SchoolArts Magazine

Summer 2017

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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tive list, nor a definitive order for the process of making art. We organized them this way to help connect artistic practice to the teaching of art. We want our pre-service teachers to be able to make the connections between what they do as artists and what they do as teachers. We want them to focus less on copying the form and materials used by artists and more on the kinds of questions that we ask ourselves as artists. Inquiry We are interested in the broad qualities of inquiry that artists engage with and how we can structure pedagogy to develop and support these orientations. By system - atically documenting and reflecting on one's artistic practice of making, researching, and reflecting, bigger questions emerge about what it means to make art. Our goal is to instill a continual alignment to these larger questions in our future art educators as they meet the needs of their future students. Juan Carlos Castro is an associate professor at Concordia University in Montreal, Quebec, Canada. JuanCarlos.Castro @ concordia.ca Aileen Pugliese Castro is an art educator in Montreal, Quebec, Canada. aileen@ aileenpcastro.com P O I N T O F V I E W CONTINUED ON PAGE XX Connecting Artistic Practice with Teaching A s art educators preparing the next generation of art teach- ers, we often reflect on the foundation that supported us as art teachers in high-school and elementary classrooms. What we con- tinually returned to as the bedrock of our practice is what we know and experience as artists. Artistic practice intuitively informed everything we did when we were art teachers. When we intro- duced a new project to our students, we made it ourselves first. We not only looked at the visual forms that artists make, but also emphasized the kinds of questions artists ask. Art Practice and Pedagogy In 1955, Manuel Barkan wrote A Foundation for Art Education (Ronald Press). In his book, Barkan advocated for artistic practice to inform all that art educators do in their class- rooms. Using a broad understanding of artistic practice, we redesigned our Foundations of Art Education course around the following orientations that connect art practice with pedagogy. We structured our course according to the following seven orientations: Inspiration and Starting How do we find inspiration as art- ists? How do we inspire our stu- dents? How do we start as artists? How do we enable our students to start making art? Questioning What questions do we develop when making art? What are we trying to discover? How can we create questions, constraints, prompts, and adaptations that motivate students towards critical thinking and making? Research How do we research ideas and materi- als? How can we encourage and teach research skills to our students? Play How do we play in our art-making? How does play lead to new discover- ies in our art? How can we encourage play in our students' art-making? Making How do we use materials to com- municate meaning? What choices do we make when selecting and using materials and design principles? How can we teach our students to con - sider how materials and design com- municate meaning? Reflection How do we reflect on our art-making? How do we know something is "good" that we've made? How can we teach our students to reflect on their art- making? How do we know if our stu- dents have learned? How do we know what our students have learned? Dissemination How do we share our artwork? How can we enable our students to share their work? These orientations are not a defini- Juan Carlos Castro and Aileen Pugliese Castro We want our pre-service teachers to be able to make the connections between what the o as artists and what the o as teachers. 8 MAY 2017 SchoolArts CONTINUED FROM PAGE 8. and expanded on the ideas and techniques introduced dur - ing the term. Collaborating and finding syn - ergies between art and technol - ogy was a joyful experience for us as teachers, and finding the sweet spot for middle-school student engagement was highly rewarding. Students' tech skills continue to surpass ours, giving everyone in the class a sense of incentivized creativity and mastery in pushing the visual envelope. It was a joy to teach this class, and we look forward to teaching it again in the future. Hannah Salia is the art specialist and interdisciplinary leader, and Tracy Asplen is the technology specialist and educational technology coordinator at St. Thomas School in Medina, Wash - ington. Hannah.salia@ stthomasschool.org, Tracy.asplen@ sttho- massschool.org N A T I O N A L S T A N D A R D Creating: Conceiving and developing new artistic ideas and work. W E B L I N K www.motionexposure.com CONTINUED FROM PAGE 33. 34 SUMMER 2017 SchoolArts SCHOOLARTSMAGAZINE.COM 35 MULTIPLE M I D D L E S C H O O L W e live in a world of expo- nentially increasing visual information, where the boundaries between the physical and digital are constantly cross-pollinating. Exploring these intersections between art and tech- nology has been the focus of an innovative elective master class, our twelve-week long curriculum for seventh- and eighth-grade students. Using multiple creative platforms, both physical and digital, our stu- dents explored, experimented, and expressed conceptual themes in fin- ished photographic artworks. Multiple Projects Themes ranged from fusions of mas- ter self-portraits and selfies, beautiful light photography pieces based on the elements, quick-fire challenges featur- ing GIFs and book cover mash-ups, and a final project where students applied their creativity and technical skills in personalized projects. In each project, the learning objectives were the same: to design and create a finished artwork that used both artistic and digital media with technical and aesthetic skill in visually communicating ideas. The diverse ideas featuring intersections between emerging technologies and artistic techniques offer art and tech- nology educators proven visual arts strategies and capacities for their stu- dents' engagement, collaborative lead- ership, and success in the classroom. From Selfie to Self-Portrait In our first project, From Selfie to Self-Portrait, we were inspired by posts on the blog Hyperallergic (hyperallergic.com), creating marvel - ous emulations of famous self-portraits by current artists. Working in teams, students researched self-portrait imagery from famous and unknown artists to find one that spoke to them. Then, assem - bling a variety of props and working with lighting and makeup, students created the conditions for optimum photo sessions. Post-production in Hannah Salia and Tracy Asplen paint.net allowed students to edit and combine images to replicate their original inspiration—virtually recast- ing themselves as the new version. Trompe-l'oeil Mash-ups Our next project was one of our quick-fire challenges where students had two classe periods to create trompe-l'oeil mash-ups of themselves as part of a book cover. Students had to work collaboratively, which is always a useful teaching opportu - nity for this age group. Using their cellphones and physical or digital versions of their chosen book covers, they found it surprisingly difficult to properly align all the pieces of the puzzle to create the illusion. But, when it worked, it was magical. Truisms The GIF Truism project that fol- lowed was another two-day quick-fire challenge. We explored in advance with several apps to accommodate students' mobile devices (the major- ity used the app IMGPlay). Choosing from a list of commonly known tru- isms, students had to create a visual story illustrating the truism in less than ten seconds for their classmates to guess. The humorous and competi- tive angle for this project was highly motivating to our middle-schoolers. Light Painting The inspiration for our next project came from the work of many differ- ent light-painting artists, especially Stephen Orlando, whose visually stunning work centers on capturing light and motion. Mr. Orlando sent us tips on simple light photography tech- niques that we practiced beforehand. Students used digital cameras and the class was divided into four teams to represent the elements of air, water, fire and earth. Students loved this project and they developed the technical expertise to explore exposure times, light sources and colors, and post-production edit - ing, far surpassing our expectations. Their finished pieces are remarkably sophisticated, aesthetically beautiful, and conceptually masterful. Personal Choice For their final project, students could choose any artistic and photographic method, technique, or subject to express their personal point of view and aesthetic. We shared inspirations we discovered during the research and planning phase of the class, based on their own interests. To help refine the process, we created some guiding parameters that included a required number of photos, a clearly articulated theme or concept, and a plan for produc - tion and post-production. Students also had to write a detailed artist Collaborating and finding s nergies between art and technolog as a jo ful experience for us as teachers. Louis, final unit project. Top: Nell, Self-portrait. Emulation of Do the Job He Left Behind, 1941-1945. Bottom left: Student book cover mash-up of Hero by Perry Moore (Hyperion, 2007). Bot- tom right: Jaden, Selfie. Emulation of Vincent van Gogh's Self Portrait with a Gre elt Hat, 1887. FUSIONS CONTINUED ON PAGE XX SHELTER PET & GLOBALLY RECOGNIZED PIANIST Amazing stories start in shelters and rescues. Adopt today to start yours. KEYBOARD CAT 8M+ YouTube Views

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