Courses

Music Theory
This workshop will focus on teaching strategies designed to develop student understanding of the materials and processes of music including visual and aural analysis, sight-singing, melodic and harmonic dictation, and composition.  Special emphasis will be given to creating a curriculum employing techniques and activities similar to those presented in the AP Vertical Teams* Guide for Music Theory published by the College Board*. Significant critical, analytical and creative thinking skills will be fostered and the course will emphasize the synthesis of musical knowledge into usable musical understanding, especially with regard to music of the common practice period.
 
TERRY EDER is a choral conductor and teacher with over 30 years of experience at both the college and secondary levels.  Dr. Eder is currently the Music Theory teacher at Plano Senior High School in Plano, Texas.  He also serves as the Lead Teacher for the O’Donnell Foundation’s AP* Music Theory incentive program, which involves ten high schools in the Dallas-Fort Worth metroplex as well as high schools in Abilene, Texas.  He is a College Board* Consultant and has presented at several AP* Music Theory summer institutes and two-day workshops.  He also participates in the AP* Reading of the exam each summer.  The music theory students that he has taught have been highly successful with about 80-85% receiving qualifying scores of 3, 4, or 5 on the AP* Music Theory examination over the past 8 years.  Dr. Eder has also developed a one-day workshop on AP Vertical Teams* in Music Theory for the College Board*.

Art History
This Institute will address issues related to beginning, teaching and maintaining a successful AP* Art History course.  We will discuss the recent directions in teaching AP* Art History, the nature of the AP* Art History exam, and the ways the exam is shaping the course.  In addition, strategies for teaching works of art within their historical perspective and integrating works of art from beyond the European tradition will be explored, as these issues continue to be emphasized in the most recent exams. The concerns over "pacing" and selection of appropriate resources and textbooks will be addressed specifically. A main goal of the week will be to provide an opportunity for participants to share best teaching practices and to dialogue with fellow professionals about ways to make AP* Art History a class that truly benefits students.

Participants will walk away at the end of the week with materials they can use in the coming year and strategies that will promote student-centered learning, including enhancing visual literacy and writing about art. They will engage in a simulated reading of the essay portion of the 2006 exam and gain an understanding of the grading process.  Finally, in that Chicago is rich in art and architecture, field trips will be organized allowing us to experience early 20th century architecture, the work of Frank Lloyd Wright, and the collections of the Chicago Art Institute and the Museum of Contemporary Art.

CHERYL HUGHES has been teaching AP* Art History at Alta High School in Salt Lake City, Utah for the last 19 years.  She received her master’s degree in Art History from the University of Utah and has been a consultant for the College Board since 1998.  Cheryl has presented at College Board* National Conventions in Los Angeles, Houston, and Orlando, and leads AP* Art History Workshops and Institutes throughout the country.  She was a member of the Test Development Committee from 2002 to 2006, was the primary high school author of the 2003 AP* Art History Teachers’ Guide, and a contributing author to the 2007-2008 Professional Development Publication, Special Focus:  Art of the Twentieth Century.  Cheryl has been a Reader, Table Leader, and Question Leader at the AP* Art History Reading since 1999, and currently serves as a National Teacher Leader for the College Board*.

Art History Experienced
This session is tailored to teachers with about three or more years of experience teaching AP* Art History. Among many topics covered during the week, we will take a close look at the recent changes and directions in which AP* Art History is being taught and assessed, with special focus topics placed on: 1) Thematic and cross-cultural approach to infusing non-European based art (“non-Western art”) into the survey course.  2) Understanding works of art and architecture through contextual analysis and within their historical context.  3) Merging “contemporary art” into the curriculum all year long.

Participants will be mentored to become “Readers” in a simulated reading of the essay portions of the 2008 AP* examination and gain an understanding of the grading process, with specific attention placed on the common student errors (as evident on recent AP* exams) and their implications for instruction. In addition, participants will have ample opportunities to share best teaching practices and walk away with materials and strategies to promote active student-centered learning in the classroom, including ways to enhance visual literacy and reading/writing about art.  Finally, since many of us are converting to digital images and embracing latest forms of technology, this session will directly address ways to seamlessly utilize digital images and computer based technology into the AP* Art History course. (Participants are strongly encouraged to bring a lap top – You will be receiving most of the hand-outs in electronic format, such as on a CD or a flash drive). Finally, in that Chicago is rich in art and architecture, field trips will be organized allowing us to experience early 20th century architecture, the work of Frank Lloyd Wright, and the collections of the Chicago Art Institute and the Museum of Contemporary Art.

YU BONG KO teaches AP* Art History at his alma mater, Tappan Zee High School, in Orangeburg, NY.  As a regular speaker and session leader at College Board* endorsed AP* Teacher Conferences and Summer Institutes since 1994, his travels have taken him to schools and colleges coast to coast where he has worked with hundreds of teachers from all over the country. Many of his Art History sessions in the Two-day AP* Fine Arts Specialty Conferences were held at some of the most prestigious museums, from National Museum of African Art and Freer/Sackler Galleries in Washington, DC, to Walters Art Museum in Baltimore and Philadelphia Museum of Art. Yu Bong continues to read AP* examinations where he has served, since 1994, as Reader, Table Leader and Question Leader. Currently, he is the College Board* Advisor (CBA) to AP* Art History Content and Professional Development and serves on the AP* Test Development Committee where he was also a committee member from 1994-98.  He is a contributor to Teacher’s Guide to Teaching AP* Art History, which was published by the College Board* in 1995 and revised in 2004. Several of his online articles on the topic of integrating computer technology into the Art History course are published on the AP* Central Web site. Ko recently served for three years on the selection committee for the national office of The College Board*’s AP* Summer Institute Fellowship Program. He is a graduate of Brown and Columbia Universities where he studied Painting, Art History and Art Education.

Studio Art: Drawing/2-D Design Portfolios
This course will focus on the Drawing and 2-D Portfolios offered by the College Board*.  With the bounty of cultural attractions Chicago has to offer, the course will provide a wide range of activities to help participants develop their AP* Studio Art programs.  Examples of excellence in 2-D and Drawing will be shown in both the Breadth and Concentration Sections of the AP* Portfolios, along with ideation problems in Concentration, the new AP Vertical Teams* in Studio Art, the AP* Central website, and the Reading Process.  Discussions and handouts on best practice for slide taking, critiquing, portfolio development, published material, and lesson development will be addressed as well as hands-on activities in the classroom and in the Chicago area.

A native of Dallas, Texas, CHARLOTTE CHAMBLISS received her B.F.A. (Drawing and Painting) from North Texas State University in Denton, Texas in 1984; she received her Teacher Certification in Secondary Art in 1997 from Texas A & M Commerce, Texas.  Charlotte has been teaching classes in visual art at Booker T. Washington High School for the Performing and Visual Arts since 1989.  She has taught AP* Art History for 17 years and AP* Studio Art for 13.  From 1994-1999. Charlotte has been a College Board* Reader for AP* Studio Art since 2000; from 2003-2006 she has served as a Table Leader. She became a College Board Consultant in 2002; and a National Leader in 2005.  Charlotte has presented a variety of workshops on AP* topics for several Texas school districts, as well as at AP* Summer Institutes.  From July 2002 through June 2006 Charlotte served as a member of the AP* Studio Art Test Development Committee. Charlotte was selected Booker T. Washington H.S.P.V.A. Teacher of the Year for 2000-2001.  She also traveled to Japan in November 2001 as a participant of the Fulbright Memorial Fund Teacher Program. 

WYLIE FERGUSON has taught in the Cincinnati Public Schools for 35 years. He served as an adjunct in Art Education at Xavier University of Cincinnati for 14 years. He holds masters degrees in Fine Arts from Columbia University in New York City, Sociology from Xavier University, and Art Education from the University of Cincinnati. His overall involvement with the College Board* has been as a workshop consultant for both the Midwest Region and the Middle States region for the past 16 years. He has served as Stirring Committee member for the Annual National Advanced Placement Conference. Other duties to which he has been appointed are as various as serving as a panelist for the National Endowment for the Arts, Reader for the annual evaluation of the AP* portfolios, serving as presenter for the Smithsonian Institute for AP* teachers, conducting workshops for the College Board* at the Philadelphia Museum of Art, the Walters Museum of Art, and the Cincinnati Museum of Art. His most recent activities include serving as a Docent to both the San Diego Museum of Art and the Cincinnati Museum of Art. In his spare time he writes the questions for State sponsored tests for beginning teachers. His most recent appointment with the College Board* was to serve as Senior Auditor for the Curriculum Audit of AP* Studio Art Drawing and 2D Design Portfolios.

BARBARA SUNDAY began her teaching career in Jamaica, West Indies, and has taught AP* Studio Art at Sentinel Secondary School in West Vancouver, Canada, for 20 years.  Barb is an experienced elementary teacher, has served as a District Art Coordinator, and has lectured in Art Education at both The University of British Columbia and Simon Fraser University.  She has worked for the BC Art Teachers’ Association in several executive positions including president.  Barb has been an AP* Studio Art Reader for eight years, has given numerous AP* and Pre-AP* workshops across Canada, in the Western Region, and internationally. She has presented week-long Institutes in Detroit, San Diego, Bellevue, Hawaii, Chicago, and Toronto.  Barb has been the recipient of the NAEA Pacific Region Award Art Educator of the Year Award, the BCATA Art Teacher of The Year Award, and has contributed to several AP* Studio Art publications.

Studio Art: 3-D Design Portfolio
This participant centered course will focus on the 3-D portfolio program offered by The College Board*.  We will take advantage of the depth and breadth of collections in the cultural institutions of Chicago and use them for inspiration.  Participants will have the opportunity to develop and refine a curriculum for their AP* Studio Art programs.  The course will include understanding the AP* Portfolio requirements and presentation formats.  We will study examples demonstrating excellence in all of the 3-D categories as well as have a chance to look at college level work from a range of schools.  We will brainstorm syllabi and processes, plus ways to teach 3-D that do not require involved materials and processes. Hands-on exercises will be included in combination with strategies for critiquing student work. We will learn the assessment techniques employed by AP* readers and work directly with AP* rubrics. The course will emphasize formal, conceptual, and technical concerns, allowing participants to study in depth and build more confidence in the studio classroom.

BRAD FAUS has over 30 years of teaching experience at the secondary and college level. He has served as an AP* consultant, reader and table leader for more than 15 years and has presented AP* teacher workshops in studio art throughout the United States. In addition, he has written for the Praxis exam and served as a consultant to the National Board Certification program. Participant centered workshop learning is a trademark of his presentations. A practicing artist, he has pursued residencies at the Banff Centre for the Arts, Haystack Mountain School of Crafts, and fellowships at Bennington College, and Skidmore College. Brad Faus has served as department head and gallery director at several schools. He presently teaches at The Hotchkiss School in Lakeville, CT. He is the recipient of numerous grants including a McArthur Foundation Grant. He has degrees from Kenyon College and the Rhode Island School of Design.

Studio Art Experienced
Designed for the experienced AP* Studio Art teacher, this unique combination of AP* workshops and studio work has the dual purpose of developing participants' personal artwork/research while also giving guidance to translate personal ideas and skills into the AP* classroom. Participants will investigate how best practice can be refined and brought back into the classroom for AP* students.  Participants will develop strategies based on their own week long experience how to engage the AP* student while they go through the Breadth and Concentration sections of the AP* portfolio.  Participants will present their work from the week and relate it to educational strategies. There will also be discussion on AP Vertical Teams*, the Reading Process, Critiquing Techniques, the AP* Course Audit, and navigating AP Central*.

JERRY STEFL has been teaching for the past 37 years.  He divided his teaching time between Carl Sandburg High School in Orland Park, Illinois and The School of the Art Institute of Chicago for 33 years and is now at The School of the Art Institute of Chicago as an Adjunct Associate Professor.  Jerry also conducts workshops for C.A.P.E. (Chicago Arts Partnerships in Education).  He is the Past President of the Illinois Art Education Association, a past member of the AP* Studio Art Development Committee, Western Region Secondary Chair for the National Art Education Association, lead consultant of the Studio Art AP* Vertical Tedams* Guide and developed the Pre-AP Vertical Teams* in Studio Art workshop packets.  He has also been a reader and table leader for AP* Studio Art and the chair of the Visual Art team reviewing teacher training curricula for the Illinois State Board of Education.  Jerry has received The Marie Walsh Sharpe Artist/Educator Fellowship, National Secondary Art Educator of the Year, Illinois Art Educator of the Year, The International Kohl Award for Exemplary Teaching, Teacher of the Year/District #230, and Teacher of the Year for Carl Sandburg High School and is a Distinguished Member of IAEA.  He has conducted beginning, experienced and Pre-AP* workshops internationally and is the past Content Advisor for Studio Art at AP* Central.  Jerry is also on the Executive Board and Chair of the Education Committee at Intuit: The Center for Intuitive and Outsider Art.  Jerry Stefl has been involved with the National and Illinois Art Education Associations; The College Board* with the AP* Reading, Development Committee, Content Advisor of AP Central*/Studio Art, Lead Consultant for the AP Vertical Teams* Guide in Studio Art, and Consultant; taught in the public schools for 33 years; was concurrently at The School of the Art Institute of Chicago for 33 years and continues at SAIC as an Adjunct Associate Professor; and is on the Executive Board of Intuit: The Center for Intuitive and Outsider Art as Education Chair. 

Participants in AP* Studio Art Experienced work three hours each day with Jerry Stefl and three hours in a studio on their own artwork.  Participants choose one of the three studio courses:

Brave New Printmaking 
This course will introduce participants to a variety of innovative printmaking techniques that can be mixed and matched to create and integrate a wide variety of marks, textures, shapes, colors, text, and digital imagery. A variety of techniques will be shown, all of which are quick, direct, inexpensive and highly adaptable to individual artistic needs and/or classroom limitations. Techniques include: monoprinting, collagraph, xerox gum transfer, and stencils. These techniques can help you to introduce design concepts such as shape, line, color and texture into your curriculum and can be used to demonstrate topics in modern and post-modern art history.

 

ANDREA SCHUMACHER received her undergraduate degree in art from University of Wisconsin, Madison. She studied printmaking, painting and drawing at the School of the Art Institute of Chicago. Andrea works at Columbia College Chicago as the print shop manager and teaches printmaking at Anchor Graphics and Columbia College. Andrea has shown in and around Chicago and has some drawings that live in a flat file at Pierogi Gallery in Brooklyn. Andrea also has a web site and would love it if you visited it: www.andreaschumacher.com.

 

 

Enameling: Jewelry & Small Objects

An exciting exploration of creating contemporary enamels, this intensive studio workshop introduces students to limoge, cloisonné and grisaille techniques. Demos in torch firing are also explored. In addition to basis enamel/metal preparation students will explore their own ideas and are encouraged to experiment. Students will learn current forming techniques, cold connections and finishing processes. Students will complete one or two pieces in jewelry, small objects or wall pieces. Other methods will be addressed depending on the needs and level of the class. All levels are welcome.

 

LYNN FLORIANO is a working artist and educator. She markets her contemporary enamels and jewelry in the Chicago area.  She has exhibited her work with the American Craft Council, the Chicago Merchandise Mart, and galleries nationwide.   Her work has been purchased by museum stores, corporations and individuals.  She has won numerous awards, including the Chicago Botanic Garden. Her work was recently featured in Art/Jewelry Magazine, Jan. 2007.  Lynn teaches Jewelry & Objects I & II classes and Enameling workshops in Art and Design department at Columbia College, Chicago.  She has also taught workshops at Bowling Green State University, Ohio, where she received her M.A. and M.F.A. Lynn’s love of color is incorporated in limoge, cloisonne and grisaille enamels.  She combines metals and enamels to make them do what may seem uncharacteristic; flow, bend, appear fragile, hold precious things. Her work is inspired by nature, which to her have abstract and spiritual qualities which are forever evolving and generating new inspiration.

 

 

Drawing is Another Kind of Language

This intense studio course will focus on exploring the language of drawing. There will be an emphasis on incorporating traditional and contemporary issues and approaches to create new drawings. Students will explore and develop personal visual narratives through drawing. Students will investigate various methods and media. Field excursion and drawing session at the Museum of the Art Institute of Chicago and visits to local artists' studios and galleries will provide opportunity to bring new perspectives to the studio experience. The goal of this studio is to use the language of drawing to develop new visual narratives. Your critiques and questions will be encouraged to unlock new potential.

 

BARLOW is a practicing professional visual artist, arts advocate, arts educator/consultant and the founding artistic director of the Violent Injury Prevention Center at Children’s Memorial Hospital. He holds concurrent teaching position with Columbia College Chicago, The School of the Art Institute of Chicago, Museum of Contemporary Art Chicago, and Marwen Arts Foundation in Chicago. His studio is in the historic Fine Art Building at 410 South Michigan Avenue, a center for creative expression in the heart of the city. Barlow earned his M.F.A. from the School of the Art Institute of Chicago and his B.F.A. from the Henry Radford Hope School of Fine Arts at Indiana University. His most recent body of work addresses man’s inhumanity to man and is a direct response of his experiences and involvement with current research and empirical evaluation of pediatric gunshot wound victims and at-risk underserved inner city children. These work are large mixed media collage paintings. His landscapes are inspired from his many trips to Italy (Florence and Tuscany) representing his love of God, our Earth, travel, color, form and composition. Barlow’s largely conceptual art is a post-modern visual expression of his passion for life, drawing/painting, and visual forms of communication and the questions of pedagogy. While he relies upon contemporary approaches and traditional-based solutions to investigate postmodernism, his primary concern is that his creative output expresses his spiritual, emotional, socio-political and cultural voices. 

*College Board, AP, Advanced Placement Program, AP Vertical Teams, Pre-AP and the acorn logo are registered trademarks of the College Board.  Used with permission.