I love this chapter because it is close to when/what I grew up knowing/living. I always enjoy learning about the "what came directly before" or what influenced a movement or style or rebellion. I want to know what is going on in other areas that as human beings we know have an impact on our art making. Social changes, philosophy, technology, music, books and media. What informed the creative decision making. And how did the various processes interact.
Not this week but the following week is spring break so there will be no post due for March 19th. I will post a reminder but use the time to begin your second book or watch your video or catch up if you are behind. More importantly rest a bit and go into the studio. And I understand for some of you this may be spring break.
Now, for the extra question. How do you think art should be taught? Not how you were taught or you teach. Take a while and dream. I know how ever you were taught must have worked because you are still making art...but how would you change it. Stop thinking state test (unless you want one for art), or the rotation you may have come to expect. DREAM with your art heart.
My classroom reflects personal expression. On the first day of school each year I stress the importance of respect to each other and our ideas. We frequently move around the room and group critique and in small conversational manner just to talk about what each other is planning. I remind students to be respectful of each other and remember that we all come from different places and backgrounds. I am fortunate enough to teach on base, so our kids are from everywhere and have been exposed to numerous things and situations- good and bad.
ReplyDeleteThis year my two best outcomes have been an art journal and a group project. The art journal was for my past grad class and each student wrote me an entry on whatever they felt comfortable sharing and had to illustrate it. I received beautiful mappings of places theyve been and stories of divorce, bullying, remarriage, happy memories. Since I have noticed a change in how students approach me. They are more comfortable and open- but I also have become a listening ear to a lot of emotional situations.
My advanced are class is also working on group projects. I broke the class up into about 4 or 5 groups and showed them various sculptures around the world. Each group must cooperative work together on a group project that I will then have other classes come to evaluate. The first few days were awkward silence with one or two picking up the slack. Today about a week and a half in and these kids are all bringing in supplies to help each other and chatting the whole time with peers they normally wouldn't.
When it comes to what I dream about teaching, I enjoy my use of personal expression and freedoms. I teach a certain technique, but their composition is mostly of their choosing. I wish we could go on more outdoor field trips, like a traveling trip to other mediums. We go to SAMA to see artwork, but I want to go out, take pictures, watercolor in a field, draw in a forest, make clay in Junction- just enjoy the present and find the beauty. Take an experience and document it in art.
Sarah, What base do you teach on?I teach on Fort Hood campus through Central Texas College.
DeleteSarah I just arranged for my upper art to go on some half day field trips locally (because we live in a beautiful area in the Hill Country and do just what your last two sentences say. We call them "Adventures"!
DeleteI have had a few kids meet me at the court house after school and sketch or watercolor and it really bonded them together (it was a good thing because when I was injured and out for a few months a few of them kept doing it) this really showed in their art when I get back. I promise you your students will grew by leaps and bounds if you ask for a day or half a day and take some students out like this. Or ask for them to meet you in a public place for an hour or so to take pictures or draw. I have some parents usually along also.
Sarah - I find your approach of group projects has broken walls down and allowed community to be created through these projects - what an awesome experience for them! One of my favorite art professors had a way of encouraging competition (so we could grow as artists) yet fostered community with each other through critiquing each others work. He would partner us in class and we would have to "critique" each other in an exercise - it was different pairings of students for each project we worked on - it allowed me to know people I wouldn't normally have engaged in and allowed growth in my work.
DeleteSarah I thank you for sharing that! I never really thought about the students on base and the experiences in their travels and homes. I love your approach and what has worked for you and your class.
DeleteKim- That's exciting to hear that the some of the students even kept their meetings outside of school to draw. It shows how much they loved doing art outside of school with their willingness to do that.
I like that you mention group projects because one of the things my school is pushing on us is collaborative work. My department gawks at the idea of group work and thinks it should just be an individual thing. In my mind, I think group work mimics the professional world and life after high school and places students in situations they need to work out. So I love that you shared your group work project! I have also done group critiques, breaking the class into smaller groups to critique because I feel that it is easier for them to share versus in front of the entire class.
DeleteHEY SWEET SARAH,
ReplyDeleteToo bad we can't all have our own Miss Frizzle magic school bus to go on field trips every day! Going on an Art field trip in Northside ISD the last ten years I was there was so difficult - it was near impossible. At the beginning of every 6 week grading period I would hand out a homework assignment sheet - lots of choices with each being worth a certain amount of points. The students could pick what they wanted to do to earn however many points were needed for that 6 weeks. ANYWAY - I'd have a FFT (Family Field Trip) section and two of the choices that were always listed were Free Night at SAMA and Free Night at McNay. The project for the museums were to write me a note about their visit. It had to have 1) Salutation, 2) Where they went, when they went, and who went with them (in one sentence), 3) One piece of art they liked and why they liked it. Name of piece, medium, Artist. 4) One piece of art they did not like and why they did not like it. Name of piece, medium, Artist, 5)Student signature & printed name, parent signature and printed name. It took a while to catch on but the FFT became "the thing you get to do in Art". It grew into something really fun. Of course we did a Family field Trip for Dia de los Muertos to El Mercado. Good Times.
If you don't mind me asking what school do you work at? I didn't know they had something for Dia de los Muertos at the Mercado. But it's been a while since I have been back. haha.
DeleteHi Noemi!
DeleteI'm not teaching right now. I'm in Lubbock going to TTU. My last school was Luna M.S. 2004 - 2014.
great beginning thoughts and wonderful classroom lessons but go deeper....maybe wait till you have read first part of this chapter...how should art be taught...the big general picture.
ReplyDeleteTeaching art in the perfect world.
ReplyDeleteWhat a wonderful question! I teach mostly elementary kids, so I am gearing this to them. The students would get art everyday. The other subjects would be in full communication with the art teacher to ensure integration where it naturally occurs. I have not tried the TAB classroom, but that my be something worth looking into. I want the kids to have the time to explore and take risks with art. Of course an unlimited budget with all kinds of materials and media that are developmentally correct. When I was a kid, one of the towns we lived in had a fine arts Saturday morning enrichment series, which students were selected for. This was a district wide program with the students coming to a class at one school. Each month a different artist (or writer, musician, whatever the fine art the kid excelled in) would instruct the class. I learned so many different things in the 2 years I lived there, other than just the painting I did in other weekend art classes. Perhaps having outside artists come and do workshops with the kids to broaden their range of what is available. I would love a lot of display areas, I think that is important for the kids to see their work up. Lots of space for the classroom, and lots of sinks!
I am sure I can come up with more ideas, but this is a good start!
Chris, How do you feel about the inclusion of technology in the classroom, as many art classrooms now have ipads for the students to use.What about flipped classrooms?
ReplyDeleteOK...go deeper...think outside of the classroom...how is art taught, does it have to be in a classroom or even a planned path
ReplyDeleteI taught art once where we met at different locations,for example ...we met at the Botanical gardens and created pastel drawings from the plants,we even tied it in with science and had a small exhibition there for the public,then we met in an artist studio for a lecture and hands on demonstration...you get the idea...
DeleteLove the idea of the botanical gardens and cross curriculum with science.
DeleteI have been doing some intergenerational art classes here, and have seen a snippit of a documentary coming out that has a preschool in a retirement center! So good for everybody!!!!
ReplyDeleteSusan, I try to keep technology to a minimum to none in my classes. I feel they are loosing many skills regarding fine motor and depth perception and computers are not helping those. They get enough in their classes (what an old fogie I am!!!)
Chris - I like your hands on application to art - I bet it is a relief from the computer to your students. The "computer world" demands so much of our time these days, its nice when I can do something more tactile in my day, lol.
DeleteYep Gail, they get that computer everywhere, don't they!!!! Little ones on mom's phone during dinner, etc.....
DeleteOur school is one to one iPad so they want our students and teachers to all be using it. There are some good apps for discipline issues to monitor when they are on what. I also use it to have interactive presentations. when it comes to physically making art I don't use the iPad for any of that and let digital media take the reigns
DeleteI've done iPads for one collage assignment that works pretty well. I also have a few students that work on my painting projects digitally using Photoshop and they make some pretty great work. I try to let the students choose their mediums as much as they can in advanced classes, and a lot of students that are into illustration really like to work on the computer.
DeleteOh to be allowed to dream. As a student and as a teacher that is a beautiful gift. Thank you Future for allowing us to dream. I am only halfway through the chapter but as of now, this is my favorite chapter so far. It's one of my favorite time periods to study and my favorite artist (Beatrice Wood) is in this chapter. I will post about the chapter when I finish but for now I wanted to answer the extra question about how art should be taught.
ReplyDeleteI don't feel like there is one right way to teach art. I feel like as long as you are teaching from the heart you can't go wrong. If I am talking about a fantasy world the type of education, I would like to give my students is one very close to what I had in Junction. I know I talk about it often but it truly changed who I am as a person, artist and educator. I would love to see education in the form of a community where all subjects work together. I would love to see less division between subjects. It's creating this imaginative hierarchy resulting in a tug-of-war between teachers and the students feel that. The curriculum is open for exploration and experimentation. Students can move at their own pace. The act of creating art is not a competition but becomes a collaboration of individuals working together to help each other better their craft. There's a submerging affect on students when they have the freedoms to explore things that interest them. I would love to see my students as immersed in their artistic interests as I was in Junction. Everyone wants to matter and in my opinion art should be taught in a safe environment where everyone does matter. Art doesn't have to be taught in a school it can be taught anywhere. In my dreamland I would want to teach in a place with unlimited access to nature. Ultimately I feel like art should be taught in a way that creates a close-knit, but accepting community where expression and experimentation is safe. It should all be from a place of passion, love, and pure creativity...... sigh
When I worked on my BFA in painting at The School of The At Institute of Chicago... some millions of years ago..guess what..we had no grades.."Art cannot and should not be graded" that was the theory of this....Also we had one studio class each day of the week for 8 hours,that is correct 8 hours of figure drawing,8 hours of painting etc... so we got very intense and very serious..In my Anatomy for the artist course final w e had to go to the museum side and draw each muscle,bone underneath the clothes of a famous painting which we were assigned.....
DeleteSusan, did you enjoy that? was it a style of learning you agreed with? if not what would you have changed?
DeleteSusan that sounds amazingly intense but I would love the anatomy assignments. When I was in Florence we went to an old museum that had stuffed animals all over the museum, some that were even extinct now. They also had old models of what they thought the inside of the body looked like at that time. Was really cool and reminded me of Da Vinci going in and drawing the bodies in secret.
DeleteThe extra question:
ReplyDeleteOk I would not wish on anyone to go through what I have been through in the last few months, but I learned a great deal when I came back to what my upper arts had been doing. They did not have me so they leaned on each other (community) they kept working on the last question I had given them, but they tried new mediums with it, they asked, discussed and listened to each other, but mostly themselves. I picked up one students art work and could tell her everything going on in her life, this was an AP student and I really believe that she is done with her concentration first and now we are working on her breadth. I really believe that it was so good for them for me to be gone. I might have pushed them a little more technically, but the depth they got to without me was amazing. Soooo I am saying all of this to help all of you see that sometimes we just need to keep asking the deep questions, keep encouraging and get out of the way. Like the first of this chapter talks about the school in Germany that just encouraged experimentation, and looked for deep meaning to abstraction over the technique.
Kim, I found when my daughter was born that I had less energy for my students. I gave them more space out of necessity. I found it was better for them, they became more confident and self-reliant. Now, I am catering my teaching style to allow for more of that. I am getting out of the driver seat as much as I can.
DeleteKim - I witnessed a teacher, my son had that was so worried about creating "perfect art" and what my reaction would be she actually did and finished my son's drawing - her rigidness to teaching only caused my son to lose interest and he had a great skill in drawing!
DeleteThat is a sad story, but one I hear too often and have experienced myself,for example at RISDI,Richard Merkin a very famous painter, taught a painting class I was in and he tore down art off the wall slashed bad art..scary stuff...I have been in art classes,figure drawing and others that you feel so intimidated you are paralyzed and cannot draw...and my own son ,will never paint again after some things that happened to him in his MFA degree painting program at K State
DeleteKim I love that your kids were able to flourish once they have more self determination in the direction of the class. Much like what Sarah talked about with regards to letting students pick what they are making work about, and simply introducing a concept or technique, I have always given my advanced students a fair degree of independence. I see my role more as facilitator than instructor with these kids. Now obviously this approach works wonderfully with some classes and some students, but not all. Art 1 for example doesn't do so well on the whole with this kind of approach, at least not until the second semester.
DeleteThe concept / practice of ripping work off the wall to burn it (what happened at TTU), tear it up or stomp on it is from the late 1960's...a radical act of disrespect and a total lack of ability to discussion art in any meaningful way. I can honestly say the "scares" of most MFA programs are horrible..it was and is not teaching. It was and is ego and abuse. And when anyone tries to tell me it was good for them I tell them to seek counseling.
DeleteJustin, what grades do you teach again??
DeleteI found your above comment interesting as it parallels a new approach that I’m using in my elementary art classroom this year. Along the same lines as you, I found there were times I needed to discuss/demonstrate/scaffold in as little time as possible to slowly slink away back to my computer to meet time-pressing deadlines at my desk. I found that after doing this a couple times, my students became used to me not there, walking around, observing and offering additional help. I remember one of the times I was intrigued by the creative endeavors I was observing from my desk, and I got up and began walking around to observe. A quiet hum began and a student here or there began asking me to show them how to do something again, a student began talking with another student, and pretty soon table groups were buzzing with chatter. The class volume began to increase, hands were being raised, and art making was put on brief holds and pauses while students waited for their turn with me while chatting it up with a neighbor. This exact instance has happened more than a handful of times.
As I round 9th year in art teaching, I have found that I appreciate so much what I learn from my decisions in how I teach. I learned that day and many times after that that kiddos enjoy being self-reliant. I learned that the moment I put myself back into the working and building environment, they want me to help them along, to do something for them, or to show them again. I learned that if I’m not there (in the middle of the classroom), they ask someone else to show them how, to remind them of the next step, they self-soothe with self-reliance, and ultimately allow themselves more creative freedom. And, of course, they know that they can come up to me and ask a question but if I’m not in their arm’s reach, their learning process truly benefits.
I am totally relating to most of these comments, so I want to throw an experience of mine in. 5 years ago, I was a newbie and I really think I was too OCD. I had to control every little thing in the classroom and it drove me nuts! These days, I assign tasks to students, let them take leadership roles and hand over the reigns more often. It enables them to build confidence, more purpose and they appreciate that I trust them to do things I usually would. When it comes to creative freedom, I find that the younger ones (9th grade is young for me) are soooo hesitant to try something new or to make a mistake. Today actually I think I said something along the lines of: "It's your project, what colors feel right for the sky?"...we were watercoloring in her sky and she couldn't decide on a color but said she wasn't feeling to cheery today so maybe she would do a sky with dark colors. It actually came out perfect and she thought the same. Bringing feeling back into art is needed more often than not and in a way my classroom can act like a mini-therapy session for some. Sometimes some kids just needs to plug their headphones in and draw. It might not be the particular assignment for the day, but I don't get mad. I am just glad that they took the initiative to make some art rather than put their head down and sleep because they had a bad day.
DeleteReading everyone's responses makes me love my job even more. I may be so darn tired (emotionally/physically/mentally) at the end of the day, but it is worth every second.
I am always surprised with how much the wealthy patrons play a role in the history of art. The timeline on page 182 mentions Peggy Guggenheim’s Art of This Century gallery supporting surrealists, and I was just reading in another book about how she basically made the reputations of artists like Jackson Pollock. I wonder how many artists you could trace back to Guggenheim, or Gertrude Stein for that matter. I wish there was a map that traced artists and movements to the wealthy that promoted them.
ReplyDeleteI was surprised to hear that Alexander Calder made jewelry (p. 185). It makes sense, but I never would have guessed. I liked that whole section on all the jewelry experiments and abstract jewelry. It made me wonder what I would do if I made jewelry.
I wonder how much more I could integrate the “day jobs” of the artists from art history into my teaching. I mention it when it’s relevant, but would it be worth tracking down Warhol’s advertising work? Would that add to the conversation, or does it matter? Is just knowing that he had a background in advertising enough?
I think I have gotten pretty close to teaching art the way I think art should be taught. The things I would change would be the rigid structure of the AP Studio Art Portfolio. It requires a certain amount of work of a specific type. My AP Drawing students can turn in almost any two-dimensional image, but they can’t transition into sculpture. This makes it very difficult for my students to follow the work wherever it takes them. There are times when I have to tell them to write an idea down or sketch it out and leave it for later because it doesn’t fit the requirements. That’s not great teaching in my book. For that matter, Texas only has a few labels that advanced classes can work under including Drawing, Painting, Printmaking, Sculpture, and the like. I can’t imagine teaching a student just one of those topics. There needs to be an interdisciplinary course, or special topics course. I have worked around this by teaching painting, but introducing other media, but it would be great to teach a room of students that all like working in different media. Sculptors working right next to painters and performance artists - I think it would be amazing. I don’t know how to make it happen other than to cheat the system, which I’m more than comfortable doing, but it’s a shame that I have to. To sum it up, I would like students to follow a concept to fruition with time to experiment and fail and have enough time and freedom to take every idea to wherever they feel it should go.
Justin - I think giving them permission to do this is half the battle. (permission to follow a concept to fruition with time to experiment) How many times have we all revisited ideas and concepts done in classes with limited time. I think the fact that you "plant that seed" is great!
DeleteJustin, thank goodness for the wealthy patrons. One of my goals for my students is not just producing, but a large dose of appreciation. As they grow, I hope that they will understand what went into a piece, have a good definition of what they like, and spend some bucks on art.
DeleteYes - The wealthy patrons are the spenders as well as companies that want to decorate entrance areas with art!
DeleteI researched Peggy Guggenheim many years ago after visiting Venice. I didn’t get to visit her museum, but anyone who spoke of the history of Venice, would eventually mention her name.
DeleteHow wonderful it would be to have the funds to support artists and help them gain exposure. This statement was found on the History of Guggenheim and fits during the time period of chapter 6:
http://www.guggenheim.org/venice/history
“Between 1939 and 1940, in the midst of World War II, Peggy busily acquired works for the future museum, keeping her word to “buy a picture a day.” Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador Dalí, and Piet Mondrian, were bought at that time. She astonished Fernand Léger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusi’s Bird in Space as the Germans approached Paris, and only then decided to return to her native New York.”
I remember talk about the new buildings on the Tech campus having to have a portion of the budget go to art. Is that a state or federal rule? When did it start and does anyone know who was responsible for making it happen?
DeleteTech has a 1% for the art program, meaning 1% of the total cost of every new building goes towards art ..inside or outside. It has helped Tech become in the top 10 universities in the USA for art on campuses.
DeleteLove the idea of day jobs or early jobs..the reality of making art. I think one of the way we fail in art is that do not encourage conversations on how do you make a living so you can buy your supplies or how do you price your work or how do you promote your work or (and this one is tricky) do you even care if you sell your work/show your work?
DeleteThis comment has been removed by the author.
DeleteYes, Justin and Future, I agree that it is important to incorporate the day jobs of discussed artists in lessons and lectures. I feel that I even am surprised, but mostly relieved, when I find out that an artist has to do an actual day job, and I feel that students would feel the same. It's comforting to know that artists aren't just independently wealthy and can purchase endless supplies from a trust fund. It also comforts me to know that even though I may struggle with time management in juggling art making and a career that it can be done and it has been done time and time again. It's also interesting to see how careers can play an influential part in art making, and visa versa. Even if those parallels and connections are not deliberately made through history books, having that open-ended topic of discussion could definitely open students' eyes to finding inspiration in the many avenues of their lives.
DeleteI definitely think that age is a factor in creating our dream for how our students can learn art. There are certain processes that I need my kiddos to learn in order to determine the best way that they can express themselves visually. When they get the process, then they can play with it for a while. This age also has other social and emotional needs that can be supported through the arts. Giving them too much free rein can lead to behavior problems!!! There needs to be a fine balance and sometimes it depends on the make-up of the class you have at the moment. How much you can let them go versus how much you have to sit on them. I would like to think that they get so absorbed into their artwork that behavior then is not an issue. Well...... But a lot of students that I have behave better in my class than in others. I am rambling. Back to reading and googling!
ReplyDeleteYeah, the younger they are, the more direction they need, but there still is plenty of room for students to direct their projects. I've done a conceptual art project with my Art 1 students for the last couple of years that has almost no rules whatsoever. But, it does come towards the end of the year after they have learned a lot of processes. I'm actually going to be presenting about it with the Museum of Contemporary art in Chicago's Curriculum Slam at NEAE this month. I'm pretty excited.
ReplyDeleteOK..thank you all for your shared stories and lessons. I left this question open ended to see where it would take everyone, now I want to challenge you all to think bigger. Step out of your classrooms. HOW CAN ART BE TAUGHT? If money was no object, if there were no AP or portfolio requirements, if time was not an issue how do you think art should/could be taught? A small example. I took oil painting classes when I was 10-11 years old. Not in school but a class on base once a week. No drawing or design first, just a canvas and paint.
ReplyDeleteNow dream
Now, for the extra question. How do you think art should be taught? Not how you were taught or you teach. Take a while and dream. I know how ever you were taught must have worked because you are still making art...but how would you change it. Stop thinking state test (unless you want one for art), or the rotation you may have come to expect. DREAM with your art heart.
DeleteHmmm...I have stayed away from answering this question..why?I am a dreamer,idealistic and naive ,even at my age and of course a romantic.... and the way I have taught art has always been controversial...most of my students have always been non traditional,non art majors and non academic people. ok... so this is not about how we teach..I know...ok..first of all...I would want one thing...I would want my students to want to come to class...to be so excited to make art and to think about how and why they wanted to make art...this to me is all is is about.actually the how they make it,the why they make it and what they make..this is unimportant to me..it is that passion that I want to teach that I want to instill,I want to see excited people with passion about creating....and I want to guide their dreams...Imagine a school with no grades,no rubrics,no set assignments...and no walls....
and freedom....freedom to create what you want..it is the importance of an environment which allows this creativity to flourish with no judgement and no limitations,and it is only then without these perimeters and restrictions can one truly feel free and thus this is when a higher thought can emerge and true genius may evolve.I don't want to tell my students what to think..I don't want my students to think the way I think..I want them to have open mindedness..I want to educate them by taking them to every art museum in the world... to expose them to all art.I want to take them to all kinds of atists' lectures to hear and learn.I want to expose them and open their minds and to experience.
How to take this approach and apply across art in general..beyond your class?
DeleteGood question....ok...this I need to ponder and get back to you...hmmmm....interesting concept...
DeleteI have enjoyed reading Ch. 6 – a lot to digest and I went on many tangents to get here – but I’ve enjoyed it! I think I’m surprised that the minority’s of this era took advantage of the GI Bill and they were described as having a visual aptitude combined with manual skill that lead to successfully participating in craft classes. I feel like that description and example adds to my definition of a “perfect art student”. Passion and interest are ignited! I also liked the pendant of Sam Kramer, Roc (p190) - I had to chuckle when the reactions to it was what Kramer used as his definition of success. (We all have different motivations!)
ReplyDeleteMy take away is the student’s dedication to Marli Ehrman. They named their group the Marli weavers”, to preserve the spirit and continue to promote hand weaving and design and that the group lasted into the 90’s (p210). My mission as a teacher is to make an impression that moves my students forward with principles of design that allows them to create from their memory vs. my memory. I would not want a group named after me because I don’t want them “copying” me but pursuing their own work and being content with their art voice. I visited with Kermit Oliver last week (current artist exhibiting at the Nave Museum, Victoria, TX) and we visited about his philosophy on art. I complimented him on his use of colors to represent the light of TX that is in his paintings– I continued to tell him, I tried to count how many colors he used to represent water – that lead to a 15 min lecture on comparing my technique to his and why that could represent different visual interpretations. It was a great experience but my take home message from him (and the way he was taught by Dr. Jim Biggers, TX. Southern Univ) is that “an artist should stay true to his/her own message, own language and technique.”
I also admire Joseph Alber's teaching, combined fine arts and crafts in a category under visual arts, destroying the hierarchy or competition between both types and practices. I would want my “teaching” to reflect both these attitudes.
My approach to art is interpreting what is occurring in the world around me, my memories and visualizations is different than my artist friends and I would want my students to understand this concept and appreciate it. As a teacher, in a perfect world I would want to understand and have patience for differentiation of skill among the students and their type of “technique” the student gravitates towards to help each student move forward with their art. As a child, learning line drawing complicated my mastery of space; I couldn’t quite seem to master it. However, when I interpret space based on values and shade gradations I can master or feel comfortable in designing for that space. The same is true for juxtaposition of color, yet I wouldn’t want to discourage someone who understands the space of a canvas from line drawing perspective. The understanding that we all learn and process information differently is what I would try to incorporate in my class as well as giving them knowledge of the technique but helping them to move in their own direction with their language and message.
Future - just saw your last statement - In thought to your last question dreaming beyond - well I think one of my favorite classes was history in 5th grade - we had to read and then you could choose to create a project or do a worksheet based on that reading to show your understanding of the material - of course I picked the project. The subject was something to do with Native Americans and I created a whole village out of twisties and found objects to represent that reading - my teacher loved it! I think for students growing up in reg class curriculum why couldn't we create the option (a choice) of a visual interpretation of lessons or a traditional lesson plan by the student.
DeleteCalder made jewelry?Really?Surprise to me,Page 185.."Calder started making jewelry in 1929,using the same humble materials and relaxed craftsmanship that he employed for his circus figures."and his jewelry was shown among drawings and paintings,well it did not do well at first,it seems people did not understand it as it being made of found objects..."One of the pieces was a piece of crumpled up wire I found in the street.I flattened it out and put a pin on it.The perturbed Alfred Barr, who said on two occasions.What does it mean?'HAHAHA..anyway..way cool....
DeleteWhat impressed me, for sure... was was the new foundation courses being taught...Abstraction..page 183..this was a strange quote though"Many artists recall these courses as a kind of torture, delaying their opportunity to make real art".as their professors said something like you need to learn to walk before you can run...but now students were thinking about crafts differently in terms of "abstract compositions".I like how the new ideas were to focus on "art and free expression"bravo!
I will take away the information about Black Potters..kinda strange right?that this is a separate topic..But I am intrigued now by this work especially Sargent Johnson,when he began creating works which were informed by music and abstract...his large murals with ceramic tiles are of interest to me.
Susan, I loved that quote as well! I love teaching little ones about his circus and how he brought it to life! The jewelry intrigued me as well.
DeleteYes to the "black potters". I am still amazed that so recently segregation was a norm.
I was living in Savannah, Georgia.... oh, maybe 8 years ago and at that time, they had a black prom separated by a white prom at the high school and on different days..shock..right..8 years ago..
DeleteIf I were to ask for one big dream for teaching art, it is more time. To see the kids more often, to have time to reflect, to have longer classes. Anything else pales next to the resource of time.
ReplyDeleteThe readings, wow!
The influence of surrealism - in Kramer's jewelry, which I loved, the Scheier's pottery, and Eve Peri's textiles. the use of the freeform shapes and how they relate to each other was so like a Joan Miro painting.
I was amazed by the ceramic couples. I thought it was fun that in several instances, the woman threw while the man decorated the piece. The Natzlers was such a love story, and their artwork was amazing Neither persons work dominated the piece. They were true collaborations of form and surface. I love the variety of surfaces they achieved on those simple and beautiful forms. The tale of how, after her death, for over a year he did not decorate any of the pots she had last made. I got a little teary, it was so sweet.
I continue to enjoy Beatrice Wood. I want to do a workshop at her home/studio sometime, I've heard the place is fantastic. I found a picture of her during my google search that cracked me up. She, in her obvious much later years, was surrounded by four shirtless and quite buff young men. You go girl!!!!
An interesting takeaway came from an Edith Heath quote on page 205, regarding mass market vs. hand made one of a kind..."The machine doesn't decide what the shape is going to be; a human being has to decide that." she goes on to talk about the artist control of the work. Made me think more about how I look at things as really art, where does the "art" end, can it be the design of my student tables, etc.
I enjoyed the weavings and the discussion regarding its place in the modern age. I enjoyed the variety of styles - from the traditional tight weave of Marianne Strengell to the open and airy weavings of Marli Ehrmans. I bet her followers loved the macramé craze!
I love how so much of the work and artists are tied to schools. Although, did they have to teach to support their art??? that I do wonder....
I loved reading about the ceramic couples too, especially the Natzlers. Even from the beginning about how they were self taught and played to each other’s strengths. Otto quickly felt the need to research and experiment, “to stop ruining Gertrud’s pots”. On page 197, “Otto later wrote of Gertud’s hands seeming to belong to a dancer because they were so expressive in their movement,” awe, such love and respect. After her death, even when he did start working again, “He wished to avoid the quality of their collaborative work, in which her ethereal forms net his earthly glazes.” I too, got a little weepy.
DeleteYes, more time is a good one..actually maybe no times set we just make art till we are done....Often times I am actually stimulated by students and it feeds into my work so maybe having to teach to support your art is not always a negative...
ReplyDeleteSusan, good point. Creativity and a creative environment breeds more creativity and risk-taking, others to bounce ideas off of.
DeleteI am happy to see I’m not the only one surprised by Alexander Calder’s jewelry making. On page 185, interesting too, how he is credited to “the new kind of craftperson: the artist jeweler”. His jewelry was displayed along with drawings, paintings, and some textile designs. Taking the metals/jewelry class this summer at Junction from John Garrott was a great learning experience. Carrie, his wife, and John are true artist jewelers. Their work is not “crude” like Calder’s was described, but they often would explain jewelry could be made as Calder worked, “Calder’s tools were never more complicated than some hammers and an anvil, pliers, tin snips, a few punches and a drill”.
ReplyDeleteStill about jewelry, I was impressed with Sam Kramer’s, Roc Pedant. The idea of melting the silver, “When silver is molten it flares, and dances like mercury. Suddenly a sputtering bubble of liquid silver squirmed out of the ingot-mold and cooled in an odd shape on the hearth.” He would then create small sculptures based on the spilled metal. I enjoy the process he used to make it, and the comical feel of the overweight chicken. His intention to provoke, “some customers fled his shop in dismay while others thought his work repulsive”.
I take away the Lounge Chair Wood designed by Charles Eames and Ray Eames, Herman Miller Manufacturing. . Reading about the development of the chair before I saw the image I couldn’t imagine what the final result could be. “To make bent plywood, thin sheets of wood, much like veneer, are placed in a shaped mold with the grain crossing at the right angles. Glue is applied to each layer, and the whole placed under pressure.” Then on page 193, to see the design, it is almost the same design we see in many classrooms, but today it is made of metal and plastic, not wood. I can’t wait to share the craft design history with my students.
I haven’t studied much ceramic history, but when I read about Eva Zeisel, I was having daja vu. When I looked up her art, I realized I had seen her work and read about her many times. I would like to bring her story back to my classes and incorporate a sculpture lesson where the students incorporate their pieces to fit together, “And they visually suggest interaction.” on page 205
My dream art class would be somewhat of a Harry Potter’s Hogwart’s art studio. The studio walls would be covered in large moving paintings of famous artists creating some of their most famous masterpieces exposing the students to art history, a variety of mediums, techniques, and personalities. I would be there to help guide students in their own discoveries and experiments. For the most part of the student’s art education, similar to Marguerite Wildenhain teaching style, emphasis would be on the process. Because I could stop time in this dream studio, student’s wouldn’t feel the pressure to finish a masterpiece, but enjoy the process of making art. Not only would student work in the studio, but they could use the outside studio space open to any landscape, plants, or animals they wanted to use for reference. Some classes would be required to teach students how to build their own potter’s wheel, clay tools, paint tools, jeweler’s tool, etc. Too many students today don’t know how to hold a hammer or use a staple gun. My Advanced classes would be rotating days or even weeks working with practicing artists and learning from them hand on.
In my dream class, I would also be creating art because students are more stimulated when they can see their teachers go through the similar problem solving processes.
DeleteI keep an art studio upstairs near my classes and take my students on a walk through once a week to get feedback and their reaction..as I also take my students on a field trip through other studio art classes to meet some other students and see whats going on in other art areas...,I actually stole some students from another class and brought them upstairs to see our work too..trying to bridge that gap between art areas..lol
DeleteI think creating along with the students is wonderful! I like them to see that I do what I preach... well, maybe, but also for the problem solving as well. Sometimes I do it because I am basically jealous that they get to draw, create, form or whatever and I want to as well!!! As a teaching artist, it takes me on the journey with them.
DeleteThis is a rare opportunity for the students to see an artist working. I feel...so many teachers stop making art ...I can never understand this..How can one teach something and instill passion if one does not have this?But more important is that we , as teachers are also learning from students,it is important to show that we never stop growing or learning.It should be a give take thing and a conversation between students and instructor that will enrich our classes as we work along side our students,not as equals but as people who import our knowledge ti our students but also continue to learn from them.
DeletePaige - I think your art studio and focusing on the process of art making sounds great - I can totally picture the art history moving portraits! Love it! I think students need to know our we struggle with the vulnerabilities of art making - and how to problem solve within that situation.
DeletePaige I love your "hogwarts" style art room. That would be perfect! I am having an outside door put in my art room and fencing off an area outside. My excuse was the "kilns" need to be moved outside under a porch and we might as well fence off a bigger area for picnic tables (for use by whole class). I know that I am going to enjoy this with all levels of art.
DeleteI just need to be like you and rotate working artists in and out and try to get them to there a few days, not one lecture, really work with and get to know students.
Surprised: I was surprised to learn how many painters turned jewelers. When I first tried metals/jewelry I was trying to do things that my teacher(s) didn't want me to do, but I wanted a certain effect and I think my painting background powered my non-traditional choices. I wanted to use patinas to paint the surface. Julio De Diego and his "mini paintings in metal" were fascinating to read about. I loved his spirit and experimentation. He said "There is no formula in craft, just as there is none in art." (page 186) Painter-turned-jeweler Richard Pousette-Dart and his abstract brass jewelery seemed so simple to me, but I remind myself that for the time it was really ground-breaking. Speaking of his pieces, he says "...the weight constantly reminds the wearer of its presence" and that touching the jewelry is part of the experience. Jewelry was really going somewhere different fast and it is neat to think about all of these ideas emerging at once. I had no idea Alexander Calder made jewelry as well! Loved that he found a piece of crumpled up wire on the street, put a pin on it and sold it as a brooch!
ReplyDeleteImpressed: Marguerite Wildenhain, rightfully listed first under "The Ramarkable Teachers"! Her life was really cool to read about. She spoke 3 languages, traveled everywhere and so much in her life. She was a "model of independence and integrity." On page 200 she explains that she is proud of her accomplishments in pottery with no outside help from school or organization. She focuses on the student in the end, hoping that her background and story will provide some sort of hope or inspirtation to her students.
Take Away: So many things to take away from this chapter. It really is difficult to narrow it down but I am going to go with something I can apply to a jewelry lesson in my classroom. After reading about Anni Albers and Alexander Reed, I was inspired to think up a lesson plan/project. Albers and Reed made a group of necklaces and bracelets out of hardware and otherfound objects. I think it would be fun/challenging for students to create unique and original pieces using found objects like they did. This could be something very useful at the beginning of the year when teaching basic design concepts because the materials would be cheap and even reusable. I am just thinking too much into that now, but now I have an artist resource to use. Well, this whole book offers so many artist (so glad females are equally discussed) to use in the classroom. So many of them were willing to take chances and experiment and I think our students need to know that. Also, some were not formally trained and were self-taught which can prove that it takes motivation from within and one can be an artist without schooling.
I really like that when you took a jewelry class that you were trying things that your teacher did not want you to! (True painter)
DeleteThe traveler Marguerite Wildenhain wow! what I would give to be able to travel like that! Maybe a change in life to make this happen?
I really like this chapter also the reading was a little different or more interesting, I can't quite put my finger on it.
What surprised me: I'm surprised that it wasn't until the 1940s that a mfa was offered. I would have thought since art was and has been in higher education for a while by that time surely a mfa would have followed a lot sooner. There's so many things that I'm still learning and I don't think I would ever stop learning.
ReplyDeleteWhat impressed me: I'm always impressed by Alexander Calder. I knew he did some jewelry. My classes just had projects inspired by him but they are all mobiles. And we saw the circus video but his jewelry. I guess I skipped over it which I shouldn't have. I like how care free and super relaxed he seemed to be when making his art and just picking materials off the street. Inspriation is everywhere.
What I will take away: modern design is reflecting the war and the depression. I'm seeing that because of the lack of wanting luxury goods, artists are coming up with more rustic, found and even primitive looking designs.
Extra question: How should art be taught? I like classical teaching. My emphasis was drawing and I feel like I would be much better if I had had a chance to take a classical drawing course. You know, the ones where they study the bodies and it's parts and shading to a T and it is supposed to be as realistic as possible. My drawing courses, yes they allowed me to draw whatever I want , however I want but I still felt like I couldn't do much without having the knowledge in realistic drawing. I know that sounds weird and I intend to take another drawing course but I lost a lot of that skill from before. I think it's essential in drawing. I suppose it would be the same for painting as well. In a perfect world yes, at least one classical drawing course and along with other classes to let students draw and add on their own.
I actually am surprised that an MFA in Crafts was offered that early...I always thought of Crafts, as an academic and professional college degree of higher learning would have come a lot later.Photography for so long was under Home Economics in school and thought of not as an art form.
DeleteImpressed & Take Away:
ReplyDeleteDuring our clay class last summer with James, I made this vessel with a skinny neck. It was my first skinny neck. Since it disappointingly stood on such a small foot, I almost stopped caring for it after the edge of lip broke off. When I pulled it out of the kiln, I felt even less for it. It was black. Charred looking. With pockmarks. Like burned charred chicken skin left on the grill too long and small holes started burning away. I didn’t intend for that to happen. James appreciated the glaze outcome but I chalked it up to him just trying to make me feel better about it. And then I ran across the Natzler’s pockmarked and blistered looking pieces in this chapter. Why anyone would doubt James, I don’t know. Now I feel bad ever dumping it.
Immediately, I connected with Gertrud and Otto Natzler’s glazeware on page 197 covered in its pin-holed, bubbled, porous texture. A small pang of guilt washed over me knowing my piece is lying somewhere in some garbage heap. At that moment, I wished to look at it again and compare its pockmarks. However, their range of glaze techniques is what truly left a remarkable impression on me. “Among their distinctive glazes were what they called Pompeian (a lead glaze with pockmarks, blisters, and viscous folds), Lava (either thick with the suggestion of flowing or porous-looking), and Crater (pits caused by emission of gasses through the glaze surface. They also did reduction firing to get smoke and flame marks and used iridescent and crystalline glazes. Otto also developed what he called a ‘melt fissure,’ which he eventually determined was caused by a cooling draft separating the layers of glaze” (197).
Briefly (meaning almost an hour) poked around online to see some more of these techniques and glazes. In just a couple sentences, the Natzler’s list of techniques provoked so much wonder, exploration, and hope in that one day I can experiment and revisit these textures in my future work. Will have to spend a little more time with these two another day…
Surprised:
ReplyDeleteI was surprised that the wood turning section was so short. I had taken two semesters worth of wood turning during my undergrad. It was something I never experimented with before but always wanted to since my grandfather did some wood work as a hobby. I created a wooden bowl, an exact replica of a broken chair leg from one of my father’s kitchen chairs with minute detail down to every curve, candle stick holders (spindle turned), and intricately spun Christmas ornaments that I hand painted and gave as gifts. I got excited when I approached the woodturning section but it left me wanting more. There must be more, shouldn’t there be? Would love to take another woodturning class…
I have two very strong philosophies on how I think art should be taught (at least at the elementary level). One philosophy describes an approach to new mediums and materials, and the other describes an approach to drawing.
ReplyDeleteWhen new materials and mediums are introduced there would be two identifying parts of study: experimentation and creation. New materials need to be experimented with. Experimentation would provide time for interaction with the material to understand its limitations and provide the experience to become familiar with its physical properties. Students would then create an abstract artwork using their experimentation understanding. Daily, during this time of experimentation, an abstract artwork and its artist would be introduced to demonstrate how one may interpret the material. The focus of abstract art would be necessary to encourage young students to “feel free” with the medium, and to remove the stress of making their art “look” like something in particular. After this time of experimentation, skill and technique would be introduced and studied. Similar to during the experimentation period, other artists and their artwork would provide demonstrative examples; however, skill and technique will be highlighted and discussed. After experimentation with material and study of technique, students would then create their own artwork using this material and medium.
Emphasis would be placed on interaction with the outside world to build drawing skills. Drawing would occur only after objects were handled, touched, and interacted with. Experimentations would happen, inquires would be built, and questions would be asked. Skill would form through this time spent with objects. Drawing techniques would be introduced to students to experiment with but their implementation would not be forced. In the example of drawing trees, young students would be taken outside to physically interact with the object. Trees would be climbed. Bark and leaf rubbings would be made. Shapes and letters would be found within the branches. Leaves would be analyzed and collected in a leaf book. Roots would be identified, if possible. Its height would be measured and compared to its background and shadow. Its shadow would be analyzed throughout the day. Its changing color wouldn’t go unnoticed with the changing position of the sun. It would be interacted with in different seasons. The anatomy of the tree would be understood, and drawing the tree would become second nature.
Is this the Jennifer that was one of my room mates last summer at Junction?
DeleteI love to hear about your experiences with clay and I think they are the same as my room mates last summer.
I love your experiment Class!!!! I need to try and do this.
Whoa this is an awesome response. Do you use this in your classroom? The experimentation portion is similar to the process over product, learning how it works first without forcing a perfect composition from it.
DeleteYes! I started to develop my lessons this way using this experimentation / creation approach. For example, my goal in my paper unit was to teach mask making using 3-dimensional design elements through paper manipulation techniques to my 3rd grade students. Before I even spoke of masks, I introduced Louise Nevelson and her found object assemblages. We discussed how light and shadow is used in her work to make it in relief. I briefly introduced a few paper manipulation techniques to allow the kiddos to see what could be done with paper. The students continued with the cutting and folding experimentations through combining techniques that I showed them, coming up with new ones, and sharing ideas with others. Their goal was to assemble their discoveries to ultimately build an abstract paper assemblage in relief. When students finished their abstract paper assemblages, I introduced masks and the way they are depicted throughout many cultures, pointing out the features in relief and any additional 3-dimensional elements. After I demonstrated how to build a mask form, students then created their own mask designs with 3-dimensional properties using the learned paper manipulation techniques from the previous lesson. When students finish with their masks, I plan to conclude the paper unit with examples of how paper has been used in the creation of other art forms, including kirigami, quilling, and Li Hongbo’s stretching paper sculptures.
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ReplyDeleteSurprised: Alexander Calder made jewelry? More than made jewelry, he reinvented a new category of jewelry! How did I never hear about this? Of course Alexander Calder is mentioned in art history classes, and I remember him coming up several times in a few courses in undergrad, but it was always in reference to his big, usually red, monumental type outdoor sculptures, or otherwise his moving mural sculptures. I guess that’s just further evidence (in my experience at least) of how crafts are generally glossed over in many formal art studies programs, even if it’s a major accomplishment of an important artist that is otherwise studied in the program! I had to google “Alexander Calder Jewelry” just to make sure it was the same guy.
ReplyDeleteIn that same vein, I was also surprised at the impact that the GI bill had on the field of handworks and crafts. Once again, this subject is thoroughly covered in history classes, but the impact it had on the arts, crafts, and other creative fields is skipped entirely. Like Future said last week, art is a reflection of the times. I imagine this would be especially true for crafts and handworks that are designed specifically for the home, as they could give a real indication of what people were like and what they were interested in…so come on history, get with the program!
Impressed: Art Smith’s jewelry. That man had some style. Also Bloomingdales! Coordinating with the Museum of Modern Art to hold a contest for low-cost furniture design. That’s brilliant. With expensive, custom, hand-made commissions out of style due to the war, they didn’t want to sacrifice good design to the economy, so they basically crowd-sourced new design concepts for mass produced furniture. Awesome idea…even though it looks like many of the ideas were actually impractical for mass production.
Take away: There is so much to the ceramics/pottery crafts that I just don’t understand. Having never made pottery (outside of coil pots in primary school) most of the ceramics techniques discussed just go right over my head. To me, it seems like understanding materials and processes is just as important as good design when looking at and appreciating and making pottery. Because of this, I have so far not really been able to grasp the discussed concepts very well. I’m going to try and work on that this week, as I should finally have a bit of a slower week at work and might be getting home at reasonable hours. I won’t be able to make pottery, but at least I can try to do some additional reading and watch some movies or videos. Pottery and ceramics are such a big part of the readings every week I’m starting to feel kinda left out.
I know, the jewelry thing is very new to me also but if you think about his mobiles and the simple organic forms he uses and pure color you could imagine him making jewelry ,so I guess the real surprise is that we don't teach this and we don't learn about it..lol..Look the the Circus by him you will be surprised again...
DeleteTyler if there is anything with regards to technique or process relating to ceramics feel free to ask and someone will surely chime in. Shelbi, Jennifer, and Paula are all a wealth of experience and knowledge about the things being detailed in the chapter.
DeleteI often have discussions with my non Art friends, who happen to be some of the smartest people I know they just have the bad luck of being mechanical and chemical engineers, about what makes certain ceramic pieces better than others, in much the same way we talk about paintings at the HMFA or the Minel Collection.
Understanding the techniques and process as well as the historical context of Ceramic Art and Pottery is no different from understanding the same kinds of things to understand and appreciate a Diebenkorn or Rothko painting.
I think having the experiences of working with clay and specifically the wheel and high firing does give one a better understanding and appreciation of the work being cataloged in the text, but that is not to say it is absolutely necessary.
At the same time I don't think you have to look at a set of ceramic wares in a text book and think, well that is good pottery because it is in a book. Honestly there are some pieces of ceramic work represented that I don't find all that impressive. I can look at it and understand the historical significance but that doesn't necessarily make me say, wow what wonderful pots this person made.
Daniel, I do indeed have a lot of questions about ceramics when I'm reading the text. I do a lot of googling when I'm reading the chapter each week, which takes a long time... I'm learning a lot though. It's just easier to think about the concepts being presented when I can use previous experiences as a reference rather than google images. I agree with you that having an understanding of the concepts isn't absolutely necessary, but it sure would make it easier. And faster. Much faster.
DeleteAs I said before, while reading this book I have had a deeper understanding appreciation for furniture while reading this book. So I was impressed and surprised with Charles and Ray Eames. I loved their Lounge chair wood shown on p.193. I was surprised with how difficult it was to make the plywood bend as it says on "no one had yet managed to form plywood compound curve like a saddle forms that accommodate the human body and have many applications in seating design." p.192 I feel like I took furniture for granted but even something as simple as this chair and work they worked on trying to perfect it demanded much effort and energy.
ReplyDeleteI had a customer come in (I work at a art supply store) buying some charcoal and my coworker and I held a very good conversation with him as to what he was trying to do. Long story short, he brought up that he and his family lost all their stuff in a fire and they had moved into their new place and had to start new. He made all his furniture in the house! He made cabinet's, entertainment center, his son's bedroom furniture, even their dining table. I wish I could've gotten pictures. But beautiful craftmanship on all his work. He said he was beginning to build the chairs for the chairs for the table. It was amazing! I was very inspired!
I don't have a pinpoint way to teach art. I think it's dependent on each person. But to choose a way would be to start with a foundation made fun for the bases of art. So drawing, painting, sculpture etc. and from their as students get the hang of it they can choose what it is they want to work more with or if they want to continue to discover. Their would be emphasis and advice to explore and discover always but some are more specific then others.
HOW DO I THINK ART SHOULD BE TAUGHT? ......I'm answering this honestly so I will say that not every single day am I able to bring my art teaching game 100%. As a human, there are days I am full-force (most days I like to believe) and there are days were I am a little lax and find myself tired. I think art should be taught on the basis of respect, first and foremost. This goes for respect of materials, technique, peers, teachers, themselves, and for learning in general. Everyone's time is valuable and I have no tolerance for time wasters in my class. After this is established, I like to foster a sense of community within the classroom. I refer to the class as "art fam" a lot because some of the students already call me mom on accident. I am their "art mother" as we all joke. Creativity and individuality are celebrated in my classroom and fears of art should be left at the door. One thing I did the first week of school was give them a blank piece of paper and access to any medium. I have a poster I made that says "Art Is..." and they are to fill in the blank. I love the responses I get, they range from "cool" "neat" and to "scary and challenging" and I even get poetic responses such as "the beauty that one's mind can create"...It goes to show that my classes are mixed with beginners, lovers, and haters of art. My job is to show the value of art to all of them, even to the ones who are just in the class for the credit to graduate. Art allows for so much more in life, and students see that art is connected to everything we do in life.
ReplyDeleteand on the subject of state tests- I do not think there should ever be one for art!!!! I am so anti-testing that if that day ever comes, I think I will resign. If a teacher is doing their job correctly, no state mandated testing should be necessary. I almost think of it as a state vs. fed thing, but on the scale of state vs. local school district. The state has too much control over the districts and what is being taught. Let the teachers teach! Don't make them all teach to the same test, because that is what is usually results. If art ever becomes a tested subject, I think a mandated curriculum would be given to us. I love the fact that I get to create my own curriculum. I am not sure how other districts handle that, but I am given free reign at my school to create my own lessons. I am always trying to improve and look for additional resources to help my students and myself. So basically, my dream is to never have the subject of art tested by the state. I think it's all a scam anyways, and the publishers and distributors of these tests are just banking off of all of us....
ReplyDeleteyes, grades and tests for art?NO..but then how to we assess?I can think of other ways that make sense and are in line with art practice and those who create.
DeleteI give tests/quizzes and assessments (for art history, vocabulary, etc) I just don't want the state writing them for me.
DeleteI came to art pretty late compared to many, and didn't start studying it seriously until my second year of undergrad. I wish I had started sooner, and had pursued AP art in high school because I feel like I missed out on a lot of formal theories and techniques. Some of my favorite art classes have been independent studies, where I basically was able to write my own syllabus and just go wild, however the classes that I remember the most and refer back to in my mind when thinking about art are the introductory level classes that focused more heavily on theory, technique and history.
ReplyDeleteI think the approach that my undergrad art program uses works very well, though I sometimes wish I had had a little bit LESS freedom than I did. At the time, I saw art classes as a time to make my art, but I wish I had taken more classes that forced me to make art that I would not have chosen to make. Different media, different techniques, different theories, because I didn't really know what my art was back then. I had an idea, but not a well formed one.
I really like the description of the Bauhaus teaching style that we are reading about, with courses focused heavily on techniques and theory, but also that allow some experimentation. An equal balance, I guess, is what I'm trying to say here. Equal focus on design, composition, history, theory, technique and experimentation.
We have to learn to walk before we run,we have to learn our ABCs before we can read,we have to learn the skills of drawing before we can make art...it is a fact..but the manner in how we teach these skills is what we should be talking about..
DeleteSusan does all Art work need to display these skills then? What of Art that shows little skill but extensive concept? I think if you say one cannot make Art without a formal education in the skills associated with it then you have to say, the work must demonstrate that skill. So what of abstract paintings that display very little technical skill but represent concepts steeped in theory and historical perspective?
DeleteI don't know if I agree with your statement that we have to learn the skills of drawing before we make Art as a absolute & indisputable fact.
I think it is important, and I think good work should demonstrate a mastery of a particular skill, or at least the pursuit of mastery. However to say it is a absolute fact or necessity that one must study technical skills prior to being allowed, worthy, or capable of making Art seems a bit narrow and almost elitist to me.
I agree with Tyler about placing equal importance on the various aspects of making, I don't think you can say that technique or design principles are a prerequisite to making Craft or Art, to do so is a oversimplification of Artistic expression, process, and expression.
Surprising: Alexander Calder was a mechanical engineer in 1919 and the fact that his art pieces out of found objects. I love all of the art on pages 186-189 (Calders "Bird Brooch", Julio De Diego "Untitled Pendant,and Richard Pousette-Dart Pendant). I think that I am fond of theextile idologyse because they are borderline sculptures."
ReplyDeleteImpressed with: Anni Albers she has been seen as the "embodiment of Bauhaus textile ideology" pg. 207. "Her students sold functional items, making the weaving program at Black Mountain self-supporting - a considerable achievement considering that when she arrived at the school and was appointed a "tutor," there was no weaving equipment. She built the program." pg. 208 She was great at "artculating" what she was working on with weaving and was know for her writing. She later moved into printmaking this is how she describes it "I find that, when the work is made with threads, its considered a craft: when its on paper , it's considered art."
Take away: Wanting to do weaving now real bad! I have ordered a loom! I might not get to do much before the end of this class but I am going to try. Plus Chris do you remember when we were is "Comfort" Tx. and we saw those weaving looms I want to check out if I can put the trailer up there for a week or so and see if I can learn to weave on it.
Oh, Kim, did you get a floor loom! I would LOVE to do that, ever since I took a class years ago I have so enjoyed the feel of textiles. I remember that little store, we stayed there a while, didn't we!
DeleteI’m going to come at this art education thing from a different angle, as I believe there should be some thought as to how it could interact with education all around. I wish there was an ability to have students take core, rote education through some sort of paced electronic means. This way, students could learn things like math at their own speed. Quick students could get through the material faster, and either learn more complex material, or move on to a subject they are more interested in, and students that need a little more time could have it, so they could really grasp the material. Then the afternoon would be broken up into labs; longer classes where students could focus on whatever subject they were interested in. I spent a day not long ago as a high school student, and most of the information I was presented was something I could have easily figured out on my own with a textbook and access to Youtube. One of the math classes was spent reviewing the homework to help students better understand the questions they missed. I remember these days as a student. I would have only missed one or two, and would have to sit around and wait until they got to the information I needed. It was draining. Why shouldn’t students be able to easily get the information they need, and they go and get the information they want? There is something to be said about how technology can increase efficiency. I think for tasks that aren’t hands-on, software will be able to outperform most teachers overloaded in a classroom of 30+ students. This would free up those teachers to work with smaller groups on the kind of work that actually inspires students to learn. This technology is coming eventually, and sadly, it is going to displace a good amount of teachers when it does, but then again, software is going to replace a lot of white-collar work in the next 50 years.
ReplyDeleteThat being said, I like to design art education around questions about existence and have the students respond to those questions using art. I usually teach a skill that will somehow fit into the solution, but I would much rather the students design the solution and then learn the skills they need. Let’s just assume for conversation sake, they would have access to virtual experts, or live ones from a variety of disciplines. I would love it if students could come into the class, have the discussion/prompt, work on their solution in whatever medium they saw fit, and stay as long as they felt necessary. Students that don’t like the prompt could create something small and less intricate, while students that really like the prompt could spin it into a whole series or installation. It’s a little bit of what I do with my advanced classes, but I work within limitations of time, space and materials. I’m imagining that in this fantasyland, I have no limitations. No limitations, bigger windows, and a patio.
Technology is simply a tool it is not to replace teachers it is to aid us....
ReplyDeleteFor now, but once the technology gets better and cheaper, you're going to see a lot of State houses looking at tight budgets realizing the same thing that a lot of other businesses are, AI can handle a lot of the tasks that have been handled by humans better and cheaper.
Deletehttp://www.dallasnews.com/opinion/sunday-commentary/20151009-brynjolfsson-and-mcafee-will-humans-go-the-way-of-horse-labor.ece
http://www.cnbc.com/2016/03/08/google-deepminds-alphago-takes-on-go-champion-lee-sedol-in-ai-milestone-in-seoul.html
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DeleteJustin ,you are in many ways talking about a 'flipped" class. The main message/information is given on video that you can watch as often as you like /when you like. Morning in your p.j.s or late night with coffee. Then the labs are discussions and conversations about what you are thinking or the points you might feel you need help with. Love the concept of open time...sometimes it goes well and quick, other times it may never work no matter how long you are there. How refreshing to be able to answer questions in place of repeating what we think they need to know.
DeleteThe 3 questions I ask you all to answers make for a great review/crit...if you add the question "what would you like feedback on?". This is inline with what you are referring to, I think. I might look at your work and find fault with the color but you might be concerned with the balance. It does no good for me to talk color if you are only thinking balance. How exciting to have the time to actually communicate in full sentences and not quick solutions.
Justin, that sounds like an awesome model. I can totally sympathize with you on the memories of wanting to run screaming from a math class because I just wanted to move on. I was originally going to say that there was a potential for some students to take advantage of that system, or that some might not be mature enough to handle that much freedom in their schedule, but I don't know. If teachers are able to spend more time in small groups like you described, it would actually be easier to provide one on one attention than it would be in a traditional classroom setting.
DeleteI recently had to brush up on some algebra concepts for a test and I used the Khan academy website to do some studying. I was able to pull up really awesome videos of step by step processes that basically let me review my entire high school algebra class in an afternoon because I had the freedom to skip the stuff I already know and re-play the concepts that I didn't quite get the first time. Really cool stuff.
Thank you everyone for shared lessons/experiences. Justin and Jennifer, you both came the closest to what I was looking for (without having a set answer in my mind). I wanted each of you to think beyond a lesson or a classroom. I wanted each of us to questioned how skills are taught, how emotions can be allowed to roam and/or be controlled to tell a story. How long does it take to learn art? Do you have to draw before you paint? Before you throw a pot or weave a banner? How much art history is necessary? How to allow for dreams?
ReplyDeleteIn many ways this entire program is about these questions. And how these questions effect your work.
I personally prefer the Bauhaus style of learning. I always enjoyed the process of showing my students a skill/method and them going through the process of mastering it's usage knowing they would then take that skill and do whatever they wanted with it. One comment I used to use a lot was, "Show me you understand it, now go have a party with it." To have introductions of skills like this interspersed with glorious discovery lessons like Jennifer's is ideal to me.
ReplyDeleteSurprise!
I, like many of us, was surprised to learn Calder made jewelry. I was more surprised to see the necklace designed by Anni Albers on pg 188. OMG! Jewelry using an aluminium strainer, PAPER CLIPS, and a chain ca. 1940!! I love the piece!The elegance of the form, space, pattern and movement makes me fall all over myself with giggles imagining the many different reactions and conversations this piece caused.
Impressed!
I was impressed with Art Smith, p 190-91. The description of his Lava bracelet is sheer poetry - but that is the writer's description. The impressive part was how Smith was so attentive to the wearer's comfort, "the three lobes closest to the wrist curve gently upward, allowing the hand to move freely."
Marguerite Wildenhain (1896-1985) totally impressed me. I'm in the back seat of a car heading home from NCECA eating up every word about this fierce woman and I get to the second column on page 199 and totally freak when I read the section on Val Cushings recalling having seen her when he was a student! The radio went off and the other two ceramic students in the car had to listen to me read to them about this remarkable woman. All three of us are students of Von Venhuizen. He has taught us much about Val Cushings. I am currently taking a class from Lydia Thompson. She went to Alfred and Chushings was her teacher!! Talk about HISTORY ALIVE! Dang! I love this book!
TAKE AWAY!
I'm taking away with me a growing desire to work in jewelry - yup - but, oh, how I hate the jeweler's saw.I'm taking away with me so much happiness in learning about wonderful women artists and their place in history.
EXCELLENT CHAPTER!
I personally prefer the Bauhaus style of learning. I always enjoyed the process of showing my students a skill/method and them going through the process of mastering it's usage knowing they would then take that skill and do whatever they wanted with it. One comment I used to use a lot was, "Show me you understand it, now go have a party with it." To have introductions of skills like this interspersed with glorious discovery lessons like Jennifer's is ideal to me.
ReplyDeleteSurprise!
I, like many of us, was surprised to learn Calder made jewelry. I was more surprised to see the necklace designed by Anni Albers on pg 188. OMG! Jewelry using an aluminium strainer, PAPER CLIPS, and a chain ca. 1940!! I love the piece!The elegance of the form, space, pattern and movement makes me fall all over myself with giggles imagining the many different reactions and conversations this piece caused.
Impressed!
I was impressed with Art Smith, p 190-91. The description of his Lava bracelet is sheer poetry - but that is the writer's description. The impressive part was how Smith was so attentive to the wearer's comfort, "the three lobes closest to the wrist curve gently upward, allowing the hand to move freely."
Marguerite Wildenhain (1896-1985) totally impressed me. I'm in the back seat of a car heading home from NCECA eating up every word about this fierce woman and I get to the second column on page 199 and totally freak when I read the section on Val Cushings recalling having seen her when he was a student! The radio went off and the other two ceramic students in the car had to listen to me read to them about this remarkable woman. All three of us are students of Von Venhuizen. He has taught us much about Val Cushings. I am currently taking a class from Lydia Thompson. She went to Alfred and Chushings was her teacher!! Talk about HISTORY ALIVE! Dang! I love this book!
TAKE AWAY!
I'm taking away with me a growing desire to work in jewelry - yup - but, oh, how I hate the jeweler's saw.I'm taking away with me so much happiness in learning about wonderful women artists and their place in history.
EXCELLENT CHAPTER!
Art Smith's bracelet jumped at me as well, it reminded me of something from an H.R. Giger piece.
DeleteSo you drove to Kansas City ?!? Now I am even more jealous.
The last time I went to NCECA I was in undergrad and I drove from Lubbock to Portland to meet up with the rest of the TTU Ceramic department, that was actually the first time I met James Watkins.
What is the class with Lydia, and what is it like?
I've been getting more and more interested in metal working and jewelry while reading these chapters too. That Art Smith bracelet is really cool. It reminds me of a bracelet I saw in a Tiffany & Co once...Bone Cuff by Elsa Peretti. Super cool.
DeleteOk so I typed out my response for this chapter before spring break and my computer died and BOOM. Response gone. I should have done it in word or something so it could be recovered. Anyways here's my response for this chapter. Playing catch up.
ReplyDeleteI loved this chapter for multiple reasons. I love WWII history. It's my favorite part of history to study. Additionally, I loved the fact this chapter had my favorite artist in it, Beatrice Wood. Let me start from the top. I have always had the philosophy that some of the greatest chapters in our life come from facing adversity. During WWII there was much adversity in our country and the world and I believe the art that came during that time was remarkable. We gained so many amazing artists that were forced out of their countries during this time. With that, new styles, techniques, etc came also. I feel like this was a revolutionary time for the arts.
I love Gertrud and Otto Natzler. They helped influence and teach my favorite potter by being her teachers. The war brought them to America, being Jewish, allowing America to gain two incredible potters. I love their philosophy of embracing mistakes as a tribute to the medium itself. I feel like as a potter you must find balance and work with the clay in order to create at a higher level. With that being said, if you fight the clay and try to control every aspect of it, you will lose. Embracing the material allows the artist to use the clay in a way that becomes teamwork between you and the medium. A marriage within your art. I enjoy the Natzler's forms but that doesn't surprise me because they closely resemble Beatrice's.
In addition to adding the Natzler's to America we gained Marguerite Wildenhain. I wont talk long about her but I will say I enjoy her contrast between naked clay surfaces and glazed surfaces. Personally I enjoy that aesthetic in my own work. Lastly I loved reading about Beatrice. I consider her a friend although I have never met her. I feel a soul connection to her story, her work, and her spirit. I love the fact she didn't fall in love with a medium until her 30's. It goes to show you it's never too late to become a master at something.