Given the changing nature of the Internet, you may wish to preview these sites. Check the Online Companion Web site for updated information and links to other sites.

Allow one week for this chapter. In the past, the AP* exam has not included many questions about art from the second half of the twentieth century, although this could change. Checking the annual Acorn book for any alterations in the test is the only way to track possible changes.

In planning what to write in their essays, students should not take the time to create an outline. They should brainstorm all the ideas they can in one to two minutes and then number these ideas in the order in which it appears that they will best state the student's argument and support it. As students write, they may find that the order changes or that writing prompts them to remember some additional information that is better than what they started with, but the numbered ideas will get them started.

Before turning to non-Western art, have each student choose a work of art from this chapter and explain its place in art history, going as far back in time as possible and drawing at least three comparisons to earlier periods. Have students present their report in a short slide lecture to the class.

Students will need to show which elements of their chosen work were drawn from earlier periods, and explain how they found their way into twentieth century art. Students should research the life of the artist/architect who created the piece they are studying, and show how that person's education—formal or otherwise—might have led him or her to be influenced by artwork of the past. Why, for instance, did Audrey Flack choose to create a modern vanitas still life, similar to those painted by Dutch artists of the seventeenth century? What objects did she put into her painting that are similar to those in the Dutch originals? Which are different? The beginnings of this style can be traced from its roots in the oil painting of the Low Countries and Venice to the still life paintings of Chardin to Cezanne, and so forth.

Some particularly good pieces from this chapter to use as jumping off points may be Johnson and Burgees' AT&T Headquarters (p. 1136), Le Corbusier's Notre Dame du Haut (p. 1135), Barnett Newman's Broken Obelisk (p. 1119), Audrey Flack's Marilyn Vanitas (p. 1142), or Miriam Schapiro's Heartfelt (p. 1147). For each of these works, it would be possible to draw comparisons with at least one work from ancient times, one from the Middle Ages or Renaissance, and one from the Baroque or nineteenth century periods.