Large Projects

The common elements that follow apply to all Large Projects and will not be repeated for each lesson.  Each large project – beginning with The Tree – is based on these common elements.  Each project is described and most are accompanied by photos of the finished works.

• Prerequisite: Experience creating the art forms used in the project
• Direct Aims: To feel comfortable using brainstorming as a method to generate ideas as a group.  To experience designing by consensus.  To create a large work of art that could not be done by one child
• Indirect Aim: To experience working cooperatively and creatively with others
• Point of Interest: “Has this project helped you to realize how creative you are?”

Materials:

• Each project below has its own list.

Preparation:

• Learn the skill of brainstorming with children, from an online search.
  • Web page about brainstorming, with written information and short videos showing young people brainstorming projects – https://pbskids.org/designsquad/parentseducators/workshop/process_brainstorm.html
  • Use brainstorming as a way for the children to think out loud.

Presentation:  

• Gather your children whenever a design decision for an artwork needs to be made, starting with its idea.
• In the brainstorming session, accept and record whatever they suggest. Do not comment on ideas they suggest.
• Stop the group if it gets too noisy. Start again, or continue the activity later in the day, or plan to continue the next day.
  • You will know when an idea clicks with the group.
  • Check by asking if that is the idea that needs to be created.
  • Keep working until they come to a consensus of opinion.
• Be prepared to continue the design process with the children as the work progresses.
• Know that all problems can be handled. Ask for help when it is needed.

Extensions:

• Celebrate your students’ hard work. Have an art opening like museums and galleries have.
  • Remind parents the occasion is a photo opportunity.
  • Serve healthy foods and drinks.
• Send out press releases.
  • Send parents an invitation or a press release.
• Find another venue to exhibit the work after it’s displayed in school.
• Keep the work and redesign it with a new idea (See: Peace Tableau)
• Use the finished project to do art appreciation. Lead a discussion using each part of The Art Chart Poster.

Introduction:

I wanted to have a collage made by 12 classes of 6-9 children on a very large floor-to-ceiling bulletin board. What idea would look good on this size board? What could we create? The first class decided to make a tree. Each class was given a question and the design process continued until the simple tree I envisioned for Parent’s Night transformed into a four season tree. The 12th class suggested we could make a movie. The tree was changed with the seasons.

Materials: The Tree

• A collage center with 24 different materials in separate containers
• Elmer’s Glue (no “school glue” ever – not strong enough)
• Cover paper and a display container
• 1 roll each of green, blue, gray, purple, and brown bulletin board paper for tree and background
• Tacking guns, ladders, camera and/or video camera

Preparation:

• Create the collage center
• When creating a collage, it is important to establish the background features first. Children will not likely consider this, so plan and execute the background with them as a first step in the process.
• Find a graphic designer or videographer who can make the movie if you do not have the skill.
• For an annotated description of the designing of The Tree see Generating Personal Ideas.

Note: Time and effort will be minimized in the video-editing process if the camera is positioned in exactly the same place, angle and focal length for every picture of a progressive project like The Tree.  You are essentially producing a stop-motion animated movie – search online for tips and tricks from the professionals.

Introduction:

The Kwanzaa Tableau done in the late ‘90s was the biggest, most elaborate, most publicly seen tableau ever done by just 9-12 students.  I was invited to create a display of children’s art by the education department of the Arts Consortium which was an African-American Museum close to our school. They said the museum would appreciate anything my students created that would showcase the richness of the contributions made to our culture by African American citizens. I suggested that Kwanzaa be our idea for a tableau installation. It was started in May of that school year and was installed in the museum at the end of November of the next school year.

The 9-12 students all agreed to create the tableau. Knowing it was a big undertaking we started in May. After introducing the painting work of the Ndebele people of South Africa the group created at least 250 marker paintings based on that culture’s style. Each painting was displayed in the tableau. Eight of the designs were chosen by the students to be enlarged as parts of two 5’ x 8’ acrylic paintings.

The components of the tableau

Making the tableau

• Special Work: The children had manipulative materials to learn about Kwanzaa which they were responsible to do each art period.
• Lunch Bunches were formed. Children ate their lunch and then worked on the project. The studio was set up any day a group was expected. They did whatever had to be done.
• Most of the time, children were able to choose their own work. They chose art forms that inspired their creativity.
  • One group of boys started to make the Kinara (candle holder) and came as a Lunch Bunch to finish building and painting it.
• Parents volunteered: One father made wooden stands that invisibly supported standing figures. A parent fashion designer designed and made the clothing from the cloth the children chose. She helped the students sew the clothing onto the figures.
• The original music that accompanied the exhibit: A grant was awarded by the Ohio Arts Counsel to pay for the making of a music tape for the tableau.
  • Our music teacher asked the local band “Drums for Peace” to perform with our children to make a music tape for the show. He also arranged to have the raw music I recorded made into a 15 minute looping tape to accompany the tableau.
• Parent Workshop: A parent well acquainted with Kwanzaa volunteered to be a workshop leader and gave all the needed information about how and why Kwanzaa is celebrated. I made art presentations so parents could make all the symbols needed to celebrate Kwanzaa.
• Installing the tableau: The Wednesday before Thanksgiving I, the music teacher, and several families with their children installed the tableau. We started at 3:30 and finished about 7:00. We sat around talking and snacking. A man walked in and introduced himself as a teacher at the museum. He asked what “high school” made the tableau.
• All 9-12 classes and their invited parents made field trips from school to the Museum that December. They all enjoyed the museum teacher’s comment when I told them the story.

The Exhibition Life of the Tableau

• The 2 large paintings were exhibited in the All City Art Show for Cincinnati Public Schools held in the exhibition space of the Cincinnati Gas & Electric Company (CG&E) the following spring.
• The CG&E exhibition team was so impressed that they asked if the paintings could be shown again for Black History month the next year. I invited the team to see all the rest of the tableau that was stored at school and they took all the figures, which were displayed in their windows.

Art Forms Used:

• Marker Paintings: on a wall of 250, 8 of which were framed as chosen by the children to be combined as larger paintings
• 2 Acrylic Paintings: 5’ X 8’ from the 8 chosen marker designs
• Papier Mâché:
  • 8 human figures and an animal, just under life size
  • Several Kwanzaa symbolic items, like ears of corn
  • With wood, a copy of an African sculpture
  • Frame for a found object – an antique picture from the thirties of a woman representing an ancestor
• Weaving: burlap cloth with some threads replaced by collage materials, made into a mat 4’ x 8’ to hold all the Kwanzaa symbols
• Sewn Garments: clothing and some hats for the figures
• Wood Sculpture: the Kinara
• Pottery: The Unity Cup, and a large dish for fruit
• Collage and Printing Making: Old books were collaged and printed to look like books about Africa
• Computer Designs: not planned to be part of the Tableau until one child refused to joint us in making the tableau. I asked her “If you could do anything with your time in the studio what would you do?”

“I would want to learn to draw on the computer.”

“We need one label for each human figure because each one represents one of the seven principles of Kwanzaa. Are you ready for your computer lesson?”

“Yes!”

Materials:

• Black cover paper for mounting marker paintings
• Laminating material
• Acrylic paint,
• Wood, canvas, and masonite triangles to make 2 large stretchers
• 8 frames for the selected marker paintings
• Clay and glaze
• Found photograph of woman
• Used books to be redesigned
• Burlap for the mat, colored cords, painted dowel rods and lattice, heavy ribbons, thick yarns, strips of cloth
• Choose cloth for clothing from samples
• Computer, good paper colored ink for labels
• Photographs of each class, the hanging committee, the art teacher and her assistant, the music teacher
• Signage: name of school, title of work, one museum tag for the whole project

Preparation:

• Learn as much as you can about Kwanzaa (See: Resources below)
• Learn the skill of brainstorming with children, from an online search. See common elements of Preparation and Presentation under Important
• Create a bulletin board showing all the important objects of a Kwanzaa display. Make large labels of each Kwanzaa principle, the Swahili word first with pronunciation cues, then the English meaning.

Georgie Story

While teaching for the first time how to pronounce each Swahili word, I could not say the word for “self determination”. The children and I laughed so hard at my repeated attempts, until I finally asked if there were any person in the class who knew how. The child who answered correctly was a boy with whom I had great difficulty relating. In front of the class I asked if he would stop every morning on his way to his environment to drill me for just five minutes until I could say it correctly. It took him two weeks to teach this auditory dyslexic to pronounce the word, but the two of us laughed together each day. When I finally succeeded, we’d learned how to successfully respect and relate to each other.

• The studio became a truly open workshop so everything needed to be ready to go for several art forms.
• Start with the things that will take the longest to make, e.g., the clay Unity Cup.
• Divide the work into pieces, e.g., we needed to make 9 figures.
  • One table had 4 balloons and 4 papier mâché set-ups to make heads. The children noticed the balloons were different sizes.
• All art objects were made by more than one person. One person would start where another had stopped, and so forth. Make exceptions when needed.
• Six tables had a pile of newspaper and a roll of masking tape to make sturdy rods that would create armatures for arms, legs, hands, feet and torsos. I devised several short lessons on how to construct these.
  • Create the body then attach the head
• Find parents willing to help do things that you and the children could not do without a lot of experience or time, such as
  • Making cloth garments for papier mâché
  • Installing the tableau in a venue other than the school.
• Be prepared to continue the design process with the children as the work progresses. Whatever class was in the studio was responsible for making the design decisions or solving the problem.
  • I asked a group of three girls to go into the storeroom and look around in my collection of interesting cardboard pieces and find something that might make a drum. They found two forms which – when put together – made a perfect drum.
• Whatever we were working on was put in the studio on tables with all the materials needed and short written instructions.
• Sometimes I needed to give a lesson. Other times I would just review what still needed to be done and dismiss the class to find their work.
• I asked the children to let me know when they needed help finding work.
• I asked the children to brainstorm again whenever a problem arose.

Presentation:  

I began the Presentation by stating to the children our obligation and goals for the project.

• “I and the 9-12 children of Sands Montessori have agreed to make a work of art that illustrates Kwanzaa. It must be done by the Friday before Thanksgiving. We have already made over two hundred Ndebele-inspired marker paintings. We can start getting them ready for exhibition today.”
• “We have an idea and will need to set two major goals for ourselves. I propose the first goal be that we make a tableau that captures the spirit and importance of Kwanzaa. In order for us to create something that informs people about what Kwanzaa is, we must know what it is ourselves. So at the beginning of each class we will be doing special work that will inform us about Kwanzaa. The last part of every class period, we will start brainstorming what it might look like and what is needed for a Kwanzaa display that is so important to the celebration of each of the seven days of Kwanzaa.”

Extensions:

Have a school celebration of Kwanzaa for all students during winter break.

See Extensions under Important above.

Resources:

• https://www.officialkwanzaawebsite.org/faq.shtml
• https://www.sababuland.com/shule/kwanzaa/kwanzaa.html

Introduction:

Making the Kwanza tableau was so exciting that working with the 6-9 children in the usual manner seemed dull. I checked with my assistant teacher and asked her if she could support our making a tableau with the 6-9 children. She was on board. However, the children were to still be responsible for doing Special Work.

For the children to make a tableau, it would need to be housed in a space not openly accessible. Luckily, our school had a large anteroom entrance that opened onto a marble staircase. When you turned around at the top of the stairs, you could see a beautiful open area with windows, a coffered ceiling framed by elaborate woodwork which was above the doors to the school.

I took my first 6-9 group to the entrance to the school to see the space and explained how the anteroom worked to protect us from cold or hot weather.

They committed to making a tableau with the rest of the 6-9 students in that space. Immediately we started brainstorming for an idea. That was their special work for the day. Before the session was over the children chose Winter as the idea. Subsequent classes chose to make 2 snow people with lots of snowballs. All the events of winter were to be represented by a collage hung from snow covered natural tree branches, and icicles were to hang from the woodwork above the entrance.

Materials:

• A complete collage center ready to use every day
• 4 tree branches
• Paper pulp supplies and equipment
  • Colored paper for buttons, noses, mouths and eyes
• Tempera paint
• Papier mâché supplies and equipment
• Balloons
• Very light blue sheets of tissue paper to cover the dirty windows.
• String and rope
• Canvas for icicles
• Kite sticks, small wooden sticks, tongue depressors
• Ladders, staple gun, basic tools, nail, screws
• 1 large drop cloth

Preparation:

• Review Important at the beginning of this section. It outlines what is needed to plan and create large projects by consensus.
• We made a list of all the events that happen in winter and checked off each as it was created.
• We chose a way to store the prepared branches and finished collage work so they were safely out of the way until tableau installation day.
  • The head janitor found a safe easy way to attach the branches to the lighting fixtures in the studio with S hooks and strong thin rope.

Presentation:

• Ask if the children would like to create a tableau with the other 6-9 classes.
• Define what a tableau is (An artwork done in a large three dimensional space that creates a scene to express its idea.)
• Introduce brainstorming to get the work going, and whenever new decisions need to be made.
• Introduce new lessons as needed.
  • How to put paper pulp on the branches to emulate snow
  • How to put glitter on the snow
• The 5 year olds made papier mâché snowballs and painted them for the 6-9 children.
• Parents helped the children attach string to a collage and then tie it on a tree branch.

Note: Decisions had to be made when the snow girl and boy were finished. How would the children make one look like a girl and the other like a boy? The girls wanted their figure to be a bride. It was important that the bride have a long veil.  No girl voiced a different idea. The boys wanted a baseball hat put on backwards on the boy.

Installation:

• Parents and children helped to install the work.
• Several people with “handy man” skills came after school hours to install the finished branches.

Introduction:

I invited all my kindergarten classes to work together and make one big work of art. All classes agreed and by consensus the children designed a Spring tableau. It consisted of a robin sitting on a nest of eggs.  They decided that the eggs needed to be colorful and the nest needed to be placed on a flowering tree limb. It fit perfectly on a 4’ x 4’ platform. It was displayed in an area where children were dropped off and picked up.

After the Spring tableau display was taken down, the bird, the nest and the eggs were stored on top of a built-in cupboard in the 6-9 studio where the children could see it.  In November of the next school year, I asked all 6-9 level students, which included children who had created the Spring tableau, would they enjoy recycling the bird into a different idea. I suggested we make a tableau and install it in an anteroom (a different school) that was the main entrance parents used to enter the school. They agreed and we started the design process the next art period. This process generated the idea for the Peace Tableau.

Materials:

• Recycled art
  • 1 Papier mâché robin
  • 1 Papier mâché nest
  • 6 Papier mâché eggs
  • 36 silver snowflakes re-used from a holiday program
• White kraft paper to represent snow under the nest and bird
• Paper letters for the title and for the egg labels

Preparation:

• Review Important at the beginning of this section. It outlines what is needed to plan and create large projects by consensus.
• I placed the nest, eggs, and bird from the previous year’s Spring tableau in the middle of our meeting place and started my presentation for brainstorming.

Presentation:

• “We have a bird, its eggs, and its nest. You are going to do what is called brainstorming. It is a way to think out loud. You are going to look at what we have and start to think of what it could be. I have a pen and paper and I will write down everything you suggest as you are thinking out loud.”

The Progression of the Design Process:

• The robin became a dove to symbolize peace.
  • The beak, wings and tail of the bird were reshaped.
• All the statements made by the children about peace were displayed as part of the installation.
• White was the predominant color chosen for the tableau.
• The activity of making the Peace Tableau suggested a learning opportunity.
  • The class and I had a discussion on what peace means and how we maintain peace at school. The school had a poster that listed six behaviors that bring about and maintain peace called the “Five Cs Plus 1” [“Six Cs” is hard to say] which was displayed in every environment — Courtesy, Consideration, Cooperation, Contribution, Common Sense, and Care.
  • The children labeled each egg with one of these behaviors.
  • The hall from the school entrance to the office was filled with hundreds of statements about peace. The children had white paper to practice writing their ideas into sentences, then transferred them onto a blue paper.

Introduction:

The storeroom was cluttered with lots of empty boxes and I was reorganizing that space for the teacher who would replace me.

I decided to offer the boxes to the 5 year olds. There was more than enough time to make and exhibit a group sculpture by consensus.

Materials:

• Boxes
• Glue
• Tempera paint
• Collage material

Preparation:

• Review Important at the beginning of this section. It outlines what is needed to plan and create large projects by consensus.
• I placed the boxes in the middle of our meeting place and started my presentation for brainstorming.

Presentation:

• “We have lots of boxes of different sizes and shapes. You are going to do what is called brainstorming. It is a way to think out loud. You are going to look at what we have and start to think of what it could be. I have a pen and paper and I will write down everything you suggest as you are thinking out loud.”

The Progression of the Design Process:

• The first class decided it would be a city.
• They needed some land to build it on so I got out all the largest pieces of illustration board and mat board I had. They chose the biggest.
• An impressive list was made of all the things a city would need. It included a park, a hospital, an airport, a school, and stores for food and clothing. Details like streets, traffic lights, cars, people, flowers, grass and street signs were added after the buildings and streets had been painted.
• The last thing they decided was the sculpture’s title.

Note: The children painted the buildings. The paint would dry and the next class would paint it again, often leaving parts of the original colors visible. The title was most appropriate. Like the Peace Tableau, it fit perfectly on a 4’ x 4’ platform. It was displayed in an area where children were dropped off and picked up.

Introduction:

A grant was given to a group of 8 Sands teachers (3-6, 6-9, 9-12, art and music specialists) to produce a theater piece. The teachers and children wrote the script in their classrooms based on the research the children did on how the universe was formed. The children and I created the costumes to meet the ideas that were generated by the teachers. The music teacher had a group of students playing instruments that added depth to the recorded music used.

With the budget I was given, I went to a theater supply company and asked to see anything that was on sale that could be used to make costumes. They sold me an entire bolt of shiny silver and gold fabric over 4’ wide. Scrim hats in all styles were purchased for all major players and for all the 5 year olds that played stars. Other props were supplied by the classroom teachers.

Bolts and bolts of netting were needed. Each child that played the part of a planet gave me a list of objects they wanted to put on the hat as clues to which planet they were. Most principle characters were dressed in a simple Greek toga, held a stick with their planet on it. If they were a speaker they had an African talking stick. [The chief of a tribe did not directly speak to his subjects.]

Note: All the children wore only black clothing under their costumes.

Characters and Costumes:

Themes in the following list were mix-and-matched for each character in the play.

• Hats designed to look like our planets, or stars
• African talking sticks and clothing
• Greek tunics with or without leaf headbands
• Each planet person had a broad-brimmed hat
• Each planet person had a stick with a papier mâché planet on top.
• Each star person had a top hat that matched a poncho of ribbon streamers
• Each animal stick puppet was held by a child in black clothing
• Narrators wore traditional African clothing.

Materials:

• A complete collage center ready with lots of small objects
• Papier mâché supplies and equipment
• Balloons
• String and rope
• Lattice sticks for paper puppets
• Staple gun, basic tools, nails, screws
• Every kind of adhesive: white resin glue, tacky glue, super glue, contact cement
• Staplers — as many as possible
• Scissors — two good ones for cloth
• Plastic bags and boxes to store finished work
• Large name tags, attached to send the finished costumes to the room they belong in

Preparation: for a large cast and lots of costumes

• We made an inventory list of the costume pieces for each child.
• Put names on all prop pieces.
• Made a daily schedule of work to be done by each class.
• Found our parent assistants.
• Found a community media education center to video and edit the entire production.
• Planned to show the video for parents at a future parent meeting.
• See additional information under IMPORTANT above.

Extension:

The post-production evaluation session I held with all the 9-12 classes revealed an unintended consequence. The 9-12 children who did not take part in the production shared that they had fun making the costumes but it was at the cost of their not being able to pursue their own work.

I was part of the audience during the performance of the play. It was spectacular and moving (and far too long to hold the younger children’s attention.)

Introduction:

I attended a teachers meeting sponsored by our local educational Television channel. We were given presentations by several artists who worked with schools. This meeting was important to me because I had been saving a little money aside every year so I could finance a really big project. It was my hope I would find the perfect person at this meeting to produce a large collaborative work, and I did. Joe LaMantia was different from the other presenters – he was already using design-by-consensus to generate ideas. On the strength of Joe’s presentation, I commissioned a work from him for the school. Before initiating an idea for a monumental sculpture outside our Sands Montessori school, he interviewed and collected ideas from everyone connected to the school. He asked children, teachers, special teachers, administrators, librarians, parents, custodians, and the kitchen crew one question. “What would a sculpture look like, if it told people what was different and important about this school?” That was as close to design-by-consensus that I had ever encountered. After collecting everyone’s ideas, he came up with the importance of the triangle, to symbolize the interaction of the child, the environment, and the teacher. He proposed that a 7-foot I-beam triangle be put in the ground in front of the school.  Stepping stones would be created to get to the triangle and an “infinity path” of stones would be created in, around, and under the triangle’s base. The installation of the triangle was all done by adult volunteers, or paid at (or under) going rates. Joe’s triangle theme was extended as a way of making timelines for the inside of the building. The 9-12 students created a Timeline of Life. The 6-9 students made designs featuring children. The 5s made the Parts of Animals. Making the triangles with the children was my responsibility. I was given a large stack of plywood triangles and lots of paint. I supplied the rest of the materials. Like the Kwanzaa Tableau, the 9-12 environment became one big workshop for 6-12 children. All the tables, desks, and shelf tops were covered with paper for individual jobs that needed to be done. No one triangle was done by only one child. I made two exceptions, where the design a student created was complex and best completed by that student alone. All normal shelf work was abandoned for this project in  two of the three studios. Only the Kindergarten environment operated as usual, with an added space to work on their triangles.

Materials:

• I-beams for the large triangle
• Lots of plywood
• Paint
• Hardware
• Collage material
• Cement, broken ceramic tiles and objects for stepping stones
• Lettering for the triangle (Child, School, Parents)

Equipment:

• Woodworking shop set up in the open areas next to the art studios
• Back hoe to dig holes
• Metalworking equipment to cut and weld the triangle together

Preparation: Done by Joe LaMantia

• The Central Steering committee:
  • This group was made up of parents and teachers dedicated to making the project happen. There were regular meetings before the work started and as needed until it ended. These were enterprising people who went out into the larger community and asked for help. They found companies that would donate or under charge for their services. They took on all problems, and produced results.

• The wood shop people:
  • Parents, grandparents, teachers and family friends brought in their woodworking tools to set up shop.

• Stepping stones:
  • Joe worked with parents and children to cast the stepping stones in concrete with embedded ceramic designs.

• Meeting with parents:
  • He was always finding people to help make the project happen. During the course of the project, he was invited to peoples’ homes as an honored guest.

Presentations: as needed

• The timelines were made by placing images on triangles lined up horizontally, alternating between right side-up and upside-down. They were hung along the walls of the school, closest to the areas of the age groups who created them.
  • I gave lessons over several days on how to paint the triangles.
  • During that time the children made drawings on paper triangles, from which the final collages would be chosen.
  • Each group knew how many triangles it would take to make their timeline, and what images were needed.

Extension:

There was an installation ceremony held around the large outdoor triangle. The principal spoke, then music was played by the band directed by the music teacher. All the committees, the children, the teachers, the parents and friends of Sands that donated time and energy were recognized and thanked, including Joe LaMantia.

Resources:

Joe LaMantia https://lamantiastudio.com/home.html

Introduction:

This was my first large project completely designed by consensus. The children had been introduced to the traditional ideas and were doing shelf work about the ideas. Each class met in the hall in front of a large bulletin board 5’ x 10’ to agree to making a group artwork and to begin the design process.

Materials:

• 2 layers of kraft paper glued together as a strong backing
• 2 rolls of bulletin board paper (blue for sky & water, green for land)
• A complete collage center
• Lots of white resin glue
• Push pins to hold things against the background paper until the glue dried.

Preparation: (in this case, after the idea was chosen during Presentation)

• I bought postcards of downtown Cincinnati
• I photographed the city from the windows at school and from several hills that overlooked the city

Presentation:

• “If you could make one big work of art using one of the traditional ideas which one would you use?”
• Several classes liked the idea of making a large cityscape, but what city it would represent was not easily decided upon. New York City, Washington D.C, and Chicago were suggested but did not bring about consensus. All the classes had the same problem until one suggested they choose Cincinnati. After that, all classes accepted downtown Cincinnati as the focus of the project.
• “What would be the best art form to use to make the idea?” Collage was agreed upon.
• “Our city is on the Ohio River. Most postcard pictures of Cincinnati show the city as it appears as if you were in Kentucky looking at it from across the river.” At Sands, we had many rooms from which the city could be seen. The view was that of the backs of the buildings. “So is it to be a front view from Kentucky or a back view from the hills around the city?” They chose to illustrate the view from the hills behind the city.
  • Note: The cityscape was created with great detail. There were planes in the air, boats and barges on the river, distant houses across the river, windows on skyscrapers, and the U.S. Flag on the tallest building. After all that work, unfortunately the finished work was never photographed.

• The finished work was hung in the front hall near the entrances to the school. It stayed there for almost two school years.
• Ultimately, an education professor from the University of Cincinnati asked to hang it in her office, so it was gifted to her.