Saturday, November 17, 2012

Online Studio Thinking Network

On November 19th, Louise Music from Alameda County's Office of Education's Department of Integrated Learning presented through our Adobe Connect Online ST Network on the connections of Common Core and the Studio Habits of Mind. This was followed up with a conversation focusing on two questions:
1) What are arts educators contributing to the general endeavor of teaching to a Common Core?
2) What are arts educators getting from the general endeavor of teaching to a Common Core?

Check out a video recording of the conversation at this link: Adobe Connect STF Network Session 3
*you may want to fast forward through the first 11 minutes as people are entering the conversation. Louise starts her presentation close to the 11 minute mark.

Wednesday, November 14, 2012

Liz demonstrates charcoal techniques for still life drawings

A visit to the Lane Tech art studio today revealed that students were developing confidence with their materials, techniques and language related to Studio Thinking. Several students referred to stretch and explore and one student said she was using all the habits simultaneously.

Thursday, November 8, 2012

Tell Me A Story- Express SHoM

We are finishing an art project that uses multi-media to alter an appropriated image. We studied other artists (fine & guerrilla) that appropriate art. We explored art we admired. We chose a particular artwork image to appropriate and made tape transfers of them. Students then created a multi-layered work using all kinds of media and techniques to alter the chosen image. 

As we finish I am asking students to creatively explore their expression through writing. What are they trying to say with their piece? This is a one day writing lesson.

SHoM – “Express”

Write a creative short story narrative (3 paragraphs) about your artwork. You took someone else’s idea and made it your own. Now make connections to your inner self. Choose one of the prompts below to help you connect with your creative side via writing. Make sure you have a beginning, middle of story with climax of action, and an ending. Be DRAMATIC!
Remember, this is inspired by your artwork.

  • ·      Think of what emotion your artwork expresses. Make that your title. Now imagine an event that has caused you to have that emotion. Describe that event as though you are telling your best friend all about it. Start your story with, “Dear ________ (insert best friend’s name)

  • ·      “I have an idea!” Perhaps your art is about an important belief or idea you have that everyone MUST know. Tell us what that idea is (ex: horrors of war). Pretend you have just won the Nobel Prize for Greatest Idea Ever. Give your acceptance speech and explain your idea and why it is so important for all of  the world to know. Start with “Thank you judges and people of the world, it is important that we all understand….”

  • ·      Choose a central image in your artwork. Make this your starting point. Make up a story about this image. What is happening? Who is it happening to? Describe in detail what big situation has occurred that your image illustrates.  Pretend you are reading a bedtime story aloud to someone. Start with, “Once upon a time there was a ….”

  • ·      “In the news”, Pretend your image illustrates some amazing thing that has just happened and you are reading about it in the news. What happened? Who did it happen to? Where did it happen? Describe it so that we know why it is newsworthy. Come up with a snappy title like newspapers have.



Visual Arts and Writing Strategies Workshop, Nov. 1

Thanks to all of you who were able to join us for the workshop last Thursday. We had a great turn out and covered a lot of ideas. We wanted to touch base with everyone regarding the workshop and our next steps.

You Have 7 More Minutes 
We sensed many of you were a little frustrated with the amount of time we were able to commit to the collage activity, and this was confirmed in the reflection sheets. We know we presented some complex information and tried to squeeze it all into three hours. This is a common challenge for us and we want you to know that we try to give as much time as possible to the critical components of each workshop. 

In this workshop we,

  • Reviewed a Sample of Teacher Reflections from the Art Institute PD
  • Reviewed the Metacognitive cycle/hologram
  • Incorporated Contemporary Art by watching Art 21's piece on Arturo Herrera 
  • In small groups, created new language systems to communicate events of the CPS strike through collage 

  • As a large group, shared back Internal Verbalizations 
  • Transitioned to writing activity through multiple written and visual examples of Stretch & Explore
  • In a large group, engaged in word games and writing strategies
  • Developed individual writing samples

Why Collage and Writing: Where we are Heading
The Inquiry Question for this workshop was, "How can we develop a new visual sign system to communicate our experience?" We used abstraction and appropriation in both the visual arts and writing to illustrate how the arts support deeper levels of understanding. Then, through the recording of internal verbalizations, individual writing samples, and Studio Thinking reflection prompts, we recorded the critical thinking processes. This process of using visual arts, writing, and Studio Thinking reflection is our main focus for year two of this project.

After reviewing materials and data from year one of Studio Thinking, it was clear teachers were ready to move beyond labeling of Studio Habits to a more complex use of this framework. With our evaluator Cynthia Gehrie's help, we are seeing how Studio Thinking connects to Critical Thinking and Common Core. The Studio Thinking Reflection template we have presented in the last two workshops is the tool we propose using to capture this connection. 

Wednesday, November 7, 2012

Studio Thinking and American Art's Upcoming Calendar

What's on the Calendar?
*Check the everyarteverychild calendar for upcoming dates

Professional Development Workshops

  • Wednesday January 9, 2013, 4:30-7:30 p.m. Viewing Art in the Classroom Context and 2nd Unit Planning Session  (critique, lecture demonstrations) 

  • Wednesday May 22, 2013, 4:30- 7:30 p.m. Chicago Teachers' Center Pecha Kucha final presentations 
Studio Nights (optional, CPDUs available)

  • Wednesday November 28,2012, 4:30-6:30 p.m. Interviewing students and blogging 

  • Wednesday February 13, 2013 4:30-6:30 p.m. topic TBD 

  • Wednesday March 13,  2013, 4:30-6:30 p.m. Review footage of ST classroom practice 
Online STF Network: Adobe Conversations 
  • Monday, Nov. 12, 2012, 7:00-9:00pm Common Core and the Arts presented by Louise Music and colleagues from Alameda County
  • January 21, 2013, 7:00-9:00pm topic TBD
  • February 18, 2013, 7:00-9:00pm topic TBD
  • March 18, 2013, 7:00-9:00pm topic TBD
  • April 15, 2013, 7:00-9:00pm topic TBD
  • May 20, 2013, 7:00-9:00pm topic TBD

Friday, November 2, 2012

Understanding the Art World SHoM and Appropriated Art Guerrilla Style

Speaking of Appropriated Art today.... the Guerrilla class we are doing is working on using appropriated images. Here is how I am trying to get students to write about and discuss SHoM in regards to this topic. We are using Understanding the Art World after having watched the documentary "Exit Through the Gift Shop".  Let me know what you think...

Appropriated Altered Art

Based off the movie we watched, “Exit Through The Gift Shop” I want you to think about how street artists deal with the issue of appropriating and altering other people’s artwork. Compare the movie with the images in the powerpoint of the History of Appropriation.

1.     1st half of class: As a group, Choose 1 prompt, BUT work independently & quietly write your thoughts about the prompt in your sketchbook.
2.     2nd half of class: Your group should  discuss responses together.
a.     Share what each of you thinks with each other.
b.     Use our typical process to DEBATE the issue.
                                               i.     Questioner
                                              ii.     Challenger
                                            iii.     Supporter
                                            iv.     Recorder of Group Discussion.

PROMPTS: Choose 1
  • ·      Mr. Brainwash is not a trained artist. Does that affect your view on whether or not he is a “real” artist. Can an untrained person be a real artist? Are you defined as an artist by your schooling? What about folk artists? EXPLAIN
  • ·      Mr. Brainwash does not actually make his own work, he hires others to construct it. How might this be different (or not) from established artists who also hire assistants to help make work? (give ex of famous artist who does this) EXPLAIN
  • ·      Mr. Brainwash does not create his own designs or ideas. He used other people’s images. How much altering does he really do? Do you consider this appropriation or stealing? Is it different from Shepard Fairey (who is critical of Mr. Brainwash) or other appropriated artists we studied? (ex of Mr. Brainwash images) EXPLAIN
  • ·      Mr. Brainwash is considered successful because he sells his work for a lot of money. Would you define an artist by how marketable he/she is? How would you compare that to the master painter Vincent VanGogh, who did not sell paintings during his life? EXPLAIN

Thursday, November 1, 2012

Envision A Place - Writing Workshop

It is dark and absolutely still, without a breath of sound or whisper of air. The absence of sound has a thick cottony feeling. The light is soft and dim without a specific point of origin, just softly radiant. A fog or haze disperses the light. I look down and the dirt is dark and rich, smelling brown and loamy. The wet grass smells bright, sharp, and citrus. Somehow, I know that I am inside someplace, although I can't see walls. It feels close like a cave. Perhaps its the darkness at the edge of the fading light that creates the sensation.

A finality hangs about the place. Nothing is happening because it all has already happened. Nothing will ever happen again. The air will not move, the light will not change. This place is eternal. I don't feel fear, it is what it is. In fact, I'm not sure if I am even here. At least, not in body. My consciousness is present somehow but not me.

Now I step out of my head and wonder why this is the place that came to mind in the exercise. It is not a memory or an experience. Why would I see this? Suddenly, I just know. This place has been hanging around the edges of my mind and I spend all day avoiding it. In fact, I fill the days with things to plan and do in order to avoid this place. But it is there, just before I drop off to sleep. It is definitely present when I first wake. That is when I feel it the hardest, before my defenses can come up.  The death of Kazimierz two days ago brought it back. Brought back this place that came to me with each death, my great-grandmother, grandmothers, father. Most of all my father. This place is death, and each day I try to hold it at bay. It waits for me, this quiet still place.