Ap Art History Secure Released Exam Practice Exam 2015

John Gunnin, a veteran high school instructor, greeted the newly enrolled students in his AP Art History with a challenging first assignment.

During the first few weeks of this school twelvemonth at Corona Del Mar High, in California's Orange County, Gunnin asked the students to dissect a contemporary slice fabricated for the 500th anniversary of Columbus' discovery of America.

Despite their limited experience formally analyzing sophisticated visual art, the teacher asked his students to answer to a digital brandish of a nine-foot-tall, HD-quality image of the mixed-media artwork, "Merchandise (Gifts for Trading Land With White People)," by a Native American artist, Jaune Quick-to-See Smith. The consignment was to study the piece from political, visual, cultural, historical, societal, and economic angles.

Works such equally Smith'southward are emblematic of a major overhaul of the AP Art History course that is designed to shift abroad from the rote memorization of a mostly Eurocentric choice of images to focus on the layers of significant of a more than global set of artworks.

Those changes were largely unnoticed when they went into result at the beginning of the 2015-16 bookish year—partly considering they were overshadowed past major controversies that swirled effectually the recent redesign of the AP U.S. History curriculum.

Statistics released past the College Lath show that 23,314 students from 2,072 schools nationally took the AP Fine art History exam in 2015. That's more than the number who took AP French Language or Comparative Politics tests, but still a small effigy compared with the more than 500,000 who took the English Language AP.

Gunnin, a member of the College Lath's AP Art History development commission, helped oversee the big changes in the national curriculum that sought to bring more diversity to pupil'due south lessons.

I of the committee'southward changes was to encourage students to focus on the broader cultural context of a smaller number of works of art intended to more than accurately reflect globe history.

The correction to a more globally representative list "is long overdue—at least 30 years, if not more" said Emily Shaw, the assistant curator at Columbia University's Media Heart for Fine art History.

Smith'southward "Merchandise (Gifts for Trading Land With White People)," is ane of the 250 works selected as culturally significant by the AP's committee and a good example of new points of emphasis. Her piece is a biting indictment of America's foundations and of contemporary American culture's commoditization of Native American culture. The artist satirizes the traditional three-paneled construction of European Medieval altar pieces by presenting the class in a roughly hewn, blood-cherry-red collage of newspaper clippings, photographs, and paint, all beneath a clothesline adorned with trinket souvenirs from professional person and college sport franchises that take adopted American Indian mascots.

Many of the non-Western works selected by the evolution commission are meant to claiming AP students to pace exterior of their own cultural frameworks and work to assimilate the hard and layered imagery.

By the time Gunnin's students graduate in May, they will have been exposed to historical and contemporary works from Africa, Latin America, and the Pacific Islands.

In recognition of the diverseness of traditions that increasingly define art history today, Gunnin opens his grade with comparisons of works past gimmicky artists. His lessons expose students to treatments of feminine ability past comparing the intensely polemical work of Shirin Neshat, whose photography grapples with the intersection of feminism and Islam, and the staged photography of Cindy Sherman, who explores like themes through an explicitly classical Western lens.

Images: AP Art History instructor John Gunnin likes to present his students with two works of art that feature similar themes expressed through contrasting styles. Ane such comparing focuses on the piece on the left by Cindy Sherman, which references the Biblical story of Judith and Holifernes, a subject tackled repeatedly past well-known European artists like Carvaggio and Artemesia Gentileschi. He juxtaposes it against the work on the right, Shirin Neshat'southward stark portrait of an armed woman wearing a hijab, a contemporary example of the AP's shift towards a more global selection of artworks. Sources: Cindy Sherman, "Untitled," 1990, chromogenic color print, 82 x 48 inches, 208.3 x 121.9 cm, (MP# CS--228). Courtesy of the artist and Metro Pictures, New York. Shirin Neshat, "Rebellious Silence," 1994, B& Westward RC print & ink (photo taken past Cynthia Preston), eleven x 14 inches, copyright Shirin Neshat, courtesy Gladstone Gallery, New York and Brussels.

At first, it felt strange to wing through lessons on periods and styles that he used to emphasize more heavily, Gunnin said.

Simply now he revels in having the power to share an "egalitarian arroyo to the globe and to fine art" with his students.

An alternate version of this story appeared as "New AP Art History Curriculum Opens Doors to World" in the Apr 27, 2016 edition of Education Week.
A version of this article appeared in the April 27, 2016 edition of Education Calendar week every bit New AP Art History Curriculum Opens Doors to World

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Source: https://www.edweek.org/teaching-learning/new-ap-art-history-curriculum-opens-doors-to-world/2016/04