{"id":209,"date":"2019-08-01T16:22:12","date_gmt":"2019-08-01T16:22:12","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=209"},"modified":"2025-07-28T16:06:21","modified_gmt":"2025-07-28T16:06:21","slug":"cornell-fine-arts-museum-offers-educational-programs","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2019\/08\/01\/cornell-fine-arts-museum-offers-educational-programs\/","title":{"rendered":"Art Analysis: AP Art History Curriculum & Rollins Museum of Art"},"content":{"rendered":"

As the area\u2019s only teaching museum, the Rollins Museum of Art (formerly Cornell Fine Arts Museum) hosts a range of educational programs and <\/span>visits<\/span><\/a> for K\u201312 students throughout the year. Of those visits, the museum welcomes AP Art History high school students to test their art analysis skills outside classroom walls with a selection of works in the permanent collection.<\/span><\/p>\n

APAH Course & CFAM Connections
\n<\/b>The AP Art History course explores \u201cthe history of art across the globe from prehistory to the present\u201d and \u201canalyzes works of art through observation, discussion, reading, and research.\u201d<\/span> Students enrolled in the course study a list of 250 works of art to develop their visual literacy skills and ultimately gain a \u201cholistic understanding of the history of art from a global perspective.\u201d<\/span> \u00a0<\/span><\/p>\n

A selection of works in the museum\u2019s permanent collection connect to five of the 10 overarching content areas of the AP Art History list of 250 works. Visitors can encounter examples from the following content areas: Ancient Mediterranean, 3500 BCE-300 CE, Early Europe and Colonial Americas, 200-1750 CE, Later Europe and Americas, 1750-1980 CE, South, East, and Southeast Asia, 300 BCE-1980 CE, and Global Contemporary, 1980 CE to Present. To view the list of connected works please click here<\/a>.\u00a0<\/span><\/p>\n

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Rebellious Silence<\/em>, 1994
B&W RC print & ink
\u00a9Shirin Neshat (courtesy Barbara Gladstone Gallery, New York and Brussel)<\/figcaption><\/figure>\n

If the works are not currently on view in the galleries, a selection of works can be pulled upon request for class visits in the museum\u2019s print study room. Docent-guided visits, as well as self-guided visits, are available for scheduling during museum hours Tuesday\u2013Thursday. Thanks to museum members, tours and programming are free in addition to free admission courtesy of PNC Bank.\u00a0<\/span><\/p>\n

Visual, Contextual, and Comparative Analysis Skills
\n<\/b>Students are encouraged to suspend judgement, engage in deep examination, and appreciate the views of varying cultures<\/span> while they simultaneously exercise \u201cskills of visual, contextual, and comparative analysis.\u201d<\/span> The APAH exam challenges students to \u201cdescribe a work of art beyond the image set and connect it to an artistic tradition, style, or practice\u201d or to \u201cattribute a work of art beyond the image set to a particular artist, culture, or style.\u201d<\/span> With a museum visit, students gain practical, in-person experience developing a theory about a work of art, defending their interpretation, and activating their analytical skills.\u00a0<\/span><\/p>\n

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Shirin Neshat
My Beloved<\/em>, 1995
Silver gelatin print and ink
The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum at Rollins College, Gift of Barbara \u201968 and Theodore \u201968 Alfond.
Image courtesy of the artist and Gladstone Gallery, New York and Brussels, 2015.1.49<\/figcaption><\/figure>\n

For example, students have the opportunity to identify and analyze the photograph <\/span>My Beloved<\/span><\/i> by Shirin Neshat in the museum\u2019s collection. The work serves as a great comparison to the artist\u2019s photograph, <\/span>Rebellious Silence<\/span><\/i>, on the AP Art History list. These works derive from Neshat\u2019s <\/span>Women of Allah <\/span><\/i>series that explores themes of women\u2019s identities and representations, the complexities of East and West, and modes of beauty and violence during the shifting cultural landscape of the Middle East in the 1990s. Students examine the visual similarities and differences between the works. There are similarities in the black and white aesthetic, the gaze of the sitter, and the presence of the gun, veil, and Farsi while there are differences in the compositional arrangement and gesture and pose of the sitter, among others. Through a deep visual and comparative analysis, students then draw conclusions of how these visual elements link to the conceptualization and contextualization of Neshat\u2019s works.<\/span><\/p>\n

Benefits of a Museum Trip
\n<\/b>Teachers, students, and museum professionals on a local and national scale attest to the lasting impact of museum visits.\u00a0<\/span><\/p>\n