SchoolArts Magazine

January 2018

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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28 JANUARY 2018 SchoolArts resulted were good but not showstop- ping or thought-provoking. I wanted to introduce my beginning students to surrealism and had recently been on a soapbox with students about how anything can be a good subject for art if approached correctly. This seemed like a perfect marriage of drawing from observation and surrealism. Drawing from Observation Students began by each choosing and drawing a pipe, faucet, or spigot, and then exchanging it for another to draw. At this point, the drawings were pretty standard—maybe even a little boring. It's important here to assure students that they will have freedom to create their own worlds and explore their own ideas during the next class time. Yvonne, Pipe Dreams drawing. Investigating Complexity At the end of day one, we spent some time examining works of art that demonstrate complexity in differ - ent ways. These works need not be surreal or even contemporary. For example, I showed Titian's Annunci - ation, El Greco's Burial of the Count of Orgaz, Jeff Soto's Brain Decay, and Dorothea Tanning's Guard - ian Angels. These pieces illustrate complexity, movement, depth, and texture—the emphasis of our Pipe Dreams drawings. Pipe Dreams Criteria At the beginning of the next class, I explained to students that there didn't have to be a focal point or a horizon line in their drawings and

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