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.