Week 8: Initial Blog Responses (3-15-15)

Jon-
I enjoyed seeing all of the process pictures as you worked and changed your ideas. That really helps the viewer to understand all the stops and turns you took along the way. Also, I am a fan of Realism and can appreciate the attention to detail that you were applying as you developed your portrait. The wide range of values that you applied helps to create a lot of contrast and variety. I am curious though about the underlying meanings that might be tied to your work (maybe even subconsciously). For instance, I think a lot can be said about your decision making to use an older portrait of yourself instead of a current one.
I think when artists choose materials that can oftentimes help to create a contextual story. Think about how the meaning could have completely been changed or altered had you chosen to use a “collective” of things that maybe tied into the identity of who you are (ping back to Do Huh Suh). Also, I am curious about where you see this vision of yourself reflected in your teaching or future teaching self. Since your picture is literal as opposed to metaphorical, I’m wondering what the links between your approach to art might be in relation to the classroom.

Clayton-
As I was reading your explanation/reflection of your work, I felt like I could relate to your reasoning. I, too, always feel my teacher self. Even while working as an artist, I often get this notion to alter my work using a taught technique or style. Although I have to say, it is nice sometimes to simply push that nagging voice out of my head and just go for it using some of Gude’s liberating suggestions (or ones similar to hers).
Teaching changes us so much and it’s neat to think about all of those tiny little morsels of symbolic imagery that could be tied to that transformation. For instance, all of the things we choose to teach in our classes ultimately can have an effect on our students and how they form viewpoints about art and themselves. I like that you spoke about how your traditional natured teaching is tied into your work. I did notice many familiar fragments of work collaged into the background (I have been collecting my demo images for awhile and have been trying to develop something with these fragments as well). It makes me wonder how much we are influenced by all those foundational studies that we filter into our everyday lectures/demos.
I enjoyed your use of color and expressionistic painting style. I also found all of the imagery, juxtaposed within your composition to be intriguing and creative. Your portrait speaks to me as it is both symbolic and aesthetically pleasing. I love your attention to detail and context!

Week 7: Initial Blog Responses (3-7-15)

Anna-
I felt myself nodding a lot when reading your reflection blog, this week. You are not alone in dealing with the nagging voice in the back of your head that says traditional is the tried and true method. One of the many difficult obstacles we face in teaching art is explaining or validating to others why conceptual art is so important. Another difficulty lies in grading or assessing work that is based on pure creativity. And to top it off simply motivating students into being more experimental can be trying, too.
I empathized with you as you discussed your struggle with ambiguity as well. I came from a background in Housing & Design. When I was in Undergraduate school, drafting and residential design classes allowed for inventive concepts. However, we were almost always developing plans that could be potentially built by construction teams. Our blueprints had to be to scale or it could mess things up for the person who might end up building our creations. We always had strict project guidelines and yet we were told to be innovative at the same time. It wasn’t until I started taking some Undergrad studio art classes that I began to kind of break out of my shell. However, once I did, I loved the freedom. I really enjoyed not being confined to a box. I still have issues sometimes with open-ended assignments. However, once the anxiety of the “blank canvas” has passed, I find it liberating.

LaVonna-

Yes, I think you are right about the postmodern curriculum being relevant for all subjects. As contemporary classrooms encourage the use of interdisciplinary overlaps it seems that these concepts would be vital to the framework. I also think that no matter what class or subject is being taught there are ways to implement more conceptual lesson plans. I’m hoping that I can include more projects that focus on topics such as identity, culture, and social justice. Like you, I feel that studying the past and present is important. This is how students can begin to see where influences and inspirations come from. These studies can become a jumping off point in which students can begin to make meaningful learning connections.

Week Eight: Post Modern Portrait (3-6-15)

Title: “Grounding”
Media: Pencil, Watercolor Paint, Pen & Ink
Dimensions: 9”x 12”

There are so many things in life that can bring us down, make us feel terrible, give us anxiety, and this is a problem. This isn’t just a problem for students; it is an issue for teachers. How many of us bite off more than we can chew, pull all nighters, run endlessly around the school before/in between classes, worry about things that are going on with our students, and on top of it all we are faced with the challenge of making on an impact on future generations? So, it’s heavy, right? The checklist never really ends up crossed out…it just keeps getting bigger. In my own life, I’ve have found that I have to find ways to reflect, mediate, and push negativity out of my mind. After six years of teaching, I have felt the repercussions of classroom burnout. By working through this I have found that peace of mind has been vital to my own growth and stamina as an educator and as an artist. 

My artwork is based around the things that have helped me to form a positive outlook. I should probably start by telling you about my profound love for nature and how most of my artwork is somehow centered on this concept. In my most recent efforts to get back to my optimistic self, I have been looking for things to help me rejuvenate. One of my favorite things to do when the weather is cooperative is to practice grounding. When grounding, I lie on the earth (or stand barefoot), and begin to feel the coolness of the grass and the warmth from the sun. But it’s more than that, I’m soaking up the natural energy that surrounds me and I’m understanding that the core of myself is tied to something bigger than me. My portrait is reflecting me in a “grounded” state of mind.

While creating my artwork, I decided to listen to music as it is another therapeutic technique that I use to get into a contemplative state of mind. I divided sections of my hair and used a Zentangle technique to fill in shapes or doodle into those spaces. As a result, my mood and meditative state transferred into my mark making. I played atmospheric songs by Ellie Goulding, Bon Iver, Hozier, and The Cure to really help stimulate my inner senses. Later I added warm colors that I felt would help to communicate the intensity that came pouring out of my head as I produced my patterns. During this entire process I think I was adopting the Gude principles within my art without even realizing it. For instance, I used “recontextualization” (symbols sprouting from my head) and “representin’” (using personal history and music to direct my work) to express myself.

I think the idea of “play” really helped me to let loose while creating. And as I was drinking from my juice box, I immediately had the sensation that I should use my drinking straw and work with the background of my artwork. Gude echoed Carl Roger’s sentiments when she stated that “Creative individuals develop a deeply rooted trust in their own capacity to generate surprising solutions. Even as they experience the anxiety of creative exploration, they are grounded in a realistic belief (based in personal experience) that surrender to the creative process may produce surprising, useful, stimulating results.” (Gude, 2010). That is exactly what I did as I chose to begin blowing green paint (which symbolizes re-birth) around on my composition page. Ironically, the designs that were produced appeared to be very root-like. I went with this idea and further encouraged this metaphor of being firmly connected by drawing fibrous lines with my ink pen.

It is my opinion that we cannot fully understand or teach something that we ourselves do not practice. Artistic freedom can serve as an outlet for expression and emotion. Activities that help us to free our minds and form an internal locus run so much deeper than ones that focus on mere elements and principles. This portrait activity is significant because it allows “a creative maker to foster awareness of the intertwining of the outer world and inner consciousness.” (Gude, 2010). In the future, I hope to continue to implement lesson plans that motivate my students and guide them into authentic projects that help them become self-expressive, creative individuals.

(***Progressive stages of design.)

Week 7: Read and Reflect (3-5-15)

“Playing, Creativity, and Possibility” reading summary and reflection:

In Playing, Creativity, and Possibility, Olivia Gude discusses the importance of a curriculum that supports experimentation, innovation, and individualism. She reveals the ways that standardized teaching places constraints on problem solving skills. She explains how teachers often opt for a more traditional framework at times due to certain setbacks such as student anxiety and resistance. Students are often afraid to open up and share their ideas for fear of peer rejection. They are also sometimes resistant to creative practices because they are afraid of how they will be assessed or judged by teachers. Gude states that many students are used to conforming to societal norms and that this can affect how students engage in artistic practices. She describes how to cultivate creativity through opening up discussions and interpretations about art. And through her Spiral Workshop studies she expands upon Surrealist methods of “seeing into” explorations. Gude warns teachers to re-consider the ways we set criteria and guidelines within experimental play. She says that stringent rules can “impinge on a student’s intuitive choice-making.” (Gude, 2010).

Through creative play, investigations, and interpretation we are allowing our students to begin to make “nuanced observations of inner experiences as they engage in creative work”. (Gude, 2010).  Internalized activities are important as students begin to form self and create an inner locus of evaluation. For some students, this means that issues or emotions that are deeply personal or complex may emerge.  A nurturing artistic community can provide students with a support system in which communication becomes an important part of the creative process.

“Postmodern Principles” reading summary and reflection:

Along with aesthetic theory, comes the long talked about topic based on the elements and principles of art. Gude opens her article Postmodern Principles by highlighting the ways traditional strong holds are still apparent in classrooms despite the need for students to form meaningful connections in art. The author explains that formal ways of analyzing and making art should not be the main emphasis of a curriculum design. Gude describes the ways that the 7+7 method is not conducive to producing an authentic or motivating learning experience for students of the 21^st century. She proposes that now that 100 years has passed, it is now time for a new set of principles to be utilized that can lead to more conceptual art studies.  Her teaching strategies tie in the categories of: Appropriation, Juxtaposition, Recontextualization, Layering, Hybridity, Interaction of Text & Image, Gazing, and Representin’.

Perhaps, it is time that teachers consider what is important for their students to learn and match those objectives with the lessons that they teach. “According to a recent NAEA survey, teaching understanding of the elements and principles of design is the major curriculum goal (emphasis added) for art teachers at the beginning of the 21st century” (School Arts, 2001). I feel it is important for student artists of the 21st century to learn about art within various cultures (past and current). I also feel we should help to invigorate students so that they may begin to develop their own individuality and creativity. Though, I think it is great to teach students about the elements and principles of art, I think we should also help students think more conceptually about why the production of art is so important. Teaching the “why” behind art making is just as important as the “how to."

My proposed art activity based on Gude’s postmodern curriculum:

I think that the encouragement of creativity begins with teaching artistic inquiry. A lesson that I think could build upon this would be one based on Surrealism and Synectics. Students would be introduced to a book that is filled with artwork and synectic statements (ex. “If” by Sarah Perry).  The book “If” unfolds by examining “if caterpillars were toothpaste” and “if cats could fly” and it closes with an open ended “If…” At this point, the learners would be asked to extend the book by illustrating new innovative ideas into a composition. They could develop, decorate, and exaggerate their story pages by using Surrealism as an inspiration for metaphorical visuals. The activity would be closed with a pair-share and reflection.

Week Seven Questions:

When do you notice “discomfort” when you are teaching?

-when students respond to an art piece in a way that catches me off guard or that might even seem somewhat inappropriate to others.

-when I grade students I want to support their creativity, but I admit that I have a more difficult time assessing works of art based on “play.”

-when students do not want to engage in a project because they are so worried about what the person next to them thinks.

What (if anything) inhibits your creative development?

-Idea generation can cause me to buckle under pressure. It is comparable to writer’s block. Sometimes I just have to rid myself of that fear that comes with the “blank canvas.”
-Technology gets in my way at times. I find that it can distract me from my work. I just want to be a hermit sometimes and get away from emails, videos, and social media.

-Sometimes I want to research certain topics, but then feel persuaded to look at other artist’s work. I think Pinterest and Google images are great resources, but I don’t want them to pull me away from my natural instincts or creative abilities.  I feel original ideas are best so I am constantly trying not to fall into the “pretty picture” trap.

Week 6: Initial Blog Responses (2-28-15)

Shirley-
I enjoyed watching your video! I think your message was clear and concise. I like that you broke your instructional content down into sequential steps. The way you fragmented your recording into different segments keeps monotony from setting in. You really take the viewer on a journey as you explain how you think as you brainstorm, tweak, create, and package your art.

Your work is so beautiful, too. When I look at it, I can see how the network of lines could even be symbolic! It kind reminds me of the lines of communication that might criss-cross as we share perspectives. The way you nested the shapes and explained the metaphor behind them is quite lovely. I also found your discussion about the color blue to be a great reminder that even elements of art can become contextual. Images are great, but sometimes color, line, shape, etc. can stand on their own in how a story is formed.

Jon-
I think you bring up many valid points! I agree that “conventional art materials seem to be becoming less and less relevant in our society every day.” I find Mota’s talk about research centers to be very intriguing. I’m trying to imagine associations/corporations centered on “hacking” and creating new recipes with open source materials. What kinds of things would or could be developed if we let creative individuals in all different fields try out and explore tools, objects, and products? We could end up with solutions to make materials more versatile, advance aims towards sustainability, or even find ways to extend longevity of life…the list goes on and on. To kind of “ping” off of what Emily Brewer’s video showed us, the “makey makey” could help those with physical disablilties (for ex. robotic or trigger hand devices for those who do not have hand dexterity).

Your sentiments about working with new materials and experimentation this week reminded me of a video that I recently watched (see link below). There are a few artists out there who are exploring a technique called sand animation. The work I have seen done with this type of art definitely echoes your thoughts on cross-disciplinary curriculum approaches.  Artists like David Myriam work to connect play, technology (film/projectors), sand, literacy, and music to produce truly imaginative, temporal, works of art. Check out his interesting cinematographic practice here:
http://tramage.com/About-sand-drawing.html

Week Six: TedTalks Reflection

Reflecting on Robinson, Kapur, and Foley TedTalks

Ken Robinson’s “Changing educational paradigms”:

Ken Robinson has brought up some great points in regards to how old traditional ways of teaching are no longer as relevant in today’s 21^st century classroom. In the past, students who studied hard, made good grades, and went to school were almost always assured a job. However, that is not the case now and students are well aware of this. Students that are being taught in the same manner as those growing up during the Industrial Revolution are also typically uninterested and jaded. Robinson highlights the need for students to find their place economically and culturally within the world. His suggestion is for schools to help students become better problem solvers, understand their individualized strengths, and blossom as creative thinkers. I agree with Ken Robinson when he states that creativity is “applied imagination” and that it is “the process of having original ideas that have value.” If schools do not encourage creativity early on in development, how will artistic gifts be nurtured? How will we move beyond “standardized” learning practices? How will we help students become innovative, divergent investigators?

Shekhar Kapur’s  “We are the stories we tell ourselves”:

Shekhar Kapur discusses the importance of storytelling within the universe. Throughout time, people have used narratives in order to define existence and to find comfortability in their lives. He says that through chaos we begin to unearth “truth” and harmony. He stresses the importance of infinite possibilities in problem solving as a means to find balance. Much of Kapur’s talk was layered in how we can use metaphors, conflict/contradictions, mythology, and psychology to develop stronger, richer subtexts. His presentation resonated with me as he talks about the ways we can use improvisation to get to the core of emotional issues or work through complex problems.

Cindy Foley’s “Teaching art or teaching to think like an artist?”:

First off, I am a bit partial to Cindy Foley as she is a close friend of my previous capstone chairperson, and professor Dr. Jodi Kushins. I watched this TedTalks video as soon as it aired! In addition, she is just altogether a very informative and inspiring art advocate! She discusses the ways that art education is becoming more concrete in nature which completely goes against the whole philosophy of creativity. I enjoy how she brings attention to the messages that we are sending to others about art, too. How can we rationalize calling a perfectly drawn horse “creative?” And how does not being able to draw a stick figure equate to the lack of artistic ability? Furthermore, her insight about how play is needed in the classroom to build curiosity and generate ideas is inspiring. Creating more open-ended tasks often make students and teachers a little bit uncomfortable. However, in the process of having students explore the ambiguous, we are getting them ready for the inevitable…We are “preparing them for lives of not knowing.”

My inspiring TedTalks discovery (Kiran Sethi’s “Kids take charge”):

As art teachers, I feel strongly about involving our students in projects in which they are able to be a part of community and change.  To do this we have to teach kids to take charge and infect them with the “I can” bug.  Educator, Kiran Sethi , says that to do this we must “blur the boundaries between school and life”. Through Sethi’s project in India she was able to help students become more aware of social problems that needed to be fixed, enable the learners to want change, and empower them as they became part of the transformation process. This is something I want for my own students. I found her TedTalks video to be incredibly heartwarming as she discusses how students became involved to better their neighborhoods. They addressed issues such as child labor laws, ecological preservation, and education. The students felt confident because they had been involved in real world connections. The Riverside school (where the children attend) even began to see a jump in test scores as the “lab projects” continued. And the project began to gain attention and spread until Ahmedabad became India’s first “child friendly city”.  To see the video about the “I Can” lesson click here: http://www.ted.com/talks/kiran_bir_sethi_teaches_kids_to_take_charge.html

Also, if you are interested in knowing more about the aProCh Program which continues to flourish in India you may visit this website: http://www.aproch.org/

Week Six: Video Assignment

***I had plans to record a lesson in my classroom, but school has been closed for the remainder of the week (due to power outages and damage from the snow/ice storm). So….I reflected on my artistic practices instead. I enjoyed this process and think it helped me to better consider the ways I deliver information to my students. I had fun playing around with Windows Live Movie Maker, too!

How does your artistic process echo what you imagine your teaching process to be?

I think both my artistic and teaching process involve divergent and convergent thinking. I find I ask a lot of questions as I work and develop my ideas. Brainstorming, journaling, loose gestural sketching, and lists all become part of the course of action. I encourage students to do the same. I also like for them to understand the vital importance of theme and context. I acknowledge that the elements and principles of design are important, but often find that many teachers place too much focus on formal qualities in art. In order to move towards more postmodern principles, I think we have to become engaged in the purposes behind why art is being created. It is crucial for artists (teachers and students) to become more innovative and interpretive in the underlying meanings behind visual icons. By doing this, I believe we may help students find their own artistic voice.

How is understanding the artist process valuable when planning lessons?

I feel it is paramount to understand the artistic process before you plan a lesson. For one, time management is crucial in how a lesson/activity might be executed. It is beneficial to have all of your materials/tools ready or prepped, to balance lectures and demos, and it helps to model how artistic ideas come into fruition.

I imagine that as a teaching artist, I’m able to build curiosity in my students because they are excited to see how lessons are going to unfold. The learning seems to become more tangible when students can see how we are, too, executing “design thinking.” By practicing and developing artistic habits ourselves, we can then offer tips, techniques, and thoughts in a more in depth and meaningful way with students.

How is “creative process” present both in teaching and in making art? Explain.

There is an art to teaching. For instance, you have to find a way to keep things moving at a rate that is neither too slow nor too fast. You have to be able to improvise, tweak, change things…be flexible. Both processes involve procedures and methodology that coincide and intertwine. Critical response becomes a factor in both creative and teaching processes, too. I’d say that whether or not I am making art or exploring a new lesson, I am always taking steps back and revisiting prior ideas.