Close Read

I used the Close Read format extensively last year. I really like it and enjoyed the Context aspect of it. Before that I had used a more traditional and complex critiquing format (similar to Art Talk).

I've decided to combine the two.

What I like:

• Close Read works great for beginning students. It is simplified and it helps them break down the critiquing structure into bits that are easy to do. Gives them the confidence to find "clues" and make inferences. I tell them it's like being a detective.
• Context step helps them make sure they do research on artist, background and make connections. Love it!
• Not too intimidating for 1st year art students in HS. They tend to freak out if we ask for formal analysis as they do not yet have enough experience using elements and principles to create. That comes with time, to have the vocabulary and experience making decisions.

What I don't like:

• The judgment is way too vague, only referring to whether one likes the piece or not. An artistic judgment should include thoughtful responses and analysis of artist's intentions and decisions. Especially to use CR for student work, they need to think about their strengths and weaknesses regarding those decisions in order to make improvements.
• I've added prompts to make a more thoughtful judgment.
• Missing a formal analytical step crucial to more advanced students. This step should address the formal qualities of an artwork, decisions artist made about composition, elements, principles, etc. 
• I would add a step for advanced students.

So, with a little tweaking, I am continuing with CR.  The cool thing is, it's ALL THE RAGE in CPS. Mentioned in connection to CCSS and CPS preferred way for us to do units. CPS Art programs are strongly encouraging us to use CR. So when I include it in my unit/lesson plans, it hits those points and makes evaluators happy. Will help with my own REACH evaluation. 

I made a powerpoint to teach beginning students about CR. Once they get the hang of it, we use this method all year long. I've shared it with Every Art Every Child on Google docs. I don't know how to put a powerpoint on this blog. But maybe EAEC can do that?  Matt? 

Let me know what you guys do for critiques. I'd love to see other methods. Always learning...

Valerie

Installations by Osorio

As I was watching this Art 21 piece on Pepón Osorio, I was struck by some of his comments regarding installations and how they may be relevant to our Studio Thinking project as we prepare for our own exhibition of the artist teacher.

Pepón says, "I feel like I needed to say something that had to be beyond something on the wall. I need to create a space that is overpowering." Our work within the Studio Thinking project and how we consider promoting the artist teacher as connoisseur is definitely going to have to tell a story beyond what we display on the walls in our exhibition.

He is also very interested in provoking change, which is something that came up in our summer workshops and inspired the idea for an exhibition.  According to Pepón, he wants his installations to cause people to ask "who they are in relatinship to what they have just seen and to start a negotiation with not only the artwork, but with the public at large." 

Take a look at this clip and see if you find any connections with your ideas for an exhibition.

Watch Place on PBS. See more from ART:21.

Cynthia Gehrie's "Teacher as Connoisseur" Presentation

During our summer professional development workshops at the end of June, Dr. Cynthia Gehrie presented this slideshow in which she introduced, discussed, and reflected on the concepts of the teacher as connoisseur/researcher and critique/curation as a method to bring forward student feedback.

Take a look at this movie clip to see and hear her presentation.

EXHIBITION: June 3rd Online Studio Thinking Network Conversation

We hosted a rich session on Adobe Connect last Monday night featuring an introduction to the new Exhibition content in Studio Thinking 2 by Lois Hetland, followed by presentations from Alisa Rodny and John Crowe.

You can watch a live recording of the conversation at this link.

 

 

 

Thanks to all of our presenters and to those that join the conversation! We hope you will join our next session(s).

Stay tuned for upcoming dates and topics.

A Way to Reflect

So, I've been thinking about what Matt and Kate were saying about getting students to reflect upon their work in ways other than just judging strengths and weaknesses. They've been journaling (I used, I did, I felt, I think, etc) all year and really liked that. They use Close Read for research and Art History. But when it came to class critiques I focused on strengths, weaknesses, and skills. This time I figure I would branch out a bit. So, I borrowed a bit from the Close Read format and wrote some simple prompts to help them along. Let me know what you think. It may be kind of simple, but its a start.

Rate each project according to how much you liked it.  Explain your reasons for the rating, in detail and be honest. Materials? Ideas? Creativity? Process?

Name of Unit	THE LEAST	SOMEWHAT	OK	A LOT	THE MOST
Research of Heroes
Creating Hero Trading Cards
Writing Hero Essays
Nature Sticker Art
Postcard Art
Postcard Writing
Making TC Envelope
Name of Unit	THE LEAST	SOMEWHAT	OK	A LOT	THE MOST
Community Outreach

PERSONAL REFLECTION:

Pick favorite Unit, one you feel you expressed yourself the best: _______________________

JUDGE: What did you do well? Your strengths? Was it the materials used? Process? Your ideas? Creativity? Images? Skill?

ANALYZE: Why were you engaged with this unit? What were you expressing?

CONTEXT: How did this artwork or idea relate to you personally? Your experiences? Your views of the world?

OUTREACH: What did you want the world to learn from this artwork?

Guerrilla Art Blogs from Curie HS

Please visit our blogs. We have been posting artwork like crazy! 3 different projects from this last semester have gone up on the blogs in the past couple of weeks.  (2 project posts are late due to the inevitable struggle with CPS technology).

Our big projects for 2nd semester were:

Postcards - postcards written as though experiencing some strange scenario (such as Zombie Apocalypse or Dystopian Society).  The artwork illustrates the scenario. The message is a creative short essay that is written as though postcard is really coming from the scenario.

Hero Trading Cards - A HUGE project. Students made trading card sets from lino-cut prints about today's social justice heroes. Creative writing essays on the back inform us about the hero. Thanks to Polly Mills for a workshop in creative writing.

Sticker Art - Students created sticker art for a community group in the neighborhood that spreads beauty through art and nature.

Please check us out and feel free to comment. Students LOVE hearing from our viewers.

You can also go through the archives on the right side of blog to look at work done throughout the year.

We have 3 blogs (one for each class)
Guerrillaart4.blogspot.com
Guerrillaart5.blogspot.com
Guerrillaart8.blogspot.com

Guerrilla Art in Archer Heights

Yesterday, in the group about "Sharing", I talked about how students document how they put their art out into the community. The Guerrilla action of making sure art is available in our everyday walk of life is important to how we run this class. The students make the art, we make color copies, and the copies are distributed out into the community. Some just give it away (as can be seen in pictures of happy people receiving art). But, some students are a bit more creative in leaving art for people to find. One student, Julian, did a performance and documented it with video. I'll let you see what he did for yourself. It is very clever...

Here is the link to the blog page with Julian's work.

Here is the link to our current work. We are putting up a lot of new work this week and next week. So stay tuned and keep checking us out.

Valerie Xanos

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.

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.

NAEA National Convention - Forth Worth

Hi Everyone,

We saw some of you last week in Forth Worth, Texas for the NAEA National Convention. Julie Toole, one of our ST Chicago TAB teachers presented a workshop on parent involvement and hosted a TAB open house at her hotel. The open house was a lovely event. Viera Bakova from Curie and I took the plane out together and talked shop in the early hours of the morning.

Kitty Conde presented with Lois Hetland and Sara Stillman (California) around classroom use of the Studio Thinking Framework. The presentation was well attended. Just after this session the second edition of Studio Thinking 2: The Real Benefits of a Visual Arts Education was launched with a signing of the book by Lois. You can buy her book here. Our Chicago Studio Thinking project is in the new edition and Kitty Conde is cited for her practice.

We are inviting attendees from this session to join us in our Studio Thinking Adobe Online Conversation this Monday, March 18th from 7-9 p.m. Central time. The Studio Thinking Online conversation on Monday will address:

The Dispositional Elements of ST: Skill, Alertness and Inclination

and 

The Generative Tension in the Clusters: How do the Studio Habits of Mind pull on each other?

Teacher Presentations on Online ST Network

On January 26th, the Chicago Teachers' Center hosted an Online Studio Thinking Network conversation on Adobe Connect. We had three fantastic presentations delivered by Sara Stillman from Emeryville, California, Valerie Xanos from Curie High School in Chicago, and Liz Chisholm from Lane Tech High School in Chicago. These teachers identified questions of importance that they wanted to share with a larger learning community for feedback.

You can take a look at Valerie and Liz's visual presentations in the slideshows below to get a glimpse of the amazing work these teachers are doing. A link to the presentations in their entirety (including audio) can be found at the end of this post.

Check out Valerie's entire PowerPoint slideshow here.

Check out Liz's entire PowerPoint slideshow here.

In their presentations, the teachers were asked to address these points:

1) Start with a question, where do you want to go now with your teaching?

2) What's been difficult?

3) Frame or develop a question that is can be researched.

4) Present 10 slides about what you are doing now. Within the ten slides present the context of your practice.

5) What do you want to do next?

You can watch and listen to Sara, Valerie and Liz's entire conversations at this Adobe Connect link.

Teacher Reflective Practice

We invited project teachers to reflect on their experiences using the Studio Thinking Framework in their teaching practice at this half way point in our three year learning community. We're sharing some of these reflections as we know teachers don't hear from each other often enough about how their practice is shifting as a result of using this framework. Thank you teachers for sharing your practice. We are always inspired by your thoughtfulness and commitment to on-going reflective practice. - Kate

Beth Drake from Lincoln Park High School supporting her students as they reflect on their collages.

How has this learning community focused on using Studio Thinking and critical thinking supported your teaching around the development of yourself as a learner within a learning community?

I find that I am more reflective in my practice as an arts educator-I consistently apply the habits in my lesson design process/execution/reflection through a studio habits structure. I am looking closely at what my students are producing as well as what they are learning/thinking about through process. I make adjustments as needed throughout and as needed upon lesson/project completion through my reflective process. We are developing a school-wide instructional focus on critical thinking at LPHS and visual art is at the forefront of this process. The methods and strategies that we have developed for self-evaluation, in-progress and final process/project reflection in the visual art department is being used as the model for assessing critical thinking school-wide. DiDi Grimm has been instrumental in presenting our methods of critical thinking in the visual arts, through the use of studio thinking, to modify and design a rubric for this school-wide instructional focus area.

2)How has this learning community focused on using Studio Thinking and critical thinking supported your teaching around the development of your students self awareness as an artist/learner?

Maya Lin Systematic Landscapes Map 2, 2006 

My students are gradually learning to "think bigger" as artists. They are no longer reflecting on just what they learned during the current project when they reflect, but they are connecting previous art concepts and aspects of daily life and/or other curricular areas. I am seeing that many students are making connections to artists, processes and concepts from other lesson experiences (in the current and previous year) to what they are making now. I am impressed with the lasting impact that many of the artists that we have studied have on my students. These individuals are meaningful enough in concept and/or technique to make an impression on my students and they draw from these individuals as inspiration. Additionally, they are independently seeking out similar artists and/or processes to inform their work. 

In my Mixed Media course, they are constantly making connections with artists, etc. previously studied. For example, we are currently working on a mapping project based on the "Notes for a People's Atlas:People Making Maps of Their Cities" project (http://peoplesatlas.com/). The big idea concept being: "The Personal is Political and the Political is Personal" based on the essay that we read and discussed by Euan Hague (http://peoplesatlas.com/essays/npa-chicago/). Aside from the amazing discussion of maps, community, personal v. political and what these mean in different contexts as well as the reality of living in a very segregated Chicago, I overheard students speaking of countless experiences of their "community" in a multitude of ways in addition to going back to Maya Lin from an Art 21 segment on IDENTITY that I showed them in October. They connected the different approaches to personal and political "community" to what Maya Lin was doing while working with atlases in her studio (from Art 21: IDENTITY):

"Everything I've done in life is about polarities, about two sides balancing out," says the artist. Carving layers of circles out of the pages of an atlas in order to create topographic islands and canyons, both Lin's studio and outdoor projects mark an identification with the land.

3) On developing language in the studio that transfers beyond the classroom studio?

During a recent Mixed Media collage project, I had students making connections to what they learned in Jennifer Salvatore's AP Human Geography class during the spring 2012 semester (our collaborative lesson from last school year). The students studied and explored a variety of human geography and visual art concepts and topics through an in-depth close read of Romare Bearden's "The Dove" as well as through viewing "Visual Jazz," a short documentary about Romare Bearden. The students developed an understanding of Bearden's work and processes through a mind-mapping collage experience that incorporated both visual arts and core content standards through the use of a visual artist and an American artwork as the primary vehicle for learning. I have students currently enrolled in Mixed Media that recalled aspects of that experience, conceptually and technically, as part of the inspiration for a recent collage project experience.

4)On thinking dispositions that support the fluid kind of critical, creative and reflective thinking that CCSS requires (going from seeing the discrete bits to seeing connections in and among).

To speak generally (as per the LPHS visual arts curriculum alignment map that you have seen prior), LPHS visual arts experiences at graduated levels through a variety of teaching approaches/philosophies are aligned with studio habits and common core state standards in both language and mathematics. My experiences with my common core ST partner in social science classes reinforces the use of the studio habits dispositions further as noted in the response above. 

Student reflective drawing of mixed media assignment in Beth Drake's class at Lincoln Park High school.

A Professional Artist Reflection

*Our professional evaluator uses our tool to explore her own process as a botanical artist.  

Name: Cynthia Gehrie  

Date: January 16, 2013

                                                                   

Which Studio Habit(s) did you use? Observe, develop craft, envision

I Used: What materials did you use? I used black walnut ink that I make from black walnut husks from the trees on the farm.  I also used a French ink paper that was developed for calligraphy.  To make the marks I used several Speedball nibs that allow me to use a dip ink process to make very fine lines and larger darker lines.  I used natural materials that I collected on my daily walk in the Shell Ridge preserve in Walnut Creek, CA while visiting my brother and his family.  I gathered containers to bring water into the studio area and small jars to rinse the ink out of nibs and for clear water to change the quality of marks in parts of the drawing. I used soft pastels to add a slight amount of color to parts of the feather and pinecone.  This dry media was necessary to keep from moving the ink, which is lightfast but not waterproof.

I Did: What was your process? What steps did you take to create your work? I set up a drawing area by opening my easel to be flat and placing a drawing board to make a tabletop.  I set out the nibs and practiced with each, noting the mark I could make with each one, and making a small drawing to show the quality of line for each.  This helped me select specific nibs for each drawing.  I studied each object before drawing it, looking at its proportions, visualizing how to make the marks that represent visual elements in the natural materials, and how to use other materials such as water and pastel to create effects.  These were solutions I came up with in response to questions like, How do I make the downy part of the feather fluffy?  How do I see, understand and represent the pattern in the pinecone?  How do I use the ink to get contrast from light to dark?  I needed to develop a strategy to solve the problems that different elements in the natural materials represented.

I Felt: What feelings did you have? I chose subjects to represent elements in the natural materials that were challenging for me.  I really did not know whether I would be able to do these drawings in a successful way.  Could I figure out and represent the pattern and variation in the complex pinecone that used a spiral, but not exactly or uniformly?  How could I use the variations in form to make the spiral more interesting and dynamic?  Could I make the close lines of the feather close enough and the down look really fluffy?  I realized that I could use water to soften the small marks of the down.  Selecting the finest crow quill nib helped me to draw the lines.  Would I be able to separate out the overlapping oak leaves so that they were distinct, yet a complex unity on the twig?  I had doubt.  I began to generate possibilities, and test them to see how to do them.  I began to gain confidence that I had an approach that might work.  I dove in and began the basic sketch in pencil, then turned to the pen.  The great thing about the ink I make is that it is more forgiving than most ink.  It can be lifted with water if I do so quickly when I realize a mark is wrong.  This helps me be more confident because every mark is not permanent.  I can take more risks.  I can change my mind.  See Yourself Thinking: Map yourself doing this activity. What are you doing? Step outside of your body (focus on a specific part or see yourself from the other side of the classroom). Use schema to illustrate what is going on and add words and thought bubbles as needed.

Critical Thinking related to Studio Thinking based on Area of Study: (prompt to be developed by teacher)

Because I am developing a line of artisan black walnut drawing ink for sale on the internet, I wanted to use different drawings that represent different challenges to understand my product as an art material.  I also wanted examples of work made with the ink for my web site.