Some Interesting Land Artists

Here are 3 different land artists that I found intriguing. The first one is Simon Beck, who has created art in snow and sand. I think I found something new I can do with my snowshoes.

The next artist is Cornelia Konrads. Here are two of her works. Cornelia seems to have done a lot of work that incorporates structures such as houses, and parts such as doors and windows.

And, finally, here is some work by Sylvain Meyer, a Swiss artist. His work seems to conform more to images and concepts found in nature:

Places That Are Special to Me

Below are several photos of one of my favorite places: Grand Teton National Park. When my family took trips from Moscow, Idaho to Rexburg, Idaho, in the summers, I could see the Tetons off in the distance and always wanted to go there. So, after my second year of college, I got a job working at Jackson Lake Lodge, in the national park. My spare time was spent hiking, mostly, some canoeing, and socializing with other like-minded students. I still go back every one or two years. These photos were taken in the Fall of 2015.

Natural Container: Curly Willow Basket

My friend had some branches come down during the high winds we had yesterday and the day before. I brought some of those home, along with some green branches that were pruned from the same trees, and proceeded to make a basket with a handle. I watched a couple of videos online, describing how to make a willow basket. The original intent was to use this to hold paint brushes or other items when I'm plein air painting. We'll see how functional it is. The videos I saw, demonstrated basket weaving using long straight willow branches. These are curly, which definitely created some interesting challenges and effects.

Dry curly willow branches

Green curly willow branches

Making the dry branches more flexible by simmering them in hot water.

Removing the leaves from green branches.

Digital Mandala

Here is an image of the revised mandala. I shot a photo of the original physical mandala, took it into Photoshop, breaking up the pieces and adding 3 other photo image clips.

Here is the original mandala:

Curriculum Sketch: Spirit Collage

Below is an image of a "spirit collage" curriculum sketch.

Mandala Creation and Destruction

I created a mandala out of old spices that had lost their savor, and a few other herbs and seasonings as well. Cooked Spaghetti noodles were used as separators between the shapes. These photos show the completed design:

Closeup of Center

Bird's Eye View

In Perspective

Following the creation of this mandala, it was destroyed by removing the pasta noodles and discarding them. Then the spices were poured into a glass canning jar.

Collage Artist: Kurt Schwitters

The following images are some that were created by the collage artist, Kurt Schwitters, a German artist who lived from 1887 to 1948. During his art career, he worked with Expressionism, on to Dada art, Cubism, and later on Internationalism. He fled to Norway just before the beginning of World War II, as he was in danger of arrest. His art was considered "degenerate art" by the Nazi's. He was in exile for a number of years, and spent some time in internment camps which, oddly enough, contained many artists, writers and other intellectuals. He also created installation art called "Merzbau," wherein he altered interior spaces using the same style as is seen in Cubism.

Summary of Chapter 2: How Will I Teach?

The authors discuss several important points involving the development of a curriculum and how things might function in a classroom. Teaching artists’ work is simple and yet it’s complicated—simple because we just need to provide time and space for students to develop their work; complex because of the preparation involved, and because of other obstacles such as institutional politics and the “’outcomes’ that   institutions and employers sometimes want us to bring about. p. 58.

The stated main goal is to help students to become better artists.

In the process, it is suggested that we as teaching artists don’t necessarily have to specify what the outcomes should be. Students and teachers will learn together through the process of thinking about art, and through art-making. Using the medium as a basis for the learning, teaching how to be effective with it, helps the students as they think about their own projects.

There is a section in the chapter about how are is sometimes used to achieve other ends such as getting people to become more creative thinkers, behavior modification, and preparing for job skills. “Twenty-first century arts education advocacy in America has become far too focused on arguing that the arts are good for the corporate bottom line. We teaching artists are well placed to blow up that paradigm.” p. 65

Getting down to the nuts and bolts, the idea of “how a particular medium or technique relates to the larger concept,” is discussed.  “If we are specific, we can ofte find very surprising connections between concept and medium that can lead to highly original and interesting artwork. p. 66

Another point is the relationship between process and product, and how both are important in the world of making art. Students need to be allowed some time and space for experimentation.

Art-making involves knowledge from a variety of disciplines. Students can create art that is based on the knowledge gained from math and science, for example.

There is also some discussion about effective classroom management. Although, the author says not to use the term “classroom management.” He talks about considering it more of a collaboration.

I also found the section on helping students to learn how to talk about art, helpful and interesting. Asking them questions such as, “What do you notice in the work?” and “What does it cause you to think about?”

In conclusion, there are a variety of suggestions and thought-provoking ideas listed in this chapter to help the teaching artist with the “how” of teaching art.

Summary of Main Points of Chapter 1: What Will I Teach?

Chapter 1 What Will I Teach? Summary

In our text, The Teaching Artist, I found the following observations to be significant:

One approach is to work with our students as fellow artists; we approach the task of being a teaching artist from our own well of artistic skill and understanding. The authors state that having a solid knowledge of one’s own craft gives the teaching artist confidence in what to teach. The teaching artist can then break down the processes in order to provide some framework from which to approach the business of teaching. Furthermore, the curriculum becomes emergent as the students and the teacher work in a studio atmosphere.

One problem that teaching artists face is that “they are often asked to set aside their artist identity when entering into a teaching situation.” p. 11

The author further says that “No one needs a teaching artist around to make art. But a teaching artist can help people make their own art and make it better, deeper, more interesting and original.” p. 12

Race and ethnic issues are addressed in several parts of the book. In Chapter 1, the author is concerned that in trying to relate to specific ethnic groups, teachers sometimes provide only art projects that they think would relate to their specific race, thus overcompensating, and denying the students of a broader education..

One of the main concepts of this chapter is this:

“When you are clear and concrete about what you want to teach, it will also be much easier to discover connections to other disciplines, both in the arts and in other areas, and to collaborate with other artists and teachers in ways that support your teaching goals in your medium rather than dilute them.” p. 30

Another concept is that thinking about how to integrate with other subject areas outside of the art discipline.

Thoughts on Graphic Novels, Dynamics of Teaching/Learning, and Engaging Minds

The following paragraphs discuss the main points I gained from three readings:
Graphic Novels as Contemporary Art?
This article broadened my perspective of the purpose of graphic novels in the high school curriculum. Having students engage in reading graphic novels, and creating their own graphic novel, gives students a chance to explore issues that are of great concern to them at that age. They can use the graphic novel to express feelings that might otherwise be difficult to express otherwise. Teachers should preview graphic novels carefully, however, to ensure that the content is appropriate for the age group. Some content could be considered controversial, but is also an opportunity for "critical discussion." (Graham, 2008, p. 14) I appreciate that the graphic novel is a way for students to create both visually, and with the written word, and to engage in deep thinking on the issues that face them personally.
How the Teaching Artist Can Change the Dynamics of Teaching and Learning
The author highlights a problem that exists in many schools today, that of heavy focus on standardized testing, wherein "Students are treated like products in a factory and learning is viewed as a standardized process with predetermined outcomes." (Graham, 2009, p. 1) Art teachers have the opportunity of engaging in art themselves, as well as teaching art in new ways. The two activities inform each other. Because teaching artists can assist in "playful divergence flexibility, and unforeseen outcomes" they can help students engage in meaning and reflection that may not be found in their other, more-structured courses." (Graham, 2009, p. 4) I like the thoughts expressed about "mediating and mentoring" vs. "telling." (p. 6) Graham (2009) raises the question, "What if education was about engaging rather than controlling?"(p. 7) The article also discusses the importance of creating a safe space that encourages differing opinions and explorations.
Engaging Minds
What is the purpose of copying or modeling? That is one of the questions raised in this article. Examples were given of children working alongside gardeners, painters, musicians, chess players, and others. The phrase, 'Getting inside of the mind of a master' us used to discuss the process of a student learning by observation and by doing. This caused me to reflect on the times and places where copying is appropriate art student, as a means of learning.

Graphic Novel Review: The Day I Swapped My Dad for Two Goldfish

I read and reviewed the book, The Day I Swapped My Dad for Two Goldfish. The style of art used in the book was mixed media, along with some digital graphics. I created my review in much the same style. Below is the image I created, along with a page from the book.

Springville Art Museum: High School Art Exhibit

When we visited the Springville Art Museum on Wednesday, Feb. 23rd, I was very impressed with the quality of work exhibited. These high school students created some high-quality work.
The first piece was a large one, created with colored pencil. The design and craftsmanship were well done.

The next one of a girl with writing on the background was a personal look into the young person. The final one here is mixed media, and since we are doing that in class now, I thought it was a fun example of that style of work. Overall, I was impressed with not only the technique of all three of these, but the self-expression.

The Big Project: in two stages.

This is a prototype studio art project that goes along with Curriculum Sketch #1. It is an example of drawing over the top of a mixed media background. The background contains images and newspaper clippings from the 1930's, primarily. I painted fashion sketches from the 1930's over the top.

Curriculum Sketch #1 Figure Drawing/Human Form

Thoughts from Teaching Artist Handbook Volume 1, Chapter 1

Yesterday at dinner, a friend suggested that teaching art would be hard. He said, "How do you teach the emotion and the expressive part?" I thought for a minute and said that generally I teach tools such as drawing skills and design and composition and use of media. Then we set up opportunities for students to use the tools and to create their own self expression. This question caused me to think more about what it is that I teach.

In Chapter 1, p. 12, the author states, "no one needs a teaching artist around to make art. But a teaching artist can help people make their own art and make it better, deeper, more interesting and original." Additionally, the author talks about how teaching artists can help students not only experience art, but respond to it. Currently, I am not teaching, however, for the past several years, I have been creating art as time allows. Occasionally in recent years, I have had the opportunity of teaching small classes and art lessons. As I produce my own artwork, I am more readily able to discover and assess, in advance of the students, what some of their concerns will be. For example, composition/design can be a challenge for all artists at any given time. When I'm concentrating on one kind of composition, I may be ignoring something that is equally important. Let's say that I'm working on a piece with asymmetrical balance, but I have placed one element too close to the edge, creating a tangent, and leading the eye off the page.

How do I describe what I do as an artist? Basically, being an artist is another form of problem solving. When I begin a piece of art, I don't have everything figured out before hand. I will generally set up some kind of composition either in my head, or in the form of a preliminary drawing, noting not only the value patterns but the basic design. If I'm working in oil paint, I set up a specific palette to work from or experiment with. As the work progresses, I'm constantly evaluating the overall design, as well as the detail and color harmonies in various areas. Sometimes I have a concept that I want to express or expand. Other times the concept is about the object of the art. A large portion of my work has been landscape-based. I am easily drawn to the natural world, and in viewing and expressing what I see. I occasionally exhibit and sell my work. I have learned much from preparing work for a show, and viewing my work as someone else might be viewing it for the first time.

Regarding concepts in art, my work has often been about beauty in nature, but it also describes opposition in nature: light and dark, life and death, growth and progression. I find many parts of the process enjoyable. Coming up with an initial concept is energizing. Working through a piece, and being in the zone, is often relaxing. I'm more of a solo artist, although I have participated in group art projects occasionally. Currently, I am working on a large (3' x 4') handcart painting. Additionally, I want to start making a series of small paintings again (about 6" x 6"). Most of these depict the natural world in both macro and micro settings. I use one of the bedrooms in my condo as an art studio (the master bedroom...I have my priorities). I sleep in a smaller room.

In setting up experiences for students, there are always constraints, either from me, from the students, or from the environment itself. Students work within those constraints, adding to it their own thinking and imagination.

Within this chapter, I was also interested in the section on "race, ethnicity, gender, politics, and what you teach." The authors state, "stereotypical expectations about artists and students based on their perceived cultural roots can needlessly narrow a student's sense of what is possible to make or do across a range of disciplines." (p. 17) The idea of pigeonholing could stifle creativity by limiting students, based on their own cultural experiences. Wouldn't it be better to broaden their horizons, allowing more freedom of expression?

On p. 20, I was humored by the "Golden Rule of teaching artist work," which is: "Don't ask your students to do things that you yourself would find artistically superficial, boring, limiting, manipulative, pedantic or dumb." Conversely, it is suggested that the assignments be those that the teaching artist would find energizing and interesting.

Drawing Ideas

Drawing: Personally, I love to draw, render, and "noodle." I just generally like to create images. But, in a classroom setting, where the students may know little about drawing, and may not know their 6H from their 4B pencils and likely have no idea what a gesture drawing is, etc., I would be inclined to start simply. The key is to keep it interesting. As mentioned by others, if not handled correctly, it could be boring.

One idea for the first day of a drawing class:
1. Bring in a large poster, a piece of cardstock with a 9" x 9" square cut out of it, and do a line drawing demo of only what you see through the 9" square, talking about measuring as you go.
2. After the demo, pass out 1 photograph, 1 sheet of 8.5 x 11" white paper, scissors, a 2B pencil and 1 index card to each student. Have the students each make a 1-inch square on the index card and cut it out with scissors or an xacto knife.
3. Have the students place the card with the hole in it, over a section of the photograph. On an 8.5" x 11" piece of paper, have the students draw a 6" x 6" square. The part that they see through the 1-inch square is what they will draw, using line only. At this point, what they are drawing will be abstract.
4. Show everyone's artwork.

Continuing on...
1. One-point perspective: I have found that most people are a bit fascinated with 1-pt. perspective. Show photos in a power-point of highways, buildings, and, of course, railroad tracks, indicating how one-point perspective is being used. Then some instruction could be given showing the horizon line and the dot, and how lines connect to the dot, creating the illusion of one-point perspective.
2. Assignment: Have the students design their own room (bedroom, etc.) with anything they want in it, using one-point perspective. Materials needed: White or light paper, pencil and eraser.

On January 11th, our Art Ed 450 class visited the Springville Art Museum for the last night of the Spiritual and Religious show. There were many pieces that I found interesting. I'm posting a few of those here.

#1: by Fahimeh Amiri, this was interesting because of the underlying compositional break-up of the space, the flat shapes, and the color palette.
#2 Manti Temple with Sheep, by Jennifer Yvonne Paget: This piece attracted my attention because of how the light was used on the backs of the sheep, and the value contrasts between foreground and background. This is ultimately the same effect that one might get of taking a photograph of the same scene. But if a photo and a painting look the same, one of them is redundant. However, in this case, the artist creates a "painterly" piece and sets up a condition where the shadows appear as solid, yet believable, shapes.
#3 Traveler, by Alexander Morris: The artist creates a piece that appears, at first glance, to be some kind of writing on tablets or in a notebook. The note by the artist discussers Christ as a traveler, and perhaps this is some form of ancient writing.  I found myself wondering what this "traveler" was writing about.
#4 by Laura Erekson Atkinson: This piece was large, and fascinating because of the double-meaning behind the tools, and how they radiated from the first panel on the left.
#5 by Jenna von Benedikt: The movement from the bottom left corner upward and to the right, ultimately forming an S shape, achieved through the use of line, value and color, caught my attention.