Avoid Laryngitis in Your Online Course

by Leisha O’Quinn and Kristyn RoseColorado Mesa University

What’s ahead?Background and introduction

Saying helloYour homepage, your first impression

Say it loud, say it proudConfidence

Make it yoursPersonalize the learning experience

Remember: it’s all about engaging our students!

Introduction

What’s with the shirts?

Our basic premise: don’t lose your personal voice

Expressions of awesomeness

You are awesome. Express that awesomeness.

In other words....

DFTBA

Don’t Forget To Be Awesome

Concept founded by the Vlogbrothers

Followers are “Nerdfighters”(Explained)

Motto: “We fight to increase awesome and decrease suck.”

Check out http://nerdfighters.ning.com and the Vlogbrothers channel on YourTube.com to see more.

Laryngitis?

Engaging students with personal voice

Who uses their awesomeness to engage students?

Leisha’s Art History courses

Cannot meet face-to-face

Her voice begins with the introduction (see?)

Example of a student comment

Student Comment....Prof. O'Quinn,

I just finished taking the Slide Exam for Unit one. The exam stated that I missed question 41 which was Hatshepsut with Offering Jars- Egyptian, Dynasty 18, c1,473 to 1,458 BC, correct? I reviewed the lecture on that section and I am unclear as to why I did not get that question correct when I selected the correct answer. Can you please look into this? Thank you so much!

Sincerely,

Student X

(BTW... I love how you put together your slides and your wording. This has been the most interesting online class by far. Thank you for that)

P.S.... I would leave the power points as is!! They are fabulous and make me want to continue reading. When there is humor added to education it makes the whole process less mind numbing. :)

Laryngitis!

Student: “...mind-numbing....”

The “academic” trap

Don’t forget why you chose your discipline

Lose your voice, lose your students

Saying Hello

Your first impressionWhat was it like for you?

Put them at ease - by being yourself

Break the ice!

Your credentials

Be real = be awesome

Will energize your course, too

Examples…beginning with Leisha

About MeI am an Art Historian who currently lives in the great state of Texas. I was born and raised in the greater state of Oklahoma and graduated with an Art degree from Oklahoma State University in 1997. I earned my Master’s in Art from the University of Oklahoma in April 2005. I

began teaching in January 2002, and have been teaching consistently ever since. I lived in Grand Junction for 2 years and taught at Mesa

State for 1½ years before re-locating to Texas. Rest assured, I worked my butt off to earn the right to teach this stuff

You must understand that I LOVE what I do and what I teach. Art

History is a passion and I am incredibly fortunate to be a professor

and teaching in my chosen field. I am sometimes overly enthusiastic about the subject matter and take

every available opportunity to teach someone about it. I hope you guys

will be able to pick up on even a little of my enthusiasm this semester!

My home state which is varied and beautiful. It is also home to

more Native American tribes than other state.

One of my favorite places on earth, the Edmon Low Library in Stillwater

My adopted state! Yes, I have been to the

Alamo and kind of like it there; it’s right across

the street from my favorite hotel, the

Menger.

In my limited free time I enjoy reading and participating in a

national and international postcard exchange program

The Queen

The Queen’s offspring, Piper Ray: Piper is very, very six and loves to go to the

downtown aquarium, the zoo, and Sonic. She also loves to read, play, watch

cartoons, and go to school

The Queen’s consort; he answers to Ray I have been married to my super-awesome husband for

nearly 13 years. He is ridiculously smart and has degrees in psychology, mechanical engineering, and

aerospace engineering. Yes, I married a rocket scientist.

My family…….

ARTG 450 - Suzie Garner

Instructor’s Written Introduction

Video Introduction

Avatar

Let’s visit the course in D2L....

PSYC 320 – Dr. Brian Parry

• Regularly scheduled News items

• Remind of upcoming deadlines and course news

• Artwork communicates thought by the instructor

• “Fresh” look each week

• Adds humor and personality

• Let’s see the Summer course….

Kinesiology – Dr. Dick BellBefore – CMU “stock” photo After – Personal photo

Ice Breakers• Introductory Discussions

• Relevant videos

• HIST 132 – Modern History

• Billy Joel’s “We Didn’t Start the Fire”

• CRMJ 302 – Ethics in Criminal Justice

• Big Bang Theory – an example of handling an unusual crime report

Say it loud, say it proud

You are the expert

• Speak with confidence, no matter the medium

• But DFTBA

• Share your experience

• Share your enthusiasm

• Engaging students means better learning

Revisit ARTG 450

• Uses Camtasia to do a screen capture and voice over

• Pays close attention to voice inflections

• Helps to keep students engaged with the lecture

• Literally adds her voice, as an expert and an individual

• Let’s go see….

Leisha’s courses

• ARTH 316 002: 20th Century Art to 1950

• Adding personal experience

• ARTH 396 001: Architecture

• Personalizing the lesson on the Lions Gate

The Japanese Footbridge at Giverny, Claude Monet, oil on canvas, 35” x 36 ¾” c1922

The Japanese Footbridge at Giverny, Claude Monet, oil on canvas, 35” x

36 ¾” c1922: This canvas was painted just four years before Monet

died and his eyesight was fading quickly. While many of his earlier canvases reflected a lighter and cooler palette, this one reflects a

very fiery palette. This color palette is typical of Monet’s later work that

tended toward visions of twilight and impending darkness. Monet has

also loosened his brushstrokes considerably. The paint is so thickly

applied , that it literally protrudes from the canvas surface. (BTW – I’m totally sure of this as I have stood in

front of it several times ) The subject is however still apparent,

Monet’s beloved footbridge.

Lions Gate from the Citadel of Mycenae, Mycenae, Greece, limestone, relief panel is 9’ 6”, 1,450-1,200 BC: This gate represents the only

entrance to the Citadel at Mycenae and is constructed of three megalithic stones which form a trilithon. (Connections!!!) The trilithon is topped by the triangular shaped panel known as a relieving triangle. This triangular panel is made of a lighter material so it will not put as much pressure on the supporting lintel below. Think of the relieving

triangle as architecture’s version of the relief pitcher When major excavations began at Mycenae, they were conducted

inside the walls of the citadel with this gate being largely ignored. As such, all the cleared debris and rubble were removed to the entrance, that is the Lions Gate. Around 1880ish the rubble was piled so high

that visitors could actually stand face to face with the lions in the relieving triangle.

The exact function of the lions on the Lions Gate is not clear but the best educated guess says they were meant to serve as protective

figures. It is also assumed these creatures were lions as their bodies clearly depict. Their heads however were carved separately and have

been missing since ancient times and could have been an eagle making the figures griffins. (You can pick whichever creature you like best but the name is always going to be the Lions Gate ) You should also note that if the creatures were griffins the motif would have come

to the Mycenaeans directly from Minoan sources.Each of the lions stand with their forepaws resting on altars and

between the two is a rather Minoanesque column. (Thick at the top and slender at the bottom – Connections!!) Since only the Minoans used columns like this it is absolutely clear there was contact between the

two groups. Furthermore, there have been small pieces found at Minoan sites with a similar arrangement of lions and altars but the large-scale production seen here is taken from either Egypt or the

Ancient Near East. Bottom line: arrangement, animals, and items are from the Minoans; the grand scale and placement likely came from either Egypt or the

Ancient Near East and; the use of the relieving triangle, all Mycenaean, baby!

The Lions Gate at the end of the 19th century after having been cleared of debris. This image also provides a good view of the overall size of the gate as compared to mere mortals.

Make it yours

Let your light shine!

• Personalize the learning experience

• Helps students engage and remember the material

• Show them what you love and why you love it

• This is infectious!

• It is OK to be funny!

• Remember what that student said at the beginning: “When there is humor added to education it makes the whole process less mind numbing.”

MANG 300 - Dr. Tim Hatten

Major Project Grading scale:

A: 93-100 % of possible points. You dazzled me.  I wept.  The project oozed with creativity and professionalism. All suggestions for completing this assignment were taken seriously and a genuine attempt was made to avoid mediocrity.  I would be proud to show this work to others. I said “Wow.”

B: 85-92 % of possible points. Solid job, but lacked sizzle.  Assignment was completed on time.  Some parts were not developed fully.  The work is good, but not great.

C: 77-84 % of possible points. I had to stifle a yawn while reading the assignment (or listening to the presentation).  Significant portions of the assignment were missing or incomplete.  Clearly, this could have used more effort and caring.

D: 70-76 % of possible points. I became angry that you had wasted my valuable time.  Big gaps in the assignment made it extremely hard to follow and it was obvious that this class was an afterthought.

F: Below 70 % of possible points. I wept, but they were not tears of joy.  You just plain did not try.

From the syllabus:

“This project is worth 400 points. (Dude, as in about one third of your total grade!)”

Leisha’s courses

• You just gotta see it…..

The Romans actually seem to have invented something on their own with Trajan’s Column!! That we know of, the idea of a freestanding, commemorative column with continuous narration

was absolutely new when Apollodorus of Damascus came up with the idea. Good for the Romans, they had an original thought You will recall this column was a part of the original plans of Trajan’s Forum and it sat in front of the Temple of Trajan and between the Greek and Latin libraries. Because only the column remains today, we have a tendency to see it as an

isolated artwork when it was originally intended and was a part of a much larger site.

Trajan’s Column is meant to not only commemorate the emperor’s two successful military campaigns against the Dacians (Dude, let it go!!!) but also to remind the population of his two successful military campaigns. Once again, propaganda rears its ugly head! Every aspect of

military life is depicted on the column in a continuous narration that goes on for 625’!! Although there is no proof, many scholars feel Apollodorus got the idea for the continuous

narration from the illustrated scrolls which would have certainly been present in the neighboring Greek and Latin libraries. Detailed analysis of the narration breaks the imagery down into 150 individual scenes with more than 2,500 figures playing out the those scenes. Everything from marching to setting up camp to actual fighting is accounted for and detailed in this narrative. What was of vital importance for the viewer to notice was Trajan’s presence; he can be found

throughout being an involved and active member of every aspect of the two campaigns. It was important that Trajan present himself to his population in a positive light and involvement with

his men, doing the same tasks they were required to do would have accomplished just that.As the narrative winds 23 times around the column’s shaft and the separation between the

bands becomes wider near the top so the images can be clearly seen from the ground. While the bands are widened, the level of relief carving used from top to bottom is absolutely the

same and rather low. A higher relief for the imagery near the top would have made it easier for the viewer on the ground to see the images but it also would have distorted the contours of the column shaft. Additionally, ancient viewers could always view the images in the upper bands

quite clearly if they did so from the upper levels of the flanking libraries. See why it’s important to know and understand context?

In the image to the left you are only able to see the actual column. There is a bit more to this fine structure including a large square base that served as a mausoleum for both Trajan and his wife, Plotina. The outer walls of the mausoleum are decorated with images of captured Dacian arms and armor. Furthermore, coins that date to the same period as Trajan’s Column reveal

that the column was once topped by a heroically nude statue of the emperor. That statue was lost during this Middle Ages and now has a fully clothed statue of Saint Peter on top!

*The column became such a tourist attraction in later years that by 1162, a law had to be passed forbidding anyone from harming the column. The punishment for violating this law was

death.

Just for laughs: one of the first times I taught this image I was a new professor, and I remember telling my class “yes, it looks like a very large penis”; it is a phallic symbol and there’s no denying it. Unfortunately, saying that out loud flustered me and I went on to stumble over the name many, many, many times in the next few

minutes. I kept inadvertently referring to it as TrOjan’s Colum. Freudian much? Embarrassing much? You bet, but funny!

Trajan’s Column, Apollodorus of Damascus, approx. 128’ tall with 625’ of continuous

narration, dedicated 112 AD

Rabbula Gospel, Monk Rabbula, 13” x 10½”, c586

The provenance & dates of the manuscripts you have so far seen can be reasonably debated. Sadly, this kind of argument can be said for most of the manuscripts which come from the early Christian period. But

there is one instance of a New Testament codex upon which agreement is possible. The manuscript, known as the Rabbula Gospel, was written by the monk Rabbula (hence the name) in the monastery of Saint John of

Zagba in Mesopotamia. This monastery was in the eastern part of the empire & this location will affect some of the imagery & how that imagery is used by monk Rabbula. The manuscript is clearly & firmly dated to the

year 586.

Rabbula’s manuscript contains many full-page illustrations and some of them can be counted among the earliest fully historiated narratives to be found; that is, images in which the paintings/illustrations include

many details described in the Gospels that are not strictly necessary to the depiction of the account. Uh, oh! Did she really just mention extraneous detail?? You bet your butt I did!! So let’s take a look at two of the

most unusual & beautiful examples found in the Rabbula Gospel.

In the scene of the Crucifixion, we have all the parts necessary to tell that story as well as a few other details not mentioned in any of the Biblical accounts of the event. What’s supposed to be there includes the

eclipsed sun, the thieves on either side of Christ, the soldiers casting lots for Christ’s robe, the lance bearer (Longinus) who is later forgiven for his role in Christ’s death, the three women who witnessed the event, & the

Virgin and John the Evangelist. Rabbula goes well beyond the gospel accounts of the crucifixion in this particular scene. He includes many

elements that are from the Gospels but occur after the Crucifixion. That list includes: in the lower register in the first scene on the right are two Marys (including the Virgin) who are visiting Christ’s tomb which is being guarded by an angel, in the center is the now empty tomb with the soldiers asleep before it, & finally, on the

left is a scene of the Noli Me Tangere in which Christ admonishes Mary Magdalene not to touch him as he is no longer a part of this world. Curiously, the Virgin is also present in this last scene, something that none of the

Gospel accounts mentions. One other oddity to the piece is the clothing worn by Christ. Traditionally, in scenes of the Crucifixion, Christ is seen wearing just a loincloth but here, Rabbula has dressed Christ in a

purple tunic with two golden bands. While this is unusual in the world of art, it is completely normal in terms of Scripture. According to the Gospel of John 19:2 “And the soldiers platted a crown of thorns, and put it on

his head, and they put on him a purple robe.”

FYI: Lots and lots of students tell me this is the Rubella Gospel on exams. For the record, rubella is a disease & Rabbula was a monk who wrote a book

Old Kingdom Egypt cont.; early European graves and the great stone circles and; Skara Brae

I know, I know! Lesson one wasn’t the most scintillating thing I have ever put together but it is a necessary evil. In order for you to more fully appreciate the

really big, eye-catching stuff, you have to be aware of what came before. Did you really think the Egyptians just one day out of the blue decided to construct one of the ancient world’s seven wonders? Silly art history student, even the Egyptians

had to crawl before they could learn to walk To the left is yet another map of Egypt. Since Egypt is already fresh in your brain,

we will start this lesson with a continuation of the awesomeness that was Old Kingdom Egypt. We have already dipped our toes into this period of Egyptian

history so this time around we will be discussing sites that represent the progression from crawling to walking; yep, you will get a couple of wonky, not quite right pyramids followed by real, honest to goodness pyramids on the Giza Plateau.

From Egypt, I will briefly discuss tomb construction in Europe as it is vastly different from

what the Egyptians were doing and then we will take a little hop, skip, and a jump to a tiny little

group of islands off the northern coast of Scotland where we will discuss in detail a rockin’ domestic setting known as Skara Brae. To round out week two you will get to visit England where you will get to see one of the world’s most recognizable

sites, Stonehenge. FYI: Stonehenge was not built by aliens or the Druids

Djoser’s Step Pyramid, Imhotep, Saqqara, Egypt, 3rd Dynasty, 2686-2613 BC

Djoser Seated, stone, 3rd Dynasty,

c2650 BC

Precious little is know about the life of the pharaoh Djoser but what is known and visible to the modern world is immensely impressive. Djoser

was the first pharaoh of the third dynasty and was responsible for bringing peace and stability to the entire empire. Djoser did not accomplish this single-handedly but did so with the help of an

accomplished, skilled, and ruthless group of advisers, administrators, and scholars. With the administration and borders of the empire secured,

Djoser had the time to consider his legacy and what it might be. As with his predecessors, Djoser almost immediately commissioned the building

of his royal tomb.

Imhotep was an architect, astronomer, mathematician,

doctor, and writer. In Greek times he was identified with the god of

medicine, Aesculapius

Among the group of men surrounding Djoser was a non-royal named Imhotep. (are you picturing the mob from The

Mummy mindlessly chanting “Imhotep”? If you weren’t you are now; you can thank me later ) Imhotep was one of only a few non-royal Egyptians to attain legendary status. He was a most trusted member of Djoser’s inner circle and held the titles of “Overseer of Seers”; “First for the King”; “Director of

Public Works in Upper and Lower Egypt”; “Keeper of the Seals of Lower Egypt”; “Recorder of the Annals”; and

“Supervisor of the Great Palace”. Imhotep’s status was so great that his name and titles were actually inscribed on the base of a now lost statue of Djoser (the base is not lost) and his parent’s names were recorded in an inscription at Wadi Hammamat. In the centuries following his death Imhotep was revered as a great and wise man and scribes would often invoke his name before beginning a large written

project. As you can clearly see Imhotep was absolutely the right man

to be chosen to build such a monumental tomb for his pharaoh. Of course Imhotep was familiar with the traditional

mastaba form and that is exactly what he started with. However, by the time all was said and done, Djoser was

buried in a massive kind-of pyramid which was contained within the walls of a large mortuary complex.

Great Pyramids, Giza Plateau, Giza, Egypt, 4th Dynasty:

As far as the Old Kingdom goes, the fourth dynasty is far and away the Golden Age. Thanks to the innovations and trial and

error of the pharaoh Snefru and his architects, the Great Pyramids of the Giza Plateau became one of the Seven Wonders

of the Ancient World! Of all the ancient wonders, only the pyramids have survived into the modern period. Despite having lost their limestone casings and many of the smaller structures surrounding them having fallen into ruin the Great Pyramids are

still standing and still marvelous.

There are more than 80 pyramids in Egypt that were built over a 1,000 year period. Of the remaining sites, the three Great

Pyramids at Giza are the most durable and the largest. It is no accident that the very clever designers/architects chose the Giza

Plateau as the site for these world famous pyramids. The Plateau has a high position over the Nile Valley and it is on the

western bank of the Nile. The west bank is significant because of its associations with death and the setting sun. On a less

philosophical note the Giza Plateau also offered a solid limestone foundation and plenty of building material.

Each of the three pyramids belongs to a different 4th Dynasty pharaoh: Khufu (aka Cheops), Khafre (aka Chephren) and,

Menkaure (aka Mycerinus).

There are many, many similarities among the three great pyramids so in the interest of time and the avoidance of being far too repetitive and the avoidance of being far too repetitive (HA) I am going to focus your time and attention on the largest

and most impressive of the pyramids, the Great Pyramid of Khufu.

Denon was a French artist, diplomat, and archaeologist. At

Napoleon’s request, Denon joined the expedition to Egypt at which

time he produced his most significant work, Journey in Lower

and Upper Egypt which was published in two volumes in 1802.

This work established Denon’s reputation as both an artist and

an archaeologist. Of his encounter with the monuments of

the Giza Plateau he wrote:“On approaching these colossal monuments, their angular and inclined form diminishes the

appearance of their height and deceives the eye . . . but as soon

as he begins to measure by a known scale these gigantic

productions of art, they recover all their immensity.”-Vivant Denon, 1803

Florentine Painting at Mid-Century

Batman as Leonardo’s Vitruvian Man

Origins of the High Renaissance

Teenage Mutant Ninja Turtle as Leonardo’s Vitruvian Man

Well, it only took half the semester but we finally made it – the High Renaissance! For all intents and purposes, this is the

time period people are referring too when they say “Renaissance”. This time period

is the time of three of the four Turtles, Leonardo, Michelangelo, and the youngest of the group, Raphael. These names are universally known and the works created by these men are legendary. As such, in

order to do these men and their work justice, I have chosen to break them up

into individual lessons that will focus exclusively on one Turtle at a time and his

work. To kick things off we have one of my top 10 favorite artists, Leonardo da

Vinci

Bender as Leonardo’s Vitruvian Man

The Road to the RenaissanceWelcome to the Italian Renaissance! As you might well expect we will be dealing with some very famous artists this semester

in what is likely, the single most popular period in all of art history. The four most famous of the Renaissance artists,

Donatello, Leonardo, Michelangelo, and Raphael (forevermore to be known as the Turtles so I don’t have to keep typing all

their names. ) were four among many, many, many artists of this period.

We will begin this class where we always begin in my classes, at the beginning. I will lay the groundwork for the period

known as the Italian Renaissance by taking you back a bit to the preceding period known as the Late Medieval period. As we have a great deal of information to cover this semester, I

will move quickly through this early period and into the introduction to the actual Renaissance. The introduction to the period may be the most dull thing you read all semester but it is a necessary evil. This introduction will offer a great deal of information regarding style, technique, terms, and simple background information. The things found in this

introduction will be things that you will use again and again throughout the semester. So, while I appreciate that the initial

introduction may be quite dry & rather dull please, please familiarize yourself with the material found there. You will

need it and be tested over this information. Following the introductions we will begin a chronological

survey of individual artists & their respective works. We will deal with these artists & their works as products of their time

and place. In general, our focus will be on painting and sculpture but I will deal with some architecture particularly where it relates to a specific piece of sculpture or a painting.

And now, in the totally tacky words of Bender “Into the breach, meat sacks!”

Madonna of the Rocks, (Paris version), oil transferred to canvas, 6’ 6½” x 4’, begun 1483: In 1483, shortly after arriving in Milan, Leonardo accepted a commission for a panel for the Brotherhood of the Immaculate

Conception who had a chapel in San Francesco Grande in Milan. The Brotherhood commissioned this painting around the same time Pope Sixtus IV wrote and signed a papal bull declaring that the Virgin Mary was not only pure at the time of Christ’s birth but was also completely free and clear of the stain of original sin. This doctrine was at the center of the Brotherhoods' beliefs and according to the contract which was in

place by April 25, 1483, Leonardo was depict to “our Mother of God with her Son and two prophets, executed in oil with the utmost care.” Leonardo didn’t do this . . . twice! There are actually two versions of this piece,

this being the earlier of the two and a later version with alternations/modifications that dates to c1508. Neither of the paintings reside within the Brotherhood of the Immaculate Conception’s chapel in San

Francesco Grande in Milan Most scholars now agree that this earlier version of the paintings was completed solely by the hand of

Leonardo and was intended to be the central panel of a large altarpiece. In this panel we see a beautiful and youthful Virgin Mary, dressed in blue, seated in a rocky, cave-like setting. The Virgin wraps her right arm

around the nude and kneeling figure of John the Baptist while her left hand (in perfect foreshortening) is held protectively above the head of her infant son. An angel sits behind the Christ child and steadies him as she points toward John the Baptist. The arrangement of figures creates a unified and solid pyramid configuration that balances the entire composition. The figural arrangement is placed at the forefront of the composition and while it should be the most interesting portion of the painting, it is far from being so. What generally grabs the viewer’s attention is the strange and gloomy background that unfolds behind the central figure

grouping.The setting, while certainly gloomy and a bit confusing is actually based on a tradition associated with the

Nativity. According to the tradition, the location of the Nativity was also mystically identified with the cave of the Sepulcher. Saint Antoninus claimed that both locations were alluded to in the Song of Songs 2:14 which

states: “O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance.” It seems clear that Leonardo, or more likely his religious advisor was well informed where this tradition is concerned. Leonardo provided the group of figures a dark and ominous setting that opens, in the deepest background, onto a bright yet hazy landscape – I told you that hazy, fogginess over the water would show up again. (I really want to make a Deep Purple reference right here but I won’t. Oh wait, I think I just did ) All of the flora and fauna as well as the rocky outcroppings within the fore- and middle ground are painted with Leonardo’s exacting attention to detail. The muted earth tones of his palette only serve to

increase the gloomy and somewhat ominous feeling that is already established by the setting.

“…what Evans began uncovering in 1900 at Knossos….was a world not only older, but to all

appearances greatly superior in art, architecture, and technology to that of mainland Greece. To Evans’

generation, this Minoan world was a unique, artistically brilliant, and technologically advanced cosmopolitan

culture, with its own very distinctive art and architecture and its own systems of writing, on par with its contemporaries in Egypt and the Near East,

borrowing from and trading with them, yet independent and unattached, unaffected by their political and military upheaval, and their periodic

imperialisms.”

Donald Preziosi and Louise A. Hitchcock, Aegean Art and Architecture

Upper right and left: Sir Arthur Evans and assistants among the ruins of the grand staircase, Palace of King Minos, Knossos, Crete;

Lower: Evans among the earthenware jars discovered at the Palace of King Minos, Knossos, Crete.

As you might have guessed, Evans is the rich guy wearing white to an excavation site. He oversaw the excavations and got credit for the

finds but I never said he actually dug in the dirt himself, he had workers for that, DUH!!!

Octopus Vase. Keep this image in mind because I

will also show you a similar piece from the Mycenaeans that is a much lower quality

version of this piece. Although both cultures

are Aegean, their concerns in day-to-day life were very different

and those difference will certainly affect the quality of the art.

P.S. This is the happiest octopus on earth…..he

looks like he is smiling FYI: the “arms” are called tentacles not testicles…….lots of students get that one wrong and it

makes me laugh, A LOT!!!!

QUESTIONS?

Contact us!

• Leisha O’Quinn

• loquinn@coloradomesa.edu

• Kristyn Rose

• krrose@coloradomesa.edu

…if you dare…