SchoolArts Magazine

APR 2019

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

Issue link:

Contents of this Issue


Page 54 of 62

SCHOOLARTSMAGAZINE.COM 21 as grief or regret used materials that were softer in nature such as dripping hot glue, or fabric to cover the eyes. Students who chose emotions such as anger or frustration used materials such as wire and nails or sandpaper to rough up the texture. Connecting materials to a human emotion helped students understand that many art - ists use specific materials with a purpose. I enjoyed seeing the work that came out of a more open-ended art-making process, where students were free to use the materials in new and creative ways. Making Connections The conversations that happened throughout this project were mean - ingful and relevant to current issues happening today, and allowed students to express their emotions about these issues through art. It is important to me to make sure my curriculum is culturally relevant and connects stu - dents to their interests as well as to each other. With a student population that is 97% Latino, Alberto Villalo - bos's exhibit made a cultural connec- tion with many of my students. Many students had great success with this project. In their ELA class - rooms, students reflected on their projects by completing an artist state - ment, in which they talked about what resilience means to them, why it's important to develop resilience over a lifetime, and how we can use art to help express the different emotions we feel in difficult or trying times. Katie Hobday is an art teacher at Bruce Guadalupe Middle School in Milwaukee, Wisconsin. khobday@ W E B L I N K M U S E U M M U S I N G S took on its own identity through the portrayal of the many emotions connected to this tragedy. In the gal- lery, students had the opportunity to speak with Alberto about his artistic process and the purpose behind the materials he used. In my practice, I believe an opportunity for students to connect with working artists is extremely beneficial. It exposes them to different art careers, new art-mak- ing processes, and a peek inside the personal journey of a working artist. Thinking About Resilience While this was an intense exhibit for my students to experience, it cre- ated the opportunity for meaningful conversations about how we deal with loss, grief, and tragedy, and the importance of developing resilience throughout our lives, especially for my students who are or have been expe- riencing very troubling times. Resil- ience and the portrayal of emotions became the inspiration for our project. Back in the artroom, students reflected on what they saw in the exhibit, how it made them feel, and recalled a time in their lives they had experienced similar emotions. It was very important to me, and to Alberto in his work, to reiterate the fact that tragedies do not define communities or the individual; rather, it is how we persevere in the aftermath that makes us strong. Making the Masks After these discussions, we considered how resilience could be expressed in art. Students began to envision their emotions into visual expressions. Many students chose an emotion that was in reaction to a specific event such as Hurricane Harvey, political issues, personal struggles, immigra- tion, and the like. We talked about the idea of revealing and concealing and that what we feel is not always what we portray to the outside world. I also introduced color theory, form, and purposeful use of materials to support the emotions their masks were to portray. Using their own faces as the form, students used plaster strips to build their masks, working in teams of two to three. This process built upon peer relationships and the trust they had for their classmates, and reinforced a supportive and safe climate which I work to create between students with each project. Painting One hundred-plus masks later, the masks were ready to paint. Students experimented with different color mix- ing techniques, textures, and gradients. If students felt their masks were com- plete at this point, I challenged them to add a 3D element. Students who chose emotions such as grief or regret chose to use materials that were softer D eveloping a sense of commu- nity in our classroom is a very important aspect of each les- son we do at Bruce Guadalupe Middle School. With each project, stu- dents work together to problem-solve, express their thoughts and ideas, and push their creative boundaries. It is important to me to create a safe space for students where they are free to express their thoughts, ideas, and opinions about current issues. The Masks of Villalobo The inspiration for this project came from a local ceramicist's work. We began with a visit to our school's art gallery, Latino Arts. I knew the cur- rent exhibit would be a challenging but important one for my students to see. Alberto Villalobo's Hombres de Arcilla (Men of Clay) was a collection of masks made in response to the tragic loss of 43 students of Guerrero, Mexico. Alberto was struck by the loss of so many young lives but also inspired by the resilience of the community. Each of Villalobo's ceramic masks Masks of Resilience Katie Hobday Connecting materials to a human emotion helped students understand that man artists use specific materials with a purpose. CONTINUED ON PAGE 50. SCHOOLARTSMAGAZINE.COM 11 CONTINUED FROM PAGE 11. Questions? Tweet us @DavisPub, send a Facebook message to @DavisPublications, or send us an email to cmckinstr Take part in our monthl rt prompts an our work could be featured in SchoolArts magazine, the Davis Advocac lanner, or on the Davis website and social media channels. Joining the fun is eas : Pick a prompt b visiting or follow us on Facebook and Twitter to learn the new prompt each month. Choose the media ou'd like to use—an rt for ou like. Create something awesome tied to the monthl heme. Submit your art using the form on We'll feature submissions throughout the month on social media and throughout th ear in the magazine and planner. YOU'RE INVITED TO CREATE! ART A TS gray can hold many different mean- ings. I only paint African Americans because images of whiteness have been projected into in perpetuity through painting and other mediums including media. My work stands in history as a correction to a dominant historical art narrative. SA: What advice do you have for emerging artists? AS: Don't compare yourself to anyone else and know that your journey is your journey and things will happen when they are supposed to. A L L L E V E L S Blending Portraiture and Politics AMY SHERALD CONTINUED FROM PAGE 23. SA: What are you currently working on in your studio? AS: I am working towards my solo show in New York City with Hauser and Wirth in September 2019. SA: You are one of the keynote speakers at the 2019 NAEA National Convention in Boston. What message would you like to leave with art teachers to share with their students? AS: Focus on the realities of their experience in the lesson so that they don't just feel like passive learners. I went through most of my educational career feeling like my teachers didn't get me. Engage them in a way that they can become citizens of the classroom and be empowered to speak up. Nancy Walkup is the editor-in-chief of SchoolArts magazine, a contributing author of Explorations in Art, and editor of SchoolArts Collection: Media Arts, available now from Davis Publications. W E B L I N K S watch?v=SsFdVwN1uk8 50 APRIL 2019 SchoolArts

Articles in this issue

Links on this page

Archives of this issue

view archives of SchoolArts Magazine - APR 2019