Hi, Jihan! I am reviewing our ArtsAPS blogs and thought I would drop a note. I hope you are having a good holiday break! I'll check back later when you've had enough time to post some things. :-) r
P.S. To put yourself in complete charge of the security of your ArtsAPS blog, got to: http://www.google.com/support/blogger/bin/answer.py?answer=42673&cbid=-bdakh7t99a0s&src=cb&lev=answer There you will find out how to control who can and can not see your blog and answers to other privacy/security concerns.
Hello! I'm just reviewing ArtsAPS blogs and thought I would drop you a note. I will check back when you've had a chance to add more to your blog. Enjoy your holiday! Raymond Assistant director, ArtsAPS P.S. To put yourself in complete charge of the security of your ArtsAPS blog, got to: http://www.google.com/support/blogger/bin/answer.py?answer=42673&cbid=-bdakh7t99a0s&src=cb&lev=answer There you will find out how to control who can and can not see your blog and answers to other privacy/security concerns.
In Lisa Whittington’s class, Martin and I were asked to work as a group to do an action research project utilizing the six dimensions of Daniel Pink’s A Whole New Mind. We agreed to do our project on, “How to get an art student at the secondary level engaged in a textbook.” Included in our project were the following ideas, not necessarily in this order: 1. Conducting a yes-no survey to assess the students’ perception of the visual arts 2. Motivating the student through the use of a format to research an artist (in the book) who connects with the student. 3. Through the use of a puzzle or other enjoyable format, interest the students in researching terms and pertinent information found in the text. 4. Information must correlate with Daniel Pink’s six dimensions: design; empathy; story; symphony; meaning; and play. 5. Information will be brought back to class in the form of a powerpoint presentation.
I look forward to initiating this project in one of my classes.
WRITTEN DEMONSTRATION OF VISUAL TEACHING STRATEGIES [print of da Vinci's Mona Lisa} (student comments are in parentheses) 1. Good morning! 2. We're going to have fun looking at a picture today. What's going on in this picture? (I see a lady going to a funeral) 3. What do you see that gives you that idea?(She's dressed in black) 4. What else do you see in this picture? (I see mountains and valleys in the background) 5. What else do you see? (She's happy) 6. What do you see that makes you say that?(I see a smile on her face) 7. So you think that she is happy because a smile is on her face. 8. What else can you find? (She's Catholic) 9. What do you see that makes you say that? (She has a veil on her head.) 10. What else do you see? (I see a chair...she's sitting on it.) 11. Do you see anything else? 12. Well, thank you very much!
REFLECTIONS ON MY DRAWING CLASSES: Today students were told to construct a photomontage. An example was given in the textbook. We studied that example. Afterward, I gave the class a complete demonstration of how to make a photomontage. We discussed and share viewpoints regarding the concept of patience, and how anything of value takes work and patience. Examples were given such as styling hair and cooking as having to be done slowly and meticulously. So I set the stage for taking one's time while doing this project. We also talked about overlapping shapes, staying inside of shapes so they could be recognized, and the application of the glue. This activity worked out very well for me because we used magazines that were interesting to teens - Teen, Glamour, Parenting, Sports, etc. Students used magazines to cut colors out only. Gloss medium was used afterwards for a finishing touch. Tomorrow I will try this activity on my ninth graders. They are so active and may not want to be patient in finishing this activity. We shall see. I need to buy extra scissors. Washington has no supplies. Art teachers have to buy everything.
THE HISTORY OF VISUAL THINKING STRATEGIES The history of V.T.S. was very intriguing to me. I never thought of the correlation of psychology and art exhibits. So I, too, researched Abigail Housen's Theory of Aethetic Development of how viewers think when they look at artwork. I, now, understand why it is the core of V.T.S. Dr. Houser has categorized five different patterns of thinking which correlate with the amount of exposure the viewer has had to art in his/her past. Stage One labels the viewers as storytellers or narrators. They view artworks using their senses and emotions to develop a story or a narrative in their comments. Stage Two defines the viewer as being constructive, building a foundation for viewing art, based upon their own perceptions, knowledge of the world and their moral and social values. Stage Three describes the viewer as being an art historian. He looks for facts, clues and figures to identify the place, style and time of the artwork. Stage Four develops the viewer into an interpretive one. Personal encounters, feelings and intuition play a major part in defining this viewer. As the meaning of the work emerges, reinterpretations make the artwork subject to changes. Stage Five are the maturest viewers. They reflect upon works that they are already familiar with, then with a re-creative view, they re-interpret the artwork. Therefore, interpretations are based upon incorporating total prior knowledge and memory of the painting with additional personal and universal knowledge. As an additional note, Dr. Housen mentioned that most viewers are beginners of Stage One and Stage Two because of the low threshold of literacy. I imagine one viewer can exhibit many different stages of aesthetic development, depending on the artworks he/she views. I really enjoyed this research and the reading.
REFLECTIONS ON MY DRAWING CLASSES: Today, my students continued their Photomontages. It is interesting watching them solve their individual problems. We followed Lance Turner's examples of construction, with the exception to shape. I allowed the students to cut their own shapes of color rather than using squares (as Lance does). I noticed some students reseaching a particular value of color from the magazines. Others was trying to match and cut a particular shape to fit inside of the design they had drawn. This project was very much like the construction of a 100 piece jigsaw puzzle. Students moaned when the bell rang. I'll try to get some pictures attached tomorrow. I am still a novice on the computer, but I'm trying. We'll see what tomorrow brings.
COMPARE AND CONTRAST FELDMAN'S ART CRITICISM MODEL AND VISUAL THINKING STRATEGIES Both Feldman's Model and the Visual Thinking Strategies incorporate the use of questioning the viewer about what he or she sees. Seeing is an initial component in art criticism. Both plans involve utilization of clues from the artwork to assist in evaluating the work of art. On the other hand, Feldman's plan and the Visual Thinking Strategies (VTS) differ in many ways. Feldman's Model has four separate goals which must be realized in order for a total analysis to be made. While VTS concentrates on projecting questions with the intention of generating thought and discussions which may or may not lead to a total analysis of the art piece. In Feldman's model, the art critic needs to have a firm ground in art elements and the principles of art. The art critic using VTS does not necessarily have to utilize those art components in order to express his thoughts about a piece. In other words, an art novice can evaluate an artwork using VTS. VTS utilize critical thinking skills, group discussions, personal opinions, and verbal skills. Feldman's Model, on the other hand, does not encourage a great deal critical thinking, group discussion, and personal opinions regarding an art piece. Basically, VTS allows the viewer to be more creative in his approach to art criticism. He is not limited to one opinion (i.e. his own). Through brainstorming, a total profile is made of the artwork.
REFLECTIONS ON MY DRAWING CLASSES I don't know how to encourage my students to use more value in their photomontages. I have shown them examples of three dimensional photomontages, but as they work they are determined to keep them flat. The nature of photomontages is that they possess value. Clearly the better pictures are the ones which use value on top of the value already inherited in the photos (as shown in the examples). I hope I can include pictures in this reflection.
REFLECTIONS OF MY TEACHING EXPERIENCE ONE: When I look back in my life, my experiences in teaching actually began with my grandmother, who was an art teacher for Atlanta Public School System. I remember as a child visiting her and getting quick art lessons on the side. As an art teacher, I wanted to present the visual arts the same way in which it was presented to me - exciting and full of three- dimensional art activities. As a product of the New York School System, paper-mache, clay, and paper sculpture were experienced more often than two-dimensional art. By the time I reached college I was well versed in portrait art and in sculpture. I started teaching in elementary schools in 1972 until 2005. In the classroom, I want to expose the children to three dimensional art only because I believed the students had little exposure to it, but because, deep down inside, kids love getting messy. The principals were please. I got any materials I requested. It seemed as though everything was fine, until I started teaching high school art.
REFLECTIONS OF MY TEACHING EXPERIENCE TWO: Teaching high school was completely different from elementary school in so many ways. I expected differences but of a different nature. I did not expect the students to be so lethargic toward learning and cleaning-up. I did not expect there to be a lack of materials. I did not expect to hear so much cursing in class, down the halls and all over the school. I did not expect over crowded classrooms where students drop classes as quickly as they enter, leaving the teacher to constantly rememorize names, and reorientate new students. And I did not expect administrators to be unsupportive of the arts. On the other side of the "coin," I did not expect my students to really want to learn how to draw and paint. Four or five students in each class had formal art training in elementary school. And of those four and five, only one or two had ever work with clay or paper mache. Students wanted to create artwork they could use, rather than for arts sake. Girls wanted to decorate hand bags and make pillows. Boys liked pillows also and loved clay. (Ceramics was cancelled from the program after the kiln broke) Students tried to cut their classes to sit in on art classes. The motivation for creating was high. We just had no money in our department. Funds have been used from our department for two years. I have used my own funds to buy materials. So as I reflect on my teaching experiences, I wish I could afford to give these children a richer experience. Discipline controls and student motivation will be lost, if all we have are crayons. I have thought about auctions, but it takes seed money for auctions. And our buying clientele is small. We have a struggling PTA. So my challenges are to research and provide activities that are success-oriented and teen-relevant crafts. At the same time visual art principles have to be incorporated.
As I reflect upon the Saturday classes, I understand that teaching art goes beyond the teacher being talented in art. She must be clever enough to incorporate the interests of her students, assess adequate supplies and organizational skills to impart discipline and yet keep with the guidelines of the state. She must also be well versed in computer skills.
I enjoyed this class. Better organization would have clarified the expectations for the teachers, and a class in uploading videos and powerpoint presentations would have been nice. Overall, it was a refreshing course in improving art teaching skills.
Hi, Jihan! I am reviewing our ArtsAPS blogs and thought I would drop a note. I hope you are having a good holiday break! I'll check back later when you've had enough time to post some things.
ReplyDelete:-)
r
P.S.
ReplyDeleteTo put yourself in complete charge of the security of your ArtsAPS blog, got to:
http://www.google.com/support/blogger/bin/answer.py?answer=42673&cbid=-bdakh7t99a0s&src=cb&lev=answer
There you will find out how to control who can and can not see your blog and answers to other privacy/security concerns.
Hello! I'm just reviewing ArtsAPS blogs and thought I would drop you a note. I will check back when you've had a chance to add more to your blog.
ReplyDeleteEnjoy your holiday!
Raymond
Assistant director, ArtsAPS
P.S.
To put yourself in complete charge of the security of your ArtsAPS blog, got to:
http://www.google.com/support/blogger/bin/answer.py?answer=42673&cbid=-bdakh7t99a0s&src=cb&lev=answer
There you will find out how to control who can and can not see your blog and answers to other privacy/security concerns.
Hi Raymond,
ReplyDeleteI think I can finally do this.
Jihan
Reflective Writing for March 13, 2010
ReplyDeleteIn Lisa Whittington’s class, Martin and I were asked to work as a group to do an action research project utilizing the six dimensions of Daniel Pink’s A Whole New Mind. We agreed to do our project on, “How to get an art student at the secondary level engaged in a textbook.” Included in our project were the following ideas, not necessarily in this order:
1. Conducting a yes-no survey to assess the students’ perception of the visual arts
2. Motivating the student through the use of a format to research an artist (in the book) who connects with the student.
3. Through the use of a puzzle or other enjoyable format, interest the students in researching terms and pertinent information found in the text.
4. Information must correlate with Daniel Pink’s six dimensions: design; empathy; story; symphony; meaning; and play.
5. Information will be brought back to class in the form of a powerpoint presentation.
I look forward to initiating this project in one of my classes.
WRITTEN DEMONSTRATION OF VISUAL TEACHING STRATEGIES [print of da Vinci's Mona Lisa}
ReplyDelete(student comments are in parentheses)
1. Good morning!
2. We're going to have fun looking at a picture today. What's going on in this picture? (I see a lady going to a funeral)
3. What do you see that gives you that idea?(She's dressed in black)
4. What else do you see in this picture? (I see mountains and valleys in the background)
5. What else do you see? (She's happy)
6. What do you see that makes you say that?(I see a smile on her face)
7. So you think that she is happy because a smile is on her face.
8. What else can you find? (She's Catholic)
9. What do you see that makes you say that? (She has a veil on her head.)
10. What else do you see? (I see a chair...she's sitting on it.)
11. Do you see anything else?
12. Well, thank you very much!
REFLECTIONS ON MY DRAWING CLASSES:
ReplyDeleteToday students were told to construct a photomontage. An example was given in the textbook. We studied that example. Afterward, I gave the class a complete demonstration of how to make a photomontage. We discussed and share viewpoints regarding the concept of patience, and how anything of value takes work and patience. Examples were given such as styling hair and cooking as having to be done slowly and meticulously. So I set the stage for taking one's time while doing this project. We also talked about overlapping shapes, staying inside of shapes so they could be recognized, and the application of the glue. This activity worked out very well for me because we used magazines that were interesting to teens - Teen, Glamour, Parenting, Sports, etc. Students used magazines to cut colors out only. Gloss medium was used afterwards for a finishing touch. Tomorrow I will try this activity on my ninth graders. They are so active and may not want to be patient in finishing this activity. We shall see. I need to buy extra scissors. Washington has no supplies. Art teachers have to buy everything.
THE HISTORY OF VISUAL THINKING STRATEGIES
ReplyDeleteThe history of V.T.S. was very intriguing to me. I never thought of the correlation of psychology and art exhibits. So I, too, researched Abigail Housen's Theory of Aethetic Development of how viewers think when they look at artwork. I, now, understand why it is the core of V.T.S. Dr. Houser has categorized five different patterns of thinking which correlate with the amount of exposure the viewer has had to art in his/her past.
Stage One labels the viewers as storytellers or narrators. They view artworks using their senses and emotions to develop a story or a narrative in their comments.
Stage Two defines the viewer as being constructive, building a foundation for viewing art, based upon their own perceptions, knowledge of the world and their moral and social values.
Stage Three describes the viewer as being an art historian. He looks for facts, clues and figures to identify the place, style and time of the artwork.
Stage Four develops the viewer into an interpretive one. Personal encounters, feelings and intuition play a major part in defining this viewer. As the meaning of the work emerges, reinterpretations make the artwork subject to changes.
Stage Five are the maturest viewers. They reflect upon works that they are already familiar with, then with a re-creative view, they re-interpret the artwork. Therefore, interpretations are based upon incorporating total prior knowledge and memory of the painting with additional personal and universal knowledge.
As an additional note, Dr. Housen mentioned that most viewers are beginners of Stage One and Stage Two because of the low threshold of literacy. I imagine one viewer can exhibit many different stages of aesthetic development, depending on the artworks he/she views. I really enjoyed this research and the reading.
REFLECTIONS ON MY DRAWING CLASSES:
ReplyDeleteToday, my students continued their Photomontages. It is interesting watching them solve their individual problems. We followed Lance Turner's examples of construction, with the exception to shape. I allowed the students to cut their own shapes of color rather than using squares (as Lance does). I noticed some students reseaching a particular value of color from the magazines. Others was trying to match and cut a particular shape to fit inside of the design they had drawn. This project was very much like the construction of a 100 piece jigsaw puzzle. Students moaned when the bell rang. I'll try to get some pictures attached tomorrow. I am still a novice on the computer, but I'm trying. We'll see what tomorrow brings.
COMPARE AND CONTRAST FELDMAN'S ART CRITICISM MODEL AND VISUAL THINKING STRATEGIES
ReplyDeleteBoth Feldman's Model and the Visual Thinking Strategies incorporate the use of questioning the viewer about what he or she sees. Seeing is an initial component in art criticism. Both plans involve utilization of clues from the artwork to assist in evaluating the work of art.
On the other hand, Feldman's plan and the Visual Thinking Strategies (VTS) differ in many ways. Feldman's Model has four separate goals which must be realized in order for a total analysis to be made. While VTS concentrates on projecting questions with the intention of generating thought and discussions which may or may not lead to a total analysis of the art piece. In Feldman's model, the art critic needs to have a firm ground in art elements and the principles of art. The art critic using VTS does not necessarily have to utilize those art components in order to express his thoughts about a piece. In other words, an art novice can evaluate an artwork using VTS. VTS utilize critical thinking skills, group discussions, personal opinions, and verbal skills. Feldman's Model, on the other hand, does not encourage a great deal critical thinking, group discussion, and personal opinions regarding an art piece. Basically, VTS allows the viewer to be more creative in his approach to art criticism. He is not limited to one opinion (i.e. his own). Through brainstorming, a total profile is made of the artwork.
REFLECTIONS ON MY DRAWING CLASSES
ReplyDeleteI don't know how to encourage my students to use more value in their photomontages. I have shown them examples of three dimensional photomontages, but as they work they are determined to keep them flat. The nature of photomontages is that they possess value. Clearly the better pictures are the ones which use value on top of the value already inherited in the photos (as shown in the examples). I hope I can include pictures in this reflection.
REFLECTIONS OF MY TEACHING EXPERIENCE ONE:
ReplyDeleteWhen I look back in my life, my experiences in teaching actually began with my grandmother, who was an art teacher for Atlanta Public School System. I remember as a child visiting her and getting quick art lessons on the side. As an art teacher, I wanted to present the visual arts the same way in which it was presented to me - exciting and full of three- dimensional art activities. As a product of the New York School System, paper-mache, clay, and paper sculpture were experienced more often than two-dimensional art. By the time I reached college I was well versed in portrait art and in sculpture.
I started teaching in elementary schools in 1972 until 2005. In the classroom, I want to expose the children to three dimensional art only because I believed the students had little exposure to it, but because, deep down inside, kids love getting messy. The principals were please. I got any materials I requested. It seemed as though everything was fine, until I started teaching high school art.
REFLECTIONS OF MY TEACHING EXPERIENCE TWO:
ReplyDeleteTeaching high school was completely different from elementary school in so many ways. I expected differences but of a different nature. I did not expect the students to be so lethargic toward learning and cleaning-up. I did not expect there to be a lack of materials. I did not expect to hear so much cursing in class, down the halls and all over the school. I did not expect over crowded classrooms where students drop classes as quickly as they enter, leaving the teacher to constantly rememorize names, and reorientate new students. And I did not expect administrators to be unsupportive of the arts.
On the other side of the "coin," I did not expect my students to really want to learn how to draw and paint. Four or five students in each class had formal art training in elementary school. And of those four and five, only one or two had ever work with clay or paper mache. Students wanted to create artwork they could use, rather than for arts sake. Girls wanted to decorate hand bags and make pillows. Boys liked pillows also and loved clay. (Ceramics was cancelled from the program after the kiln broke) Students tried to cut their classes to sit in on art classes. The motivation for creating was high. We just had no money in our department. Funds have been used from our department for two years. I have used my own funds to buy materials. So as I reflect on my teaching experiences, I wish I could afford to give these children a richer experience. Discipline controls and student motivation will be lost, if all we have are crayons. I have thought about auctions, but it takes seed money for auctions. And our buying clientele is small. We have a struggling PTA. So my challenges are to research and provide activities that are success-oriented and teen-relevant crafts. At the same time visual art principles have to be incorporated.
As I reflect upon the Saturday classes, I understand that teaching art goes beyond the teacher being talented in art. She must be clever enough to incorporate the interests of her students, assess adequate supplies and organizational skills to impart discipline and yet keep with the guidelines of the state. She must also be well versed in computer skills.
ReplyDeleteI enjoyed this class. Better organization would have clarified the expectations for the teachers, and a class in uploading videos and powerpoint presentations would have been nice. Overall, it was a refreshing course in improving art teaching skills.