AP® Art History, 2013-2014
Instructor: Michael Martin
MAT Certified in TAG, Social Studies, Art
AP® Art History
Required Text and Supplemental Texts:
Issued school text: Fred S. Kleiner & Christin J. Mamiya, Gardner’s Art through the Ages, 12th Edition,
Thomson-Wadsworth, © 2005. ISBN 0-15-505090-7
The Instructor will check out the following supplemental texts to each student for use in the classroom, as
needed, in order to support instruction in the course:
o Marilyn Stokstad, Art History 2nd Edition, © 2005: Prentice Hall. ISBN 013-09-1868-7
o H.W. Janson, History Of Art, published by Thames and Hudson (1997).
o Sylvan Barnet, A Short Guide to Writing about Art, 8th Edition
o Other supplemental advanced course texts, previously approved for college art history
courses may be checked out at various times, for varied uses, such as a period project.
Summer Reading (to be obtained and read by the student in advance of the course):
Carol Strickland, John Boswell, The Annotated Mona Lisa: A Crash Course in Art History from
Prehistoric to Post-Modern
Giorgio Vasari, “The Lives of the Artists”. Oxford World's Classics Series; ISBN: 019283410X, Pub. Date:
July 1998. There are other paperback editions available.
I. Course Description and Overview: Welcome to AP® Art History!
This elective course is designed to prepare students for the AP® Exam in Art History. The College Board AP® Art
History course is modeled after the introductory “survey of world art”, (which is a two-semester college-course
series in Art History). Students are introduced to significant art and architecture, from Egypt and the Ancient
Middle-East, “Classical Culture(s)” and the Present. An introductory college art history course covers the
various art forms in the following proportions: 40-50% painting and drawing, 25% architecture, 25% sculpture,
and 5-10% other media (e.g., printmaking, photography, ceramics, fiber arts, etc.). The AP Art History course
content and the AP Examination reflect these distributions.
The college art history survey course . . . emphasizes analytics, contextual interpretation, and evaluative
judgments. The AP Development Committee regularly monitors the ways in which art history is being taught at
the college level, and the choices they make in devising the course and the examination are compatible with
rigorous college-level curricular objectives.
A) An emphasis is placed not only on identifying, and being able to recognize renowned works of art and
the civilizations that produced them, but also on the politics, religion, patronage, and functions of art,
at various times in history, in the “Western Canon”, and in the art beyond the European tradition.
Roughly 20% of the instruction and assessment for this course includes units on “Art beyond Europe”,
or for quick reference, we shall term it “ABE” Art. With instructor guidance and supplements,
students will work on creative presentations & performance projects and presentations for “ABE” art.
B) What will students do; and, how will students learn? In abundant reading, viewing, and responding
(verbal and written), students will learn to respond with analysis and interpretation to the following:
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1) …technical and style developments, in relation to new findings of archeologists and historians,
and primary sources that point to the historical contexts of art making…
2) …the social, cultural, economic and political histories around art, and;
3) ….the patronage systems that support art production. By interpreting artworks in their contexts,
it is hoped that an AP Art History student would be able to score a “4 or 5” on the AP Art History
Exam. Students should know in advance that it is difficult to achieve a 4 or 5 on this AP® exam*.
*Course is rigorous, but no prior experience in studio art, “intro to Visual Art”, or art history is assumed. All students
will be required to take the AP Art History Exam in May. Therefore, in order to pass the AP Art History Exam, students
will need to demonstrate high level of commitment to this course and its academic rigor. The course must move at a
very rapid pace to cover the time span. One absence could mean missing a chapter. If a qualifying score (3 or better)
is earned on the AP Exam, then (depending on the institution) college placement and/or credit may be awarded.
II. Course Goals and Student Learning Objectives (Expectations which emphasize “opportunities”)
A) In order to maintain an ‘A’ in this course and score a 4 or 5 on the AP test students must approach
their own personal study of the history of art in a self-motivated manner––in which students:
1) Create a personal study guide for each chapter. In advance of coming to class each week.
 SLOP stands for SLIDE LEARNING OPPORTUNITY PACKET.
 In addition to SLOP, students will compile advance responses, and notes to all assigned
reading, BEFORE showing up to class. Then, we can get into a “FLOW”!
2) Fill in the notes in written and visual formats whenever recommended or indicated by the
instructions on paper, or the instructor.
3) Approach “AP essays” with energetic engagement, and formative drafts, in preparation for the AP
Art History Exam. That means no moaning about the volume of reading & writing.
4) Grow and develop in your ability to converse verbally, and on paper, citing terms, concepts and
techniques of artists in all major media.
5) Acquire the ability to recognize, and respond historically, critically, as well as technically, to a
wide variety of historical art works from diverse periods, styles, cultures, artists, and media.
6) Attempt to: (1) Memorize the titling information for roughly 700 slides that accompany our texts,
and (2) create and maintain historical timelines
7) Analyze, interpret, and evaluate art and artists for their technological and style inventiveness
8) Recognize conventions of accepted “masterpieces” of the Western World, as well as the social,
political, and cultural contexts, provided by traditional patronage or motivated by art rebellions.
9) Engage in analytical and critical thinking exercises in which we will compare and contrast
disparate and similar works, styles or mannerisms in art.
B) Students will develop a huge appreciation and passion for the History of Art, and transfer that
motivation and interest to pursuing further personal investigation and study in academic humanities
courses or informed museum and art patronage.
III. Instructional Procedures and Rationale
A) KEY POINT: The instructional approach is mostly slide lecture and informed class discussion, which is
designed to provide students with broad and varied vocabulary for historical and conceptual terms as
well as the critical writing skills, to respond in proficient or exemplary depth to works of art and
architecture under examination. The challenge for the student is to practice using the art vocabulary,
sufficient to respond with the correct use of all the terminology in the applicable situations.
B) Attendance, preparation, and participation: Being present in this class and being prepared for all slide
lectures, and assessments is absolutely crucial to your success in this course. Most classroom
experiences are impossible to reproduce. Participation points, activities, notes, and assessments
missed due to unexcused absences cannot be made up.
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C) Homework: All readings and “SLOP” study guides are to be completed in advance of each class
discussion. These study guides will be critical in studying for the AP exam.
D) Assessments: Reading quizzes and teacher-constructed AP® Practice Questions will be used to
monitor and demonstrate formative learning. The summative unit exams will be given in the format
of the 3-section AP® Exam with some multiple-choice, short answer (at least two 10-minute slide based
essays), and one 30-min essay, some of which are based on slides. The opportunities that involve
slide–based lectures and questions cannot be repeated for absentees. To replace the Slide ID
portions on tests, you will have an alternate make-up essay activity. Students will often have choices
presented on the test itself, of which short essay out slide-based question.
E) Individual Enrichment Research Projects: Each student will complete at least three outside research
projects. This will include one planned semester topic paper in the spring. The topic paper will involve
a visit to either the High Museum of Art or the Carlos Museum, at Emory. Two of the projects are for
presenting to class. They are:
1) One student project–presentation is for the ABE art presentation
2) The second project–presentation is for a differentiated group project assignment on the
Renaissance and Baroque.
3) The topic paper is designed to ignite student interest, the topics pool will include themes, or style
concerns from the “modern age,” broadly speaking, or Post–Renaissance. Topics could include
the modern tension in the Academies of Europe, representation vs. non-objective, “ABE art”, or a
“diversity topic,” such as gender, ethnicity, site or purpose, untrained artists, etc.
F) Visits to Art Museums: The College Board recommends that students study directly from actual
artworks (when and wherever possible) so that their learning can be made real and multi-dimensional.
Students will be required to visit at least one museum per semester, and receive extra-credit for extra
visits [in person or “virtual” visits]. Pending approval, there will be at least one day that we take a
class fieldtrip to the HIGH Museum, or the Carlos Museum in Atlanta.
Grading: Choose a Grade! Instructor does not give a grade . . . you will start with “100”, just for returning the
signed back page, and parent letter; then, you will earn whatever is recorded for a missing assignment, or a less
than proficient essay. The good news is that it’s all up to you!!! There will be roughly 20 learning packets, or
“SLOPs” checked-in for credit, half-credit, no credit, or 100pts for each (that’s 2000 points, 56% of your grade
for the course, since there are only about 16 formative quizzes and summative tests (AKA, Quests & Unit Tests)
STUDENT GRADE WEIGHT CATEGORIES:
This course is designed to prepare students for the College Board AP Art History Exam. You will be graded on
the following:
25% = Unit tests, Slide-based and Unit Test Essays, 10min and 30min formal Qs.
15% = All Formative Grades: Reading Quizzes, “Quests”, Pop-quizzes, practice tests, etc.
20% = All assigned supplemental work, topic research papers and products, outside
assignments, student project-presentations, and performance products in Category 3 (This
includes Guided Reading Qs and Free Response Questions, “GRQs”, “FRQs”, and Slide Lecture
Opportunity Packets, “SLOPS” as well as all other class-work, review guides, etc.)
25% = Student “ABE” Art Share Presentations, and “TOPIC PAPER”
15% = FINAL CAPSTONE PRESENTATION [AP Exam is the main assessment in the Spring, but
there will be a Final “Capstone Presentation” connecting contemporary artists’ work
featured in the documentary-series “PBS ART 21”.
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IV. COURSE SUPPLIES:
Instructor provides projected art slides as pre-prepared digital PowerPoint slide shows, sometimes projected
onto two screens [to facilitate comparison and contrast activities]. We also have sample slides sets in our
Universal Slide Survey of approximately 500 slides. There is an LCD projector and two additional slide
projectors available for use. Until we would go to an in-house “BLOG” to post weekly plans, due dates, and
help links, I will continue to use Edmodo. I tend to post on Saturday or Sunday before each week of instruction.
On the teacher Edmodo site, students will have access to the MS Power Points and notes delivered in class.
Student’s School Supplies
 Bring a 2½” to 3”ring binder for WRITTEN ASSIGNMENTS, stocked with notepaper. Or, a 5 Subject Mead,
(with the paper pockets which divide the subjects; this is just so you have some place for handouts).
 Pens and Highlighters: Bring a highlighter in class but don’t highlight book.
 Please write essays in blue or black ink.
 USB memory keys are very helpful.
 OPTIONAL: A 9X12 sketchbook/journal with “all-purpose,” all-media paper (50lb or 60lb paper is fine for
this purpose, basically sketches of certain images)
There may also be fees for any museum field trips (as they occur). As museum trips are a part of the curricula,
please note that consistent good attendance & punctuality to all classes is recommended to produce the
freedom of field trip activities. In the event that we do a museum visit, make your checks payable to Harrison
High School. Please indicate the student’s name and student number on the memo line of your check.
V. PACING & COURSE CONTENT
A) Note: The College Board prescribes the content for the AP Art History course. As you will see below,
the class must maintain a rapid pace.
B) Students are responsible for material, which is covered in the text but may or may not, due to the time
constraints, be covered in the class. Students will need to complete the readings in Gardner, and
notes on each chapter prior to attending each class discussion.
C) Scheduling: This school system operates on the 4X4 block schedule. AP® Art History is scheduled as a
single semester course for the Fall Semester only. The class meeting is one hour and a half long.
Therefore, Review and Study Sessions are planned for the second semester after school. The class will
meet biweekly on at least one morning and one afternoon biweekly throughout the Spring Semester
(Dates and Times TBA).
D) UNIT PLANS IN TABLE BELOW: (Note to AP Auditors: This table will receive more tweaking and
additional resource hyperlinks prior to inception of course)
E) TOPIC OUTLINE: The following outline shows the content areas generally covered by the AP Art History
Exam (Based on 55-minute class mtgs.)
1) Ancient Through Medieval (Roughly 30%, see below)
 Near East, Classical Greece, Rome, (Twelve class periods. 10–15%)
 Early Christian, Byzantine, Early Medieval (Five class periods. 5–10%)
 Romanesque & Pilgrimages (Four class periods. 3–5%)
 Gothic Period: Architecture and the Late Gothic Painting, Sculpture, Gothic International
Style, etc. (Seven class periods. 8–10%)
2) Beyond European Artistic Traditions (20% ABE ART is covered in Twelve class periods) This
includes six days on Egypt plus six days on student presentations of ABE
 Africa (including Egypt); the Americas; Asia; Near East, Oceania, and global Islamic tradition
3) Renaissance to Present (50%*)
 Fourteenth through Sixteenth Centuries (12-17%)
 Seventeenth and Eighteenth Centuries (10-15%)
 Nineteenth Century (10-15%)
 Twentieth Century (10-15%)
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*Note: at least some of the percentage of the last two categories will be attained in the scheduled Spring
Study Sessions)
–––Over for specific weekly unit plans arranged in columns as such below–––
WEEKS
(Pencil in dates
TBA)
UNITS
KEY CONCEPTS
Week 1-2
Introduction/
Prehistory and
Prehistoric Art in
Europe/ Paleolithic
and Neolithic
*What is Art?"
(8/ )
End of Week 1
Week 3
(8/ )
End of Week 3:
Week 4
(8/ )
End of Week 4
Start of Week 5
(9/04-07)
*Formal Analysis and
Formal Elements of Art
Example ASSIGNMENTS and
hyperlinks: (More hyperlinks and
supplemental reading assignments may
be inserted before course launches in
the Fall of 2012)
Form and Content in Western Art
tutorial
http://www.edtech.vt.edu/edtech/arthi
story/intro/introp1.html
*Subject Matter
Weekend Reading Assignment: Excerpts
*Iconography
from the Epic of Gilgamesh and
*Expressive Content
Introduce the
Akkadian Creation stories; Genesis, and
*Realism and naturalism
Fertile Crescent
the Code of Hammurabi.
*The notion of style
*Theories on the meaning of cave art
–––Over for specific weekly unit plans arranged in columns denoted above–––
Art of the Ancient *The Cradle of Civilization
 Tuesday “Quest”: Paleolithic–
Near East
*Patronage and the symbolic
Neolithic
language of art and religion in a
Theocracy
A quest is between a quiz and a test (less
*Relationship between kings
multiple choice questions and short essays)
and gods in Ancient
Egypt merged in
Civilizations
with ANE for
*Conventions of power
compare &
expressed through hierarchy
contrast
of scale in reliefs
* Religious and secular architecture
that expresses power.
Art of Ancient
*Concepts of death, life of the spirit
Reading: Book of the Dead
Egypt
after death, and the interwoven
Egyptian WebQuest (online research)
systems of religion and art
*Egyptian mythology
Suggested activity: Stamp review for test
*Time spent distinguishing the Old,
(use postage stamps for identification)
Middle and New Kingdoms’ sculpture
and temple architecture. Analyze the
http://www.egyptvoyager.com/virtualtours
development of mastaba into
.htm
pyramid.
* Conventions of power and formal
concerns, tomb decoration, the canon
of frontality, and registers
*The Amarna Revolution
*Patronage and symbolism
*Temples—mortuary and pylon
Friday Review ANE and Egypt
Returning from
Labor Day
Introduce Aegean Art on Thursday,
9/07
Unit Test#1 Tuesday: Near East, Egypt
TEST, Wednesday: ANE/Egypt Essays
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Week 6
(9/ )
Aegean Art
(Cycladic,
Mycenaean, and
Minoan Art)
(Introduce Greece
Vases at the End
of the Week)
Week 7-8
Art of Ancient
Greece
(9/ )
Week 8-9
Etruscan and
Roman
(9/ )
Week 10-11
(10 )
Week 12
(11/ )
Ancient Art
Beyond Europe
(Ancient ABE
Week One)
Fall of Rome,
Early Christian
Art; Byzantine
and Medieval Art
in Europe, Split
church,
iconoclasms, etc.
Week 13
(11/ )
Romanesque &
Gothic
Week 14
(11/ )
Gothic
Architecture and
Late Gothic
Painting
*Heinrich Schliemann; Arthur
Evans and archeology
* Minoan painting and
ceramics
*Corbelled vaulting
*Mycenaean Beehive tomb.
*Stylization through repetition
*Corbelling versus true vaults
*Greek painting
* Black and red figure vases
decoration and firing
*Evolution of the male and
female human figure in
periods of Greek sculpture
*Golden Section Proportion
and the Canon of Polykleitos
* Temple vocabulary, plans,
and proportion in the
Parthenon, Pericles and the
Athenian Acropolis
* The Parthenon and the Elgin
Marbles
*Alexander and Hellenism
*The Etruscan Temples, Kings,
Bronzes, tombs, and the Orator
*Roman architectural innovations
*Veristic Portrait Bust of the Republic
*Empire and the Art of Augustus
*Pompey, Villas, and the 1st through
4th style in Roman Painting
*Five good Emperors and public
works, the Flavian Amphitheatre,
Trajan’s Forum and Market, and the
Pantheon
Topics (Pre-prepared notes/slide
packet for the section will be spotchecked): Student will present first
round of ABE topics Wednesday
through Friday
The Fall of Rome and the Middle Ages:
Byzantine Scholars, the Eastern
Orthodox Church, and how Monks
Preserved Western Civilization with
Illuminated Manuscripts. St. Thomas
Aquinas, St. Augustine, etc. Bayeux
Tapestry, Normans & Vikings, etc.
Mosaics at St. Vitale, etc.
Romanesque Basilicas, Trier,
Pilgrimages, Monastic Compounds,
Pilgrimages, St. Sernin
In depth study of all the great
cathedral of Western Europe, and the
sculptural programs on Chartres,
Reins, Notre Dame, etc.
The International Gothic Style
Classical antiquity Portal
Reading: excerpts from Plato and Aristotle.
View “the Classical Ideal Part I”
http://www.learner.org/resources/series1.
html
Virtual Greece
http://www.vgreece.com/index.php
www.pbs.org/empires/thegreeks/
We view certain parts of this DVD which
pertain to the vases and the art of the
Parthenon and the acropolis.
Thursday and Friday: Student Presentations
Opportunity #2 on the Art of Ancient China,
SE Asia, and Japan
Web Links forthcoming
Readings: Livy: The Early History of Rome
(Rape of the Sabine Women and Battle of
the Horatii and Curiatti)
Monday and Tuesday: Big Unit Test #2:
Ancient Aegean, Classical Greece and
Rome. Student presentations will include
Ancient China, India (Indus River Valley),
Buddhism, Islamic temples and sculpture.
Classroom Reading Assignments on Middle
Ages and handout from Sophie’s World,
read and take notes on p. 169-175, and
then skim p. 176-179. (“Three Great
Streams” into one river) Augustine, City of
God
http://www8.georgetown.edu/department
s/medieval/
www.bayeuxtapestry.org.uk/
Student Holiday Friday
www.mcah.columbia.edu/Amiens.html
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Week 15
Northern
European Art
(12/ )
Week 16-17
(12/ )
WEEK 18
Week 1-2, Sem. 2
Pre-or-Early
Renaissance in
Italy, and Review
for SEMESTER
FINALS
SEMESTER FINALS
High Renaissance
in Italy
(1/ )
Week 3-4, Sem. 2
(1/ )
Mannerism
Week 5-6 Sem. 2
MONDAY on
return Essay or
Project Due
(1/ )
Week 7, Sem. 2
(1/ to 2/ )
Weeks 8-9
( )
17th and 18th
Centuries: Art of
the Baroque &
Rococo
Late 18th and 19th
Centuries and the
Age of Revolution
Late 19th and 20th
Centuries and the
Advent of
Modernism
From the Sumptuous Book of Hours of
the Duke of Berry to the Reformation
and the Woodcuts and Engravings of
Durer, Burgandian Style and depiction
of cloth, the
Renaissance in the North,
Rogier Van Der Weyden, Van Eyck and
The Arnolfini Wedding, etc.
http://humanities.uchicago.edu/images/he
ures/heures.html
Reading Erasmus: Northern Humanism
GIOTTO: Late Gothic or Early Italian
Renaissance Master? Revolutionary
painting of Giotto and Masaccio (A
rebirth of classical principles of:
naturalism, humanism, and
individualism).
BREAK: READ THE RENAISSANCE
The Renaissance Ideals: Of the 1420s
to the High Renaissance at the dawn
of the 16th century: Lorenzo de
Medici and his Florentine Team:
Botticelli, Donatello, Leonardo,
Raphael, Michelangelo
Primary Source and Literary Readings from
the Middle Ages to Renaissance &
Reformation––From Dante to the Printing
Press: the Black Death, the Church in crisis,
Italian Renaissance, Northern Humanism
and the Reformation
WINTER BREAK
Readings from Vasari, Alberti, etc.
Ross King’s Brunelleschi’s Dome. Primary
source documents
Machiavelli in The Prince, the
http://www.pbs.org/empires/medici
/medici/
We will watch selected clips from PBS
DVD on the Medici with assigned
activities on web home for this series.
Please read Castiglione on-line over
Thanksgiving Break
 Monday & Tuesday: Late
Renaissance and Mannerism,
loose ends, etc.
TIGHT WEEKS–Monday Test over the
Renaissance, then Tues to Fri: Then,
a huge unit on the Baroque Art of
the Absolute Monarchs and the
Counter Reformation, French
Classicism and Dutch Realism,
Scientific Revolution, etc.
Neoclassical, Romanticism Realism &
Impressionism
Post Impressionism (Cezanne, Van
Gogh, Gauguin, and Seurat); Color
Symbolism, Divisionism, etc.;
Expressionism, Cubism, etc.
BIG UNIT TEST#3: Byzantine, Romanesque
and Gothic on Thurs & Friday, Nov 21-22
Castiglione, Baldassare. THE BOOKS of the C
O U R T Y E R, Very necessary and
profitatable for yonge Gentilmen and
Gentilwomen abiding in Court, Palaice or
Place, done into Englyshe, by Thomas Hoby.
Imprinted at London by Seresat the signe of
the Hedghogge, 1561. Found on-line @
http://darkwing.uoregon.edu/~rbear/court
ier/courtier.html
Take home essay or presentation project
for Renaissance. STUDENTS PRESENT
RENAISSANCE PROJECTS
MONDAY November 26: BIG UNIT TEST #4,
Renaissance 1400 to 1600 in the North and
the South.
At end of Week 6, the students present the
ABE Presentations #3: Each group will
present the Arts of the newly colonized
worlds of Africa and the Americas.
Neoclassicism: J.L. David, A Painter’s
Revolution and the Age of Napoleon:
Poussinistes versus Rubenistes
19th Century: The Advent of Modernism:
English Industrial Age, Part 1 & 2, Reactions
& Revolutions in Art, and the Rise of
Nationalism, Mass Society and the NationState, 1870 to 1914.
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Week 17-18
(12/17-12/21) FINAL EXAMS
As we see the 20th and 21st centuries will have to be presented in the Spring Study and Review Sessions. While we cannot
require you to be present at those sessions, your success on the test in May will hinge on your being in attendance for those
sessions.
Unless you are an exempt senior, then all courses must administer a Final Exam during the scheduled exam
period!!!
OVER FOR ASSIGNMENTS AND EXPECTATIONS:
On average the daily reading assignment in Stokstad’s will be about 10 pages in length. Assignments will vary,
however, as divisions are made based on the presentation of material rather than the number of pages.
Because of the structure of the high school schedule, it is imperative that class time be used wisely. It is
expected that students arrive on time and fully prepared, having completed all reading and written
assignments and having the needed material on hand.
ACADEMIC HONESTY POLICY:
Students are expected to be responsible for their own work. Copying or stealing the work of others, whether
on a project, essay, quiz or test, is considered plagiarism. Plagiarism is a violation of the Northview High
School Honor Code of conduct. Students are expected to observe the rules of fair use and copyright. Any
student who plagiarizes will earn a zero for the assignment or the project and receive a Needs Improvement in
conduct for the six week grading period.
Recommendations for Success in this Class
1. Read the text once for pleasure and intrigue before coming to the lecture, and after the lecture,
scanning the headings and captions, in sort of a “study it to memorize it” manner afterwards. Review
the image list, filling in images and notes missed in class; use the textbooks and the web image list.
2. Take notes in class, and when reading assigned segments of the textbooks, when watching films or
videos, when looking through websites, etc. You will not retain the material nearly as well as if you do
not take notes.
3. Use my website. It has been designed to be simple to navigate. Everything underlined is a link to
further information either on the site or elsewhere on the web. It helps to know how to print, so you can
download what you need.
4. Utilize the PowerPoint lectures that are posted for you. However, reviewing these documents alone
will not be sufficient.
5. Write down questions as they occur to you, and either look them up (and write the answers down) or
bring them to class for discussion.
6. Sketch basic principles presented in diagrams. The physical act of trying to sketch something helps
cement it to memory. Whether or not you can draw well is unimportant. You should be able, however,
to reproduce simple diagrams of the orders of classical architecture or maps of basilicas, or centrallyplanned churches, and cathedrals.
7. Use outline maps to learn the locations of major cities and countries we study in this class. A physical
sense of where things happened is linked to a geographic and cultural sense of why that location?
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8. Finally, please don’t just sit there and watch the show. Ask questions, take notes, and participate in
pursuing your own learning.
Class and Behavioral Expectations
 The depiction of the human body is an integral part of artistic production and the history of art.
Maturity and discretion are expected from all.
 DO NOT take care of housekeeping chores or grooming during class (pencil sharpening, hole-punching,
and stapling, etc.). This can all be distracting—to me and to your peers.
 Drinks are allowed in the classroom with discretion. Please keep them capped.
 Arrive to class on time. The school tardy policy will be enforced.
Assignments
 Read and follow all instructions carefully.
 Do your daily assignments daily—don’t wait until just before a test. You’ll have will not have begun to
assimilate information early enough, and you won’t do well on the test as a result.
 Check my BLOG site on the school web page daily.
Due dates, late work and extensions
 All work is due at the beginning of the period for which it is assigned.
 No late work will be accepted unless you have an excused full-day absence from school. The work is
due immediately upon your return.
 In the case of absences for which a “planned absence” form is required, it is expected that work due
will be handed in before the absence.
 Computer or peripherals failure is not an excuse for late work. If you have a printer problem, e-mail
your work to my school e-mail so that you may print from school.
 County policies for turning in work late will apply (number of days plus one)
General Advice
 I need my planning period. I can arrange to talk to you before school 7:40 to 8:20, in the TAG Office,
ROOM 522, or after-school, at 3:40 to 4:15, but please make an appointment in advance to see me
during these times.

For any parent concerns, please ask your parents to contact me through e-mail during the school day,
if at all possible, since it is much more readily accessible than the phone lines at school.