Four activities that encourage children to explore and experiment with most of the materials and techniques recommended in the revised curriculum.

This site consists of more than 650 photographs dating from 1839 to 1864. Portrait daguerreotypes produced by the Mathematics and Statisticsew Brady studio make up the major portion of the collection. The collection also includes early architectural views by John Plumbe, several Philadelphia street scenes, early portraits by pioneering daguerreotypist Robert Cornelius, and copies of painted portraits.

SPARK follows photographers from the Sixth Street Photography Workshop as they take pictures of their lives and ideas in some of San Francisco's most depressed neighborhoods. This Educator Guide is about the history of photography.

This course serves as an introduction to the major artistic and architectural traditions of Ancient Egypt and the Ancient Near East. This course will explore how artifacts and monuments can be used to study the history and culture of the ancient world. It is divided into two units that chronologically focus on the art, architecture, and archaeology of each region. The first unit examines Ancient Egyptian tombs, monuments, and art from the Early Dynastic (c. 3100-2650 BCE) through the Roman (30 BCE- 4thcentury CE) periods. The second unit focuses on Ancient Near Eastern artistic and architectural traditions from the late Neolithic (c. 9500-4500 BCE) through the conquest of the Achaemenid Persian Empire (550-330 BCE) by Alexander the Great. Upon successful completion of this course, the student will be able to: Identify major ancient Egyptian and Near Eastern architectural sites, monuments, and works of art; Identify the general characteristics of ancient Egyptian and Near Eastern art and recognize the names and characteristics of the major art historical time periods of each region; Describe how art and architecture can be used to understand the politics, history, and culture of Ancient Egypt and the Near East; Explain ancient Egyptian and Near Eastern cosmology, conceptions of the afterlife, and kingship, as well as their relationship to architectural sites, monuments, and works of art. (Art History 201)

'Barbara Two,' by Patrick Ireland, features a close-up portrait of a woman's face, with light and shadow playing across it by the manipulation of the light source. The woman in the piece is Barbara Novak. No master material exists for this piece that is two minutes long. Patrick Ireland was the pseudonym of Brian O'Doherty, a funder and critic of video art.

Bill Viola's 30-second portraits were about portraiture and the idea of a person staring at the viewer (as the viewer stares at the TV screen). This short excerpt shows a man seated on his couch, the only sounds heard being the load ticking of a clock, and the man's breathing.

Students will create a clown portrait using tempera paint, oil pastels, and collage. They will look at prints of clowns from artist Pablo Picasso, Red Skelton, George Rouault, and Ringling Brothers Barnum and Bailey Circus.

The media for presidential imagery has ranged everywhere from the traditional oil-on-canvas and marble to cotton handkerchiefs and sewing-box lids, and the Gallery houses today a richly varied array of presidential likenesses. In the selection of portraits on view here, some are more sophisticated and striking than others; some are quite rare or altogether unique; some are calculated to impress us with their gravity while others are warmly intimate. Taken collectively, however, they all have one thing in common: In one degree or another, they all evoke the history of the nation's highest office and the individuals who have occupied it.

Documentary-style piece featuring associates of artist Emmett Williams, speaking about their personal recollections of him. Speakers are shown in extreme close-up. Some of the speakers' stories are left unfinished. Digital effects are used with some of the speakers. Shots of a hotel worker delivering food occasionally are placed between the speakers, with subtitles showing what time the room service was delivered. Shot during the International Seminar on the Arts, Warsaw, Poland, May 23-30, 1987. A self-portrait drawing by Emmett Williams is shown at the beginning and the end of work. Williams is shown after the final speaker, though he does not speak himself. Approximately 23 minutes in length.