Showing posts with label Conversation. Show all posts
Showing posts with label Conversation. Show all posts

Monday, April 28, 2014

"It's Not Just Art: A Complicated Conversation with Teachers"

SAVE the DATE

“It’s Not Just Art: A Complicated Conversation with Teachers"
Opening reception: Thursday, May 22nd, 2014 from 6:00-10:00 p.m.
Exhibition dates May 22-May 26

Firecat Projects
2124 N Damen Ave
Chicago, IL 60647

What are our preconceived notions around the role of the art teacher within public education today? How can we better understand the complicated and rich teaching practices of teachers within the art studio and core content classrooms? Why do we need art teachers? Who are these art teachers (as teachers, as artists, as people)? Who is witness to their evolution? What does it mean to say, “oh, it’s just art?”

Since 2011, Arts at the Center at the Center for College Access and Success at NEIU has been working with a group of dedicated art and content teachers in the Chicago Public Schools using Lois Hetland’s Studio Thinking Framework as a lens for critically examining their teaching practice and understanding student thinking. This is an adaptive, thoughtful and responsive community committed to learning from and sharing with each other. The group draws upon each other’s expertise and responds to changes as they emerge in the classroom, across the District and within their teaching practice. As a University program, we are a hybrid of educators, artists, researchers and ethnographers that fosters artistic thinking within an academic setting. Collectively, we are working through and working towards a deeper understanding of the nature of artistic thinking processes.

We are inviting the public into a dialogic conversation around our teaching practices. This conversation strengthens our work. Students’ learning is expanded when teachers become self aware of their own practices. A new understanding is created through this rigorous conversation. We invite you to come and participate.

Wednesday, November 6, 2013

Learning to Love You More Workshop

Last week when our Studio Thinking learning community met, we spent time opening ourselves up to imagination and possibilities by responding to several of the assignments from Harrell Fletcher and Miranda July's project "Learning to Love You More."

A couple of days before that, Valerie Xanos, Kate Thomas, and Matt Dealy led a couple of workshops around reading visual texts such as those found in LTLYM at the CTC Young Adult Literature Conference held in St. Charles, IL.


On Friday night, we led a discussion in which we introduced key concepts brought forward by the LTLYM project and facilitated a hands-on experience for teachers to respond to LTLYM prompts. These assignments included:

16. Make a paper replica of your bed.
33. Braid someone’s hair.
38. Act out someone else’s argument.
54. Draw the news.
70. Say goodbye.


Then on Saturday morning, we once again began our workshop with a discussion around the importance of practicing our ability to critically read visual images/texts. Valerie then led a rich presentation aided by this slideshow (click on the link below the Close Read image to see the entire Powerpoint).




Friday, March 29, 2013

Student to Student Critique

Ms. Drake at Lincoln Park High School invited Kate and Matt to her class to document her students engaging in one-on-one conversations around their collages. The students were given an extended period of time to look closely at one another's collages and to practice participating in an artistic conversation. When they finished looking at one student's work, they switched to looking at the other student's collage. They used the finished pieces, journal sketches and notations, and Studio Thinking reflection sheets to help guide their discussions. I enjoyed listening to these two students as they probed each other regarding their artistic choices. I was impressed with their ability to maintain a meaningful conversation around their art-making and how they really got up close and into the work. Click on the link below to check it out yourself.

Wednesday, March 20, 2013

Online ST Network Conversation, March 18th

On Monday, Matt and Kate hosted our monthly Online ST Network conversation on Adobe Connect. Lois Hetland introduced the second edition of Studio Thinking and facilitated a conversation around:

1) The dispositional elements: An articulation of the skill, alertness and inclination dispositions, and

2) The generative tension in clusters: How do SHoM pull on each other?

Click here to review Lois' entire slide presentation
In addition to the dispositional elements and generative tensions, Lois and Shirley Veenema unveiled the "Four Full-Color Story Examples of How Habits Interact" section of the new book, which highlights the artwork of four high school students.

Following the presentation on ST2, we watched Art 21 Artist Exclusives on Doris Salcedo and Yinka Shonibare MBE. Participants were invited to share their responses to the short video clips and to note possible SHoM generative tensions.

by Doris Salcedo
by Yinka Shonibare

We had strong participant involvement in this session, which led to some thought provoking conversations and text chatting around artistic thinking, metacognition and best practice. You can check out the entire live recording by clicking on this link.

Stay tuned for what will be covered in our next Online ST Network conversation.


Tuesday, May 8, 2012

Critiquing the Xanos Way

I come from a Greek family. We love to debate and discuss, loudly and passionately. I grew up this way. I raised my four children this way. At our dinner table, in the car, on the couch; there is never a lack of animated discussion about whatever topic someone might introduce. So, as a teacher, I was confounded to find students struggling to discuss an issue or critique an artwork.  Most times, groups would sit quietly while I needled them for responses. Some groups would have one or two outspoken students that did all of the work. I tried guiding a large class setting, and I did all the talking. I tried breaking them into small groups with prompts. I got the same results. So I sat down one day and asked myself "what in the world was my family doing that my students were not?"

I realized that different people in a good debate group took on different roles. The Agitator/Challenger (my Dad and my son), the Supporter (me and daughter #2), the Lecturer (me or my daughter #3), the Questioner (daughter #1). This was interesting as I had not bothered to analyze family discussions before. I figured that these roles made for some great exchanges that would go round and round and often end up in a completely different place than where we started. I probably should add that my son also fulfills the role of the Joker. You know, the one who makes fun of people when they get too serious. I chose to leave that one out of my experiment as it usually results in someone screaming in our house.

I decided to try to replicate this process, using the roles I mentioned above. My hope was to spur the students into animated and eventually complex discussions. I figured the structure provided by role playing and topic prompts would enable students to work off of each other. 

  • I teach high school and see students for 46 minutes, 5 days a week. 
  • In the classrooms, I can have 25 - 35 students in one class. They sit in groups of 4 - 6 at "stations". They make their art there and have small group discussions/projects.  Each group has a "recorder". That is a person who writes a bullet list summary of the group discussion for extra credit. 
  • I have used this particular technique to promote discussion for, 1. a debatable issue (ex. Is Graffiti Art?), 2. To critique a famous work of art, 3. To critique each others art (in progress and at the end), 4. To analyze movies or readings the class encountered. 
  • I give prompts for topic consideration depending on the issue or type of art being discussed. I might have them focus on concepts, controversy, techniques, or aesthetic success. Along with the prompts they must make certain kinds of statements. In the past I gave them a list (along with the prompts) on paper. These statements must be: a) Challenge a speaker or address a weakness in the piece, b) Support a speaker or address a strength, c) Explain what one thinks is going on (in student critique this role must be the artist), d) Raise at least two questions. I let people choose which of these statements they will make as they travel through the discussion.
  • The group starts with the Presenter/Lecturer: the student artist explains their work (or anyone can present the basic facts of the discussion topic.) After this, others in the group can Challenge, Question, or Support in any order they see fit. Anyone can also move back into Presenter mode if needed.
  • Students are told that if someone raises a challenge or asks a question, they are allowed to respond. Often a supporter chimes in at this point and others will choose sides or even raise new points. When someone responds to a challenge they have two choices a) agree that there is a weakness and then the group moves into problem-solving mode, or b) disagree and the group moves into debate mode. 
  • I found that students immediately took to having exciting and interesting discussions. While they were cautioned to keep it civil, the challengers and the questioners made people think and explain themselves. Responders often came up with interesting points that they would not bring up without a "gadfly" in the group. Supporters could bring up positive points that a Presenter might not think of and gave him/her a little back-up. People often switched roles as the discussion progressed. 
  • At first I was worried this might incite cruel comments. However, I cannot remember any time that students got mean during a discussion. Usually, the Challengers are very diplomatic. Sometimes that role is hard for anyone to choose and I have to help. We do practice giving constructive criticism/disagreement early on. I explain that the Challenger's job is to help the group problem-solve a weakness and therefore find a way to turn it into a strength.
  • After discussion, students sometimes present to the rest of the class, using the Recorder's notes. Other times, they just give the discussion notes to me and I read them. During the discussion I walk around and eavesdrop on the groups, offering help when needed.
So, this is one of the ways I get the students to talk. Unfortunately, we haven't done this once 2nd semester due to new and unusual mandates for quizzes, vocabulary, reading, writing, graphs, grammar, and math to be taught in my art class. I'm struggling just to keep the art-making happening. However, I plan to use it at least one last time with our final projects. I miss our lively group discussions. I'll bet the students do too!

When we critique, I'll video a session and post it. I hope this helps for now. 
Valerie Xanos


Monday, September 26, 2011

The Centipede's Dilemma

In a recent visit to Berwyn, Lois Hetland spoke with art teacher, Andrea Siegler, about applying the Studio Thinking Framework to her own practice. Within this conversation, Hetland references a poem called, "The Centipede's Dilemma" to illustrate the painfulness of getting stuck in one's purpose.

A centipede was happy quite,
Until a frog in fun
Said, "Pray, which leg comes after which?"
This raised her mind to such a pitch,
She lay distracted in the ditch
Considering how to run.
-Anonymous