Sunday, May 29, 2011

teaching art movements: neo-minimalism


Richard Serra's Tilted Spheres in 
Terminal 1 Pier F at Toronto's YYZ airport
        Neo-minimalism is an amorphous art movement of the late 20th and early 21st centuries. It has alternatively been called "neo-geometric" or "neo-geo" art. Other terms include: Neo-Conceptualism, Neo-Futurism, Neo-Op, Neo-Pop, New Abstraction, Poptometry, Post-Abstractionism, Simulationism, and Smart Art.
      The aspects of "postmodern art" that have been described as neo-minimalism (and related terms) involve a general "reevaluation of earlier art forms." As its various titles indicate, the movement draws on earlier mid-to-late-20th century developments in Minimalist art, Abstract Expressionism and its offshoots, plus Pop Art, Op Art, and other threads of artistic development.
      Contemporary artists who have been linked to the term, or who have been included in shows employing it, include Jerry Brown, David Burdeny, Catharine Burgess, Marjan Eggermont, Paul Kuhn, Eve Leader, Tanya Rusnak, Daniel Ong, Laurel Smith, Christopher Willard, and Tim Zuck. The steel sculptures of Richard Serra have been described as "austere neo-Minimalism...."
  1. Richard Serra biography - Video includes works by Serra
  2. Tim Zuck - Article about Tim Zuck by Carol Fraser and Tim Zuck: Prints - A Retrospective
  3. Christopher Willard -Slide show of works by Christopher Willard
  4. Laurel Smith-Biography of Laurel Smith and Press Release Representing Laurel Smith
  5. Daniel Ong - Daniel Ong profile
  6. David Burdeny - photographic works  and David Burdeny Portfolio
  7. Marjan Eggermont - Eggermont's Biography and Marjan's Artist Documentary 
  8. Eve Leader - Collection at Agnes Bugera Gallery Inc.
  9. Tanya Rusnak - Telling Stories: Narratives of Nationhood

teaching art movements: fauvism

André Derain, Charing Cross Bridge, London, 1906, 
National Gallery of Art, Washington, DC
      Fauvism is the style of les Fauves (French for "the wild beasts"), a short-lived and loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain.     
      Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, the Dutch painter Kees van Dongen, the Swiss painter Alice Bailly, and Georges Braque (subsequently Picasso's partner in Cubism).
       The paintings of the Fauves were characterised by seemingly wild brush work and strident colours, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905.

Links to Fauvism Art Lesson Plans

teaching art movements: orphism


Sonia Delauney "Prismes Electrique"
      Orphism or Orphic Cubism.  (1910-13) The term coined by the French poet Guillaume Apollinaire, was a little known art movement during the time of Cubism that focused on pure abstraction and bright colors influenced by Fauvism and the dye chemist Eugène Chevreul. This movement was pioneered by the Delaunays, a couple who relaunched the use of color during the monochromatic Cubist movement.
      The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, seeing painting as the bringing together of a sensation of bright colors. This movement is seen as the key in the revolution of Cubism to Abstraction. More concerned with the expression and significance of sensation, this movement retained recognizable subjects but was absorbed by increasingly abstract structures. Orphism aimed to gradually dispense with recognizable subject matter and to rely on form and color alone to communicate meaning. The movement also aimed to express the ideals of Simultanism-the existence of an infinitude of interrelated states of being. Pioneers in the movement, the Delaunays painted in response to Cubism, giving it their own spin.
Links to Orphism Art Lesson Plans

Individualization and Diversity


("Last Night's Dinner" or  "One In Christ" by Kathy Grimm was painted to commemorate Dr. Martin Luther King's important contributions to his church, community and country for a national exhibition. approx. 7'x5' oil on canvas.)

"Good art is art that allows you to enter it from a variety of angles and to emerge with a variety of views." Mary Schmich

       I've included in my private portfolio collections of observation papers and lists focusing on students with disabilities, a case studies about a gifted students and a variety of lesson plans adapted to the learning challenges and culturally diverse backgrounds of my former students. In "Learning To Teach," Richard I. Arends uses the metaphor "salad bowl" to describe the now popular priority to preserve diversity and individualism in our contemporary American culture. Most of us grew up with the old metaphor, "melting pot." But times have changed. Arends says,  
"The melting pot was the metaphor often used to describe this blending process. Today, however, many prefer the concept of cultural pluralism, a perspective that acknowledges the existence of a dominant American culture but also recognizes the permanence of diversity. This view normally purports that each cultural, racial, or ethnic group will accept some of the common elements of the dominant culture as it interacts with that culture, but will also inject into the culture new elements for the benefit of all. Thus, the "melting pot" metaphor, with its implications of homogeneity, has been replaced with the "salad bowl" metaphor, in which each ingredient is distinct and valued by itself, while at the same time contributing to the whole and binding to others with a common dressing--that is, the dominant culture." 
      I have observed over the past twenty years of my life that this is indeed the truth of how most art educators approach teaching and I believe that it is important to be clear about this perspective in my own classroom as well, in order to preserve, appreciate, and respect the work of all students under my care.
      The multigroup membership in the United States is described as having the following cultural characteristics: social class, age, ethnicity, special needs, national origin, sexual preferences, U.S. region, religion, gender, and race. I believe that a contemporary art educator demonstrates both love and tolerance for a wide variety of students, even though their experiences may differ greatly from those students given to their care. The true definition of tolerance does not disrespect it's practitioner but, allows for the teacher to have his or her own belief as well. In other words, students who are different from myself can know that they are safe from abuse in my classroom environment, even though I may identify myself with the beliefs and characteristics of a subculture different than their own. They can know this because as an artist, I value the freedom to practice my own individuality. Ethical teachers most frequently teach and exercise those ideas, principles, and values that they would wish others to apply to themselves. If a teacher believes in education, then he/she will teach students to value education. If a teacher believes in the freedom to practice diversity and individuality, then he/she will teach students to value the same.
      Ordinary classroom lesson plans should also be relatively adaptable for those students who may have one or more learning dissabilities. I have written lessons previously adapted to particular needs such as blindness or autism. But special needs also includes those students who need more challenging adaptations because they are very gifted. During my art internship, I gained experience in teaching such a student. I adapted my own behavior to both include and challenge him weekly during my visits to his school. I wrote a case study and include papers concerning him for my private portfolio that may be accessed by invitation only.
      Visual and cultural diversity in classroom literature and lesson plans helps children feel as though they are included in the education process. A growing number of minority students in St. Louis schools need to feel welcomed and valued by art teachers! I keep many culturally diverse resources in my classroom for both direct instruction and independent learning. Below are just a few selected children's books that are a part of my storybook collections. The collections are from top to bottom: African American, Asian American, stories about American immigrants and one book thus far about a deaf child. On my education blog, I have included many articles and book reviews for parents and school teachers to read about. Diversity in literature is one of the most productive ways to promote tolerance in the classroom. When students learn to identify and appreciate differences in a peaceful and artistic environment, they are far less likely to engage in both violent behaviors or prejudicial activities outside of that environment.
      Diversity in the study of Art History is also very important in American art classrooms. In our contemporary culture, art teachers are expected to expose students to a greater variety of artworks across a broader venue of human history. Included in my journal are just a few of the art history lesson plans that I completed while studying at the Saint Louis Art Gallery in the Fall of 2010. These lesson plans where written based upon my investigative research of the ancient collections at the museum. I developed an entire litany of materials during this course that may be viewed in a journal called, "Art At The Museum," during a private interview.
      Art teachers can and often do promote the majority of cultural education in American public schools today. My lesson plans can be adapted over night and I have the freedom to address current issues in a very creative venue. During my art internship, I worked with a partner of African American descent. Both he and I developed a set of lessons that were designed to promote cultural awareness in our student's community. The chief difference between quality lesson planning and purchasing lessons that may contain ill conceived notions about other people's heritage and behaviors is the added element of choice. The best cultural instruction makes room for students to define what they know personally. Art promotes process, not just technical process, but the very process of discovering one's self. No two individuals are ever exactly alike in every respect. Art lessons that qualify this obvious fact, make greater room for the tolerance of "differences" among people. In the near future, I will include all of these lessons in my online journal as well.




edible playdough recipes

I do not encourage little ones to actually eat clay, this develops in them inappropriate habits. However, these recipes are used sometimes by pre-school teachers who have trouble with tiny children putting things into their mouths. If they consume a bit of these recipes, the ingredients are non-toxic and should not injure them.

Kool-Aid Playdough
1 cup flour
1/2 cup table salt
3 Tablespoons of oil
1 small package of Kool-aid
1 cup of boiling water

   Mix together in one bowl, 1 cup of flour, 1/2 cup of salt, 3 Tablespoons of oil and 1 small package of Kool-aid or any other sweetened powdered drink. Add 1 cup of boiling water to the mixture combine all of the ingredients together. Knead the dough mixture until it is formed into a soft ball.

Peanut Butter Playdoughs
1 cup of peanut butter
1 cup of corn syrup
1 1/2 cups of powdered milk
1/2 cup powdered sugar

Mix together the above ingredients. Children may mold this type of dough into shapes and add 'decorative' crackers, raisins, pretzels and baking chips to it. Do not bake it however.

2nd Peanut Butter Recipe
1 cup of peanut butter
1/2 cup dry powdered milk

Mix together the above ingredients. Children may mold this type of dough into shapes and add 'decorative' crackers, raisins, pretzels and baking chips to it. Do not bake it however.

More about edible art supply.

Saturday, May 28, 2011

homemade playdoughs and clays


Homemade Playdough
1 cup of flour
1/2 cup of table salt
1 cup of tap water
1 Tablespoon of oil
2 teaspoons cream of tartar
Food Coloring

Mix together all of the ingredients. Cook the mixture of medium heat until it forms a ball. Cool and knead the playdough to give it a smooth texture. Store homemade playdough in a plastic bag or a tightly covered plastic container.

Baker's Clay
4 cups of flour
1 cup of table salt
1 1/2 cups of cold water

Mix together the flour and salt in a large bowl. Add the water slowly and stir for a few minutes until a firm ball is formed in the bowl. Knead the dough on a wooden surface for five minutes. Shape the dough into any shape that you like and then put it onto a cookie sheet. Bake your masterpiece at 250 degress for 15-30 minutes until it has hardened.  Let the clay cool completely before painting it with acrylic paints. Varnish to seal; use polyurethane or shellac.

Cornstarch Playdough
1 cup of table salt
1 cup of cornstarch
1/2 cup of water
powdered tempera paint

Mix all of the dry ingredients together in a large bowl. Add the water to form a clay body.

Cornstarch Clay
1 cup cornstarch
1/3 cup vegetable oil
2/3 cup flour

Combine vegetable oil and cornstarch to make a syrupy mixture. Gradually add the flour until the clay is thick and doughy. Knead well and store the clay in an air tight container.

Friday, May 27, 2011

Human Development and Learning

"Art has a way of getting around man's intellectual and emotional prejudices. This is because art always speaks indirectly--whether in being the vehicle for delivering a new answer, or in causing a new kind of question to be asked that must be asked before any new answer can make sense." Robert L. Short.

      I think teachers should incorporate the knowledge of student development into their curriculum and provide innovative learning opportunities that support the intellectual, social, and personal development of all their students. In the article, Safe and Accepted In The Classroom, I write about how Maslow’s human developmental theory influences my choice of curriculum and strategies in the art classroom. Maslow, like most respected theorists, does help us to think about “how” we teach. We can definitely improve the health and welfare of our students by adopting and adapting some of his principles. It is possible for students to be nurtured in a pro-active environment and to be given safer communities to live in. As an art teacher, I hope to successfully fulfill those necessary practices that build self-esteem/character appropriately in my own students.
      Every experienced teacher builds upon the prior knowledge of those students who have attended public or private institutions before entering their classroom. One method of building upon prior knowledge of a student while introducing new information can be demonstrated through the application of curriculum that is designed to integrate more than one subject. I've included a set of lesson plans that integrate Botany/Zoology studies with art practices in my private portfolio. I wrote this curriculum during my pre-service studies. These lessons cover grades k-12 and expand upon both of the grade-level expectations present in the Science and the Fine Arts curriculum taught by Missouri public schools. There are so many ways to mix the fine arts with other subject areas and I indeed do this automatically with subjects like: Art History, Literature and Communications. However, I thought it would be a greater challenge to integrate science and the fine arts. I keep a larger portfolio of this ever expanding project at home; interested parties may request to view this collection in it's entirety during a interview.
      An additional way to build on a student's prior knowledge is to determine from their previous accomplishments, the level of achievement they have mastered. After doing this, a professional artist may then apply more or less challenging assignments to either an entire group of students or adjust the complexity of predesignated work within a lesson, according to the special needs of a particular student. In order for these methods to work with young people, one must be well informed about artistic methods and age appropriate child development. I've included a simple developmental grid here that demonstrates my comprehension of Piaget's age appropriate stages of cognitive development, because most teachers are familiar with his work.
      Because I comprehend/study the many processes of child development, I can and should create curriculum that challenges my students through the use of age appropriate materials/strategies on many different levels. During my student teaching at a local public school, I gained much experience in determining what methods worked best with broader skill sets of high school students. Included here is a chart I developed representing some Depth Of Knowledge suggestions for my high school drawing classes. This chart will serve as both a reminder and an abundant resource for drawing objectives in any lesson plans that I may develop for future applications in the classroom.
      Art educators also build upon the knowledge base of their students by incorporating their own experiences and academic education into the classroom environment. It is very necessary for a 21rst Century art educator to be familiar with a wide variety of techniques and philosophies. He or She may need to teach students who are different from one another in their personal development, habits, and culture. I have painted in many different styles throughout my career as a studio painter. Cubism, Expressionism, Impressionism and Photo Realism are just a few of the techniques that I have become accomplished at within my lifetime. I can demonstrate through my professional portfolio, extensive painting acumen during a private interview should a administrator or colleague need me to do so.

article copyrighted 2011 by Grimm