This is my final project. In the spirit of the documentary, Rip Remix Manifesto, I bring to you the
Artistic Thinking: Week 14
· Structuring the art education curriculum on academic and modernist traditions does not give students the range of knowledge and skills NEEDED to authentically investigate contemporary life (Olivia Gude)
I had an “AHA!” moment while reading chapter Eight in Hetland, the explanation that stated, “Jim asks students to express the relationship between the two figures in the empty space between them” clicked inside me and I saw a grand unfolding of the connections that are between us all and within everything we create. It’s all about "relationships". Giving students an opportunity to see how this works within a simple observation can be profound and powerful insight for their art and their daily lives. "The essential contribution that arts education can make to our students and to our communities is to teach skills and concepts while creating opportunities to investigate and represent one’s own experiences-generating personal and shared meaning.” (Gude, 2007) I may be getting a little philosophical but I cant help noticing that the concept of relationships underlies all other concepts and constructs in general, on a molecular level, within our bodies and psyches, in life, in teaching, in learning in creating meaningful art. In our relationships with family, friends or teachers, we feel a connection, we know how to interact, play, talk and exchange within each type of relationship. However the process of building trust and creating a deeper bond takes time to investigate how to communicate, play, be empathetic, sensitive to our own and others needs and relate and share in a democratic way. These are similar practices that Olivia Gude speaks of in her Principles of Possibility’s. Just as our relationships, and we, evolve so must our ideas and modes of guiding students toward meaningful art making. “Buy its nature art is an open concept that is always evolving and changing (Weitz, 1962). (Gude, 2007) And so must our curriculums. In Hetland, the art teacher Jim Woodside introduces the idea of going beyond the basic drawing lesson, look closely and draw, to expressing how the objects or figures are in relationship. The students have something more to think about and create besides going cross-eyed staring at the positive and negative spaces and trying to mimic the lines, curves and shapes. He gives students a lesson in story telling, visual literacy and dramatic scene building. They learn to look beyond the obvious, notice the placement, space, mood and context of two figures in a setting and then show how these are all related by adding their own personal perspective and meaning. This moves an art lesson from the formal principles of art to a postmodern art making practice. Olivia Gude demonstrates how her eight postmodern art making practices are a fusion of a visual form and a conceptual art making strategy. “In true postmodern fashion, these principles are not a set of discrete entities, but are rhizomatic.” (Gude, 2004)
Meaning is created when our students can connect their personal internal questions and emotions with their direct experience in the external world. They then begin to engage in a relationship with themselves. “Artmaking can be an important opportunity…to help formulate a sense of who they are, and who they might become. Quality projects aid students in exploring how one’s sense of self is constructed within complex family, social, and media experiences.” (Gude, 2007) If we provide art lessons that are in direct relationship with our students lives, more authentic , symbolic and meaningful expression can flow.
Value: eclectic curriculum – intertwining formal, expressive, realist, and postmodern – methods of making over recapitulating past monological making
I chose this value because this is how real life operates, in an eclectic collaboration and intertwining of formal, casual, expressive, realistic, and spontaneous events and situations. Our students are constantly constructing and sharing meaning through their daily dose of stimulus both random and chosen. Presenting one style or rout of production is counterproductive in our multi-mediated, multi-cultural world.
I want my students to be well rounded by showing them how and why certain art came to be. How previous artists were influenced by their times and society and in return how these artists reactions and self expression affected and helped to shape the future.
I want my students to be well rounded by showing them how and why certain art came to be. How previous artists were influenced by their times and society and in return how these artists reactions and self expression affected and helped to shape the future.
“Contemporary theories of meaning making recognize that
all meaning making involves borrowing from previous meaning making.”
(Gude, 2009) I think history is important and gives us power of understanding and confidence in knowing. Lessons can introduce formal ideas and old masters while relating how those artists created meaning compared to how contemporary artists create meaning. “All contemporary psychological and psychoanalytic theories agree that much of who we are as individuals is created by our personal experiences and by our cultural contexts.” (Gude, 2009) Having a project which can link the students present discourse with their world to a chosen past artist will stimulate self-discovery. They will discover how they have been shaped by their interactions and can see the connection of how all artists/humans through time are shaped. This is only one idea but the value of having a curriculum that incorporates the past, present and stimulates future visions is holistic. This kind of curriculum gives all students of various levels a chance to find the best medium to express and be successful.
Value: engaging mess over keeping things neat
I have not been in an art classroom that is not somewhat or completely organized and clean. I have substituted for 6 years and been in many. The middle school art room I did my student teaching in was so clean it felt strange and very uninspiring.
The teacher was very particular and she even told me that she did not like making messes. Therefore she limited the students to certain, non-messy supplies and she wasn't even going to do clay with them because she said she hated how messy it was and did not want to deal with it. I told her I would teach them the clay lesson and be responsible for keeping things cleaned up. I chose this value because I don't think it is natural to have a perfectly clean art room or studio and because this value has two meanings, one is literal and the other is figurative. In my classroom there will be an area for creating a mess and letting that mess live within it’s boundaries. The mess will take on a life of it’s own, it will move, rearrange itself, get bigger one day and smaller the next. My mess will be made of anything and everything that the students bring in to add to it. It will be multi dimensional, very colorful and have various textures. My mess will incorporate all of the elements and principals of art. Students will be free to interact with the mess and together they will co-create interesting conversations, new concepts and creative expressions. Olivia Gude says, “Teach students to be unafraid of immersion in mess. Teach students how to observe and build on the unexpected.” (2009) Some students may feel very comfortable hanging out with the mess and others may feel the opposite. When I speak of “mess”, I literally am referring to having a space where supplies, can be laid out in a big line or semi-circle with little organization except to keep tools in a basic area so they don't get covered up by other materials. I think it is important to be able to take a visual survey, scan the stock and mentally make note of what is available for use. I am also referring to making a mess in a figurative way as far as using messy found objects, and other non-traditional materials to create meaningful artworks.
The teacher was very particular and she even told me that she did not like making messes. Therefore she limited the students to certain, non-messy supplies and she wasn't even going to do clay with them because she said she hated how messy it was and did not want to deal with it. I told her I would teach them the clay lesson and be responsible for keeping things cleaned up. I chose this value because I don't think it is natural to have a perfectly clean art room or studio and because this value has two meanings, one is literal and the other is figurative. In my classroom there will be an area for creating a mess and letting that mess live within it’s boundaries. The mess will take on a life of it’s own, it will move, rearrange itself, get bigger one day and smaller the next. My mess will be made of anything and everything that the students bring in to add to it. It will be multi dimensional, very colorful and have various textures. My mess will incorporate all of the elements and principals of art. Students will be free to interact with the mess and together they will co-create interesting conversations, new concepts and creative expressions. Olivia Gude says, “Teach students to be unafraid of immersion in mess. Teach students how to observe and build on the unexpected.” (2009) Some students may feel very comfortable hanging out with the mess and others may feel the opposite. When I speak of “mess”, I literally am referring to having a space where supplies, can be laid out in a big line or semi-circle with little organization except to keep tools in a basic area so they don't get covered up by other materials. I think it is important to be able to take a visual survey, scan the stock and mentally make note of what is available for use. I am also referring to making a mess in a figurative way as far as using messy found objects, and other non-traditional materials to create meaningful artworks.
This area would be the primary area for creative playtime. I do agree with Gude and think that it is necessary to teach students to become comfortable with some chaos, unfamiliarity, and constant change. The unexpected is living moment to moment and never knowing what might happen next. This could be a big idea, being comfortable with uncertainty. I do think students need to get their hands dirty and immerse themselves in all of the available materials, play, build, construct, deconstruct with no purpose no reason other then letting ideas flow. Much like meditaion where one practices just being in the moment and fully enjoying it.
Artistic Thinking Week 13
Purposeful play is allowing yourself or your students to
experiment and discover, “what will happen if…” Like Hetland speaks about in
Capter 11, “Students learned that mistakes are opportunities, they can lead to
new directions, and they can be diagnostic sources from which to learn.” (Pg.
74.) Purposeful play creates opportunities for taking risks, stepping into
unknown territory and feeling free and fearless to explore. Play is an
essential part of the creative process, “The process of art making for
individuals of all ages is and inquiry activity of exploring and expressing
ideas that reflect experiences. Divergent thinking, spontaneity, risk-taking
and experimental manipulation of media are significant art making behaviors.
These behaviors can be facilitated by play.” (Pitri, 2001) I am a big fan and
advocate for Playtime. At least once a week I try to make time for it and I always recommend
and encourage it for my family, friends and students. Just as eating well,
brushing and exercise are all important for good physical health; Playtime is just as important and good for mental and emotional health. The
best part is that it usually involves feelings of excitement, anticipation and
personal satisfaction during and after. However many adults don't allow
themselves or their children to make time for playtime. These people believe
that to progress and move up in the world you must be serious and work hard,
which leaves no time for play-time. Daniel Pink, is helping to change that
old, outdated way of thinking, which comes from the left, practical and
methodical side of the brain. He is introducing the out-going, fun-loving,
daring, humorous and empathetic right brain and showing how the two can
interact and come up with some beautiful, functional creations when they both
come out to play together. “Play is emerging from the shadow of frivolousness
and assuming a place in the spotlight Homo ludens (Man the Player) is proving
to be as effective as Homo sapiens (Man the Knower) in getting the job done.”
(Pink, pg 188)
Tim Brown, a designer, speaks of how as adults; we don't
play as freely as we did as children. We censor ourselves and may not push
ourselves beyond our comfort zones. He says we self edit and stop ourselves
from, “going for it” I know this is true for me but when I do, "go for it", my
best work emerges. Making time to play, adding humor and working in creative
problem solving groups are now seen as high on the scale for best business
practices. It’s sad that we had to wait for business to catch on to how many
benefits there are in practicing and applying playful creativity. If it’s good
for business then It’s good for the USofA. Im thrilled to see these businessmen
and other professionals preaching the gospel of Play. They are helping to
spread the word about how important creative play is in everyday life and as a
core subject in schools and a needed practice in general. I feel like I am a
born player, and I do mean, I was born to be playful and help others do the
same. Being a teacher is a lot like being on stage and having to constantly
improvise to keep the attention and keep the information interesting and
engaging. Adding humor and a playful attitude usually, creates a
non-threatening communication and a safe space for students to respond. These techniques
can be used in the studio too. Improvising is another way to describe
fearlessly exploring, alone or within a group. Alone, you agree to push
yourself into new areas and within a group you agree to stay open to the
process, add your ideas and contribution and help the group expand and build
onto the original idea. Tim Brown has a good point when he speaks of group play and it's positive impact, "Play is not anarchy, group play has rules, and all
must agree to it." We can see it when children do pretend play on the playground or in their rooms, If one assumes the role of a store clerk, the other will agree and assume the role of the customer. They almost instinctually know the rules and agree to go along with the type of play that is being enacted. The same goes with being on any kind of sports team, debate team or any type of group that works together to produce an agreed on outcome.
For my play-related project I decided to start an Improv acting group. First I invited some friends and acquaintances over for a night of experimental improv. I posted some basic rules of improv, two videos for demonstration and the reminder that the goal was to have fun, stay open and fearlessly go with the flow. Here is the post for the party:
When doing interactive Improv there are some rules to be aware of and Tina Fey speaks of them in her book Bossypants. Great book! This will give you the basic idea of how to interact in improv. Check it out and if you are still stuck, go to YouTube and search for the "Yes, and..." improv game. In Improv you need to be in agreement with whatever your partner or group present. You agree and then add to it......
Rule #1 — Agree
The first rule of improvisation is AGREE. Always agree and SAY YES.
Just in case you need an idea of what an Improv game looks like, this is one that is easy and always a crowd pleaser. It's called FREEZE TAG
At the party I was so happy to see that most everyone jumped in and participated No one in the group had ever done improv besides me. We did some fun warm up games first and those got everyone laughing and relaxed and created a trusting group dynamic. Then we dimmed the lights low when making the video since they knew they would be part of my project and wanted to be somewhat incognito.
Here are three short video clips to give you an idea of our version of the Freeze tag game.
For my play-related project I decided to start an Improv acting group. First I invited some friends and acquaintances over for a night of experimental improv. I posted some basic rules of improv, two videos for demonstration and the reminder that the goal was to have fun, stay open and fearlessly go with the flow. Here is the post for the party:
When doing interactive Improv there are some rules to be aware of and Tina Fey speaks of them in her book Bossypants. Great book! This will give you the basic idea of how to interact in improv. Check it out and if you are still stuck, go to YouTube and search for the "Yes, and..." improv game. In Improv you need to be in agreement with whatever your partner or group present. You agree and then add to it......
Rule #1 — Agree
The first rule of improvisation is AGREE. Always agree and SAY YES.
When you’re improvising, this means you are required to agree with whatever your partner has created. So if we’re improvising and I say, “Freeze, I have a gun,” and you say, “That’s not a gun. It’s your finger. You’re pointing your finger at me,” our improvised scene has ground to a halt.
But if I say, “Freeze, I have a gun!” and you say, “The gun I gave you for Christmas! You bastard!” then we have started a scene because we have AGREED that my finger is in fact a Christmas gun.
The Lesson: Respect What Your Partner has Created
Tina Fey obviously doesn’t think you’ll agree with everything you hear, but the real lesson is in “respecting what your partner has created.” The benefit of “agreement” is an open mind, an environment where ideas can thrive and innovation is welcome.
We all know what it’s like working with the guy who breaks rule #1. You’ve heard him, he’s the guy who says, “No, it won’t work,” “That’s impossible,” “Nope, we can’t do that.” Not so much fun working with them, is it?
Rule #2 — Not Only Say Yes… Say Yes And
The second rule of improvisation is not only to say yes, but YES, AND. You are supposed to agree and then add something of your own.
If I start a scene with “I can’t believe it’s so hot in here,” and you just say, “Yeah…” we’re kind of at a standstill.
But if I say, “I can’t believe it’s so hot in here,” and you say, “What did you expect? We’re in hell.” Or if I say, “I can’t believe it’s so hot in here,” and you say, “Yes, this can’t be good for the wax figures.” Or if I say, “I can’t believe it’s so hot in here,” and you say, “I told you we shouldn’t have crawled into this dog’s mouth,” now we’re getting somewhere.
But if I say, “Freeze, I have a gun!” and you say, “The gun I gave you for Christmas! You bastard!” then we have started a scene because we have AGREED that my finger is in fact a Christmas gun.
The Lesson: Respect What Your Partner has Created
Tina Fey obviously doesn’t think you’ll agree with everything you hear, but the real lesson is in “respecting what your partner has created.” The benefit of “agreement” is an open mind, an environment where ideas can thrive and innovation is welcome.
We all know what it’s like working with the guy who breaks rule #1. You’ve heard him, he’s the guy who says, “No, it won’t work,” “That’s impossible,” “Nope, we can’t do that.” Not so much fun working with them, is it?
Rule #2 — Not Only Say Yes… Say Yes And
The second rule of improvisation is not only to say yes, but YES, AND. You are supposed to agree and then add something of your own.
If I start a scene with “I can’t believe it’s so hot in here,” and you just say, “Yeah…” we’re kind of at a standstill.
But if I say, “I can’t believe it’s so hot in here,” and you say, “What did you expect? We’re in hell.” Or if I say, “I can’t believe it’s so hot in here,” and you say, “Yes, this can’t be good for the wax figures.” Or if I say, “I can’t believe it’s so hot in here,” and you say, “I told you we shouldn’t have crawled into this dog’s mouth,” now we’re getting somewhere.
Just in case you need an idea of what an Improv game looks like, this is one that is easy and always a crowd pleaser. It's called FREEZE TAG
At the party I was so happy to see that most everyone jumped in and participated No one in the group had ever done improv besides me. We did some fun warm up games first and those got everyone laughing and relaxed and created a trusting group dynamic. Then we dimmed the lights low when making the video since they knew they would be part of my project and wanted to be somewhat incognito.
Here are three short video clips to give you an idea of our version of the Freeze tag game.
To help students get out of their safe routines I would use this game in the art room by using a prop and letting students come up with different things that the prop could be or different uses for the prop. I think this kind of group play is just as important as individual exploration and play. Creating an atmosphere where everyone feels safe to express themselves without judgement is most important. In group game playing, connections can be made on a playful, humous fun level. This can help to balance any tensions and open students up to initiate creative problem solving together. My friends and I laughed for hours, created new bonds through this improv experience and most have said they are interested in doing this once a month to practice for a possible live performance in down town Columbia. My next step is to find a venue that would host us and be open to a possible Improv night where I give some basic instructions, do a few quick games and then allow those audience members to jump up and participate during the show.
Artistic Thinking Week 12
In reflecting on how I am motivated and stay passionate
about creating art; I tend to get creative ideas at any given moment of the day
and if I am lucky to have a notebook to jot them down or make a voice memo, I
do. I find these ideas in anything and everything and I feel like I don't even
have to scratch for them, they just come to me and present themselves.
Unfortunately I do not always remember them if driving or in middle of class or
out on the town, but I do have a journal and a small notebook to make notes
when possible. I am naturally passionate about giving these sparks oxygen and when
the time is right I start the fire.
For students I like to start any project out with an
enticing power point with plenty of examples and a captivating video to build
excitement. Keeping in mind that my subject is relevant and easily relates to
my students. I like to feed them mind candy to get them salivating and craving
the taste of it. When I am excited and show them how much fun and how cool
creating a piece will be, it usually transfers to them and they get
enthusiastic as well.
When it comes time to cultivate these ideas and sustain
attention to put them into the creative process I am most likely alone and
focused on the steps I need to take to begin and get into the flow. Sometimes I
work with others and, depending, it can be easier or more difficult to begin
since each artist has their own methods and one must be agreed on. The
sustaining attention has been a hurtle for me most of my life yet when I force
myself to stay in the moment and focus on the vision I have for the outcome, I
am excited to get there and can then work for hours without taking a break.
For my students I give good hands on demonstration, show
tutorial videos, have books and magazines as reference and give them time to
journal. I allow them to explore and play with the idea. I then constantly walk
around, checking in on each of them, posing questions to the group and having
discussions when needed. I allow them to listen to music and even chew gum.
Taking a break, looking at other art, taking a long shower,
going for a walk, changing the music, making a phone call or anything to reset
my mood, helps me to combat frustration.
For my students, I will give them reminders, and prompts, explain the importance of pushing themselves to reach the goal. Tell them stories of my own immense satisfaction after crossing the finish line. Ask them to recall times when they had to discipline themselves and sacrifice other things to get what they wanted and remember how good it felt to know they did it on their own. Give them tips and encouragement. Offer to give them a fun reward upon completion.
For my students, I will give them reminders, and prompts, explain the importance of pushing themselves to reach the goal. Tell them stories of my own immense satisfaction after crossing the finish line. Ask them to recall times when they had to discipline themselves and sacrifice other things to get what they wanted and remember how good it felt to know they did it on their own. Give them tips and encouragement. Offer to give them a fun reward upon completion.
For my students I will remind them that Rome was not built
in a day, give them examples of artists that have struggled, persevered and
accomplished amazing things that have left their marks on the world and in
history. I will stop them to play an improve game, let them vent their
frustrations, have do a walk around, find the good points in others works and
tell them what they are.
When working hard to meet a deadline, I just shut everything
else off, close out the world and go for it. Sometimes working under pressure
works well.
Developing the ability to delay gratification is not easy
even for me at this age yet a practice in patience, mindfulness and faith in
knowing that every step I take gets me closer to the summit is how I deal with
it.
For my students, I would do about the same as above for
combating frustration and working hard to meet a deadline. It all takes self-control,
concentration, diligence and confidence. I would constantly give and show
examples since that can help them to relate others accomplishments to their
own.
Studio Assignment:
"The position of the artist is humble. He is essentially a
channel."
::: Piet Mondrian :::
"The artist is a receptacle for emotions that come from
all over the place; from the sky, from the earth, from
a scrap of paper, from a passing shape, from a spider’s web."
::: Pablo Picasso :::
::: Piet Mondrian :::
"The artist is a receptacle for emotions that come from
all over the place; from the sky, from the earth, from
a scrap of paper, from a passing shape, from a spider’s web."
::: Pablo Picasso :::
The way the ideas of engagement and persistence have
factored into my documentary about art education has been very difficult this
week since I have not been able to concentrate, get comfortable or even sit
long enough to type. I thew my back out and with it most of everything else
that I take for granted and am able to do every day. All creative and productive
work went out the window and I had to be still and do a lot of meditating on how
to accept what I could and could not do. I had to pull out all of my resources
in patience and persistence in a different way. I had to practice focusing on
recovery and finding the positive within dreadful feelings of self-pity and
depression. I was forced to slow down, use my creative thought to pull myself
out of anxiety mode and into envisioning how to make the best of it. For
two weeks, going on three, I had to stay
focused on how to move correctly, how to bend or not bend, how to sit and stand
and even how to put on my clothes. I had to find new ways and support to do
simple things such as brush my teeth or pick something off the floor. In many
ways this has been a type of artistic practice in engagement and persistence. I
was “scratching” for answers to why this happened and what is the lesson? I was
scratching for ideas of how to not fall behind on things and how to use my time
on my back in the best possible way. I did do a lot of envisioning of what I
wanted to communicate through my creative project and how to make it more then
just an informative documentary but a work of art.
Just yesterday, Nov 24th I started to be able to
do more, sit longer and feel like I am regaining the strength to continue and
participate in life again. However, I have learned that I have to take care of
my personal, physical needs and feed them just like my creativity. I am still
practicing how to juggle, like Michael Gieb, and am using his principals from
How to Think Like Leonardo da Vinci much more in my daily life to help me
become more balanced, centered and receptive. For the up coming weeks I can see how frustration may be my biggest hurtle and I will have to take many breaks from sitting. When I am in the creative Flow and building a documentary, many times, I feel as if I dont even have a body, and it seems as if nothing can get me to move unless I feel like my bladder is going to bust if I dont run to the bathroom. I actually get frustrated at being interrupted by my bladder or my hunger or anything that breaks the fluidity of my thoughts. I will be working on doing my work in short intervals and making sure to tend to my other needs. I will need to trust in the process and know I can take breaks and get back into the flow without a problem.
Scratching for inspiration and fresh ideas
While scratching through videos on art education I found a few that are similar to the ideas that I would like to present. I also found that my Delicious, FaceBook, Pinterest, Voice Thread, Slide Share and other digital resources to be helpful in giving me more kindling to help start my fire.
Art Education Builds 21st Century Skills
Blog Reflection
As Twyla Tharp says generating one idea is not enough, “The
tricky part about scratching, however, its that you cant stop with one idea.
You don't really have a workable idea until you combine two ideas.”
In using Stephen Kosslyn’s systematic methods for acting
upon an idea I would use all 4 in a lesson that was open ended, as far as the
medium the student uses, to produce a final work connected to a big idea.
The lesson would begin with a mind map of a chosen big idea, such as relationships.
This map would generate many sub ideas such as relationship with nature.
The lesson would begin with a mind map of a chosen big idea, such as relationships.
This map would generate many sub ideas such as relationship with nature.
Taking that sub idea the student would then journal and free
write for at least two pages to help in the Retention and to record the basic
idea.
The students would then be free to do investigations on the
idea and would be required to use at least 4 different resources and required
to walk in nature and collect as many found ephemeral items for observation and
more journaling. This inspection process will include scratching to add other
small ideas to the one. This should help to connect the dots and build one specific
final idea ready to work with.
They will then use Transformation by brainstorming again to decide how to create a piece of art that speaks of their relationship to nature and then go for it using their chosen medium.
They will then use Transformation by brainstorming again to decide how to create a piece of art that speaks of their relationship to nature and then go for it using their chosen medium.
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