SchoolArts Magazine

SEP 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: http://www.schoolartsdigital.com/i/1147672

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Advertiser Index Advertiser Page AMACO 56, CIII Bailey 4 Blick Art Materials CIV Davis Publications CII, 7, 13, 18 General Pencil 50 Kiss-Off 49 L&L Kilns 2 NAEA 15 Rocket Pop Inc. 53 Sakura 54 Skutt 1 University of Nebraska 49 The SHOP Page Beautiful Stuff 51 Beautiful Stuff 51 from Nature Curator's Corner 51 Documenting Children's 51 Meaning L&L Kilns 52 Making Art Special 52 The Open Art Room 52 Royalwood 52 SchoolArtsRoom 53 Youth Art Month 53 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 5. After house shapes were cut out, students were instructed to either draw on the surface, add cut paper objects, or combine drawing with cut paper. Some students chose to alter the overall form rather than simply adding to the "walls." Closure Students were asked to consider how their constructions would contribute to an artistic urban envi- ronment and why they made the aesthetic choices they did. Referring back to the goals of this activity, students reflected upon how adapt- Goals The goals for this activity were to: • provide a memorable activity. • emphasize going beyond cookie- cutter projects. Teacher Planning To model this lesson, we shared inspi- ration from the philosophy and art- work of Austrian artist Friedensreich Hundertwasser (1928–2000). Signifi- cant to Hundertwasser's philosophy is the reduction of optical pollution in the human-made environment. This concept readily connects to architec- ture and world history. For example, at the end of World War II, there was E ach semester, our preservice art educators are encouraged to find inspiration for their lessons from various sources, including works of art, world and art history, quotes, and stories. After identifying personal inspiration, students are directed to look for teacher-tested ideas they can replicate or adapt to suit their lesson-planning needs. At this point, resources such as SchoolArts are shown. This approach provides insight into art content and pedagogy while meeting visual arts standards and allowing for adaptability, rigor, connections, and flexibility in learn- ing outcomes. Modeling an Engaging Art Lesson Pam Stephens and Elisa Wiedeman M A N A G I N G T H E A R T R O O M an explosion of quickly built, deper- sonalized housing in bombed-out European cities; the design of these constructions are in direct opposition of Hundertwasser's architectural ide- als of individualism, curved lines, and spontaneous vegetation. We created a slideshow of architectural examples that conformed to Hundertwasser's ideals and ones that did not. We next sought an activity that would allow students to make per- sonal visual statements about a humane and artistic urban environ- ment. We decided to combine drawing with a three-dimensional component. We settled upon an unembellished online template for students to create a 5¼ x 5¼" (13 cm) "house." Student Process 1. To begin, students defined and pro- vided examples for the following terms: optical, environmental, pol- lution, urban, and living spaces. 2. Students watched the slideshow and were asked to identify and compare Hundertwasser buildings to other buildings: Rooftop gardens, curvilin- ear forms, varied shapes of windows, and bright colors were compared and contrasted with prefabricated concrete plattenbau apartments with straight lines, repetitious window shapes, and lack of personalization. 3. Students were told they would be making a small model of a house they could modify to fit their own idea of what it means to reduce optical environmental pollution; that is, a place they would like to see or live in. 4. House templates, railroad board, and necessary art tools were provided. 5. After house shapes were cut out, CONTINUED ON PAGE 49. Students were asked to reflect upon how adaptabilit , making connections, and flexibilit contribute to significant learning through the visual arts. A cut paper house from a preservice art educator. 12 SEPTEMBER 2019 SchoolArts CONTINUED FROM PAGE 12. ability, making connections, and flexibility contribute to significant learning through the visual arts. What had been intended as a two-day endeavor extended into weeks. Stu - dents were so engaged that they did not want to stop working on their houses. One preservice educator enjoyed the activity so much that she successfully taught it to fourth-grade children. We later presented a workshop at our state art education conference where again the results were outstanding. Pam Stephens is a SchoolArts contribut- ing editor and professor of art education at Northern Arizona University, Flagstaff. pamela.stephens@ nau.edu Elisa Wiedeman is senior lecturer at Northern Arizona University. elisa.wiede- man@ nau.edu N A T I O N A L S T A N D A R D Connecting: Relate artistic ideas and works with societal, cultural, and his - torical context to deepen understanding. W E B L I N K S Paper house template: bit.ly/2HOpKNS Little Graffiti Village: bit.ly/2RjUmfP SCHOOLARTSMAGAZINE.COM 49

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