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IAEA 2013 Conference Presentation by Olivia Gude
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with thoughts on Common Coreand Next Generation Standards
a presentation by Olivia Gude
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↳ On what basis do we make decisions about what to include and what to leave out of today’s art curriculum?
↳ One can’t answer this question any longer by simply saying, “We includethe basics, the fundamentals.”
↳ Because......
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↳ Because......↳ For at least 30 years there have been many knowledgeable people in the world of art and art education who believe that focusing on elements and principles, traditional media and realist drawing/painting is not a sufficient introduction to the complexities of artistic practice in today’s global societies.
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↳ The field of art education must change.
↳ There is no guarantee thatart education will be considered an important aspect of contemporary schooling if we do not create a field that is perceived as relevant to contemporary cultural and educational concerns.
↳ Because......
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People gain insights into the meanings of artworks by analyzing subject matter, formal and structural characteristics, contextual information, the use of media and various art making approaches.
Draft:Enduring Understanding––Next Generation Core Visual Art Standards
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People gain insights into the meanings of artworks by analyzing subject matterformal and structuralcontextthe use of media and genres, styles, approaches.
= TEXT
Structuring the art education curriculum on academic and modernist art traditions does not give students the range of knowledge and skills NEEDED
tthe goals of contemporary education
Common Core
TEXTunderstand and interpret
The Common Core State Standards provide a consistent, clear
understanding of what students are expected to learn, so
teachers and parents know what they need to do to help them.
The standards are designed to be robust and relevant to the
real world, reflecting the knowledge and skills that our young
people need for success in college and careers.
.....
....the Standards also lay out a vision of what it means to be a
literate person in the twenty-first century.
Indeed, the skills and understandings students are expected to
demonstrate have wide applicability outside the classroom or
workplace.
Students who meet the Standards readily undertake the close,
attentive reading that is at the heart of understanding and enjoying
complex works ....
They actively seek the wide, deep, and thoughtful engagement
with high-quality literary and informational texts that
builds knowledge, enlarges experience, and broadens worldviews.
They reflexively demonstrate the cogent reasoning and use of
evidence that is essential to both private deliberation and
responsible citizenship in a democratic republic.
literary and informational
Students who meet the Standards readily undertake the close,
attentive reading that is at the heart of understanding and enjoying
complex works ....
They actively seek the wide, deep, and thoughtful engagement
with high-quality literary and informational texts that
builds knowledge, enlarges experience, and broadens worldviews.
They reflexively demonstrate the cogent reasoning and use of
evidence that is essential to both private deliberation and
responsible citizenship in a democratic republic.
artistic and informational
an integrated model of literacy
Shared responsibility for students’ literacy development
focus on results rather than meansCommon Core mandates
research and media skills blended into standards as a whole
Shared Responsibilityincludes all teachers
Shared Responsibilityincludes all teachersShared Responsibilityincludes all teachersart
visual culturevisual literacy
an integrated model of literacyresearch and media skills blended into standards as a whole
ARTDESIGN
Evocative &Provocative Pedagogy:to lead the childto lead the community
to call forthto bring to mind
Evocative
Evocative &Provocative to arouse to feelingto arouse to action
Evocative &Provocative Pedagogy
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↳ Reach students “where they live.”
a) pedestrians ahead warning
b) pedestrians only–no vehicles
d) couples with boxes crossing
What does this sign mean?
c) school advance warning
d) pointing to doorway in the distance xxthat leads to another dimension
a) flagger ahead
b) how to hold stinky things
c) start driving really fast NOW
What does this sign mean?
Mapping Curriculum
↱affective evidenceemotions, sensations, inklings ↱cognitive reasoningintellectual explanations
On what basis do we decide?↴
↱affective evidenceemotions, sensations, inklings
blindfolded kids
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computer
affective:spirit, body and heart justifications
↱cognitive reasoningintellectual explanations
Ask 2 questions:
What is the criteria of selection?
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↳ Does this curriculum support students in engaging and making personally satisfying and meaningful works of art, craft and design?
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↳ Does this curriculum adequately represent a range of the art,resources,aesthetic practices and cultural concernsin this society at this time?
↱What methods? ↱What models?↳What projects?
↳What is a project?↳What does a project “do”?
↳ Criteria for quality projects
↳ Value engaging in authentic artistic processes over making facsimiles.
↳ Value contemporary practices of a medium, over curriculum that merely recapitulates the history of the medium.
↳ Value utilizing skills, forms, and vocabulary in actual contexts over de-‐contextualized exercises and recipes.
↳ Value: investigating over symbolizing.
↳ Criteria for quality projects
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↳ What does a good project do?
↳ Introduces students to methods of making complexity of the discipline
↳ Creates opportunities for students to make meaning needs of students and communities
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↳ What does a good project do?
↳ Introduces students to methods of making complexity of the discipline
↳ Creates opportunities for students to make meaning needs of students and communities
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projects=vehicles of aesthetic investigationvehicles of artistic investigation
encode methodsof experiencingof engagingof exploring of making of generating knowledge/insightof being in the world
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artistic practicesvehicles of aesthetic investigationvehicles of artistic investigation
encode methodsof experiencingof engagingof exploring of making of generating knowledge/insightof being in the world
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artistic practice=an artist’s practiceWhat do we mean by artistic practice?An artist’s practice not only suggests the techniques or media an artist uses to create art, but also fundamentally the artist’s conceptual approach or method by which he or she goes about making art.
the warhol: resources and lessonsteaching across the arts and humanities
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Olivia Gude’s collaborative public artU.S. street art movement–values of communityMexican muralists–wall compositioncommunity arts–oral history/storytelling postmodern text/image art collaborative, socially engaged art practicestraditional mosaics tesslelation–formmodernist mosaics tesselation–flatness
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Cannas & Corn: a Garden Community, 2004by Olivia Gude & community residents
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collaborative art practicegenerates a space that others can enter, not just as viewers, but as participants.
The artist can utilize this artistic practice with others to identify content, investigate and make.
The artist puts into play an approach, a method that can take the work in as yet unknown directions.
😳generates a space that others can enter, not just as viewers, but as participants.
I can utilize this artistic practice with others to identify content, investigate and make.
An approach, a method, is put into playthat can take the work in as yet unknown directions.
project = borrowed artistic practice
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Paradoxically,students both inhabit these projects,these capacities for experiencing and making,and they internalize these capacities.
Art teachers (Artist/teachers) develop vehicles of artistic investigation =projects.
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How can we build high qualityvehicles of artistic investigation =projects?What is relevant to this project, to this practice of experiencing and making?
conceptualhistoricalcultural aesthetic technicalexperientialbehavioral
Mapping CurriculumOn what basis do we choose projects orsequences of projects?How do we decide which vehicles of aesthetic investigation are needed?
ANSWER 1
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It often works best to introduceartistic practices through sequences of projects that develop sensibilities,build skills, situate within historical contexts and draw out cultural implications. Projects are not mere Exercises.Projects have intrinsic value. Projects: individual or collaborative enterprise planned and designed to achieve an aim.
Expressionist Self-‐Portrait
What would students need to understand and be able to do in order to make an expressionist self-‐portrait?
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Find Your Mark!(De)Generate Painting Spiral Workshop 2009
Wassily KandinskyComposition IV 1911
Franz KlineUntitled 1952
MOVE THE PAINT!Rapidly take responsibility for the entire surface. Some of required activities in the painting exercises: Paint with the brush in your non-dominant hand. Paint standing as far away as possible from the easel . Paint as if you have no joints in your arm. Paint with your brush in a fist that is placed under your chin.
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Abstract Expressionism(De)Generate Painting Spiral Workshop 2009
At a certain moment the canvas began to appear to one American painter after another as an arena in which to act.
What was to go on the canvas was not a picture, but an event.
Harold Rosenburg, art critic
Jackson Pollock
Joan MitchellUntitled 1956
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Free Form Color Investigation(De)Generate Painting Spiral Workshop 2009
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Degenerating Vegetable Matter(De)Generate Painting Spiral Workshop 2009
Max BeckmanStill Life with Helmet and Red Feather 1944
Gabrielle MunterMadonna with Poinsettas 1911
Denice RinksPears 1990
Giorgio de Chirico
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Facial Anatomy Lesson(De)Generate Painting Spiral Workshop 2009
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Expressive Faces Lesson(De)Generate Painting Spiral Workshop 2009
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Chiaroscuro Portraits from Life(De)Generate Painting Spiral Workshop 2009
Chiaroscuro–strong darks and lights create form
The Blinding of Samson by Rembrandt van Rijn, 1636
The NIghtmare by Henry Fuseli, 1781
Film still from The Cabinet of Doctor Caligari, directed by Robert Wiene, 1920
Film Noir
Sin City comic by Frank Miller, 1991
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Expressionist Self-‐Portrait(De)Generate Painting Spiral Workshop 2009
Gilbert StuartPortrait of George Washington
John Singer SargentVernon Lee
Egon SchieleSelf Portrait 1912
Gabrielle MunterMeditation 1917
Victor BraunerSelf Portrait with Plucked Eye 1931
Max Beckman
Emil Nolde
Lucian FreudFrancis Bacon 1952
Frank AuerbachPortrait of Juliet Yardley Mills II 1984
Francis BaconSelf-Portrait 1971
Jean Michel BasquiatUntitled 1981
Chris MarsA Soother for Trudy 2007
Jenny SavilleRosetta 2006
Expressionist Self-Portrait (De)Generate Painting Spiral Workshop 2009
Mapping CurriculumOn what basis do we choose projects orsequences of projects?How do we decide which vehicles of aesthetic investigation are needed?
ANSWER 2
Neatness does not count.It is not possible to develop 21st century curriculum in matching sets.
Each unit is an element or principle.Each unit introduces a different media.Each unit is based on a period in art history.
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↱ needs of students and communities
↱ complexity of the discipline
Principles of Possibilityplayingforming selfinvestigating community themesencountering othersattentive living designing lifeempowered experiencingempowered makingdeconstructing culturereconstructing social spaceselaborating fantasiesnot knowing
Principles of Possibility
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↱ needs of students and communities
↱ complexity of the discipline
FluidityAmbiguityComplexity
ParadoxUncertainty
Liminality
Hybridity
The disciplinary strength of such a frame is its acknowledgment of the complex, contradictory, ever-‐evolving nature of artistic practices.
curriculum
curriculumcomprehensive
insurancecomprehensive
What if a tree fell on your car?Will your insurance plan cover it?
What if a hail storm dents your car?Will your insurance plan cover it?
What if a giant inflatable sculpture landed on your car?Will your insurance plan cover it?
What if a giant inflatable sculpture of dog poo is in the news?Will your aesthetic understanding plan cover it?
What if an important artist deliberately destroys ancient urns? Will your aesthetic plan cover damage to your students’ belief in art?
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Bricolage:1. a construction made of whatever materials are at hand; something created from a variety of available things.
2. a piece created from diverse resources.
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La Maison Picassiette, 1938-1964 by Raymonde Isadore
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Bricolage and Bricoleur has a long history in theory, including in....↳ Subculture: the Meaning of Style by Dick Hebdige (1979) which identifies the repurposing of existing objects by punks as a form of “semiotic guerilla warfare” against the dominant culture.
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Bricolage and Bricoleur has a long history in theory, also including in....↳ Handbook of Qualitative Research edited by Norman Denzin and Yvonna Lincoln (2006) to “denote a multi-‐methodological form of research that uses a variety of research methods and theoretical constructs to examine a phenomenon.”
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Bricoleur:the (w0)man who works with any tools at hand
Bricoleur Art Teacher:the (w0)man who surveys art and culture and chooses those tools (cultural theory and artistic practices) that meets the needs of students and their communities by providing access to a wide range of interpretive and meaning making strategies.
free form color investigation FIR
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“Seeing Into” Surrealist SurveyUncharted Territories of the MindBureau of MisdirectionSpiral Workshop Office of Aesthetic Investigation, 2011
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Sensory Senseless MappingAgency of RecollectionSpiral Workshop 2009
Guide to the Psychogeography of ParisGuy DebordSituationist International
Vito Acconci Following Piece 1969
Marina Abramovic The Great Wall Walk 1988Abramovic & Ulay Relation in Time 1977
Gabriel Orozco Yielding Stone 1992
Francis Alys Sometimes Making Something Leads to Northing 2009
Richard Long A Line Made by Walking 1969
Richard Long Sixty Minute Circle Walk on Dartmoor 1984
Yukinori Yanagi Wandering Position 1996
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Making FacesLiminality: Alternative PracticesSpiral Workshop 2010
Bruce Nauman Self-Portrait as Fountain 1966-1967
Hannah Wilke S.O.S. Curlers 1975
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Social SituationsLiminality: Alternative PracticesSpiral Workshop 2010
add artists
Cindy Sherman
add artists
Charlie White Cocktail Party from the Understanding Joshua series 1991
Name:
Liminality - What is a social situation? An event where you interact with one or more persons.
Check all the social situations you have been a part of:
Surprise Party Graduation Party School Dance/Prom Baptism Extended Family Party (Family Reunion, etc.) Quinceañera Bar/Bat Mitzvah Birthday Party Wedding Slumber Party Parent-Teacher/School Conference Pizza Party School Tournament (Debate Team, Sports, etc.) Family Vacation Classroom Party Funeral Sporting Event (Spectator or Participant) Party w/ Parents Party w/o Parents What other types of social situations have you been a part of?
Name:
Liminality - What is a social situation? An event where you interact with one or more persons.
Check all the social situations you have been a part of:
Surprise Party Graduation Party School Dance/Prom Baptism Extended Family Party (Family Reunion, etc.) Quinceañera Bar/Bat Mitzvah Birthday Party Wedding Slumber Party Parent-Teacher/School Conference Pizza Party School Tournament (Debate Team, Sports, etc.) Family Vacation Classroom Party Funeral Sporting Event (Spectator or Participant) Party w/ Parents Party w/o Parents What other types of social situations have you been a part of?
interrelated with/supported by
Mapping CurriculumBricolage Curriculum↱ needs of students and communities ↱����������� ������������������ ����������� ������������������ ����������� ������������������ ����������� ������������������ ����������� ������������������ ����������� ������������������ complexity of the discipline
Text
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Bricolage Curriculum:curriculum that surveys art and culture and chooses those tools (cultural theory and artistic practices) that meets the needs of students and their communities by providing access to a wide range of aesthetic practices, a wide range of interpretive and meaning making strategies.
😳Artists and designers shape artistic investigations, following or breaking established conventions, in pursuit of creative art-‐making goals.
Draft: Enduring Understanding––Next Generation Core Visual Art Standards
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Create an evocative and provocative pedagogy.
Create the future of art education.
Create curriculum that is meaningful to studentsand includes authentic contemporary artistic practices.
A version of this presentation is posted online.Google:Olivia Gude NAEA ePortfolio
Many projects shown in this presentation are online.Google:Olivia Gude NAEA ePortfolioSpiral Workshop NAEA ePortfolioSpiral Art Education website
NAEA=(U.S.) National Art Education Association
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Thanks to the teen artist participants of Spiral Workshop.Their intelligence, openness and spirit of generosity inspire our work.
Thanks to the faculty of Spiral Workshop, emerging teachers who are art education students at the University of Illinois Chicago.Their knowledge of contemporary art, hard work and desire to become teachers who make a difference in the lives of youth contribute to imagining a renewed practice of art education.
Let’s discuss.
Turn to your neighbor on your left:
Question:▷ Given all that is happening-‐-‐
Common Core, 21st Century Skills, Next Generations Standards, digital technologies, contemporary art practices, and so much more....
▷ In what way will you evolve your curriculum?
Let’s discuss.
Turn to your neighbor on your right:
Question:▷ What is a project? ▷ What learning do you encode in a good project?