Develop a passion for visual communication and learn new skills! In Two-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

Develop a passion for visual communication and learn new skills! In Three-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

“This glossary contains over 250 key terms and is illustrated with more than 100 images. A few of the key terms are repeated to give a different context to the term with each use. In such cases, a different illustration may be used, in keeping with the culture and time period under which the key term is listed. This resource can be used digitally, as a series of webpages (on Canvas, for example) or as a PDF of this entire glossary that is made available on certain platforms. As a series of webpages, the book is organized in modules. The PDF, when available, can also be printed into a hard copy of the entire glossary. The structure of this glossary follows art historical periods culturally. When viewing this glossary as a series of webpages, each of the topics listed under Table of Contents (see previous page) is contained on its own page. The length of each page varies a great deal due to the arbitrary “length” of a webpage. All image captions, as well as their attributions and licenses, are listed at the bottom of each page.”

Setup of Adobe Illustrator and page setup including page settings, grid settings, rulers, setting origin points, tools and other items necessary to set up an Illustrator document.

5:14 minutes long.

This advanced video class serves goes into greater depth on the topics covered in 4.351 Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.

This course considers films spanning the entire career of pioneering Spanish filmmaker Luis Buñuel (1900–1983), from his silent surrealist classic of 1929, Un perro andaluz, to his last film, Ese oscuro objeto del deseo (1977). We pay special attention to his Mexican period, in exile, and the films he made in, and about, Spain, including his work in documentary. It explores Buñuel’s early friendship with painter Salvador Dalí and poet Federico García Lorca, surrealist aesthetics, the influence of Freud’s ideas on dreams and sexuality, and the director’s corrosive criticism of bourgeois society and the Catholic church. We will focus on historical contexts and relevant film criticism.
About This Course on OpenCourseWare
The instructor of this course, Elizabeth Garrels, is a Professor Emeritus at MIT. She retired in 2014 after 35 years at the Institute. Professor Garrels taught this course for over 15 years, and it evolved over this time period. Normally, a course on OCW represents the version of a course taught during a specific semester and year. However, for this course we hope to represent the evolution of the course during the main years it was taught. The materials you see here are not from a particular iteration of the course, but are drawn from all of the years the course was taught.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-40-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

In this art history video discussion Beth Harris and Steven Zucker look at Albrecht Durer's "Self-Portrait, 1500." (Alte Pinakothek, Munich).

In this art history video discussion Beth Harris and Steven Zucker examine Albrecht Altdorfer's "The Battle of Issus," 1529, oil on panel. Alte Pinokothek, Munich.

A Humanities Textbook: Lower Division

Short Description:
An introductory examination of cultural appropriation in the fine arts and popular arts of the United States, with reference to historical, literary, and other cultural developments. The primary focus is the use of cultural appropriation to communicate ideas about racial identity in ways that have served the interests of the dominant culture. Areas of specific concern are voice appropriation, content appropriation, style appropriation, and motif appropriation. The emphasis is on historically significant examples in the visual arts, literature, theater, and music. As expressive communication, the arts are central to cultural identity. Cultural appropriation is wrong when it undermines America's diversity of cultural identities. Generations of American artists have used cultural appropriation as a tool of racial privilege. Despite this history of harmful and wrongful appropriation, cultural appropriation also provides a tactic of response and self-empowerment for non-dominant groups. Appropriation is frequently used by non-dominant groups and subcultures as a tool of active resistance against stereotyping and discrimination.

Word Count: 68176

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This is a ten-week course broken into thematic topics. Its current design is asynchronous online, though you will find a mix of asynchronous and synchronous activity options. It can be modified for any modality. Included are weekly activities, exercises, projects, and slides following the provided syllabus.

• ART102 Syllabus
• Week 1: What is Art? What do you want from art?
• Week 2: Elements of Art: Formal Elements
• Week 3: Elements of Art: Principles of Design
• Week 4: Describing Art
• Week 5: Media & Materials: Images
• Week 6: Media & Materials: Objects
• Week 7: Symbols & Iconography
• Week 8: Contexts of Art
• Week 9: Art and Artists
• Week 10: Public Art/Art & Controversy

The Open for Antiracism (OFAR) Program – co-led by CCCOER and College of the Canyons – emerged as a response to the growing awareness of structural racism in our educational systems and the realization that adoption of open educational resources (OER) and open pedagogy could be transformative at institutions seeking to improve. The program is designed to give participants a workshop experience where they can better understand anti-racist teaching and how the use of OER and open pedagogy can empower them to involve students in the co-creation of an anti-racist classroom. The capstone project involves developing an action plan for incorporating OER and open pedagogy into a course being taught in the spring semester. OFAR participants are invited to remix this template to design and share their projects and plans for moving this work forward. 

Word Count: 117601

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(Google Drive) Text of the book in “chapters” arranged by module—as well as assignments

This course is particularly focused on helping you develop visual literacy skills, but all the college courses you take are to some degree about information literacy. Visual literacy is really just a specialized type of information literacy. The skills you acquire in this course will help you become an effective researcher in other fields, as well.

This entry-level course is designed to help you gain a general appreciation for art as well as to help you develop a working vocabulary for the knowledgeable analysis of art based on the Visual Elements and the Principles of Design. The syllabus is included in the course and contains the course objectives, student learning outcomes, list of assignments and names of the course textbooks.

The Art Appreciation course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary.

This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook. The course materials consist of 24 lessons each with a presentation, reading list, and/or sample assignment. For ease of adapting, materials are available as PDFs and Microsoft PowerPoint or Word documents.

This course is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. It includes a brief study of art history and in depth studies of the elements, media, and methods used in creative processes and thought. Upon successful completion of this course, students will be able to: interpret examples of visual art using a five-step critical process that includes description, analysis, context, meaning, and judgment; identify and describe the elements and principles of art; use analytical skills to connect formal attributes of art with their meaning and expression; explain the role and effect of the visual arts in societies, history, and other world cultures; articulate the political, social, cultural, and aesthetic themes and issues that artists examine in their work; identify the processes and materials involved in art and architectural production; utilize information to locate, evaluate, and communicate information about visual art in its various forms. Note that this course is an alternative to the Saylor FoundationĺÎĺ_ĺĚĺ_s ARTH101A and has been developed through a partnership with the Washington State Board for Community and Technical Colleges; the Saylor Foundation has modified some WSBCTC materials. This free course may be completed online at any time. (Art History 101B)

Herkimer Community College

Short Description:
History of Art Survey course covering from prehistoric art to the Italian Renaissance. Cover image Lascaux Cave_France

Word Count: 88398

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Word Count: 115326

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

“This courseware includes resources copyrighted and openly licensed by multiple individuals and organizations. Click the words ‘Licenses and Attributions’ at the bottom of each page for copyright and licensing information specific to the material on that page.” Reviewer’s note: arguably the weakest of the full-text resources presented here, but may give a starting point for some resources

Nineteenth-Century Visual Culture

Word Count: 19463

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Grade level: graduate students, advanced undergrads, persons with analyzed research results

Course length: 1 semester, 4-6 months

Objective: This course empowers scientists to engage with their own data, each other, and the public through art. Through collective brainstorming, prototyping, and feedback from professional artists, students will create a project that expresses their own research through any artistic medium of their choice. The course typically culminates in a public art exhibition where students interact with a general audience to discuss their research, art, and what it means to be a scientist.

This seminar introduces, through studio projects, the basic principles regarding the use of color in the visual arts. Students explore a range of topics, including the historical uses of color in the arts, the interactions between colors, and the psychology of color.

Although Korea's cultural connections with China and Japan form a crucial part of its history, Korea also has a visually rich and technically sophisticated artistic tradition that is separate and distinct from that of its larger East Asian neighbors.

This publication introduces Korea's artistic achievement and places it in the context of its history and religions. Works from the Museum's permanent collection form the core of the discussion and are used to illustrate the diversity and beauty of Korean art. These include Buddhist paintings, celadon wares and white porcelain vessels, inlaid lacquerwares, and traditional musical instruments. The boxed set also provides useful teaching tools for the classroom, including maps, an illustrated timeline, a chronology, a glossary, lesson plans, questioning strategies, cross-cultural comparisons, and two large posters. In addition, there are bibliographies for educators and students as well as lists of relevant websites, cultural resources, and film and video resources.

These educational materials are made possible by The Korea Foundation.

The visual narratives and abstractions of this preeminent African American artist explore the places where he lived and worked: the rural South, Pittsburgh, Harlem, and the Caribbean. Bearden's central themes: religion, jazz and blues, history, literature, and the realities of black life he endured throughout his remarkable career in watercolors, oils, and especially collages and photomontages from the 1940s through the 1980s.

A great and early civilization arose on the subcontinent of South Asia that in time spread northward to the Himalayan region and eastward to Southeast Asia, a vast area including Cambodia, Thailand, Laos, Indonesia, Vietnam, Malaysia, and Myanmar. This resource introduces works of art from this area selected from the superb South and Southeast Asian and Islamic collections of The Metropolitan Museum of Art. Included are examples of Buddhist and Hindu temple art and the later court arts of South Asia; these range from miniature painting and luxurious textiles to elegant personal possessions. As well as descriptions of the visual qualities and symbolic meanings of the art, also provided are a summary of South and Southeast Asian history, a section about Buddhism and Hinduism, a timeline and map, classroom activities, lesson plans, a bibliography, and a glossary.

These educational materials were made possible by The Miriam and Ira D. Wallach Foundation.

Learn about art and culture of the Islamic world and glean ideas for supporting studies of English language arts, math, science, social studies, world history, and visual arts. Each of the units listed below is also available as a downloadable PDF.

We will explore images that pertain to the emergence of Japan as a modern state. We will focus on images that depict Japan as it comes into contact with the rest of the world after its long and deep isolation during the feudal period. We will also cover city planning of Tokyo that took place after WWII, and such topics as the 1964 Tokyo Olympics.
A unique feature of this offering is that we will run it concurrently with the edX MOOC and two University of Tokyo MOOCs, Visualizing Postwar Tokyo and Four Faces of Contemporary Japanese Architecture, for much of the remainder of the class.

This resource is a modification of the Washington Models for the Evaluation of Bias Content in Instructional Materials (2009) that is made available through OER Commons under a public domain license. This resource attempts to both update the content with more contemporary vocabulary and also to narrow the scope to evaluating still images as they are found online. It was developed as a secondary project while working on a BranchED OER grant during summer 2020. It includes an attached rubric adapted from the Washington Model (2009).

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural “violences”?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text’s content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

This class offers a foundation in the visual art practice and its critical analysis for beginning architecture students. Emphasis is on long-range artistic development and its analogies to architectural thinking and practice. Students will learn to communicate ideas and experiences through various two-dimensional, and three-dimensional, and time-based media, including installations, performance and video. Lectures, visiting artist presentations, field trips, and readings supplement studio practice.

Spectators of all ages, seated and standing, watch a band perform in the afternoon on an outdoor stage. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-8. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Spectators of all ages, seated and standing, watch a band perform in the afternoon on an outdoor stage. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-7. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Japanese Americans observe an amateur baseball game in progress; one-story buildings and mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-6. Gift; Ansel Adams; 1965-1968. More information about this collection is available at http://hdl.loc.gov/loc.pnp/pp.manz Forms part of: Manzanar War Relocation Center photographs. Published in: Eyes of the nation : a visual history of the United States / Vincent Virga and curators of the Library of Congress ; historical commentary by Alan Brinkley. New York : Knopf, 1997. Published in: Baseball Americana : treasures from the Library of Congress / Harry Katz, et al. New York : Smithsonian Books, 2009.

Florence Kuwata, three-quarter length portrait, standing, arms outstretched, holding a baton in each hand. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-34. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This class surveys the music of the Beatles, from the band’s early years to the break-up of the group, mapping how the Beatle’s musical style changed from skiffle and rock to studio-based experimentation. Cultural influences that helped to shape them, as well as the group’s influence worldwide, will be a continuous theme.

Becoming the Next Bill Nye is about using video production techniques to develop your ability to engagingly convey your passions for science, technology, engineering, and / or math. You’ll have the opportunity to script and on-screen host 5-minute YouTube science, technology, engineering, and / or math-related shows to inspire youth to consider a future in science.

A tractor pulls a plow through a field, mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-X-1. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

A tractor pulls a plow through a field, mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-16. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Close-up of tractor with driver pulling a rope. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-17. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Benji Iguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-22-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Benji Iguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Benji Iguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Benji Iguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Benji Iguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Farmer Benji Iguchi, full-length portrait, standing in a storage shed between two large stacks of squashes. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-41. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mechanic repairs tractor engine while driver looks on, pick-up truck and automobile in the background. Title transcribed from Ansel Adams' caption on verso of print. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Title transcribed from Ansel Adams' caption on verso of print, where the surname was misnoted as "Namura." Correct spelling based on other photos of Mr. Miura by Adams. Original neg. no.: LC-A35-4-M-42. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, half-length portrait, standing, facing right, placing pattern on fabric. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-42-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, seated on table with bundles of clothing, holding paper and pencil, with Toshiko Kadonada, folding clothing in front of him. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-43-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, seated on table with bundles of clothing, holding paper and pencil, with Toshiko Kadonada, folding clothing in front of him. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, half-length portrait, standing, looking down, placing pattern on fabric. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Over the past two decades, a quiet revolution has taken place in the world of light art and design with the introduction of LED technology. Sydney-based artists Ruth McDermott and Ben Baxter have been on the vanguard of this movement, creating innovative and award-winning installation artworks utilizing the capabilities of this new technology. A frequent highlight of the Vivid Sydney light art festival, their work has become known for creating site-specific narratives exploring the landscapes and histories of Sydney and its surrounds. This book surveys twelve years of their practice (2009-2021), as their work evolved in tandem with the technology, with a special focus on the technical aspects of creating, mounting, and displaying large-scale installations.

Along with an essay on the history of light art, commentary from collaborators, and over 100 photographs documenting the conceptual life span of eighteen artworks, this book features the authors reflections on the unique relationship of artistic collaboration, and how this relationship has enhanced their practice and journey as artists.

Birds sit on power lines above buildings, mountains and setting sun in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-10. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse Aiko Hamaguchi and friends seated around a table playing bridge. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse Aiko Hamaguchi and friends seated around a table playing bridge. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse Aiko Hamaguchi and friends seated around a table playing bridge. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Nurse Aiko Hamaguchi, Nurse Chiye Yamanaki, Miss Catherine Yamaguchi, and Miss Kazoko Nagahama seated around a table each holding a hand of playing cards. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-5-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This book aims to act as your map through the world of African art. As such, it will help you define the competencies you need to develop–visual analysis, research, noting what information is critical, asking questions, and writing down your observations–and provide opportunities for you to practice these skills until you are proficient. It will also expose you to new art forms and the worlds that produced them, enriching your understanding and appreciation.

The British Library’s collections on Flickr Commons offer access to millions of public domain images, which we encourage you to explore and re-use. The release of these collections into the public domain represent the Library's desire to improve knowledge of and about them, to enable novel and unexpected ways of using them, and to begin working with researchers to explore and interpret large scale digital collections.

The first set we have added come from a British Library Labs project dubbed the Mechanical Curator, which located more than a million images from within our digitised collection of over 65,000 books from the 17th, 18th and 19th centuries. Over time more public domain collections will be added.

Man reading at podium while two men pray. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-36. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bunkichi Hayashi, bust portrait, facing front, holding hand to face. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-16-B. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bunkichi Hayashi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-16-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bunkichi Hayashi (left?), seated at table with two other men, one pointing to paper with pencil. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-9. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Group of men and boys standing around a small brush fire holding shovels, a pitchfork stands in the right foreground, mountains in background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-9. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

J.S. Yonai, half-length portrait, standing, facing left, handling beef carcass in butcher shop. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-28. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Two men handling beef carcasses in butcher shop. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-27. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Fundamentals of digital image processing, retouching, and painting as used on the web in business. Includes overview of image design process, from digitizing images to outputting them to the web. Includes intro to Adobe Premiere Pro and After Effects.

Short Description:
The Cree Dictionary of Mathematical Terms with Visual Examples provides Cree equivalents of 176 mathematics terms and their definitions in English. The visual examples mainly contain Indigenous elements. The Dictionary was reviewed by Elders, Indigenous Knowledge Keepers and Cree-speaking educators.

Long Description:
The Cree Dictionary of Mathematical Terms with Visual Examples is the continuation of our work on composing Cree equivalents of mathematics terms. The glossary of mathematics terms was developed considering the topics of school curriculums of Canadian provinces. The Dictionary provides Cree equivalents of 176 mathematics terms and their definitions in English. The visual examples mainly contain Indigenous elements. The Dictionary was reviewed by Elders, Indigenous Knowledge Keepers, and Cree-speaking educators. Elders found it acceptable to use visual examples with Indigenous elements for educational purposes.

Word Count: 4072

ISBN: ISBN-13: 978-0-7731-0779-3

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

C.T. Hibino, half-length portrait, standing, facing front, holding paintbrush and palette, in front of large painting. Original neg. no.: LC-A351-3-M-40-B. Title transcribed from Ansel Adams' caption on verso of print. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

C.T. Hibino, artist, three-quarter length portrait, standing, facing front, holding paintbrush and palette, in front of large painting. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-40-A. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Group of girls standing in line formation, each one reaching both of her arms straight out to the side. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-8. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Group of young women standing in line formation, each one reaching both of her arms straight up from her shoulders. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-7. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This is a unit I created for a section of my art history course.  Our community college has a sizeable population of Cambodian immigrants with an interest in learning about their heritage.   Most art history survey courses in the United States do not sufficiently expose students to the culture of Southeast Asia.  

Catherine Natsuko Yamaguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Catherine Natsuko Yamaguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Catherine Natsuko Yamaguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Catherine Natsuko Yamaguchi, bust portrait, facing front. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "1 of 4." Original neg. no.: LC-A35-4-M-26-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

People standing outside Catholic church at Manzanar Relocation Center, California. Title transcribed from Ansel Adams' caption on verso of print. Caption on negative sleeve includes phrase: "Catholic Church (H)." Original neg. no.: LC-A351-3-M-1. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Cattle graze in field, mountains in the background. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Cattle graze in a field, a man stands in center of field, mountains in the background. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-29-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

A free, open-source collection of discussion prompts and assignments intended to pair with Part I of Russell Sharman's textbook Moving Pictures: An Introduction to Cinema. Attributions: Moving Pictures: An Introduction to Cinema by Russell Sharman is licensed under CC BY-NC-SA 4.0.

This resource is a supplement to the modified rubric from the Washington Models for the Evaluation of Bias Content in Instructional Materials (2009) that is made available through OER Commons under a public domain license. This resource attempts to both update the content with more contemporary vocabulary and also to narrow the scope to evaluating still images as they are found online. It was developed as a secondary project while working on a BranchED OER grant during summer 2020. It includes an attached rubric adapted from the Washington Model (2009).This checklist was created for higher education purposes to review course content for diversity and inclusivity.

Mori Nakashima, full-length portrait, standing, facing front, scattering chicken feed from a pail in front of a chicken coop. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-6-M-65. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Girls reading in a Sunday school class. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-30. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Four girls reading in a Sunday school class. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-29. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Four boys seated in a Sunday school class. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-31. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Group of young men and women sing while seated in chairs. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-19. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Young women singing in choir. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-22. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Group of students, including Noboru Yamasaki and Tsugeo Imamoto, singing. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-21. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Choir director, Louie Frizell, three-quarter length portrait, standing, facing right, directing choir. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-20. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Using film as a lens to explore and interpret various aspects of the urban experience in both the U.S. and abroad, this course presents a survey of important developments in urbanism from 1900 to the present day, including changes in technology, bureaucracy, and industrialization; immigration and national identity; race, class, gender, and economic inequality; politics, conformity, and urban anomie; and planning, development, private property, displacement, sprawl, environmental degradation, and suburbanization.

Short Description:
A new and annotated translation of the French Prime Minister’s memoir of his friend, the most famous Impressionist painter.

Long Description:
In 1928, the former French Prime Minister Georges Clemenceau published Claude Monet: Les Nymphéas (The Water-Lilies), a memoir of his longtime friend. Bruce Michelson has produced a new English translation, presented here with useful notes and illustrations.

Michelson’s translations of three short essays on art by Clemenceau, originally published by La Justice in the late XIX c., are included as appendices.

Published by Windsor & Downs Press, part of the Illinois Open Publishing Network (IOPN). IOPN is a project of the University Library, University of Illinois at Urbana-Champaign.

Word Count: 40724

ISBN: 978-1-946011-00-8

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

A collaboration between TED Countdown and Fine Acts, Artists for Climate started as a global open call that sought digital illustrations targeting climate change, with a focus on hope and solutions.
The artworks you see here have been published online under a Creative Commons license and are available for anyone to use and adapt non-commercially, to help shift the global narrative of the climate crisis towards a brighter future. This hopeful collection is an invaluable resource and tool for educators and organizations from around the world, working towards climate action.

Men and women seated at desks with typewriters and other office equipment. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A351-3-M-33. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.