Peacefully working from her home studio on Vancouver Island, Karen Dance pursues her desire to create out-of-the-ordinary pottery pieces. Karen is inspired by the human form, natural movement, expressive features, and all the wonders found in nature. With over 35 years as an artist in many mediums, it was the melding of Karen’s education at CMU Creature design and prosthetics along with Ceramics training at Sheridan college that led her on this path of exploration.
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Do you start with an emotion when you make your characters?
I would say no. Emotions will come forward but I don’t necessarily start with an emotion before I put my hands to the clay.
Do you see a monster in the clay when you start? Do you see that character before you start working on piece?
If I have been asked to make it, no. If I am doing it just because I want to, yes. I can see it there.
Why does that change how you approach the piece?
The pressure. The pressure of trying to make something amazing for somebody and they give you free reign and having absolutely no pressure, just oding whatever my hands want.
Do you ever repeat a piece? Repeat a monster?
Occasionally, if I have a customer who saw something in my shop that they would really like me to make. I will make several of those but they are not always the same. How can they be?
Do you find that the majority of the personality comes out in the eyes or is it the mouth. Where is the seat of the personality in your work?
There’s a real nuance when you are putting to character to life. When you are introducing yourself to it. It can be really subtle. It can be the eyebrow. It could be the smirk. So I would say mostly from the eyes but it can also be from something really subtle.
What would make a monster a second?
It would have to be a glaze flaw or a crack, that’s sort of thing. I tend to not sell them if they are duds.
How much time in a week is spent in the studio? An average week?
An average week I would say six to eight hours a day. Upwards to ten off and on. More than I should. Less than I could.
For our third annual Booooooom Photo Awards, supported by Format, we selected 5 winners, one for each of the following categories: Portrait, Street, Colour, Nature, Fashion. You can view all the winners and shortlisted photographers here. Now it is our pleasure to introduce the winner of the Colour category, Megan Eagles.
Megan Eagles is a self-taught photographer based in Camberwell, London with her family, a cat and 7 chickens. Shooting on film with natural light, she describes her work as “people-focused stories with a documentary slant”.
We want to give a massive shoutout to Format for supporting the awards this year. Format is an online portfolio builder specializing in the needs of photographers, artists, and designers. With nearly 100 professionally designed website templates and thousands of design variables, you can showcase your work your way, with no coding required. To learn more about Format, check out their website here or start a 14-day free trial.
We had the chance to ask Megan some questions about her photography—check out the interview below along with more of her work.
Understanding history through stories helps students gain insights into our world. Take your art history lessons and your students’ learning to the next level! Instead of simply describing what an artist created, discuss why the artist created it through odd and interesting stories. This helps students get a glimpse into the artists’ humanity and motivations. It builds an association that goes beyond names and dates. Neat art history tidbits also boost media literacy by providing a foundation of connections for students to draw upon.
The Unexpected Artist
Students often look at legendary artists and assume those figures were born with a paintbrush in their hand. However, the paths to artistic success rarely follow a straight line. Many took winding roads, beginning their journeys in entirely different careers. Share these artists to help students see the value in unexpected learning opportunities.
Anna Mary Robertson Moses Affectionately known as Grandma Moses, Moses was a farmwife who began painting in her late 70s after arthritis made embroidery too difficult. Her charming, nostalgic depictions of rural American life quickly gained popularity. Grandma Moses became a media sensation, showing it’s never too late to pursue your passion.
Henri Matisse Matisse initially pursued a career in law, working as a court administrator before a bout of appendicitis dramatically altered his course. During his recovery, his mother gave him art supplies, and Matisse discovered a love that would define his life. He famously stated he had found “a kind of paradise.”
Corita Kent This former Catholic nun revolutionized religious art. She incorporated vibrant Pop Art aesthetics and social justice messages into her serigraphs, challenging traditional religious iconography. Sister Corita taught art at Immaculate Heart College, where she abandoned conventional methods, encouraged experimentation, and used advertising slogans and song lyrics to connect art with everyday life.
Art That Broke Bad
Everyone loves a good crime drama. Share forgeries, capers, and cons that will have students on the edge of their seats! Try these stories about the shady side of the art world to get your students hooked on art history.
The Stockholm Museum Heist In 2000, thieves used a combination of car bombs, gunfire, and caltrops to steal three paintings by Rembrandt and Renoir from the National Museum in Stockholm. They escaped by speedboat, leaving the police in their wake. Remarkably, all three paintings were eventually recovered, thanks in part to an undercover FBI operation. The operation targeted an international crime syndicate and infiltrated an attempted sale of one of the paintings in Los Angeles.
Wolfgang Beltracchi Beltracchi, along with his wife, created and sold hundreds of forgeries. The forgeries were works by famous artists and brought in millions. He was a meticulous researcher and successfully mimicked various artistic styles. He claims he has forgeries still hanging in museums and collections today.
That Awkward Moment
Students raised in the age of memes can instantly relate to a moment of cringe and appreciate an epic fail. Here are a few stories that may go viral in your classroom and get your students eager to learn more about art history.
DIY Gone Awry A museum worker in Cairo committed the ultimate “oops” in 2014, accidentally knocking the braided beard off King Tutankhamun’s priceless burial mask. Their panicked solution? A hasty and very noticeable repair with epoxy glue, a move that horrified archaeologists and delighted internet users around the globe. This is art’s most unfortunate DIY project.
Upside Down or Right Side Up? Piet Mondrian’s abstract masterpiece, New York City I, hung upside down in a museum for 77 years before anyone noticed the error. Experts finally realized the mistake, highlighting how even professionals can make incredibly relatable blunders. Amazingly, after discovering the error, they decided to keep it upside down for fear of damaging the piece. They say that the upside-down display is now part of the artwork’s story.
Failed Fresco An elderly woman in Spain attempted to restore a flaking fresco of Jesus, Ecce Homo, in her local church. The result became an internet sensation, with the reworked painting dubbed Monkey Christ. Though widely mocked, the botched restoration became a tourist attraction, demonstrating that even artistic “fails” can be spectacular.
Expensive Oops Billionaire art collector Steve Wynn accidentally put his elbow through his prized Picasso painting, Le Rêve, while showing it off to friends. This incredibly expensive “oops” moment resulted in a $90,000 repair bill. Of course, a great story in the provenance never hurts the value of an artwork. Some years later, Wynn sold the piece for $155 million.
Wherever humans dare to venture, they’ve left their artistic mark, proving that our desire to create transcends all boundaries. Throughout history, people brought art to mountains, deserts, ocean floors, and even the moon. Below are four great examples that will amaze your students.
Jason deCaires Taylor This British sculptorcreates breathtaking underwater museums, placing his life-sized sculptures on the ocean floor. These submerged artworks act as artificial reefs. They attract coral and marine life and transform the ocean into a vibrant, ever-evolving gallery.
Longmen Grottoes China’s Longmen Grottoes feature thousands of Buddhist statues carved directly into the towering limestone cliffs in Luoyang. These intricate sculptures, created over centuries starting in the 5th century AD, transform the natural landscape into a breathtaking open-air art gallery. This UNESCO World Heritage site demonstrates the power of human creativity to merge with nature. It creates a sacred space that transcends traditional notions of where art can reside.
Nazca Lines These landmarks are a series of massive geoglyphs etched into the arid desert plains of southern Peru. They represent one of the world’s most intriguing art mysteries since their creation between 500 BCE and 500 CE and their rediscovery in the 1920s. These ancient designs, depicting animals, plants, and geometric shapes, are so vast that they are only fully visible from the air. The top layer of the desert floor made up of iron-oxide-coated pebbles, provided a dark “canvas.” Ancient people created the lines by removing the top 12-15 inches of rock, revealing the lighter-colored sand beneath. The dry, windless, and stable climate of the Nazca region preserves these remarkable geoglyphs.
Fallen Astronaut Mountains, deserts, and oceans are pretty wild, but the most remote art installation is actually on the moon! In 1971, the crew of Apollo 15 secretly placed a small sculpture called Fallen Astronaut on the lunar surface. This aluminum figure commemorates astronauts and cosmonauts who died in the pursuit of space exploration. It helps to make the moon a truly unique and poignant art gallery.
Ultimate “So There” Moments
Validation can be a good feeling, especially after experiencing doubt. The following artists took unique situations and comments and turned them into opportunities to showcase their grit, skill, and willingness to rise to a challenge. Tell these stories to your students to inspire them to push expectations.
Roy Lichtenstein Lichtenstein’s success is perhaps the ultimate flex on his son. His son pointed to an illustration in a Disney book and challenged his father to draw something that good. Lichtenstein painted Look Mickey, which not only proved his son wrong but also became a seminal work of Pop Art, and launched his career.
Claude Monet Critics questioned Monet’s artistic vision in his later years, claiming his failing eyesight led to overly abstract and formless paintings. Monet responded by creating his monumental Water Lilies series, immersing viewers in the beauty of his Giverny garden. These stunning canvases are now celebrated as Impressionist masterpieces. They silenced his critics and proved that Monet’s artistic power remained undiminished.
Janet Sobel This Ukrainian-American artist’sjourney began with an unexpected challenge from her own son. When Sobel criticized her son’s artwork, he handed her a brush and challenged her to do better. Sobel accepted and discovered a hidden talent for abstract expressionism. This led to the pioneering of a drip technique that later influenced Jackson Pollock.
Sharing these intriguing stories and fun facts helps students connect with art history on a human level. Learning art history is not just about memorizing names and dates. When students can understand the artists as people, they can dig into their motivations and ideas. Stories are an engaging way to make artists relatable and provide context. Silly, scandalous, or unexpected fun facts will spark your students’ curiosity to discuss, ask questions, retain information, and foster new connections!
What are your favorite fun facts from art history?
How do you help students move beyond memorizing facts to creating connections?
To chat about other interesting art history stories with other art teachers, join us in The Art of Ed Community!
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.
Tamara “Solem” Al-Issa is a Syrian/Filipina Toronto-based sculptural artist with a focus on conveying preservation of time. Solem’s work pulls from memories of the architecture and practices within SWANA and Southeast Asia through exploring familiar shapes, colours and textures from these regions. The Deep Blue series presents hand-built traditional shapes in a custom mixed cobalt blue which is a colour that evokes a familiar sense of nostalgia and wistfulness. In the SWANA region, the colour blue (particularly turquoise) is known to have mystical and protective qualities.
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What is the clay body that you use in your work?
I use a commercial clay from Tuckers pottery supply in Toronto and it’s called mid-white. So it’s pretty standard cone 6 stoneware.
Why did you choose to make your own recipe for your underglaze?
I guess I just couldn’t find the right blue. There’s so many blues but non of them fired right especially with the texture. A lot of underglazes have a lot of flux in them. Which make it shiny so I don’t really love that.
I noticed that you get a lot of press attention. Do you seek it out?
God no, not at all. I never sought out that attention. I mean obviously I am grateful to have it. Yeah, I guess they just like the blue. It’s kind of come out of the blue. (laughter)
How important is social media for you getting your work out in the world?
Yeah, so it’s just Instagram that I use but it is very important. And I wish it was less important but these days it’s kind of hard to separate art form social media. It is my portfolio so you have to stay relevant and keep up, you know, make reels and connect with my audience.
What is a shape or a piece that you are trying to master at this point?
I think it’s called a fluted shape with a really thin neck on the wheel. A big base with a really long, thin neck that you could barely put a straw through. That’s what I have been trying to perfect. Just for fun.
Mycenae, view from the top of the mountain where excavations unearthed the ancient site.
Mycenae is the ancient archeological site near Mykines in Argolis, Greece. It’s a fascinating place to visit when you learn about its connection to the ancient Greek history. What seems to be a myth today was a reality in some 16th century BC. This is a place of one of the oldest known cultures in the world- the Mycenaeans. They wrote in Linear B text, the cyclopes built walls and people worshiped the Earth goddess. Perseus founded Mycenae and Agamemnon, king of Mycenae, set out against Troy in the Trojan War. Thanks to independent excavations of an adventurer and explorer, Heinrich Schliemann in 1876, Mycenae got unearthed to us today. Mycenae is located about 120 km (75 miles) south-west of Athens, near Argos. Corinth is about 48 km (30 miles) away from it. The site stands on a beautiful mountain rising 900 feet (274 meters) above the sea level. The collapse of the Mycenaean civilization happened around 1100 BC.
Mycenae excavations
While you can view some artifacts from these excavations in a nearby archeological museum, other items are on display at the museum in Athens. I’m placing pictures about the Mycenean culture from both museums here. I also put some pictures of the local landscape and excavations in the area for you to see how it looks like today. Some pictures look orange and it’s not because of a fancy filter. When we visited Mycenae, the sky turned orange and a rain of sand drops covered the entire landscape as far as we could see. It turned out, it was due to the Sahara dust storm that moved with the wind turning everything orange. The sand covered trees, cats and us. 🙂 The historic descriptions of the place you’ll see below come from the area and museums I visited there.
Mycenean figures revealed during the excavations of the site in Mycenae, Greece
According to Greek legends, Mycenae was founded by Perseus, son of the god Zeus, and the human princess Danae. King of Argos, Perseus beheaded the gorgon, Medusa who turned men to stone. The legend tells a story that Perseus after fulfilling the prophecy that he would kill his grandfather Acrisios, exchanged the kingdom of Argos for that of Tiryns and then founded Mycenae, a new city for himself.
"It's known to the Greeks, that Perseus founded Mycenae……." Pausanias, II, 15,4
Perseus with the Head of Medusa, Antonio Canova, Italian, commissioned by Count Jan and Countess Valeria Tarnowski, 1804–6, the Met, http://www.metmuseum.org/art/collection/search/204758
Where does the name ‘Mycenae’ come from? There are at least 3 explanations given for this name.
1. It comes from Perseus’ sword pommel that he dropped in this place. The sword had a mushroom shape (mykes).
2. It comes from an actual mushroom that Perseus picked up to drink from when he was thirsty. It caused a spring to well up (Perseia spring).
3. Homer derives the name from Mycenae, a nymph of great beauty but of uncertain origins. The Perseid dynasty ruled over Mycenae and its territories for at least three generations. Eurystheus, the last of the line, was the king for whom Hercules performed his famous twelve labors. When Eurystheus was killed in a battle against the Athenians and the sons of Hercules, the people of Mycenae chose Atreus, the son of Pelops, to become their king.
Perseus beheading Medusa, terracotta lekythos (oil flask), attributed to the Diosphos Painter, ca. 500 BCE the Met. While Perseus flies over the Medusa, Pegasus jumps out from the gorgon’s dead body. http://www.metmuseum.org/art/collection/search/247488
Fact or Myth #2: Perseus employed Cyclopes to build the walls
To fortify his city, Perseus employed the mythical “Cyclopes” to build the walls and it is from that event the style of gigantic masonry is named “Cyclopean”. So the cyclopean masonry can be seen in the Lion Gate and the North Gate. It’s believed that the cyclopes built the walls around the gate because the weight of these stones is between 20-100 tons!
Funerary Proto-Attic Amphora with a depiction of the blinding of the cyclopes- Polyphemus by Odysseus and his companions, 670-660 BCE, Eleusis. The Cyclops is depicted on the right of the vase | photo: Veronica Winters
Who are the cyclopes in ancient Greek mythology? Cyclopes are a race of giants with one eye in the middle of their foreheads. Their name comes from the Greek words Kýklōpes, which means “circle-eyes” or “round-eyes”. The Cyclopes are often depicted as unintelligent and work as shepherds. They are known for their extraordinary strength, height, and power. Two of the main myths appear in the works of Homer and Hesiod, 7th-century BCE poets and storytellers. In Theogony, Hesiod describes the Cyclopes as three brothers named Arges, Steropes, and Brontes who were blacksmiths and made Zeus’s thunderbolt. In the Odyssey, the Cyclopes are an uncivilized group of shepherds that Odysseus encounters, including Polyphemus, one of their brothers. In the story, Odysseus and his men get trapped in Polyphemus’s cave after eating and drinking his food. Odysseus eventually blinds Polyphemus by plunging a burning stake into his eye while he’s sleeping, and escapes with six of his friends by clinging to the bellies of Polyphemus’s sheep. The Cyclopes are also known for building the Cyclopean walls of Mycenae and Tiryns, and for helping the Olympian gods defeat the Titans in the Titanomachy. In gratitude, the gods released the Cyclopes from Tartarus after Uranus imprisoned them for unruly behavior, and the Cyclopes went on to make Hades’s helmet, Poseidon’s trident, and Artemis’s silver bow.
Fact or Myth #3: The Lion Gate mystery reveal
The Lion Gate, Mycenae
THE LION GATE
The main gate of the Acropolis was constructed in the middle of the 13th century BC. One of its main features is a limestone slab, which fills the area of the “relieving triangle” and bears two lions facing each other in relief. Their front paws lean on two small altars supporting a column. The missing heads were probably made of a different material- steatite. These lions look different and out of place like they were carried from someplace and set in here to make this unusual entrance. This is the earliest example of a monumental sculpture set between the gigantic stones that symbolize the royal house of Mycenae.
THE NORTH (POSTERN) GATE
It was constructed during the second building phase of the walls around 1250 BC. Four monolithic blocks of conglomerate (‘almond stone’) form the two jambs, the lintel and the threshold. The gate was closed with a double wooden door, bolted by a sliding bar. Instead of a relieving triangle, it has two, plain, vertical slabs set on edge above the lintel, thus transferring the weight to the two doorposts. Inside the gate is a small internal court, from which a road led up to the megaron. The special care with which the two large gates of the citadel were built attests to the Mycenaean masons’ expertise.
The Gate shows the Cyclopean masonry with multi-ton stones.
Fact or Myth #4: Discovery of the Agamemnon Shrine of the Mycenean king who fought in the Trojan War
THE AGAΜΕΜΝΟΝΕΙΟΝ
In Greek mythology, Agamemnon was a legendary king of Mycenae who led the Greek army during the Trojan War. Famous for his bravery and military skills, Agamemnon was the son of King Atreus and Queen Aerope, and the brother of Menelaus. He married Clytemnestra, and they had several children, including Iphigenia, Electra, Orestes, and Chrysothemis.
The Agamemnoneion is one of the most important shrines of historical times in the vicinity of Mycenae. It is located approximately 1 km southwest of the Acropolis. Excavations in the area brought to light the architectural remains of a rectangular building that was used from the late Geometric ( 700 BC) to the Hellenistic period ( 2nd century BC). The early form of the shrine remains unclear. However, in the Hellenistic period, the shrine was repaired and transformed into a temenos.
Most of the finds come from an archaic deposit that contained among other finds geometric and archaic Argive pottery and archaic figurines, all of which appear to be offerings to male gods or heroes. Inscribed sherds referring to Agamemnon, have led to the identification of this small sanctuary as a shrine of the hero and protagonist in Homer’s Iliad.
The Trojan War
The Trojan War is the most famous event in Greek mythology that involves a decade-long siege of the city of Troy by the Greeks. Three goddesses, Hera, Athena, and Aphrodite quarreled who was the fairest of them all. Their judge, Paris, the handsome son of the Trojan king Priam, decided in favor of Aphrodite and as a reward, was promised the most beautiful woman in the world, Helen, wife of king Menelaus of Sparta.
The abduction of Helen, Queen of Sparta, by Paris, the Prince of Troy triggered the Trojan War. Helen’s husband, King Menelaus of Sparta, convinced his brother, King Agamemnon of Mycenae, to lead an expedition to Troy to retrieve her. Agamemnon was joined by many Greek heroes, including Achilles, Odysseus, Nestor, and Ajax, and a fleet of 1186 ships and more than 100.000 men from 22 different states set out against Troy under the command of Agamemnon, king of Mycenae.
The ten-year war included many events, such as raids on other cities, single combat challenges, mutinies, and love affairs. The Greeks won many battles and killed the Trojan hero Hector, but they were unable to break through the walls of Troy. Odysseus then devised a plan to trick the Trojans into opening the gates by leaving behind a large wooden horse containing a raiding party. When the Trojans brought the horse into the city, the Greeks opened the gates and sacked Troy, killing the men and taking the women. The war is told in many works of Greek literature, most notably Homer’s Iliad and Odyssey, which were likely composed in the 8th century BC. The Trojan hero, Hector, was slain by Achilles. Homer’s poem ends there and does not mention Achilles’ death, the stratagem of the wooden “Trojan Horse” and the sack of Troy.
The legends of Mycenae: the house of Pelops
Atreus, son of Pelops, ruled Mycenae. His enmity, towards his brother Thyestes led him to give the unfortunate man the flesh of his own children to eat (the so-called “Thyestean feast”). The deed brought upon Atreus and all his descendants the wrath of the gods and Thyestes’ curse. His son and heir, Agamemnon, was murdered on his return from the Trojan war by his own wife Clytemnestra, assisted by her lover, Aegisthos. Orestes, Agamemnon’s son, and his sister Elektra killed both their mother and Aegisthos. After that, Orestes was forced to flee, pursued by the Fates, until he was finally acquitted by the Areopagus court in Athens. The last king of Mycenae, according to tradition was Tisamenos, Orestes’ son. He got killed while defending his state from an incursion by the descendants of Heracles.
Mycenean gold, in the Athens museum
Fact or Myth #5: The Agamemnon’s Gold Mask Mystery
The Mask of Agamemnon is displayed at the National Archeological Museum in Athens.
The Mask of Agamemnon is a gold funeral mask that was discovered in 1876 by archaeologist Heinrich Schliemann in the shaft graves of a royal cemetery at Mycenae, Greece (Grave Circle A). This mask was one of several gold funeral masks found laid over the faces of the dead buried in the shaft graves of a royal cemetery. The golden mask is 12 inches tall. Made from a single sheet of pure gold, it was hammered thin over a wooden mold. It’s considered one of the most famous discoveries from the Late Bronze Age as it shows the wealth and craftsmanship of the Mycenaeans at that time. The mask is displayed in the National Archaeological Museum in Athens.
Schliemann named the mask after the famous king of ancient Mycenae, Agamemnon, who is featured in Homer’s Odyssey and Euripides’ plays. The archeologist believed the mask was Agamemnon’s because of its preservation and nobility, and thought it could prove the king’s existence. However, the mask’s origin is up to debate since its discovery. Some art historians and archaeologists believe the mask is not Agamemnon’s because modern research has dated the mask to 1550-1500 BCE, which is 300 years before Agamemnon would have lived.
Grave Circle A
Grave Circle A is an extensive cemetery of the Middle Helladic and the early Late Helladic period, which spread west of the citadel. It was used for royal burials exclusively during the 16th century BC. It contained six shaft graves (I-VI), five of which were excavated by H. Schliemann in 1876 and one by P. Stamatakis in the following year. Marked with stone stelai, the graves contained inhumations of family members, luxury grave goods, etc that are on view at the National Archaeological Museum in Athens. Initially, Grave Circle A lays extra muros. Around 1250 BC, however, and with the extension of the cyclopean wall westwards, the royal burial ground appeared within the area of the citadel. The construction of a circular enclosure enhanced the structure.
What is the Helladic Period in Ancient Greece? The Helladic period is an archaeological term used to describe the culture of mainland Greece during the Copper and Bronze Ages, from around 3200–1050 BC. It's divided into three phases: Early, Middle, and Late Helladic. The Late Helladic period is also known as the Mycenaean period.
Gold iron ritual weapons found in grave IV, circle A, Mycenae 16th BCE
Some Excavated Buildings in the area:
1. The Pylos tholos tombs, 16th-14th centuries BC
The characteristic Mycenaean tholos tombs, with their strange beehive-shaped funerary chamber and long entrance passage, first appeared in Messenia. Two large tholos tombs (Tombs III and IV) were constructed near the palace at Pylos in the 16th century BC. Although looted, they contained many precious grave gifts, which spoke of the rulers’ wealth in this region. (There are the tholos tombs at Myrsinochori (Routsi) found in the area of Pylos, one of the early Mycenean centers in Messenia).
Submycenaean Geometric Period
Although the area of Mycenae was gradually abandoned at the end of the 13th century BC, it was inhabited in the centuries that followed. The submycenaean and protogeometric periods are represented exclusively by burials in the south slope of the Acropolis, in the area of the Tholos tomb of Clytemnestra and Grave Circle B. Evidence of the geometric period comes from a number of houses built over the ruins of the palace as well as pottery both inside and outside of the fortification wall. This fragmentary pottery is probably connected with some kind of hero cult.
Early Geometric period vases, the figure of eight shield, an ivory sphinx, some golden decorations, etc shown at the Mycenae archeological museumEarly geometric period vases displayed in the Athens museum
2. House of Columns
The most important building on the east slope of the citadel. At its northwest corner, where the main entrance was situated, are preserved the doorjambs and the threshold of the conglomerate. The house owes its name to the existence of a colonnade in its central courtyard. Destroyed in fire, the building is dated to the second half of the 13th century BC. In the basement and storerooms of this building, archeologists found commercial stirrup jars with a Linear B tablet.
3. Artisan’s Quarter
Together with the House of Columns, the Artisans’ Quarter belongs to the east wing of the palace. This building complex was almost a square in its ground plan. It had two floors with a staircase in its northwest corner. Only the foundations exist here today. The Artisans’ Quarter has two rows of rooms on both sides of a narrow courtyard with an entrance. The building is known as an artists’ workshop on the basis of excavated objects found here – unfinished ivory objects, raw materials, gold leaf, remnants of semi-precious stones, etc. It dates to the second half of the 13th century BC. It was also destroyed in the conflagration at the end of the century.
4. Great Ramp & Hellenistic Chambers
Acquiring the form of a wide monumental ramp, the sloping ascent to the top of the citadel appeared in the late 13th century BC. Paved with thin slabs of schist, it was supported by a cyclopean retaining wall. The ramp begins from the inner courtyard of the Lion Gate, follows the incline of the rock, and stops at its south end. At the end of the ramp lies a suite of four Hellenistic chambers. Their function was possibly related to the processing and dyeing of textiles, a common activity of that period.
Acropolis of Mycenae, oil jars, 14-13 BCE
5. Ramp House & House of the Warrior Vase
These two houses are situated to the south of the Grave Circle A. The Ramp House had at least two floors, but only the foundations of the ground floor have survived to today. The House of the Warrior Vase is named after a famous krater decorated with the Mycenaean warriors. The building consists of basements and storerooms as storage jars with carbonized olives and bronze vases were found inside it. Both houses have the burials of the Helladic period, indicating that this entire area was previously a part of the Prehistoric Cemetery, which occupied the west slope of the hill before the fortification walls were constructed.
6. Other houses outside the Grave Circle B.
There is another group of excavated houses that lie outside the city walls. These are the House of Shields, the House of the Oil Merchant, the House of the Sphinxes, and the West House.
Butterflies printed on ancient Greek golden disks found in Mycenae, Grave Circle A. They date to 16 BCE. A butterfly was a symbol of the soul in the ancient Greek world.The cocoon was a symbol of rebirth. The pomegranate was a symbol of bounty. Gold balances represented the weighting of the soul in the Underworld. | Photo: Veronica Winters
Fact or Myth #6: Linear A and Linear B tablets discovery
According to Wikipedia, during the second millennium BC, there were four major branches: Linear A, Linear B, Cypro-Minoan, and Cretan hieroglyphic languages.
Linear A is a writing system of the Minoans practiced between 1800 BC and -1450 BC on the island of Crete. ( the Minoan civilization preceded the Mycenean one). The Linear A script evolved into the Linear B script, which was used by the Mycenaeans as the earliest form of ancient Greek language. It’s fascinating to learn that modern archeologists and historians still can’t read the Linear A script but they can read the Linear B texts. https://en.wikipedia.org/wiki/Linear_A
The Phaistos disc is found in Crete with linear A script displayed at the museum on the island of Crete. The Phaistos disk is a round, clay tablet. It has 45 pictorial signs being arranged in different combinations forming 61 groups. These groups are separated by incised lines that might represent words. These signs were stamped into soft clay with seals arranged in a spiral on both sides of the disc. Experts don’t understand the language or this writing in relation to Cretan scripts. The repetition of some combinations of signs suggests that the inscription is either a hymn or a magical text created in the early 17th century BC!Examples of the Linear B script. The images are examples of the texts I saw in the archeological museums of Greece.
Linear B script has been proven to be the first form of Greek writing. In 1900, Arthur Evans discovered the script in the palace of Knossos in Crete, where the Myceneans lived after 1450 BC. The Linear B text wasn’t read as a language until the discovery of a large archive of clay tablets stored in the Mycenean palace at Pylos in 1939. British architect, Michael Ventris and his assistant philologist John Chadwick deciphered Linear B texts in 1952. They proved that the tablets were written in an early form of the Greek language preceding the Homeric poems.
Linear B is a syllabic script. Each symbol corresponds to a certain syllable. It consists of about 90 syllabic signs, numerals, and ideograms (every picture denotes a concept). The Palace kept its records in the form of these clay tablets, which were administrative documents, such as lists, inventory recordings, and tax forms. These ancient recordings give invaluable insight into the palace’s hierarchy, social status, professions, trade, and manufacture of goods.
Fact or Myth #7: The birthplace of Hera’s worship & a peacock
Marble Head of Hera found in the Argive Heraion. Hera was the queen of the gods, wife to Zeus, and the patroness of women, marriage, and childbirth.
THE ARGIVE HERAION, The sanctuary of Hera near Mycenae
Hera herself claims to be the protector of Argos in Iliad IV, 50–52: "The three towns I love best are Argos, Sparta and Mycenae of the broad streets".
The sanctuary of Herawas the famous, ancient cult center that lay on a low hill between Argus and Mycenae. It was probably the birthplace of the worship of Hera in ancient Greece. The first temple of Hera was built in the 7th century BC that burned to the ground in the fire. It’s said that it’s due to neglect of the priestess Chryseie in 423 BC.
The second, the Doric temple was built to honor the goddess by the architect Eupolemos of Argus about 420-410 BC. right on a terrace below the old temple. Some parts of the 5th-century temple were preserved, including lavish sculptural decorations. The depiction of the birth of Zeus decorated the pediment of the east side of the temple. The Gigantomachy decorated the metopes of the same side. The Trojan War cycle themes dominated the west side of the temple. The west pediment had a representation of the Sack of Troy. The metopes of this side depicted the Trojan Amazonomachy. There were also some lion-shaped water spouts, relief palmettes, tendrils, and cuckoos, the bird answered to the goddess.
The colossal gold and ivory cult statue of Hera that had stood inside the temple was the work of the Argive sculptor Polydoitas. Its form is known from the depictions on coins of Argos issued in the 2nd century AD and from the descriptions of the travel writer Pausanias. * From the description in the museum in Athens.
The Peacock in Greek Mythology
The peacock was a sacred bird to Hera, Hera became jealous when Zeus would spend time with one of his many mistresses, and recruited Argus to watch her with his hundred eyes. (According to Ovid, Argus had a hundred eyes). When Argus got killed, Hera set his eyes on the peacock's tail to immortalize him. In another version of this myth, Hera turned Argus into a peacock. This bird pulled her chariot in honor of his faith to her. Juno, Roman goddess has similar to Hera status and myth.
Other fun facts about the Mycenean world:
1. The use of Seals
Seals appeared in the Aegean area in the Early Bronze Age (3rd millennium BC). They had a long history of use in the advanced administrative systems of the Near Eastern cultures. Their widespread, administrative use reaches its apex in the Minoan palaces.
The microscopic engraved stones and the seal rings were true works of art that were used as jewelry, votive offerings, and amulets. The seals were used alone and in combination with the clay sealings for many years, confirming the existence of goods quality control. People who owned and used them were representatives of the upper class or other authority. Although the Mycenaeans were influenced by Minoan iconography, they used the seals primarily as objects of authority, while their contribution to the central administrative system was supplementary to the clay tablets. Their rich iconographic repertoire provides valuable information concerning religious convictions, the administrative framework and the social structure. * From the museum in Heraklion, Crete
2. The status of Women in the Mycenaean World
Women’s role in the Mycenaean world is suggested through iconography, precious and household objects, and the Linear B tablets. Many skills in the domestic economy that included special skills like textile-making and corn grinding belonged to slave women or female-tied workers.
There are many Linear B symbols talking about the textiles dying. The fabric was wool of different weights, to purple-red color. People worked in different stages making fabric, having separate professions for each step of the process.
The upper-class women were involved in royal activities that included the creation of personal, refined adornment pieces. The goddesses wore ornate Minoan dresses. The female priestesses played an important role in religious activities that gave them special social status.
The vast majority of this information comes from the local museum & notes placed along the route in the archeological site of Mycenae, Greece that I visited in 2024. I also used some Google to write the summary of the Trojan war and alike. If you’d like to explore other fascinating archeological sites of Greece, visit the links below as I explore the archeology and art of Delphi, Holy Meteora and more.
Greek art styles
Greek art is generally divided into four major periods, each with distinct styles and characteristics:
Geometric Period (900 – 700 BCE):
Emerging from the Greek Dark Ages, Geometric art is characterized by its focus on geometric patterns and stylized figures.
Pottery decoration is prominent, featuring abstract motifs like meanders, triangles, and swastikas.
Human and animal figures are depicted in a simplified, geometric manner.
Archaic Period (700 – 480 BCE):
This period witnessed a shift towards more naturalistic depictions.
Sculptors began carving figures in the nude, adhering to a rigid and idealized form known as the Archaic smile.
Pottery decoration continued to evolve, with the introduction of the black-figure technique where figures are painted in black silhouette against a red background.
Classical Period (480 – 323 BCE):
Considered the pinnacle of Greek art, the Classical period emphasized balance, proportion, and realism.
Human figures were depicted in more natural poses with a focus on ideal beauty and perfect anatomy.
The red-figure technique dominated pottery decoration, with intricate details and narrative scenes.
Famous Classical sculptors like Phidias and Polyclitus developed influential styles portraying gods and heroes in a majestic and harmonious way.
Hellenistic Period (323 – 31 BCE):
Following the conquests of Alexander the Great, Hellenistic art embraced a wider range of emotions and expressions.
Sculptures became more dynamic and dramatic, capturing movement and individual personalities.
Art from this period often reflected a more theatrical and emotional style.
Genre scenes depicting everyday life gained popularity alongside mythological themes.
Today we are talking with Melissa Weiss. She has been on The Potters Cast twice before- Melissa’s second appearance was in episode 624 in which we talked about her book she had just released, and her first was in episode 183 where we got to hear her story of setting up a community studio. In today’s episode we now hear her story of going through the hurricane, Helene through which she lost her studio. In the picture below you will see a photo from her Instagram feed where you can see the roof of her studio circled in red and the waters completely engulfing the building.
Do you ever find yourself struggling to meet the diverse needs of your students in adaptive art? It can seem overwhelming when you consider how many students you have and the unique learning needs of each. Fortunately, there’s good news! Differentiation simply means you consider your students’ interests, levels, and learning styles and use that information to personalize instruction.
Differentiation benefits your entire art class and not just your students with disabilities because everyone learns best in a myriad of ways. It encourages an inclusive and respectful culture where all students feel valued and capable of artistic expression. The best part is that it ensures all students have equal access to artmaking experiences and opportunities to express themselves creatively in meaningful ways!
Explore three helpful areas to differentiate learning experiences in adaptive art: delivery, goals, and pace.
Adaptive Art Delivery: How do we present the lesson?
1. Visual Cue Tiles
Adding a layer of visual cues to your lesson delivery can be a great way to help students with limited verbal communication. Use an online platform with visual communication symbols to easily create visual supports. For example, grab symbols to represent each step and material of an art project. Post these on a device, place them on the desk in front of the student, or display them on the board for the whole class. This will assist students with communication challenges or cognitive disabilities as they follow along.
Another way to use visual cue tiles is to compile schedules to help students anticipate transitions and understand the structure and routines of art class. Alternatively, provide a range of visual cue tiles for students to point to if they are non-verbal or have limited verbal skills.
2. Visual Steps
Create visual pre-made steps for each part of the art project. This can be super helpful for students who find it visually overwhelming to look at a finished example of a project and understand what step they should be on. This is also handy to give to instructional assistants as they support both you and the student in the project.
If you’re short on time to make these visual steps, check out FLEX Curriculum. FLEX lessons are broken down into steps with both written instructions and clear images. Early finishers in your general education art classes also love to create these documents for you and it reinforces art skills and terminology. FLEX also offers ways to differentiate for other students in your art room, such as English language learners, early childhood learners, advanced (AP) instruction, and more.
Adaptive Art Goals: How do we think about the lesson?
Content: What will students learn?
It can be a habit to dive straight into typing up a lesson, creating resources, and gathering supplies. The most important step in lesson planning is pausing to think before taking action! One way to differentiate a lesson is more of an exercise on changing perspective. Sometimes we have our own personal, class, and program goals. It can be helpful to consider the student’s definition of success. Are they working on beefing up an art portfolio for college admissions or practicing holding a paintbrush correctly? Knowing what their goals are can keep us focused on what’s important. Likewise, tapping into their interests can also make learning more meaningful. Use the filters and search bar in FLEX to sort resources based on specific topics.
Process: How will students learn?
Another way to shift perspective is to move towards more process-based work. It can be frustrating to look at work created by special education students because they probably aren’t at the high skill level you’re used to. Remember that the beauty of visual art is that it’s a personal journey and not a competition to create a perfect result. Take the time to share in your students’ success—no matter where they are in their creative process! Let go of the pressure to make social media-worthy projects and redirect that energy into cultivating wonderful artmaking experiences. Keep the process focused on learning targets with FLEX talking frames or resources with sentence stems.
Product: How will students demonstrate learning?
One tangible way to prioritize your students’ goals and successes is to download the “I Can!” Checklist to track the skills they’re working on and visualize strengths over weaknesses. You can also customize your lesson activities to encourage progress on their goals and further foster areas of success. Curate a bank of adaptations and challenges to copy and paste into any lesson and activity to efficiently customize instruction. Adaptations are ways to simplify the project to achieve goals and challenges, as well as extend the project for additional growth. FLEX also offers leveled skill rubrics for more specific ways to track learning for all grade levels (1, 2, 3).
Here is a bank of adaptations to pull from:
Work on a smaller paper or surface area.
Decrease the number of color choices or mediums.
Offer multiple breaks throughout class.
Use a larger handle and/or thicker bristle brush to cover more ground.
Allow the use of tracers and stencils.
Ditch the palette and pour paint directly on the paper.
Try paint sticks instead of traditional liquid paint.
Provide gloves for sensory sensitivities.
Offer adaptive tools such as adaptive scissors and paintbrushes.
Simplify requirements, such as only cutting straight lines.
Adhere artwork to the table or a clipboard to prevent it from moving.
Use a cake spinner for students with limited movement to add color to a 3D project.
Focus on independent marks instead of drawing shapes.
Here is a list of challenges to pull from:
Work on a larger paper or surface.
Increase the number of color choices or mediums.
Use a smaller brush size to encourage slowing down.
Boost the number of details or subject matter items required.
Pace refers to the speed and timing that the lesson unfolds. How quickly or slowly are you presenting the content? How long do your students have to absorb the steps and ask questions before they begin? How many class periods will this lesson take to complete? Answer all of these questions on the sliding scale of differentiation! FLEX features tips on how to modify the pacing of FLEX lessons in a handy differentiation guide.
Chunking is a teaching technique that focuses on breaking up an activity into small, recognizable, and manageable steps. Chunk information verbally and visually, such as with the visual cue tiles referenced above, to show each step and the sequence to perform them in. Chunking helps students process information more effectively by reducing task step overload. Instead of overwhelming students with large amounts of information all at once, chunking organizes content into digestible pieces that are easier to understand and remember.
Another thing to consider before the materials even reach the students is how your students will communicate their needs and questions. How do your students answer you when you present the class with a question? Do they have enough time to find the answer on their alternative communication device? Make sure to give students with limited verbal communication extra wait time so that they can participate in the class discourse. Another option is to use a buddy system for questions or provide assistants with whiteboards. This way, students can communicate at their own pace if you need to move on with the lesson for other students.
We want every student who steps into our art rooms to feel welcome and have access to opportunities to experience the joy of art! Differentiating instruction, or personalizing instruction to meet your students’ needs and preferences, is one way to create an inclusive environment. Three areas to focus on are delivery, goals, and pace. Incorporate visual cue tiles for reminders and alternative ways to communicate. Shift your perspective from product to progress and chunk information into smaller pieces to make learning more manageable. Taking a few simple steps while harnessing all FLEX Curriculum has to offer will support your students’ creative growth and promote a positive teaching environment for you!
What are some adaptations and challenges you’d add to the list?
What questions do you still have about differentiating lessons for adaptive art?
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.
Murals by Agostino Iacurci bring drab buildings to life in bold jewel tones, playful patterns, color blocks, and symmetry. Whether painting directly onto bricks and plaster or designing immense fabric sheaths to cover construction scaffolding, the artist’s vibrant compositions enliven street corners and urban thoroughfares.
Iacurci often emphasizes geometric patterns, flora, classical vases, and niches that hold symbolic objects or figures. You might enjoy checking out Gingko Press’s Mural Masters, a survey of the next generation of street artists, and see more on Iacurci’s website and Instagram.
“Landscape n.1” (2021), wall painting, 27.7 x 7.1 meters. Las Vegas, Nevada. Commissioned by Life is Beautiful“Disegno d’esame” (2021), enamel on wall, dimensions variable. Pascucci Elementary School, Santarcangelo di Romagna. Photo by Francesco Marini“Grüne Oase” (2024). Frankfurt am Main, Germany. Photo by Ivan Murzin“COINCIDENCES.” Ensorinstituut, Oostende, Belgium. Produced by The Crystal ShipDetail of “COINCIDENCES”“Landscape n.2” (2021), print on PVC scaffold sheet, 17 x 14 meters. Pastificio Cerere, Rome. Photo by Carlo Romano“Landscape n.3” (2021). Pinacoteca Civica, Foggia. Photo by Domenico d’Alessandro“L’antiporta” (2021), paint on wall, dimensions variable. Biblioteca Ugo Tognazzi, Pomezia. Curated by Marcello Smarrelli and Pastificio Cerere for Sol Indiges. Photo by Lorenzo PalmieriDetail of “L’antiporta”Detail of “Cardi (1571-2021).” Photo by Domenico d’AlessandroDetail of “Disegno d’esame.” Photo by Domenico d’Alessandro
This landscape painting by the 19th century German painter is a perfect example of counterchange — the reversal of value relationships between a shape or object and the background against which it’s set. In this case the dark against light at the top of the castle becomes light against dark in the center of the base.
See James Gurney’s excellent explanation of the principle in his 2008 post: Counterchange.
We’ve all been there—scrolling through endless art supplies and freebie groups to add another “must-have” item to our wishlist. We think that if we have that one material, everything will run smoother, students will be magically engaged, and the projects will practically teach themselves. But as the wishlists grow, so do the piles of supplies in our classrooms. It’s time to hit the pause button, simplify your art space, regain control of your classroom, and encourage creative bliss!
Embrace the “less is more” mentality to foster a welcoming art room.
Japan has a long tradition of tidying up as a path to clarity and balance. Hideko Yamashita, the creator of Danshari, teaches the art of releasing what no longer serves us to create space for what truly matters. Following this tradition, Marie Kondo’s The Life-Changing Magic of Tidying Uppopularized the idea that less can be liberating, sparking joy and order in our lives.
These philosophies invite us to take a fresh look at our art rooms. Sometimes too much art clutter and chaos can make it harder for everyone to focus and fully explore ideas. What if simplifying our spaces ignited more creativity, focus, and joy for teachers and students alike?
This doesn’t mean losing the magic of art—it means curating your space with intention to amplify its purpose. Research shows that decluttering your environment can unlockgreater innovation and engagement. Simplify your art space to foster calm and imaginative thinking and free up time and energy to focus on what truly matters—teaching and creating.
Simplify your art space with these six manageable steps!
1. Divide your classroom into zones.
Start by thinking of your space as a collection of zones. Each zone can represent a type of artmaking or media, such as painting, drawing, or sculpture. Dividing your room into zones helps you focus on simplifying one area at a time, making the process more manageable. This division doesn’t have to involve physically relocating materials; it can be a mental assessment of each area.
Here are three examples of common art room zones:
Painting Zone Brushes, paints, and palettes.
Drawing Zone Pencils, markers, erasers, and paper.
Sculpture Zone Clay and modeling tools.
2. Take inventory.
Within each zone, lay out all of your materials, tools, and supplies where you can see them. This will feel messy, but it’s an important step in visualizing what you have.
Ask yourself the following questions:
Does this enhance my teaching? Does this item spark joy? Joy isn’t just about happiness, it’s also about energy, connection, and purpose. Even if a material feels like a chore (looking at you, chalk pastels!), consider whether it’s required for the curriculum or adds value to your lessons.
Does this inspire my students? Think about how students interact with each item. Does it spark curiosity and engagement or does it sit ignored?
Have I used this in the last two years? If not, it’s time to let it go.
If you’re looking for a more structured approach to inventory management, The Art of Education has you covered with helpful inventory guides. Use them to streamline your material management and ensure your classroom is fully equipped for creativity.
3. Organize supplies by category.
Zones set up a broad structure to simplify your art space. This particular step focuses on finetuning how you store materials within those zones for maximum functionality and ease. For instance, once you gather all paintbrushes together, further separate them by size or type.
Labels are your best friend when it comes to maintaining an organized and accessible classroom. Use large, clear labels on bins, drawers, and shelves to make materials easy to find. Adding visual cues, such as icons or color coding, can further simplify identification for students of all ages and reading/language levels. Whether you prefer professionally printed labels or a quick piece of masking tape, the key is ensuring both you and your students can easily locate and return materials to their proper places.
Turn simplifying your space into a purposeful mission to help others to make it easier to let things go. Set up a designated box in your classroom for items you no longer need but that others may find useful. Label it clearly as your “Donation Station” to make the process quick and organized. When the box is full, donate the contents to other art teachers in your district or community centers to spark creativity in new students.
6. Adopt a “one in, one out” rule.
To prevent unneeded items from returning, establish a simple rule: for every new item brought into the classroom, remove an old or unused one. This habit keeps your space balanced and ensures you’re only adding items that truly serve your teaching goals.
Simplifying your art space is more than just organizing—it’s a chance to refresh and reset. It helps you realign your art room with your values and goals and nurture an environment where creativity can truly thrive. Letting go of excess makes room for the things that really matter, like connection, growth, and inspiration. Each small step you take toward curating your environment brings you closer to a classroom where both you and your students will experience creative bliss.
Do you want even more tips to make your art room dreams come true? Check out the resources below:
What’s one thing you can let go of today?
What’s your best piece of advice to simplify your art space?
Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.
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