SchoolArts Magazine

Summer 2019

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

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THE ORIGINAL K iSS-OFF ® Stain Remover Before you throw it away... try Kiss-Off! KissOff.com "I had gotten blue oil paint on one of my fall coats... I felt like I should give Kiss-Off ® a try and lo and behold no more dried on oil paint! My jacket was saved." ~Malissa Removes: Ink · Oil Paint · Grease · Makeup · Blood · Lipstick · Coffee · Red Wine · Grass Stains & More Ideal for Classroom, Travel & Art Studio MADE IN THE USA Advertiser Index Advertiser Page AMACO 48, CIII Bailey 7 Blick Art Materials CIV Davis Publications CII, 4, 16, 38 Kiss-Off 41 L&L Kilns 2 Skutt 1 The SHOP Page Beautiful Stuff 42 from Nature Showpiece Gallery 42 Royalwood 42 Youth Art Month 42 makes a small booklet on the first day of school. We use them all year to take notes, record vocabulary, and sketch, when students finish a project early. The Middle Shelf The middle shelf holds other mate- rials and supplies needed for each project. I teach six different lessons at any given time. Paint trays, oil pas - tels, collage paper, or whatever else is needed that day lives on the middle shelf. Most days, I can make a pit stop at lunch to swap materials if neces - sary. I also keep cleanup supplies here. We clean up with a wet roll of paper towels stored in an old cookie dough tub. The Bottom Shelf The bottom shelf is home to all paper materials. I keep class folders of art- 8 SUMMER 2019 SchoolArts A D V O C A C Y T he end of my art students' four years is fast approaching and discussion turns to a reflection of their experiences in the build- ing. I tell students, "This has been your building for several years. You have worked here, cried, sweated, and spend countless hours of your life bound by every inch of the space. If there is a way to leave your mark, signifying you were here, how would you do it, and what would it say?" This is not an easy ques- tion because students generally reflect on the objects they make, and not the school building as a canvas for art. Exploring How Artists Use Space Exploration with students can begin with ways contemporary artists have looked at space in buildings and out- side in the community as larger fields for playing and innovation. Students admire the feats and adventurous spirit of street artists such as Banksy, yarn-bombing artists, and JR. Students also enjoy the daring stories behind Guerilla Art, and how artists such as Keri Smith alter environments. The secretive hide-and-seek aspects of public installa- tions appeals to students of all ages. Kiki Smith defines Guerilla Art as "a fun and insidious way of sharing your vision with the world. It is a method of art mak- ing which entails leaving anonymous art pieces in a public place." Our Purpose In our project, I emphasized to every- one that the purpose of our art was not to leave a permanent mark on the building, but to leave markers that gen- erate a fresh awareness and, perhaps, a lasting impression on classmates, fac- ulty, and the entire school community. Altering the Space Contemporary artists have used the architectural elements of museum spaces, showing art on the floor and constructing forms descending from the ceiling. Artists today draw directly on museum walls, and place their work in elevators, stairways, or restrooms. They reshape entrances or move audiences through mazes to re-experience being in a gallery. As a class we walked around our building and students made suggestions about how each space could be altered. We Leaving Their Marks Ilona Szekely simply looked for meaningful spots to spend time, sit and think about what to say, or place into each space. After-School Installations Like most K–12 schools, the art in our building has been placed on bulletin boards or protected inside glass cases. That was about to change.After school, students began to set up projects in the halls, bathrooms, elevators, lock- ers, and newly discovered areas. For example, an installation was placed in a stairwell using old textbooks chained and tied to the wall. Words taped to stairs unfolded poetic messages: "Even when you fall on your face you are still moving forward." The art melded into the experience of being there, available for interaction and comment. Other student installations included whiteboard signs outside of studio classrooms where anyone could com- ment and doodle about the classes. An School art installations can challenge the notion of where art can exist. CONTINUED ON PAGE 41. Captions CONTINUED FROM PAGE 8. empty landing between floors became a cave, displaying parking lot cones and "Wet Floor" signs. Columns and poles were colorfully wrapped to become installations, and origami cats were strategically placed on different floors. When students and faculty arrived the next morning, everyone began to see the spaces and surfaces that had become works of installation art. In the hallway conversations through- out the day, new ideas blossomed. There was talk of what could be done inside the cafeteria, in the library, at the school entrance, and which other structures in town would be perfect for alterations. Reception An interesting aspect of this project was the reception by students, fac - ulty, and administrators. Our class became observers of the experience, since the artists who created the installations did not sign or adver - tise their contributions. By using comment cards and by just sitting and listening to peers, we could gauge the reaction over the next few days and weeks. A colleague stopped to tell me how excited he was to find geese by the door and that they were going to stay. School art installations can chal- lenge the notion of where art can exist. Art teachers can present art problems for recreating spaces and leaving creative marks everywhere. Thinking in terms of installations will lead your students to a fresh notion of art. Ilona Szekely is professor of art educa- tion at Eastern Kentucky University. professor@ilonaszekely.com the pressure of so much space. Not that there isn't pressure being on a cart. You must leave the room clean for the classroom teacher. You must finish your lesson in time to roll off to your next class. You must never forget anything in your supply closet. You must always prep enough materi- als. You must always keep it clean and organized. Messy classroom? Fine. E very year I drool over photos of vibrant, organized artrooms on all of my favorite blogs, my Pin- terest boards; even the pages of this very magazine! Alas, I'm one of many art teachers without a room, and teaching from a cart. In fact, I've never had a classroom, though I've taught for ten years. If I finally had four walls to call my own, I would collapse under Life on the Road, Art on a Cart Bonnie Greene M A N A G I N G T H E A R T R O O M Messy closet? Fine. Messy cart? Never. I have adapted to my miniature classroom, 21 x 28 x 38", to be exact. From this tiny world, the imagina- tions of more than 500 students are brought to life. May I take you on a tour of my world? The Top Shelf The cart itself is the remnants of a wooden cart abandoned in the gym of my school. I transformed it with 6" swivel casters to handle door jams and carpets. It rides like a dream and turns on a dime. I also have a small drying rack on wheels that is pushed by a student helper when it is needed. My cart contains everything I need and nothing I don't. The top shelf is split into two sections. One side is set up with my equipment and teaching materials. I have an LCD projector stacked on top of a $29 DVD player. A cheap breakfast tray nests on top of this to create a second level. Here sits my document camera, laptop, and a small set of Bluetooth speakers. I find this equipment saves time in the class- room. I can park my cart in front of the classroom's white board and project images from my computer. On the side of the cart is a collapsible shelf for use with the document camera. We can watch video clips, do smartboard activ- ities, or even listen to music while we are working. I keep a small box with color-coded file folders for each grade level. These hold books or handouts that I am using for each lesson, as well as some free-draw paper and coloring activities, because, you never know. The other side holds supplies we use every day: pencils, markers, erasers, scissors, glue, and crayons. I keep eight to ten sets of most supplies in baskets and tubs. This allows me to spread them around the room no matter how the classroom is set up. On the handle bar of this shelf hang sketchbooks for I have found that the cart does not limit our possibilities; it is a challenge that I enjo . CONTINUED ON PAGE 41. 12 SUMMER 2019 SchoolArts CONTINUED FROM PAGE 12. works in progress, visuals, and a stack of placemats. These are just poster board cut in half and recycled from year to year, used to keep students' desks relatively clean. Students are very respectful of my cart. At the end of class, they turn in papers to the drying rack or the bot- tom shelf, and return supplies to their labeled locations. My supplies are sacred. I label everything with bright purple and depend on classroom help- ers to do a thorough check of the room before I roll away. My lessons are the same as any other teacher. I just add the time it takes to pass out and pick up every - thing within our class time. This attempt to save precious work time is a dance that changes with every proj - ect. I have found that the cart does not limit our possibilities. It is a challenge that I enjoy. So, take pride fellow trav - eling art teachers! Roll on! Bonnie Greene is an art teacher at South- ampton Elementary School in Richmond, Virginia. bgreene @ richmond.k12.va.us SCHOOLARTSMAGAZINE.COM 41

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