Sunday, July 28, 2013
Project @Headlands
This art education project was on display at the Marine Mammal Center at the Marin Headlands.
Friday, July 26, 2013
"Connected"
The film related to my content area in several ways. Shlain describes art as a language, and I believe that throughout human existence it has been used to communicate and share ideas. I would be interested in reading his book regarding art and science, and how they are associated with traditionally held views of feminine and masculine traits. It has been my experience that "right-brain/left-brain" are often misunderstood and too black and white. The two sides, as mentioned in the film, work together, so I think the idea that artists are mostly one way and scientists or mathematicians are another is a bit over-simplified. As far as these theories relate to my content area, I would say that contemporary art consists of countless approaches and responses to all of the topics highlighted in "Connected": technology, globalization, environmental concerns, etc. Instead of merely expressing emotions and ideas, artists often choose to tackle these topics with thoughtful research and inquiry-based methodology.
The main question that came to mind as I was watching "Connected" was regarding what was referred to as a "participatory revolution." It seems as though the access to technology, specifically the kinds of technology that promote interaction, is becoming more and more accessible in far reaching areas of the world. I would hope that as these devices become more affordable that it will give people a voice that in the past would have gone unheard. This could allow more people to have a say in local or even international decisions that affect their daily lives. Perhaps it will become possible for more populations to participate in democratic systems.
Often art is used to "connect" to other subject areas on a rather superficial level, such as drawing a picture about a topic. There are deeper ways that art is interconnected with other disciplines. Artists often approach their work through different lenses, by posing a question or exploring concepts. For example, an exhibit at the Exploratorium that I visited recently consisted of personal items recovered from a closed mental institution. It explored the subject of mental illness through aesthetic means, and created links between psychology, history, poetry, and photography. Art such as this allows questions to remain unanswered, and therefore encourages further inquiry across content areas.
It is easier to imagine a "well-educated" person as one who has an understanding of how things are interrelated. Gaining knowledge about specific subjects has its place, but having the ability to make connections takes on a higher level of learning. It requires a well-rounded education to develop ways to recognize similarities and patterns within and across domains that may at first seem to have nothing in common. When trying to reach conclusions, a person who is capable of this higher level thinking will draw on upon a variety of knowledge-bases and is less likely to simply repeat already stated "facts."
Responded to...
Mary Buckley
Jenn Bible
The main question that came to mind as I was watching "Connected" was regarding what was referred to as a "participatory revolution." It seems as though the access to technology, specifically the kinds of technology that promote interaction, is becoming more and more accessible in far reaching areas of the world. I would hope that as these devices become more affordable that it will give people a voice that in the past would have gone unheard. This could allow more people to have a say in local or even international decisions that affect their daily lives. Perhaps it will become possible for more populations to participate in democratic systems.
Often art is used to "connect" to other subject areas on a rather superficial level, such as drawing a picture about a topic. There are deeper ways that art is interconnected with other disciplines. Artists often approach their work through different lenses, by posing a question or exploring concepts. For example, an exhibit at the Exploratorium that I visited recently consisted of personal items recovered from a closed mental institution. It explored the subject of mental illness through aesthetic means, and created links between psychology, history, poetry, and photography. Art such as this allows questions to remain unanswered, and therefore encourages further inquiry across content areas.
It is easier to imagine a "well-educated" person as one who has an understanding of how things are interrelated. Gaining knowledge about specific subjects has its place, but having the ability to make connections takes on a higher level of learning. It requires a well-rounded education to develop ways to recognize similarities and patterns within and across domains that may at first seem to have nothing in common. When trying to reach conclusions, a person who is capable of this higher level thinking will draw on upon a variety of knowledge-bases and is less likely to simply repeat already stated "facts."
Responded to...
Mary Buckley
Jenn Bible
Friday, July 19, 2013
Session 4
Disciplinary Lenses
The research I have done so far in my content area (art with social awareness) has made me realize that there is a vast array of interpretations about how art can "make a difference". I have decided, for the sake of clarity, to categorize the various forms that socially engaged art can take (while admitting that often those categories will intersect). For example, there are projects that simply tell a story, often in a journalistic manner, of injustices or crises in a particular region. Usually an exhibit of such works has the intent to bring awareness to audiences that may not be aware of such things. On the other hand, there are projects that directly involve the people who are in need, through education, employment, or designs that improve their lives (shelters, clean water, etc.)
At the same time, I am discovering that, as often happens in art, it is difficult to judge what is and is not considered "art" in these contexts. Historically, those are the moments in art that can be the most exciting.
Ravitch, Chapter 9
As far as the Common Core standards are concerned, I have to confess to my almost complete ignorance on the subject. I am certain that as an art teacher I will be affected in some way by their implementation, and I will be interested to talk with my colleagues about their experiences this year. From what little I know, the testing process is supposed to be designed to provide more comprehensive and accurate results. I hope that this is true and that higher quality teaching will be honored.
After reading chapter nine, I came to the conclusion that Ravitch somewhat agreed with a system that included unions, and certainly did not agree with the rhetoric associated with anti-union politics. She seemed to base her argument on many experiences, both personal and professional. Ravitch also brought up statistical research that evidenced no significant difference between student performance and whether or not a district/school had unions.
Personally, I am grateful that I am part of a union in my school district. I admit that I have a lot to learn about the role it plays in the larger scheme of things, and I may very well alter my views as time goes on. However, coming out of a non-credentialed teaching job coupled with the fact that I am married to someone who is a skilled laborer without the option of a union, I am well aware of the benefits being a member. Like all large institutions, there are bound to be people who take advantage of a system, or could be singled out as a negative example. But I have definitely become a happier, and therefore, more capable teacher as a result of feeling an increase of security and support.
Responded to...
Erin Brindley
Kaitlyn Vignocchi
The research I have done so far in my content area (art with social awareness) has made me realize that there is a vast array of interpretations about how art can "make a difference". I have decided, for the sake of clarity, to categorize the various forms that socially engaged art can take (while admitting that often those categories will intersect). For example, there are projects that simply tell a story, often in a journalistic manner, of injustices or crises in a particular region. Usually an exhibit of such works has the intent to bring awareness to audiences that may not be aware of such things. On the other hand, there are projects that directly involve the people who are in need, through education, employment, or designs that improve their lives (shelters, clean water, etc.)
At the same time, I am discovering that, as often happens in art, it is difficult to judge what is and is not considered "art" in these contexts. Historically, those are the moments in art that can be the most exciting.
Ravitch, Chapter 9
As far as the Common Core standards are concerned, I have to confess to my almost complete ignorance on the subject. I am certain that as an art teacher I will be affected in some way by their implementation, and I will be interested to talk with my colleagues about their experiences this year. From what little I know, the testing process is supposed to be designed to provide more comprehensive and accurate results. I hope that this is true and that higher quality teaching will be honored.
After reading chapter nine, I came to the conclusion that Ravitch somewhat agreed with a system that included unions, and certainly did not agree with the rhetoric associated with anti-union politics. She seemed to base her argument on many experiences, both personal and professional. Ravitch also brought up statistical research that evidenced no significant difference between student performance and whether or not a district/school had unions.
Personally, I am grateful that I am part of a union in my school district. I admit that I have a lot to learn about the role it plays in the larger scheme of things, and I may very well alter my views as time goes on. However, coming out of a non-credentialed teaching job coupled with the fact that I am married to someone who is a skilled laborer without the option of a union, I am well aware of the benefits being a member. Like all large institutions, there are bound to be people who take advantage of a system, or could be singled out as a negative example. But I have definitely become a happier, and therefore, more capable teacher as a result of feeling an increase of security and support.
Responded to...
Erin Brindley
Kaitlyn Vignocchi
Friday, July 12, 2013
The Raising of America (session 3)
After watching the assigned video clips, what strikes me as most important is two-fold: first, the amount of evidence about the benefits of investing in early childhood education (that is even acknowledged by economists), and second, the lack of motivation by policy makers and taxpayers to actually allocate funds for programming. I think as Americans we need to be willing to alter our vision of independence admit that no one becomes successful here without some help from others. What some people may view as a hand-out really could be a strong investment in a future that benefits society as a whole.
I was relieved to see that attention is being paid, through organizations such as Raising of America, to reforms in education before Kindergarten. I believe that investing in the early years, especially in low-income communities, would significantly alter the achievements of students in later years. Of course reforms need to be made in elementary and secondary public education, but it's nice to see some acknowledgement that the academic, emotional, and social well-being of children is not, and should not be the sole responsibility of those working in the K-12 system.
One question that was raised for me was simply: how do we, as teachers, advocate for more funding for early childhood programs? Perhaps we could find and present evidence, if it exists locally, of good quality preschools that have made a difference in student performance in our districts.
I've responded to...
Allison Broude
Louis "Phil" Phillipe Vanier
I was relieved to see that attention is being paid, through organizations such as Raising of America, to reforms in education before Kindergarten. I believe that investing in the early years, especially in low-income communities, would significantly alter the achievements of students in later years. Of course reforms need to be made in elementary and secondary public education, but it's nice to see some acknowledgement that the academic, emotional, and social well-being of children is not, and should not be the sole responsibility of those working in the K-12 system.
One question that was raised for me was simply: how do we, as teachers, advocate for more funding for early childhood programs? Perhaps we could find and present evidence, if it exists locally, of good quality preschools that have made a difference in student performance in our districts.
I've responded to...
Allison Broude
Louis "Phil" Phillipe Vanier
Friday, July 5, 2013
Mind the Gap
'School reformers sometimes resemble the characters in Dr. Seuss's Solla Sollew, who are always searching for that mythical land "where they never have troubles, or at least very few."'(p. 3)
While it's an admirable thing to strive for excellence in education, the empty hope of a quick fix that will address every issue is unrealistic. I have never read the particular Seuss book that Ravitch references, but I'm guessing the lesson learned is that there are troubles in every land, and that the "grass is always greener" somewhere else. As most teachers know, having a structure and a plan in place is imperative, but the willingness to be flexible and adapt to particular situations and students is equally important.
"[Corporate reformers] think they can fix education by applying the principles of business, organization, management, law, and marketing and by developing a good data-collection system that provides the information necessary to incentivize the workforce-principals, teachers, and students-with appropriate rewards and sanctions."(p. 11)
This particular quote struck a chord with me because of my experiences visiting a variety of schools over the past eight years or so. Through artist-in-residencies or subbing for other teaching artists, I saw a range of public schools including charter or "small schools". Some had major corporate sponsors, such as the Gap (where the students wore Gap uniforms complete with khakis), and others provided incentives for elementary students for good grades/behavior such as video game consoles. Although there seemed to be positive things happening, especially for the poorest communities, I couldn't help being concerned about the obviousness of the corporate-consumer messages.
Ravitch's description of the well-educated person is probably what most people would agree with, though I would say it is incomplete. Today there is so much information, and so much of it easily obtained, that it becomes impossible (in my opinion) to dictate exactly what will be valuable and relevant to each and every person. Of course, developing knowledge and understanding in the general areas that Ravitch listed is important, but I would say that of equal value is coming to the realization that there is a world with people of multiple viewpoints, and actually physically experiencing that world as much as possible.
Regarding the Ravitch reading assignment (discussion), I would have liked to say: I found it very interesting that the author seems conservative on the one hand, and critical of the conservative politics of the reforms at the same time. I do not find this a negative trait, as a matter of fact I am impressed that she was so willing to admit being mistaken, or at least not well informed. I agree with Ravitch regarding the idea that consistently reviewing information and re-contextualizing is not a sign of weakness.
Sources to "fill the gap":
http://www.favelapainting.com/favela-painting
Hardy, S., Norman, O., Nkosih, L., Schwartz, N. (2013). Cape Town: Stephen Lamb. Elephant, 14, 140-145.
Smith, T., Enwezor, O., & Condee, N. (Eds.). (2008). Antinomies of art and culture. Durham, NC: Duke University Press.
The "gap" in my content knowledge is: who are the present-day artists that are integrating social awareness into their work (and what are they doing)? Although all of the sources listed above were very helpful, the most exciting thing I came across was the website called "Favela Painting". The projects described are massive in scale as well as in community involvement. Not only does the website show beautiful images of the murals and process, it also features short videos with interviews with local residents.
An article that was particularly useful to my line of inquiry was the one listed above from the magazine, Element. There were several articles written about artists in Cape Town, South Africa, and the one about Stephen Lamb was relevant to my guiding question (and the gap in content knowledge). Because Lamb is a technically a designer and not a visual/fine artist, I almost excluded it from my list of sources. However, after reading about his amazing work and its impact on the community, I reconsidered what I would include, especially because I realized that design is central to art education in general and a valid career path for my students to pursue. I feel as if this article broadened my view of who is and is not an "artist", and strengthened my belief in creativity as a powerful tool.
Here are some images of Lamb's designs in Cape Town, where residents had their shacks converted to include vertical gardens.
I have responded to...
Kusy Espinosa
Zane Miller
While it's an admirable thing to strive for excellence in education, the empty hope of a quick fix that will address every issue is unrealistic. I have never read the particular Seuss book that Ravitch references, but I'm guessing the lesson learned is that there are troubles in every land, and that the "grass is always greener" somewhere else. As most teachers know, having a structure and a plan in place is imperative, but the willingness to be flexible and adapt to particular situations and students is equally important.
"[Corporate reformers] think they can fix education by applying the principles of business, organization, management, law, and marketing and by developing a good data-collection system that provides the information necessary to incentivize the workforce-principals, teachers, and students-with appropriate rewards and sanctions."(p. 11)
This particular quote struck a chord with me because of my experiences visiting a variety of schools over the past eight years or so. Through artist-in-residencies or subbing for other teaching artists, I saw a range of public schools including charter or "small schools". Some had major corporate sponsors, such as the Gap (where the students wore Gap uniforms complete with khakis), and others provided incentives for elementary students for good grades/behavior such as video game consoles. Although there seemed to be positive things happening, especially for the poorest communities, I couldn't help being concerned about the obviousness of the corporate-consumer messages.
Ravitch's description of the well-educated person is probably what most people would agree with, though I would say it is incomplete. Today there is so much information, and so much of it easily obtained, that it becomes impossible (in my opinion) to dictate exactly what will be valuable and relevant to each and every person. Of course, developing knowledge and understanding in the general areas that Ravitch listed is important, but I would say that of equal value is coming to the realization that there is a world with people of multiple viewpoints, and actually physically experiencing that world as much as possible.
Regarding the Ravitch reading assignment (discussion), I would have liked to say: I found it very interesting that the author seems conservative on the one hand, and critical of the conservative politics of the reforms at the same time. I do not find this a negative trait, as a matter of fact I am impressed that she was so willing to admit being mistaken, or at least not well informed. I agree with Ravitch regarding the idea that consistently reviewing information and re-contextualizing is not a sign of weakness.
Sources to "fill the gap":
http://www.favelapainting.com/favela-painting
Hardy, S., Norman, O., Nkosih, L., Schwartz, N. (2013). Cape Town: Stephen Lamb. Elephant, 14, 140-145.
Smith, T., Enwezor, O., & Condee, N. (Eds.). (2008). Antinomies of art and culture. Durham, NC: Duke University Press.
The "gap" in my content knowledge is: who are the present-day artists that are integrating social awareness into their work (and what are they doing)? Although all of the sources listed above were very helpful, the most exciting thing I came across was the website called "Favela Painting". The projects described are massive in scale as well as in community involvement. Not only does the website show beautiful images of the murals and process, it also features short videos with interviews with local residents.
An article that was particularly useful to my line of inquiry was the one listed above from the magazine, Element. There were several articles written about artists in Cape Town, South Africa, and the one about Stephen Lamb was relevant to my guiding question (and the gap in content knowledge). Because Lamb is a technically a designer and not a visual/fine artist, I almost excluded it from my list of sources. However, after reading about his amazing work and its impact on the community, I reconsidered what I would include, especially because I realized that design is central to art education in general and a valid career path for my students to pursue. I feel as if this article broadened my view of who is and is not an "artist", and strengthened my belief in creativity as a powerful tool.
Here are some images of Lamb's designs in Cape Town, where residents had their shacks converted to include vertical gardens.
I have responded to...
Kusy Espinosa
Zane Miller
Tuesday, July 2, 2013
Favela Painting project, Brazil
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| Project implemented by Haas&Hahn, involving local Brazilian youth to create murals in Rio's poorest area |
Sunday, June 30, 2013
Friday, June 28, 2013
402 assignment/session 1
It wasn't until later in life that I developed aspirations to teach, so most of my experiences with art (outside of school) were aligned with my goal to be a professional artist. Like most graduating art students, I found that life was very different outside the comfort and resources of art school. Instead of focusing on the art history of the distant past I became familiar with local creative communities and the business and reality of the contemporary art world. I learned the practicalities of affording and maintaining a studio practice, and realized the importance of keeping up with current trends locally and globally.
Response to Ball discussion:
While reading "The Subject Matter Preparation of Teachers," the experiences with colleagues within my department immediately came to mind. During the class discussion, it was interesting to hear from other disciplines regarding their own concerns. I particularly related to the comments surrounding history teachers, as art education is inevitably tied to art history. I have observed a vast range of approaches to art education, as if everyone has an individual lens through which they view the content.
Similar to examples mentioned in the class discussion, I have encountered teachers who are heavily detail and fact-oriented. On the other end of the scale, there are also those who believe that art is so totally subjective that the content loses integrity. I also related to the science teachers (in the class) who seemed to be saying that people tend to view their discipline as having to consist of "right" or "wrong" answers, rather than an engagement in inquiry and discovery.
My line of inquiry:
As of this moment, my general line of inquiry is something I am very passionate about (art and social awareness). I am, however, unclear about my actual goals and objectives, that is, what do I hope to get out of it? There are two main questions that I am exploring: How are contemporary artists directly benefiting/affecting their communities? and How can (high school) students effectively address their own social concerns through art-making?
I have come across several articles that deal with art education addressing social issues, and I am trying to narrow the focus to adolescents. The most important component to me right now is to find examples of actual, living artists who have chosen to go beyond the traditional gallery/art world and are actually causing social change within disadvantaged communities. For this reason, I believe my experiential sources may consist of interviews with artists and non-profits, viewing original works of art, and, hopefully, visiting communities that have been positively impacted.
Here are some images of projects I've been involved with...
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| art workshop at Hoi An Orphanage in Vietnam |
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| Positive/Negative word sculptures from SLHS |
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