SchoolArts Magazine

NOV 2013

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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Page 47 of 54

ASSESSMENT The Makeshift Gallery Sam Thomas I similar experience for my students hate sketchbooks. I know, this is without expecting them to commit to a cardinal sin for an art teacher. a process that I myself couldn't mainAs a young artist, I was given tain. sketchbooks from time-to-time and they always seemed to end up on a The Passerby Museum bookshelf somewhere gathering dust. My solution for this need grew out of I managed to subconsciously distance a conversation I had with a colleague myself from these stacks upon stacks about an interactive art exhibition of intimidating blank white pages. called the Passerby Museum. This The formality of a sketchbook is offproject was created in 2002 by María putting to me. Alós and Nicolás Dumit Estévez and That said, I've seen so many fanwas originally installed in New York tastic art teachers engaging their stuCity. The exhibidents in sketchbook activities that often I was excited to have this tion encouraged anyone who passed result in portfolioexperience serve as a by to contribute an worthy artwork. catalyst for conversations item from his or In the past, I've about the nature of art her pocket to the tried integrating installation. The sketchbooks into my and material culture. only requirement classroom, but I find was that the object be able to fit into a it extremely difficult to get excited plastic sandwich bag. about them since my own art-making The idea of the Passerby Museum process completely omits them. was to investigate commonalities WhatIvalueabouttheideaofa amongst the material possessions of sketchbook is the spontaneity with contributors, and to engage groups of which ideas can be quickly docupeople who wouldn't otherwise visit mented and the presence of a space art museums to participate in converwhere sources of inspiration can sations about art and material culture. be collected. I wanted to provide a The format for the Passerby Museum satisfied everything I wanted from the sketchbook experience: a space for the collection of spontaneous ideas and sources of inspiration. The Makeshift Gallery In my classroom, I have a blank wall (about seven feet long) that runs adjacent to the entrance—what better place than this to stage my own interactive gallery space? A box of resealable sandwich bags, some labels, a stapler, and about a half hour later, I had my very own interactive gallery space, which I titled the Makeshift Gallery. Each student was provided with a bag (labeled with his or her name and stapled to the wall) and given the following guidelines: • TheMakeshiftGalleryisanopportunity to share ideas, sources of inspiration, and things you find interesting or worthy of consideration. • Whateveryouplaceinyourbag must be school appropriate. • AgradewillbetakeneveryFriday to see if you've changed what is on display. Continued from page 12. Over the last few years, student submissions have sparked conversations about a wide variety of topics, including ethics, popular culture, politics, consumerism, and the nature of art. Submissions have included candy wrappers, sketches, love letters, manufacturing errors, collages, live goldfish, air, paint, and antiquated cell phones. In addition to the discussions generated by the Makeshift Gallery, the project has inspired many students to expand their art-making processes to include exploration of found materials and the narrative content that they carry. Students in my classroom are compelled to participate in the shared experience of the classroom environment and encouraged to think about art-making beyond the creation of work that is placed on their desk and tucked away in their sketchbooks. STATEMENT OF OWNERSHIP—MANAGEMENT AND CIRCULATION Required by the Act of Congress of August 12, 1970. (Section 3, 685, Title 39, United States Code) 1. SchoolArts. 3. Filed this September 18, 2013. 4. Published monthly—September through May. 5 No. of issues published annually, nine. 6. Annual subscription price, $24.95. 7. and 8. 50 Portland Street, Worcester, MA 01608 9. Publisher, Wyatt R. Wade, 50 Portland Street, Worcester, MA 01608; Editor, Nancy Walkup, 2223 Parkside Drive, Denton, Texas, 76201; Managing Editor, Hana Lasell, 50 Portland Street, Worcester, MA 01608. 10. That the owner is Davis Publications, Inc., 50 Portland Street, Worcester, MA 01608 8. There are no bondholders, mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages, or other securities. 13.— 13. A. Total No. Copies (Net Press Run) B. (1) Paid and/or Requested Circulation Sales through Dealers and Carriers, Street Vendors, and Counter Sales (Not Mailed) B. (2) Paid or Requested Mail Subscriptions (Include Advertisers' Proof Copies Exchange Copies) C. Total Paid and/or Requested Circulation (Sum of 15b(1) and 15b(2) D. (1) Free Distribution by Mail (sample, complimentary, and other free) Average No. Copies Each Issue During Preceding 12 Months Single Issue Nearest to Filing Date 15,333 12,500 None None 11,860 10,698 11,860 10,698 843 847 D. (4) Free Distribution Outside the Mail 1,091 450 E. Total Free Distribution (sum of and 15d. (1) and (4)) 1,934 1,297 F. Total Distribution (sum of 15c. and 15e.) 13,794 11,995 G. Copies not Distributed 1,539 505 H. Total (Sum of 15f. and 15g.) 15,333 12,500 86 89 I. Percent Paid and/or Requested Circulation (15c. divided by 15f. times 100) I certify that the statements made by me above are correct and complete. WYATT WADE, Publisher Sam Thomas is an art teacher at McKinney-Boyd High School in McKinney, Texas. mrartofficial@gmail. com 43

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