and updates the performance of the existing LLAA website

M. Duties of nonelected officers shall be:

1. Parliamentarian
a. shall be the immediate past president of LLAA or, if necessary, a former President
b. assists the President when asked to give advice and correct errors in the proceedings during
meetings
c. assists the LLAA Board of Directors in establishing goals for the coming year
d. Chairs the Nominating Committee
e. Chairs the By-Laws Committee, if a review is deemed necessary

2. Special Task Chair

a. sits as a member of the LLAA Board
b. heads committees as asked by the President for the assigned project
c. will serve during the year of the appointment or at the completion of the project,
whichever comes first

ARTICLE V MEETINGS

A. Annual Meeting - The Annual Meeting of LLAA shall be held in September. Notice shall be sent
to the general membership 30 days in advance of the meeting.

B. Election Meeting - The Election Meeting shall be held during the last quarter of LLAA's Fiscal
year. Notice shall be sent to the general membership 30 days in advance of the meeting.
C. Special Meetings - Special meetings may be called when needed by the President or by ten
members of the general membership. The purpose of the meeting shall be stated in the call.
Seven days notice shall be given.

D. Quorum - A majority of those present and voting will constitute a quorum..

ARTICLE VI CHANGE OF OFFICERS

A. Nominations - The Nominating Committee, chaired by the Parliamentarian, in the current year,
shall consist of four members. The Nominating Committee shall hold its first meeting by March
30th, prior to the General Election Meeting in May, and review the procedures for nomination
and elections and plan accordingly. In addition, the Nominating Committee shall announce that
they are "In Session.” They should prepare a report suggesting one person for each elective office.
One month (April) prior to the Election Meeting, the Nominating Committee will inform the
membership in writing or by e-mail of all the nominees for elective positions and the date and
approximate time of the election. At the time of the Election Meeting (May), the Chair of the
Nominating Committee will present the slate for the elected positions for the following school
year. The Nominating Committee is automatically discharged when its report is formally

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 presented to the assembly. If a nominee withdraws before the election, the committee is revived
and must meet immediately to agree upon another nomination.

B. Nominations from the floor - After the Nominating Committee has presented its report and
before voting, the presiding officer must call for further nominations from the floor.

C. Nominees - Any member who has completed the training and paid the necessary fees is eligible
for office. All nominees must consent to be a candidate for an office prior to the election.

D. Elections
1. The time of the elections will be early in the proceedings at the Election Meeting (May) to
allow extra time for discussion or second ballots, if necessary.
2. Procedure - Voting shall be by ballot, except in the case of only one nominee for a position.
That office may be filled by a voice vote. A majority of the members present and voting shall
elect the officers.

E. Change of Officers Newly elected officers will assume the duties of their office at the June
turnover meeting. In cases where this is not possible, the former officer shall continue in that
office until the new officer can assume the duties.

F. Vacancies
1. Vacancies in all offices except the President shall be filled by Presidential appointment, with
approval of the LLAA Board of Directors.
2. A vacancy in the office of President will be filled by the Vice President.

ARTICLE VII FINANCES

A. Fiscal Year - The fiscal year of LLAA will be set in coordination with the Director of the San Joseé
Museum of Art.

B. Funds
1. All funds of LLAA will be kept in the LLAA Account.
2. LLAA may receive money for its programs directly from public sources such as grants, gifts,
memorials, dues and fees.
3. LLAA is supported by the San Joseé Museum of Art Association.
4. Money allocated to LLAA will be spent at the discretion of the LLAA Board in keeping with
the laws and regulations governing non-profit organizations and audit requirements of any
governmental authority.

C. Dissolution of LLAA - In the event of dissolution, its assets, including money and property, will
become resources for the San Joseé Museum of Art Association. Any indebtedness or obligations
that cannot be met by LLAA will become the care of the San Joseé Museum of Art Association.

ARTICLE IX PARLIAMENTARY AUTHORITY

A. All activities of this organization shall be governed by these Bylaws and by the Bylaws of the San
Joseé Museum of Art Association. In case of conflict, the Bylaws of the San Joseé Museum of Art
Association shall prevail.

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 B. Robert's Rules of Order — In all cases not provided for by these bylaws, Robert's Rules of Order,
Newly Revised, Scott, Foresman and Company, I960, will be the guide for procedures in this
organization.

C. Parliamentarian — The Parliamentarian for LLAA shall be the immediate past President, or if
necessary, a former president. The Parliamentarian shall be a member of the LLAA Board.

ARTICLE X AMENDMENTS OF BYLAWS

A. Amendments may be proposed by any two members of LLAA who have voting privileges, who
thus serve as mover and seconder, provided the proposal is presented in writing to the LLAA
Board which will then decide on the method of handling the proposal.

B. These bylaws may be amended or revised at a meeting of LLAA by a majority of those present
and voting, provided that notice of the proposal had been given at least 15 days prior to the
meeting.

C. Standing rules may be adopted by the LLAA board to conduct necessary business of LLAA by a
simple majority vote of those present and voting if it does not conflict with these Bylaws, with no
prior notice. Standing rules may be altered or rescinded in the above manner.

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MUSEUM VISIT: IMPORTANT INFORMATION

The following information is given to teachers who book a museum visit:

WHAT SHOULD I DO BEFORE COMING TO THE MUSEUM?

 Previewing the exhibition is highly recommended to help you prepare for your visit. The
Museum is open Tuesday-Sunday 11am-5pm.
 Review guidelines for Mastering the Museum with your students. See below.
 Provide name tags for each student.
 Bring your confirmation notice with you on the day of your Museum visit.
 If there are any changes, please contact the Education Department at (408) 291-5393.

WHAT DO WE DO WHEN WE ARRIVE AT THE MUSEUM?

 Please arrive 15 minutes before the scheduled start of program (allow time for traffic and
parking).
 Buses may drop students off in front of the Museum on Market Street.
 Wait outside to the right of the main entrance.
 Divide your students into groups of equal size with approximately 15 students per group.
 A Gallery Teacher will come out and greet you.
 If possible, please leave backpacks, water bottles, etc. at school or in the bus. Otherwise, they
can be checked at the self-service coat and baggage area. SJMA is not responsible for items
damaged, lost or stolen.

CHAPERONES
 The Museum requires at least one adult chaperone per every 10 students.
 Enclosed you will find one or multiple Chaperone Contract(s). Submit a copy of this Contract
to each Chaperone. This ensures their understanding of their role as Chaperone during the
Museum visit.
 Chaperone and teacher admission is FREE as part of the tour fee.
 Chaperones must remain with the group during the entire Museum visit and accept
responsibility for monitoring the group’s behavior.

MASTERING THE MUSEUM

 Experience art with your eyes and minds, not your hands. Your hands have natural oils on
them, which can damage artwork.
 Be curious! Ask lots of questions and raise your hand to speak or answer a question.
 Walk, do not run, in the Museum.
 Stay with your group or chaperone at all times.
 Students can enter the Museum Store 5 at one time, on a rotating basis and must be with a
chaperone. Please leave enough time at the end of your visit so you are not in a rush.
 Use only pencils for writing or sketching. Use clipboards for support, not pedestals or walls.
If you would like clipboards for your group please notify Paulina Vu at 408.291.5393 with
the number you will need for the date of your visit.
 Non-flash photography of artwork in the Museum’s lobby is allowed.

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WHAT WILL WE SEE?
In everyday life we develop the habit of looking quickly, gaining the most basic information and
then moving on. But it takes time to see a work of art and an extended engagement with an object
can be both rewarding and fun. At SJMA, gallery programs focus on the careful observation and
discussion of a limited number of thoughtfully selected objects. After the gallery visit we
encourage teachers and chaperones to spend extra time with students in the galleries visiting art
works and other exhibitions not covered in the lesson, provided they stay in their group and follow
Museum guidelines. Self-guided looking is only available when the Museum is open to the public,
Tuesday – Sunday, 11 am – 5 pm, and must be scheduled in advance to ensure that space is
available.

LUNCH TIME
We regret that the Museum does not have lunch facilities for school groups. If you bring lunches,
these can be stored in the Museum during your program. Caesar Chavez Park, just across the street,
is a great place for a picnic in good weather.

EVALUATIONS
Please find included with this pre-visit packet an evaluation form. After the program, we request
that you please fill it out and mail or fax it to us. Evaluations serve as helping tools in assessing and
improving our programs and we appreciate your candid feedback.

BIBLIOGRAPHY

Guided Tour Observation Checklist:

Getty Museum, 2007. Guided Tour Observation Checklist.

Lowenfeld’s Stages of Artistic Development:

CREATIVE AND MENTAL GROWTH, Viktor Lowenfeld, Macmillan Co., New York, 1947.

Tour Strategies (Themes, Inquiry, Introduction, Conclusion, Aesthetic Development):

Walker Art Museum, 2007. Docent Website.

California State Content Standards

California State Board of Education. http://www.cde.ca.gov/be/st/ss/

Formal Elements of Art

Art in the Elementary School: Fifth Edition. 1997. Marlene Gharbo Linderman. McGraw Hill.

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