SchoolArts Magazine

APR 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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Page 53 of 62

Advertiser Index Advertiser Page AMACO 56, CIII Bailey 15, 41 Blick Art Materials CIV Davis Publications CII, 16, 49, 50, 55 Fresh Artists 42, 43 General Pencil 45 Kiss-Off 53 L&L Kilns 2 NAEA 7 Skutt 1 Speedball 4 Travel with SchoolArts 46 The SHOP Bailey 51 Curator's Corner 51 Documenting Children's Meaning 51 Envisioning Writing 51 The Open Art Room 52 Royalwood 52 Skutt 52 Youth Art Month 52 gained a better understanding of roles within art museums, as well as the work which goes into pulling off a successful exhibit. I was able to put myself in the shoes of profes - sional curatorial teams and gained a huge respect for all the work they do. Hanging the show itself took us more than five hours, and I look at art museums much differently now. I have a much deeper appreciation for how art is shown, as well as the big ideas behind popular art exhibits." 26 APRIL 2018 SchoolArts M U S U E M M U S I N G S CONTINUED ON PAGE 49. As students work through each of the steps in this process, they con- front collaboration, compromise, creative problem solving, and other real-life skills. Presenting Last year's group of students stepped beyond their familiar role of creat- ing works of art in the classroom to contextualizing their work in an exhibition. In their assumed roles, students learned the importance of considering an individual work in context and how an exhibi- tion flows and fits together. They practiced professional framing and hanging as they installed the works in a gallery. They worked to build relevance as they designed exhibition materials and experi- ences to bridge the gap between the artworks and their viewers. High-school student Danielle Corbett shared this insight: "I big idea that guides any exhibition. Students practice developing exhibi- tion thesis statements and gather- ing small collections of works (on postcards) to support their thesis. Writing skills, critical thinking, and self-editing are all important steps of this process that will serve students later in life as professional artists or in other professional ventures. Following thesis development, stu- dents explore exhibition design and logistical issues such as budget and spatial limitations. This provides con- straints to further enable their creativ- ity and ability to make thoughtful and focused decisions. Part of this learning process involves field trips to museums and galleries where students conduct evaluations of the exhibition on display. Students are able to critique and assess everything from work selection and organization to lighting and design. From Proposal to Exhibition Students then put their learning to the test as they develop exhibi- tion proposals that are reviewed by museum staff members. After sev- eral proposals are selected, students form exhibition teams in which they take on the professional roles of curator, registrar, educator, and mar- keter. Together, they build an exhibi- tion of student work that culminates with an opening-night celebration. W ith presenting as a major component of the new Secondary Core Art Standards, high-school students are expected to become well-versed in the process of not only showing their artwork, but curating and contextualizing their work in a thoughtful way. But have they been trained in the nuance and complexity that is involved in finding space and preparing work for exhibitions? A Museum/School Partnership Provo High School and the Springville Museum of Art in Springville, Utah, have embarked on a partnership pro- gram in which high-school students are mentored through the process of curating and mounting professional exhibitions. This innovative pro- gram gives students direct access to museum professionals and opportuni- ties to thoughtfully work through the various steps of exhibition planning and development. Throughout the school year, students learn about and practice developing an exhibition the- sis, finding and understanding gallery space, writing about exhibitions and artwork, and creating branding and marketing plans for an exhibition. Thesis Development and More The first stage of this program is exploring and understanding the Students as Curators Jessica Weiss and James Rees Students stepped be ond their familiar role of creating works of art in the classroom to contextualizing their work in an exhibition. CONTINUED FROM PAGE 26. Reflections By the end of exhibition, students more completely understood the presenting standard. They moved from conceptualizing a big idea, to making thoughtful works related to a central thesis, to writing about their work to build audience rel - evance, and finally, to preparing and arranging works in a professional- style exhibition. This program—a collaborative venture between an art teacher and a museum educator—has helped students grow in their ability to convey meaning through the pre - sentation of artistic work. Jessica Weiss is head of education at the Springville Museum of Art in Springville, Utah. James Rees is an art teacher at Provo High School in Provo, Utah, the NAEA Pacific Region vice president elect, and a contributing editor for SchoolArts. W E B L I N K S teacher-course-directory/Rees-James/ Work with Davis! Davis Publications, Inc. is looking for part-time independent contractors to work as Art Education Consultants and Presenters to deliver expert training on our print and digital educational materials. Go to for a full job description and application information. What we're looking for: • An organized self-starter who can provide d namic and engaging presentations for large groups of educators. • 5 ears of experience in a K–12 school district and knowledge about how education programs are used in school environments. • Exceptional communication and presentation skills. • Someone who is comfortable using contemporar igital technolog . SCHOOLARTSMAGAZINE.COM 49

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