From the Ted Talk by Amy Herman: A lesson on looking
Unscramble the Blue Letters
Now, there are some skeptics that believe that art just bongels in an art museum. They believe that it has no practical use beyond its ateeitshc value. I know who they are in every audience I teach. Their arms are cerossd, their legs are crossed, their body language is saying, "What am I going to learn from this lady who talks fast about painting and scurlptue?" So how do I make it relevant for them? I ask them to look at this work of art, like this portrait by Kumi Yamashita. And I ask them to step in cosle, and even closer still, and while they're looking at the work of art, they need to be asking questions about what they see. And if they ask the right qnosuetis, like, "What is this work of art? Is it a painting? Is it a sculpture? What is it made of?" ... they will find out that this entire work of art is made of a wooden board, 10,000 nails and one unbroken piece of sewing trhaed.
Open Cloze
Now, there are some skeptics that believe that art just _______ in an art museum. They believe that it has no practical use beyond its _________ value. I know who they are in every audience I teach. Their arms are _______, their legs are crossed, their body language is saying, "What am I going to learn from this lady who talks fast about painting and _________?" So how do I make it relevant for them? I ask them to look at this work of art, like this portrait by Kumi Yamashita. And I ask them to step in _____, and even closer still, and while they're looking at the work of art, they need to be asking questions about what they see. And if they ask the right _________, like, "What is this work of art? Is it a painting? Is it a sculpture? What is it made of?" ... they will find out that this entire work of art is made of a wooden board, 10,000 nails and one unbroken piece of sewing ______.
Solution
crossed
sculpture
close
aesthetic
questions
thread
belongs
Original Text
Now, there are some skeptics that believe that art just belongs in an art museum. They believe that it has no practical use beyond its aesthetic value. I know who they are in every audience I teach. Their arms are crossed, their legs are crossed, their body language is saying, "What am I going to learn from this lady who talks fast about painting and sculpture?" So how do I make it relevant for them? I ask them to look at this work of art, like this portrait by Kumi Yamashita. And I ask them to step in close, and even closer still, and while they're looking at the work of art, they need to be asking questions about what they see. And if they ask the right questions, like, "What is this work of art? Is it a painting? Is it a sculpture? What is it made of?" ... they will find out that this entire work of art is made of a wooden board, 10,000 nails and one unbroken piece of sewing thread.