What are your thoughts & opinion about environmentalism?
Growing up in California, being conscientious about how I interacted with the environment was something I learned at a young age. At my house we always made sure to recycle and compost materials that could be disposed of as such and during the summer we usually had a garden. As kids we also were encouraged to spend lots of time outside and my family enjoyed going on camping trips and hikes around our neighborhood. Also because California has been in a drought for the majority of the past 20 years we were also taught about the importance of conserving water and recently my family redid the front yard to have more plants that need less water and that are native to California. I have made an effort to keep up some of these habits. I'm an active recycler despite the challenge of finding a place to recycle here in Utah. I am trying to be better about buying things locally and to buy produce in season. I know I'm not always the best at keeping these habits up, but they are very important to me and I do consider myself to be at least environmentally conscious and I'm striving to be better about this.
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What is this author trying to say about this topic?
This author is making the point that in creating contemporary art there is still value in looking at more classical forms of art making. However, the difference is that instead of just approaching classical ways of making art, such as figure drawing, as a pure mode of creating to recontextualize this form of art making in away that addresses the way artists are creating work today. So students can learn to develop more traditional skills, but also see how a medium such as figure drawing can change the way they view themselves, they view people in advertising, the way they view their peers, etc. Or in other words showing the power of a medium when used in a current context. What is your experience with drawing the human figure both in and out of school? I personally have very little experience drawing the human form in a classroom context. I took a drawing class where we drew from a plate bust of a human form and also had to do self portraits, but that is a severely limited scope without much depth. Out of a classroom setting I mostly experimented with drawing people, but they were usually very cartoonish and had exaggerated proportions and body types. There were a few times when I would try to consider how a body would be positioned and then I would try to create that pose with my own body and then try to think about how I would draw it while considering the pose I was in. How would you approach this topic? For me I would address figure drawing as another way of seeing something. Realizing that while you are drawing it becomes the objectification of a personas you look at the shapes in a person's body and try to match what you are seeing on paper. As well as noticing the ways you view the various kinds of people you interact with both personally and through removed media such as television, magazines, internet searches, etc. 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. 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.
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
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