For the Mandala to destroy I decided to make a collage where I didn't glue anything down and then I wanted to burn it. However the paper I was using wasn't very flammable so it didn't burn as well as I wanted it to. During our third reading I was intrigued by this quote,
"The idea of enabling constraints opposes the Romantic notion that the creative process must be wholly free from all restrictions. On the contrary, more recent research shows that, absent constraining rules, there is no context for creative discourse or means of expression." (Graham; Tibetan Mandalas, Curriculum Sketches, and the Spiritual Dimensions of Art Education) How do you stay in touch with the spiritual side of things? For me, Spirituality is about awareness of yourself and other. So trying to take time to be present rather then worrying about the future or being distracted. This can be as simple as unplugging my self from a device to just think for a moment or setting aside time to do something fun and focusing on that thing. Another thing that helps me connect with the spiritual, is prayer. Just taking some time to reflect about my circumstances and talk to someone who, I believe, has experienced everything I have and knows what will make me happy helps me stay present and recognize that even though things might feel rough it will all work out in the end.
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We went to the BYU MoA to talk about this piece of art, Jacob and Leah by Bruce Hixon Smith.
First we looked at the piece without context of the title. Then we considered the title and how that changed the piece. Then we considered how a piece that displays a dysfunctional relationship can still contain spirituality and promote enlightenment. For my 'textbook' I had Lynda Barry's Syllabus. In order to better understand what I liked and didn't like about her method of expanding syllabi and course work assignments I created a pros and cons list including picture examples from her text.
My 'textbook' to look at was Lynda Barry's Syllabus. While I was interested in her approach to teaching and the ways she tried to get her students involved, but I found her design to be a bit chaotic. However, I think that having a visual element as part of a class syllabus and assignments makes them more appealing to students. So for my curriculum sketch, I decided to challenge myself to try to mimic some of her design methods to how I approached crafting my own curriculum. Here's a slightly more cohesive list I created while brainstorming.
What is significant about her approach to curriculum design?
The way Gude approaches curriculum is more experience based rather than skills based. Gude focuses on how her students learn and feel in a classroom. She discusses the value of art as investigation and using curriculum to create a 'cultural and aesthetic' experience. Yes there is value in talking about a piece of art, but why not learn how an artist creates art by re-creating their processes. This method allows students to become more familiar with an artist and the intricacies of their work while creating work of their own, the power of transformation through art. Gude also argues that using modern ideas to consider postmodern art is less effective. It is more productive to emphasize cultural issues, complexity of people and art objects, and diversity in thought and experience. She suggests a few way to do this are through teaching art as an investigation of the world around you and how students can relate or find relevance in the art they observe. Where do the elements and principles of design, or what some people call them, the elements and principles of art fit into curriculum and teaching? Although there is a lot of debate about whether or not to include 'traditional' elements and principles of design in classroom teaching, I agree with Gude. To paraphrase her thoughts she ultimately says, why limit yourself? Yes 'traditional' elements and principles occur in within most student work, but there are so many more relevant topics to discuss in relation to the work being created. A few suggestions she mentions as possible 'postmodern elements and principles' are appropriation, recontexualization, juxtaposition, hybridity, layers, text and images, new age 'iconography', specificity of place, and human perspective, just to name a few. However if you do feel the need to review 'traditional' elements and principles as described by modernism, I feel you should do it for the purpose of expanding the definition of elements. "...not because [Klee] felt they should learn mark making before doing more meaningful art...[but] because Klee was excited about the meaning of line." (Olivia Gude: Postmodern Art Education and a critique of the elements and principles of art, pg 8) |
ARtist, teacher, EXPLORERJust a girl exploring the world, looking at cool art, & thinking up lesson plans Archives
August 2022
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