teacher guide: west to northwest - tacoma art museum...to ensure a successful and informative museum...

Teacher Guide: West to Northwest


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West to Northwest

The Northwest has a distinct identity and, though not always obvious, many of the characteristics that define our region have their origin in the broader story of the American West. Northwest in the West: Exploring Our Roots draws from the museum’s collection of contemporary art to look at how the ever-evolving character of the West has shaped and continues to inspire artists. SCHOOL TOUR INTRODUCTION Thematic guided school tours provide in-depth exploration of one exhibition and relevant art concepts for K–12 students (ages 5 to 18). Two hours in length (90 minutes for K–1), each tour is led by knowledgeable museum volunteer educators who engage students in a conversation-based gallery visit and introductory hands-on art lesson. HOW TO USE THIS CURRICULUM The curriculum guide includes sample images, pre- and post-visit lessons plans, background information, activities, and other resources to help you integrate the museum experience into your classroom curriculum – lessons may also be modified to be used independently of a museum visit. Grade levels are suggested for each lesson; however, teachers may adapt lessons to other grade levels as appropriate.

PRE- AND POST-VISIT LESSONS To ensure a successful and informative museum experience, pre-visit lessons are created to prepare your students for their museum tour. After your museum tour, use the post-visit exercises to help reinforce your students’ museum experience and the concepts and information addressed during the tour and art activity. Each lesson is designed to correspond to Common Core State Standards (CCSS) and Essential Academic Learning Requirements (EALRs). CONFIRMATION PACKET Please be sure to review the confirmation letter you received when you booked your school tour. The confirmation packet includes directions and parking instructions, and information about obtaining a free museum pass so that you may familiarize yourself with the exhibition content and the layout of the museum prior to your school tour. Also included in the confirmation packet are museum guidelines to share with students and chaperones prior to your visit to help insure a successful and safe museum visit for everyone. CONTENT

Exhibition Introduction Pre- and Post-Visit Lesson Plans Glossary Resources Standards Information and Credits

School Group Tours are generously supported by The Gottfried and Mary Fuchs Foundation, Wheeler Charitable Trust, William Kilworth Foundation, The Marco J. Heidner Foundation,

and


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Northwest In the West: Exploring Our Roots

The Northwest has a distinct identity composed from a unique blend of cultural, environmental, and historical influences. Though not always obvious, a number of the characteristics that define this region have their origin in the broader story of the American West. Northwest in the West draws from the museum's collection to look at how the complex and ever-evolving character of the West has shaped and continues to inspire regional artistic responses. The maps below illustrate how the boundaries of the territory defined as the West have shifted as the United States expanded throughout the 19th and early 20th centuries, ending in the group of 12 states now defined as the Western region. It encompasses a wide variety of landscapes and lifestyles that share a history shaped by exploration, immigration, displacement, settlement, tradition, and rapid change. The story of the West is not complete without the Northwest’s contributions: the lure of its lush landscapes and abundant resources; the new life it symbolized as the Eden at the endpoint of every immigrant trail; and the last piece of the puzzle that tied the United States together from ocean to ocean. In contemporary times, it is a region still defined by its connections to the land, restlessness, lack of conformity, and complicated relationship to its own history. The gift to Tacoma Art Museum of the Haub Family Collection of Western American art enables the museum to continue to explore Northwest art’s relationship to the broader context of art of the American West. This exhibition is the first of many opportunities to look at this complex interweaving of influences and how the Northwest’s artists have adopted, adapted, or reacted against them. Organized by Tacoma Art Museum. Generous support provided by Propel Insurance.


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THE LAND The land is a constant and critical theme in the history and art of the American West. Since the first expeditions into the new western territories of the United States in the late 1700s, the scale and unique beauty of the West’s landscapes have fascinated and beckoned. The ownership and uses of those vast stretches of land and the abundant resources they contain have been at the heart of most major cultural developments in the West. The Northwest’s varied and visually dramatic settings and constantly shifting light and weather have been the subject of numerous artworks ranging from grand, detailed panoramas to the edge of abstraction. Even for many Northwest artists whose work is non-representational, the Northwest environment subtly influences their light, palette, mood, or structure. On a broader level, human interactions with the environment of this region—from specific uses to psychological responses—also are central to much work created in and about the Northwest. CLAIMING AND RECLAIMING All regions of the West were environmentally and culturally transformed by the westward expansion across the American continent in the 19th century impacting natural resources, the landscape, and its inhabitants. In addition to the physical evidence of these changes, the intellectual and emotional echoes continue to reverberate today as histories are revisited and debated; perceptions of place, self, and community evolve; and opinions about land and resource use shift. For Northwest artists, the histories and issues around use of the region’s resources have been fertile ground. Images range from the early timber industry to works that address contemporary environmental concerns. The stories and voices of the many cultures that have shaped this region also are key sources. Historical works celebrate the pioneer experience and development of the Northwest. Some Native American artists confront the violence and displacement inflicted on them by settlement of the region while others draw upon Native viewpoints and aesthetics in their work. The complicated, often painful, and still evolving histories of the many immigrant groups who came to the Northwest—from Asia, the southern United States, and Nordic countries among other locations—inform a significant body of Northwest works. MOVEMENT AND RESTLESSNESS Movement is an abiding theme in the West as it has long been a destination for exploration and immigration. Early settlers often had a rootless mindset, picking up and moving at a moment’s notice if a location didn’t suit them since land was plentiful and varied. Routes into and across the West were critical and inspired further movement—first trails, then railroad tracks and shipping routes, then highways. A restless spirit is still often listed as a characteristic of westerners. The western states are known for their highly mobile populations, and the national parks and other sightseeing attractions are popular vacation destinations. For Northwest artists, some of them immigrants themselves, the experiences of the many groups that have come to or moved through the Northwest are central themes in their work. The physical


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evidence of the changes worked on this region by these shifting interests and populations also serve as inspiration. Another common interest is the physical act of moving through and interacting with the Northwest environment from everyday encounters to road trips and recreation. IDENTITY The definition of the American West is a constantly changing construct based on geographical, cultural, and intellectual factors. As a new nation the United States strove to create an identity separate and distinct from Europe. The western half of the country offered a number of contrasts to build upon. Once established, regions of the larger West began to differentiate for social, religious, and political reasons, first against “the East” and then from their neighbors. For many people, moving west also was a chance to start a new life and often to rewrite their own histories. Defining what is the Northwest and whether there is a distinctly Northwest aesthetic is a core concern of many Northwest artists. Earlier historical works primarily focused on the unique scenic qualities of the Northwest environment. In the 1920s and 1930s, the push to create a distinctly American art that reflected the nation’s breadth and diversity inspired the art movement known as Regionalism that focused on scenes and qualities specific to particular areas of the country. Since that time, the question of how to define Northwest art has offered a rich source of debate and inspiration for artists of this region. PSYCHOLOGICAL CONSTRUCTS Two emotions are commonly identified with the West: nostalgia and grief. Both are responses to things that have changed, are passing away, or have been lost. Mourning the “West that was” has long been a part of its story and has been integral to the emotional response around such disparate events as the attempts to remove Native American populations, the near-extinction of the bison, and human alteration of what were once seen as untouched Edens. These psychological states are further complicated by the myths and misinformation in western history, literature, art, and Hollywood films. Conversely, the western landscape has long been seen as a place of escape, respite, and rebirth. Perhaps the most obvious manifestations of these emotional themes in Northwest art are the works about environmental issues. The changing landscape—actual and social—as a result of settlement, development, and resource extraction are all common subjects. The landscape also features as a place for contemplation, a catalyst for self discovery, a site for restoration. Northwest artists also are drawn to the auras of nostalgia and grief and how those are echoed or expressed both physically and culturally.


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BRIEF DESCRIPTION This pre-visit activity will help to prepare students for their museum visit by increasing their comfort level in viewing and discussing art in an encouraging, non-judgmental atmosphere. BACKGROUND Visual Thinking Strategies, or VTS, is a student-centered, research-based methodology for discussing art with a group of young people or adults. It uses art to foster learners’ capacities to observe, think, listen, and communicate, asking them to back up interpretations of a work of art by identifying the visual evidence that led them to their conclusions. VTS promotes the growth of a student’s aesthetic assessment. Building on an existing foundation of descriptive language, the practice of VTS encourages the evolution of critical thinking. Students learn to compile visual clues and arrive at valid interpretations. The following lesson is an adaptation of the VTS discussion technique. A brief overview of VTS In VTS, the educator:

Facilitates, but is never the source of information or opinion Listens and repeats a succinct summary of what the student has said, emphasizing

words and concepts that push the conversation further Links various converging and diverging viewpoints Acknowledges each comment as a valid and worthwhile contribution

The students…

Have an opportunity to point out and verbally describe what they see happening in a work of art

Know that their thoughts and opinions are heard, understood, and valued Provide evidence to explain interpretative comments Are able to see that each comment contributes to the group process of mining the art for

meanings LESSON Let students know that today they are going to discuss a work of art to see what they can learn about the artwork and the artist(s) just by looking. Select one or more of the images included in this guide, or find and choose your own image(s). (Please note that in a first time VTS discussion, a figurative, narrative scene makes for a steady stream of conversation as well as diversity of interpretation. Using more abstract pieces can prove challenging for first-time art viewers, but can be developed quickly by guiding questions down a qualitative checklist. For example, “Who would like to tell me about the textures they see (line, depth, contrast, shape, e.g)?”)

Seat students in front of selected artwork and give them a moment to look at the image in silence before inviting them to speak. Look carefully at the image with the students. Encourage them to view the art much like they would read a book, scanning across, up, and down.

PRE-VISIT LESSON: Reading Art GRADES: K–12 LESSON LENGTH: 1 class period

ESSENTIAL QUESTION: What can we learn by “reading” art?


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Ask, “What is going on in this image?” Rather than starting out with “What do you see?” a question that invites a checklist of responses—“a dog,” “the color green,” “a red square,” e.g.—an open-ended question about what is happening starts the discussion off by inviting students to make meaning out of what they see. It also implies that we can find meaning in any work of art.

Paraphrase each student’s comment after he or she responds, pointing to the details he or she mentions. Paraphrasing and responding to each comment in the same way helps indicate to students that no one interpretation is more valid or interesting than another.

Introduce the appropriate vocabulary as it appears in the conversation.

If a student provides an interpretive comment about the image (“I think the artist is sad,”

“It looks like a farm,” “This takes place in the future,” e.g.), ask, “What do you see that makes you say that?” This reminds students to return to the image to find evidence for their opinions; it also builds descriptive vocabulary.

Ask “What more can we find?” intermittently to keep the discussion going—and to imply

that there is always something more that we can find in a work of art.

Repeat the three big questions as needed to allow students to continue to describe their observations:

“What is going on in this image?” “What do you see that makes you say that?” “What more can we find?”

Use your own judgment to close the discussion when student focus wanes. (The time

needed for this lesson may vary from 10-45 minutes, depending upon the age and developmental needs of students.) As you conclude, thank all the students for their contributions.


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BRIEF DESCRIPTION Before visiting the museum to view Northwest in the West: Exploring Our Roots, students will explore their understanding of the identity of the Pacific Northwest and American West. EALRS 2.3 Applies a responding process to an arts presentation: engage, describe, analyze, interpret, and evaluate 3.2 Uses the arts to communicate for a specific purpose BACKGROUND Across America regional identities abound – as straightforward as North, South, East, and West to more specific examples such as the Southwest, Midwest, New England, Mid-Atlantic, Gulf, Northern Pacific Plaines, and Pacific Northwest to name a few. These regional identities bring to mind differing landscapes, cultures and arts, populations, foods, and traditions. The Pacific Northwest certainly has a unique regional identity and on a very fundamental understanding the Pacific Northwest is defined as Oregon, Washington, and the Canadian province of British Columbia. In a broader definition Alaska, Northern California, areas of Idaho, Montana, and Wyoming are considered part of the Pacific Northwest. Within an even broader context the Pacific Northwest is part of the American West identity – in the 21st century the American West is defined as the states which include the Rocky Mountains and the Great Basin to the West. Too often the identity of the American West is limited to the Oregon Trail or California Gold Rush, but the Pacific Northwest is part of that identity. Northwest in the West: Exploring Our Roots presents artwork from the museum’s permanent collection that highlights artists, men and women, with American, Dutch, Japanese, Mexican, Native American, Russian and Swedish roots and their connection to the northwest, as well as American West. At its core the exhibition asks each viewer to reflect on how this diverse group of artists showcased express the identity of the American West outside of the traditional defined genre of Western American art that populates western myth, storytelling, and popular culture such as film, fiction, and advertising. LESSON Students will reflect on their understanding of Pacific Northwest and American West identity. Teachers will use the following prompts to encourage students to write their thoughts. Please note: teachers may presents this as a creative writing lesson for students to write a story or poem. PROMPTS

□ How do you define the Pacific Northwest Limited to Washington and Oregon Broader to include Idaho, Alaska, Wyoming, Montana, and Northern California

□ What comes to mind when you think of the Pacific Northwest

PRE-VISIT LESSON: Regional Identity GRADES: K–12 LESSON LENGTH: 1–2 class periods

ESSENTIAL QUESTION: How do we define the Pacific Northwest?


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Landscapes – natural (Mt. Rainer, Columbia River, Farmlands) and man-made (Seattle and Tacoma)

Colors – blues, greens, grays for Western WA and yellows, browns, and organs for Eastern WA

Popular Culture – music including rock, grunge, and hip-hop, movies and television, sports teams, etc.

□ Who are the people of the region?

Native Americans – Tacoma Art Museum is on Puyallup Tribe land Immigrants – British (early settlers of region), Chinese (builders of the railroad), and

Japanese (who were placed in internment camps during World War II) to name a few. Workers and Businesses – famers, sailors, Rosie the Riveter, Boeing, Amazon, and

Microsoft, etc.

□ What comes to mind when you hear American West? Exploration and gold rush Cowboys and rodeos Displacement of Native Americans

□ Do you think that the Pacific Northwest is part of the American West – why or why not?

CONCLUSION Ask students to share their written responses, stories or poems with the class. Are there any similarities or major difference? What do they hope to experience when visiting the museum? EXTENSION ACTIVITIES

□ Continue the conversation on regional identity by having students respond to how the Pacific Northwest and American West differ or are similar to the East Coast, South, Midwest, and so on.

□ After visiting the museum represent the lesson to see if the students understanding of Pacific Northwest and American west identity have expanded.


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BRIEF DESCRIPTION After visiting the museum to view Northwest to the West: Exploring Our Roots students will reflect and respond to Tacoma Art Museum’s Haub Family Gift of Western American art. BACKGROUND Tacoma Art Museum received a donation of 280 works of Western American art from Erivan and Helga Haub and their family, and is constructing the Haub Family Galleries, which will double the museum’s gallery space, and an expanded lobby to showcase this remarkable collection. The exhibition Northwest in the West: Exploring Our Roots is one way the museum is bridging the narrative of its current collection and the Haub Family Gift, specifically broadening the understanding of the American West and Pacific Northwest identities (see lesson on page 13). LESSON Before reviewing the lesson with students, please ensure to share the Haub Family Gift of Western American art summary on page 16. For the lesson, students will be doing a research project that they will present to the class on Western American art as artists have shaped ideas about the American West for centuries. Students will select an artist – from Frederic Remington, Georgia O’Keeffe, Kevin Red Star, to name a few – and present the artist’s biography and background, a famous work(s), style (landscape, portraits, sculpture, etc.), why they selected the artist, and discuss what story the artist is told about the American West. Teachers should provide students with time to access information at the school library – including online research. Extension: Have students create a piece inspired by the artist they selected. For example instead of painting a flower like Georgia O’Keeffe a student could take a photo or make a collage. CONCLUSION Each student will present their project to the class. If students do make an art piece the artwork should be displayed in the classroom or in the school.

POST-VISIT LESSON: Haub Family Gift of Western American Art GRADES: 4-12 LESSON LENGTH: 2 – 3 class periods

ESSENTIAL QUESTION: What is American Western art?


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Art of the American West: The Haub Family Collection

The Haub Family’s donation of more than 280 works of Western American art, announced in July 2012 and grand opening in November 2014, transformed Tacoma Art Museum into one of the leading museums in the country featuring Western American art. Bringing the Haub Family Collection of Western American art is a chance for the museum to share an integral piece of American art history with the Puget Sound. It will broaden our definition of “the West” and open our eyes to the Northwest’s rich and complex place in the American West. The Haub Family Collection of Western American art is unrivaled in its scope, and contains artwork spanning from 1820 to today. The collection includes prominent 19th century artists who shaped our views of Native Americans, mountain men, cowboys, and pristine American landscapes, including George Catlin, John Mix Stanley, Thomas Moran, and Frederic Remington. From the 20th century, the collection includes artists who brought modern art movements west and who explored western history and American identity, such as E. Martin Hennings, Georgia O’Keeffe, Tom Lovell, and John Clymer. The collection also includes many artists who are active and working today. Contemporary Native American artists William Acheff and Kevin Red Star take a fresh approach and portray American culture in a modern light, and pop artist Bill Schenck uses humor and satire to challenge long-held assumptions about the American West. In finding a home at Tacoma Art Museum, the Haub Family Collection will establish the only major museum collection of Western American art in the Northwest region. It will enable the museum to fully explore the art history of the West and also integrate the Western and Northwest collections. Together, these collections will offer a comprehensive understanding of the Northwest region as part of the expanded history of the West and will illuminate how that broad history has shaped regional artistic responses.


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Glossary

Abstract – a work of art emphasizing design and simplified or systematic exploration of forms; the subject matter may be recognized or may be completely transformed into shape, color, or line. American West – traditionally refers to the region comprising the westernmost states of the United States. Because the U.S. expanded westward after its founding, the meaning of the West has evolved over time. Prior to about 1800, the crest of the Appalachian Mountains was seen as the western frontier. Since then, the frontier moved further west and the Mississippi River was referenced as the easternmost possible boundary of the West. In the 21st century, the states which include the Rocky Mountains and the Great Basin to the West Coast are generally considered to comprise the American West. Collection – a group of objects or works to be seen, studied, or kept together. Culture – the entirety of socially transmitted behavior patterns, arts, beliefs, and all other products of human work and thought: decorative artifacts, environmental pollutants, high art, political ideologies, ritual beliefs, social customs, and so on. Identity – may be defined as the distinctive characteristic belonging to any given individual, or shared by all members of a particular social category or group. Indigenous Peoples of the Americas – are the pre-Columbian inhabitants of North and South America and their descendants. Indigenous peoples are commonly known in Canada as Aboriginal peoples, which include First Nation, Inuit, and Métis peoples. Indigenous peoples of the United States are commonly known as Native Americans or American Indians, and Alaskan Natives. Landscape – depiction of natural scenery such as mountains, valleys, trees, rivers, and forests. Pacific Northwest – a region in western North America bounded by the Pacific Ocean to the west and, loosely, by the Rocky Mountains on the east. Though no universally agreed upon boundary exists, a common conception includes the U.S. states of Oregon, Washington, and the Canadian province of British Columbia. Broader conceptions reach north into Alaska and Yukon, south into the coastal and mountainous regions of Northern California, and east into Idaho and western Montana, western Wyoming, and western Alberta, to the Continental Divide. Regional Identity – the act of identifying with a specific geographic region of a nation. Realism – an attempt to depict objects and life accurately as possible, as if it were three-dimensional. Storytelling – is the conveying of events in words, and images, often by improvisation or embellishment. Stories or narratives have been shared in every culture as a means of entertainment, education, cultural preservation, and instilling moral values. Style – the distinctive characteristics contained in the work of a individual, a group of artists, a cultural group, a period of art, or art from a common geographical location


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Resources

Art Resource Center: Learn more about the exhibitions on view at Tacoma Art Museum by visiting the Bill and Melinda Gates Foundation Art Resource Center – with more than 6,000 art books, numerous art periodicals, videos, and teacher resource packets available, the ARC is an excellent community resource to learn more about the visual arts.

Arts Impact: Based out of the Puget Sound Educational Service District (PSESD), a professional

development program that empowers K-8 classroom teachers to become competent and confident teachers of visual and performing arts using arts-infused lesson plans with a focus on mathematics and literacy.

Tacoma Art Museum’s collection database, designed to make the museum’s 3,200 object collection

available online, was launched on November 1, 2011 and is a work in progress. New objects and information are being added to the database regularly.

EXTENDED LEARNING

Asia Pacific Cultural Center: APCC is a non-profit organization formed in November 1996 from the vision of a small group of citizens representing three generations of Americans from Asian and Pacific Islanders heritage. APCC represents 47 countries and cultures, offering programs and services honoring their distinct artistry, business protocols, history and social practices.

Buffalo Soldiers Museum: The 9th and 10th Horse Cavalry Buffalo Soldiers Museum is a 501(c)(3)

non-profit corporation. The museum's mission is to educate, preserve, and present the history and outstanding contributions of America's Buffalo Soldiers from 1866-1944 and this includes WWII 1941-1945. The mission is achieved through educational programs, historic research, youth outreach programs and exhibits. The museum creates and disseminates knowledge about the history of the Buffalo Soldiers and their service and contributions.

Burke Museum of Natural History and Culture: The Burke Museum is the premier museum of natural

history and culture in the Pacific Northwest. Located on the University of Washington campus. Fort Nisqually Living History Museum: Explore, discover and connect with history. Experience life in

Washington Territory during the fur trade era. Fort Nisqually, the first European settlement on Puget Sound, was a bustling center of trade that expanded into a large-scale agricultural enterprise.

Heritage League of Pierce County: More than 40 heritage organizations in Pierce County offer visitors

a unique opportunity to experience history. Learn about pioneers, Native Americans, early agriculture, logging, maritime heritage, and wooden boat building. Take part in re-enactments, education programs, workshops, and hands-on opportunities.

Job Carr Cabin Museum: The mission of Job Carr Cabin Museum is to bring Tacoma's birthplace to

life through interactive learning for elementary students and our community. Museum of Northwest Art: The Museum of Northwest Art enriches lives in our diverse community

by fostering essential conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest.

Puyallup Historical Society of Meeker Mansion: The goal of The Puyallup Historical Society at Meeker

Mansion is to restore and preserve Meeker Mansion, to preserve and promote the historical aspects of the Puyallup Valley and its links to the Oregon Trail; To provide students and other


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visitors with programs, exhibits and events for a greater appreciation of local history and community; to serve as an education resource and repository for historical artifacts.

Puyallup Tribe of Indians: The Puyallup Indians have lived along the shores of Puget Sound for

thousands of years. In their native language they are known as S’Puyalupubsh, meaning “generous and welcoming behavior to all people (friends and strangers) who enter our lands.” The membership of the Tribe has grown considerably in recent years, and is now more than 4,000 people. Tribal members play vital roles in many aspects of life in the Puget Sound region. Adult members work as attorneys and fisherman, doctors and construction workers. Some are entrepreneurs who operate successful businesses. Many members are active in sharing the rich Puyallup culture with the community through pow wows, art exhibits and other activities.

Tacoma Chinese Park: The Chinese Reconciliation Park is a 4 acre park that is located at the

southern end of the 1.5-mile Ruston Way waterfront along Commencement Bay, and is in the proximity of the early Chinese settlement that was burned down during the tragic expulsion.

Washington State History Museum: Founded in 1891 and now into its second century of service, the

Washington State Historical Society is dedicated to collecting, preserving, and vividly presenting Washington's rich and varied history. The Historical Society is comprised of a family of museums and research centers, offering a variety of services to researchers, historians, scholars, and the lifelong learners.

Washington Tribes: A public education program sponsored by the Washington Indian Gaming

Association (WIGA) to raise awareness about how tribal government investments are benefiting everyone in Washington.


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Common Core State Standards (CCSS)

Speaking and Listening Standards Prepare for and participate effectively in a range of conversations and collaborations with

diverse partners, building on other’s ideas and expressing their own clearly and persuasively. Integrate and evaluate information presented in diverse media and formats, including visually,

quantitatively, and orally. Present information, findings, and supporting evidence such that listeners can follow the line

of reasoning and the organization, development, and style are appropriate to take, purpose, and audience.

Language Standards Demonstrates command of the conventions of standard English grammar and usage when

writing or speaking. Apply knowledge of language to understand how language functions in different contexts, to

make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Writing Standards Write narratives to develop real or imagined experiences or events using effective technique,

well-chosen details, and well-structured event sequences. Produce clear and coherent writing in which the development, organization, and style are

appropriate to the task, purpose, and audience.

Essential Academic Learning Requirements (EALRs)

Arts 1.1 Understand arts concepts and vocabulary 2.1 Apply a creative process in the arts 2.3 Apply a responding process to an arts presentation 3.1 Use the arts to express and present ideas and feelings 3.2 Use the arts to communicate for a specific purpose 4.2 Demonstrate and analyze the connections between the arts and other content areas

Image Credits

1. Guy Anderson, Winter Wheat, 1953. Oil on board, 24 x 30 inches. Tacoma Art Museum, Gift of Maude Rueger, 2000.10.1.

2. Kenneth Callahan, Cascades, late 1930s. Gouache on paper, 21 x 31.125 inches. Tacoma Art Museum, Gift of the Aloha Club.

3. Sherrie Wolf, Birds with Domes of Yosemite, 2008. Oil on canvas, 36 x 48 inches. Tacoma Art Museum, Gift of the artist, 2008.7.

4. Joseph Goldberg, Chaco, 2005. Encaustic on linen over wood, 36 x 48 inches. Museum purchase with funds from Rebecca and Alexander Stewart in honor of Dr. Dale Hall and Susan Russell Hall, 2006.31.

5. Thomas Mickell Burnham, The Lewis and Clark Expedition, circa 1850. Oil on canvas, 36 1/2 × 48 inches. Tacoma Art Museum, Haub Family Collection, Gift of Erivan and Helga Haub.

6. Catharine Critcher, Portrait of Star Road, date unknown. Oil on canvas, 37 x32 inches. Tacoma Art Museum, Promised gift of Erivan and Helga Haub.

7. Bill Schenck, Snakes in the Grass, 1996. Oil on canvas, 20 x 30 inches. Tacoma Art Museum, Promised gift of Erivan and Helga Haub.

teacher guide: west to northwest - tacoma art museum...to ensure a successful and informative museum...

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