Figurine of a camel carrying transport amphorae Dated late 2nd–early 3rd century a.d.; Mid-Imperial Roman, Egyptian Terracotta; H. 4 5/8 in. (11.8 cm) The Metropolitan Museum of Art, New York, Gift of Mrs. Lucy W. Drexel, 1889 (89.2.2093)

Lamp stand with chevron pattern
Dated a.h. 986 / a.d. 1578–79
Iran
Brass; cast, engraved, and inlaid with black and red pigments; H. 13 1/4 in. (33.7 cm), Diam. (base) 6 5/8 in. (16.8 cm)
The Metropolitan Museum of Art, New York, Rogers Fund, 1929 (29.53)

Collection Area: Islamic Art
Subject Areas: English Language Arts, Visual Arts
Grades: Middle School, High School
Topic/Theme: Art and Writing

Tughra (official signature) of Sultan Süleyman the Magnificent (reigned 1520–66)
About 1555–60
Turkey, Istanbul
Ink, opaque watercolor, and gold on paper; 20 1/2 x 25 3/8 in. (52.1 x 64.5 cm)
The Metropolitan Museum of Art, New York, Rogers Fund, 1938 (38.149.1)

Collection Area: Islamic Art
Subject Areas: English Language Arts, Visual Arts, World History
Grades: Middle School, High School
Topic/Theme: Power and Leadership

Jali (screen)
Second half of the 16th century
India
Red sandstone; pierced, carved
The Metropolitan Museum of Art, New York, Rogers Fund, 1993 (1993.67.2)

Collection Area: Islamic Art
Subject Areas: Mathematics, Visual Arts
Grades: Middle School, High School
Topic/Theme: Geometric Constructions

Marco del Buono Giamberti (Italian, Florentine, 1402–1489) and Apollonio di Giovanni di Tomaso (Italian, Florentine, 1415/17–1465) The Story of Esther 1460–70 Tempera and gold on wood; 17 1/2 x 55 3/8 in. (44.5 x 140.7 cm) The Metropolitan Museum of Art, New York, Rogers Fund, 1918 (18.117.2)
School Topic/Theme: Stories in Art

Velvet fragment
Second half of the 16th century
Turkey, Bursa
Silk, metal-wrapped thread; cut and voided velvet, brocaded; 66 x 52 in. (167.6 x 132.1 cm), Wt. 89 lbs. (40.4 kg)
The Metropolitan Museum of Art, New York, Rogers Fund, 1917 (17.29.10)

Collection Area: Islamic Art
Subject Areas: English Language Arts, Visual Arts, World History
Grades: Middle School
Topic/Theme: Artistic Exchange

When the twentieth century arrived, artists had every reason to believe that they were entering a totally new and unique modern age. Philosophers like Henri Bergson were expanding and collapsing our concept of time, and Sigmund Freud’s theories were opening new paths to uncharted segments of the human mind. The Industrial Revolution of the nineteenth century brought modern conveyances in its wake like the automobile, the airplane, and the electric elevator, which went hand-in-hand with steel-and-glass construction in birthing the skyscraper—the emblem of the modern city. Life had never been faster.

This heady moment, evidenced in both intellectual and popular culture, truly led artists to believe that they were part of a project to both invent a new visual idiom for the modern world and to simultaneously question preexisting ideas of what art could and should be. Often, this stance was further radicalized by historical events and the encroachment of political affiliation. In Russia, the Soviet Revolution of 1917 changed the tenor and motivation of an already nascent avant-garde. In Mexico, the Revolution of 1910–20 was the catalyst for an entirely new movement. In Germany, the Weimar Revolution of 1918 opened an ideological space for the Bauhaus to form. The Great Depression in the United States diminished the purchasing ability of certain art-buying patrons and created new conditions for art in the 1930s. And, of course, World War I (1914–8) and World War II (1939–45) had staggering repercussions for art and life across the globe. As our lecture on Art Since 1950 (Part I) largely generates in the post-WWII sphere, chronologically, this lecture ends closer to 1945.

This video is Part 20 in the Naming Organic Compounds series
This nomenclature tutorial video takes you through the IUPAC rules for Benzene type molecules including the common names for substituted benzene
Many students struggle with naming because they attempt to come up with the entire name at once and often wind up missing a piece or two. After this series you won't have that problem anymore

Organic Chemistry on Khan Academy: Carbon can form covalent bonds with itself and other elements to create a mind-boggling array of structures. In organic chemistry, we will learn about the reactions chemists use to synthesize crazy carbon based structures, as well as the analytical methods to characterize them. We will also think about how those reactions are occurring on a molecular level with reaction mechanisms. Simply put, organic chemistry is like building with molecular Legos. Let's make some beautiful organic molecules!

The first lesson on photography generally comes after the Romanticism lesson, determined by the date of photography’s public announcement in 1839. You might begin class with a discussion that bridges a review of Romanticism with the introduction of photography. For example, students might debate the question “why was photography invented in the 1820s and 1830s when the camera obscura had been known for centuries?” This open-ended discussion might address a variety of key issues: the desire for optical realism and illusionism in art, previous use of optical devices by artists, Enlightenment advances in science, and the Romantic notion of the supremacy of subjective experience of the world.

Ancient Egypt was an early example of a massive civilization spanning thousands of years. Sal explains this history in an overview.

Artist R. Luke DuBois makes unique portraits of presidents, cities, himself and even Britney Spears using data and personality. R. Luke DuBois weaves information from a multitude of sources into art and music exploring the tensions between algorithms, portraiture and temporal space. About the speakerR. Luke DuBois · Artist, composer, engineer R. Luke DuBois weaves information from a multitude of sources into art and music exploring the tensions between algorithms, portraiture and temporal space. In this talk, he shares nine projects — from maps of the country built using information taken from millions of dating profiles to a gun that fires a blank every time a shooting is reported in New Orleans. His point: the way we use technology reflects on us and our culture, and we reduce others to data points at our own peril.

Inspired by art historian Kymberly N. Pinder’s anthology Race-ing Art History: Critical Readings in Race and Art History (2002), this lecture was developed as part of a semester-long seminar introducing first-year students to the field of art history and the ways in which race—and more specifically whiteness—has been represented, acknowledged, ignored, and/or embedded in the art historical canon.

How do you read a two-thousand-year-old manuscript that has been erased, cut up, written on and painted over? With a powerful particle accelerator, of course! Ancient books curator William Noel tells the fascinating story behind the Archimedes palimpsest, a Byzantine prayer book containing previously-unknown original writings from ancient Greek mathematician Archimedes and others.

We give scientists and engineers great technical training, but we're not as good at teaching ethical decision-making or building character. Take, for example, the environmental crisis that recently unfolded in Flint, Michigan -- and the professionals there who did nothing to fix it. Siddhartha Roy helped prove that Flint's water was contaminated, and he tells a story of science in service to the public good, calling on the next generation of scientists and engineers to dedicate their work to protecting people and the planet.

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KA's US History fellow Kim Kutz talks about some of the basic skills for thinking like a historian.

By the twentieth-century photography lecture, students will likely have already engaged in visual analysis of art works, so that beginning class with a close formal analysis of a single photograph provides an opportunity to review these skills. For example, Alfred Stieglitz’s The Steerage is a complex but highly structured photograph. Students might begin by spending two or three minutes quickly drawing the basic lines, shapes, and forms of the composition in order to understand its careful geometry before proceeding to a class-wide analysis and discussion. Students might be asked, “Why do you think Stieglitz framed the subject in this way?” The Steerage can be used to introduce how the camera’s framing changes our perception of reality.

U.S. History covers the breadth of the chronological history of the United States and also provides the necessary depth to ensure the course is manageable for instructors and students alike. U.S. History is designed to meet the scope and sequence requirements of most courses. The authors introduce key forces and major developments that together form the American experience, with particular attention paid to considering issues of race, class, and gender. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience).

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