with thoughts on Common Coreand Next Generation Standards

a presentation by Olivia Gude

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↳ On  what  basis  do  we  make  decisions  about  what  to  include  and  what  to  leave  out  of  today’s  art  curriculum?

↳ One  can’t  answer  this  question  any  longer  by  simply  saying,  “We  includethe  basics,  the  fundamentals.”

↳ Because......

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↳ Because......↳ For  at  least  30  years  there  have  been  many  knowledgeable  people  in  the  world  of  art  and  art  education  who  believe  that  focusing  on  elements  and  principles,  traditional  media  and  realist  drawing/painting  is  not  a  sufficient  introduction  to  the  complexities  of  artistic  practice  in  today’s  global  societies.  

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↳ The  field  of  art  education  must  change.

↳ There  is  no  guarantee  thatart  education  will  be  considered  an  important  aspect  of  contemporary  schooling  if  we  do  not  create  a  field  that  is  perceived  as  relevant  to  contemporary  cultural  and  educational  concerns.  

↳ Because......

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People  gain  insights  into  the  meanings  of  artworks  by  analyzing  subject  matter,  formal  and  structural  characteristics,  contextual  information,  the  use  of  media  and  various  art  making  approaches.

Draft:Enduring Understanding––Next Generation Core Visual Art Standards

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People  gain  insights  into  the  meanings  of  artworks  by  analyzing  subject  matterformal  and  structuralcontextthe  use  of  media  and  genres,  styles,                                    approaches.

= TEXT

Structuring the art education curriculum on academic and modernist art traditions does not give students the range of knowledge and skills NEEDED

tthe  goals  of  contemporary  education  

Common  Core

TEXTunderstand  and  interpret

The Common Core State Standards provide a consistent, clear

understanding of what students are expected to learn, so

teachers and parents know what they need to do to help them.

The standards are designed to be robust and relevant to the

real world, reflecting the knowledge and skills that our young

people need for success in college and careers.

.....

....the Standards also lay out a vision of what it means to be a

literate person in the twenty-first century.

Indeed, the skills and understandings students are expected to

demonstrate have wide applicability outside the classroom or

workplace.

Students who meet the Standards readily undertake the close,

attentive reading that is at the heart of understanding and enjoying

complex works ....

They actively seek the wide, deep, and thoughtful engagement

with high-quality literary and informational texts that

builds knowledge, enlarges experience, and broadens worldviews.

They reflexively demonstrate the cogent reasoning and use of

evidence that is essential to both private deliberation and

responsible citizenship in a democratic republic.

literary and informational

Students who meet the Standards readily undertake the close,

attentive reading that is at the heart of understanding and enjoying

complex works ....

They actively seek the wide, deep, and thoughtful engagement

with high-quality literary and informational texts that

builds knowledge, enlarges experience, and broadens worldviews.

They reflexively demonstrate the cogent reasoning and use of

evidence that is essential to both private deliberation and

responsible citizenship in a democratic republic.

artistic and informational

an integrated model of literacy

Shared responsibility for students’ literacy development

focus on results rather than meansCommon Core mandates

research and media skills blended into standards as a whole

Shared Responsibilityincludes all teachers

Shared Responsibilityincludes all teachersShared Responsibilityincludes all teachersart

visual culturevisual literacy

an integrated model of literacyresearch and media skills blended into standards as a whole

ARTDESIGN

Evocative &Provocative Pedagogy:to lead the childto lead the community

to call forthto bring to mind

Evocative

Evocative &Provocative to arouse to feelingto arouse to action

Evocative &Provocative Pedagogy

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↳ Reach  students  “where  they  live.”

a) pedestrians ahead warning

b) pedestrians only–no vehicles

d) couples with boxes crossing

What does this sign mean?

c) school advance warning

d) pointing to doorway in the distance xxthat leads to another dimension

a) flagger ahead

b) how to hold stinky things

c) start driving really fast NOW

What does this sign mean?

Mapping Curriculum

↱affective    evidenceemotions,  sensations,  inklings  ↱cognitive    reasoningintellectual    explanations  

On  what  basis  do  we  decide?↴

↱affective    evidenceemotions,  sensations,  inklings

blindfolded kids

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computer

affective:spirit,  body    and    heart    justifications

↱cognitive    reasoningintellectual    explanations  

Ask  2  questions:

What  is  the  criteria  of  selection?

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↳ Does  this  curriculum  support  students  in  engaging    and  making  personally  satisfying  and  meaningful  works  of  art,  craft  and  design?

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↳ Does  this  curriculum  adequately  represent  a  range  of  the  art,resources,aesthetic  practices  and  cultural  concernsin  this  society  at  this  time?

↱What  methods?  ↱What  models?↳What  projects?  

↳What  is  a  project?↳What  does  a  project  “do”?

↳ Criteria  for  quality  projects  

↳ Value  engaging  in  authentic  artistic  processes  over                                              making  facsimiles.  

↳ Value  contemporary  practices  of  a  medium,                    over  curriculum  that  merely  recapitulates  the                    history  of  the  medium.

↳      Value  utilizing  skills,  forms,  and  vocabulary  in                    actual  contexts  over  de-­‐contextualized  exercises                    and  recipes.  

↳      Value:  investigating  over  symbolizing.  

↳ Criteria  for  quality  projects  

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↳ What  does  a  good  project  do?

↳ Introduces  students  to  methods  of  making              complexity  of  the  discipline

↳ Creates  opportunities  for  students  to  make  meaning              needs  of  students  and  communities

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↳ What  does  a  good  project  do?

↳ Introduces  students  to  methods  of  making              complexity  of  the  discipline

↳ Creates  opportunities  for  students  to  make  meaning              needs  of  students  and  communities

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projects=vehicles  of  aesthetic  investigationvehicles  of  artistic  investigation

 encode    methodsof  experiencingof  engagingof  exploring  of  making  of  generating  knowledge/insightof  being  in  the  world  

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artistic  practicesvehicles  of  aesthetic  investigationvehicles  of  artistic  investigation

 encode    methodsof  experiencingof  engagingof  exploring  of  making  of  generating  knowledge/insightof  being  in  the  world  

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artistic  practice=an  artist’s  practiceWhat  do  we  mean  by  artistic  practice?An  artist’s  practice  not  only  suggests  the  techniques  or  media  an  artist  uses  to  create  art,  but  also  fundamentally  the  artist’s  conceptual  approach  or  method  by  which  he  or  she  goes  about  making  art.  

the  warhol:  resources  and  lessonsteaching  across  the  arts  and  humanities

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Olivia  Gude’s  collaborative  public  artU.S.  street  art  movement–values  of  communityMexican  muralists–wall  compositioncommunity  arts–oral  history/storytelling  postmodern  text/image  art  collaborative,  socially  engaged  art  practicestraditional  mosaics  tesslelation–formmodernist  mosaics  tesselation–flatness

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OMG  omg

Cannas  &  Corn:  a  Garden  Community,  2004by  Olivia  Gude  &  community  residents

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OMG  omg

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OMG  omg

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OMG  omg

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collaborative    art    practicegenerates  a  space  that  others  can  enter,  not  just  as  viewers,  but  as  participants.

The  artist  can  utilize  this  artistic  practice  with  others  to  identify  content,  investigate  and  make.

The  artist  puts  into  play  an  approach,  a  method  that  can  take  the  work  in  as  yet  unknown  directions.

😳generates  a  space  that  others  can  enter,  not  just  as  viewers,  but  as  participants.

I  can  utilize  this  artistic  practice  with  others  to  identify  content,  investigate  and  make.

An  approach,  a  method,  is  put  into  playthat  can  take  the  work  in  as  yet  unknown  directions.

project  =  borrowed  artistic  practice

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Paradoxically,students  both  inhabit  these  projects,these  capacities  for  experiencing  and  making,and  they  internalize  these  capacities.

Art  teachers  (Artist/teachers)  develop  vehicles  of  artistic  investigation  =projects.

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How  can  we  build  high  qualityvehicles  of  artistic  investigation  =projects?What  is  relevant  to  this  project,  to  this  practice  of  experiencing  and  making?  

 

conceptualhistoricalcultural  aesthetic    technicalexperientialbehavioral

 

Mapping CurriculumOn  what  basis  do  we  choose  projects  orsequences  of  projects?How  do  we  decide  which  vehicles  of  aesthetic  investigation  are  needed?  

ANSWER  1

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It  often  works  best  to  introduceartistic  practices  through  sequences  of  projects  that  develop  sensibilities,build  skills,  situate  within  historical  contexts  and  draw  out  cultural  implications.  Projects  are  not  mere  Exercises.Projects  have  intrinsic  value.      Projects:  individual  or  collaborative  enterprise  planned  and  designed  to  achieve  an  aim.

Expressionist    Self-­‐Portrait

What  would  students  need  to  understand  and  be  able  to  do  in  order  to  make  an  expressionist  self-­‐portrait?  

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Find  Your  Mark!(De)Generate  Painting  Spiral  Workshop  2009

Wassily KandinskyComposition IV 1911

Franz KlineUntitled 1952

MOVE THE PAINT!Rapidly take responsibility for the entire surface. Some of required activities in the painting exercises: Paint with the brush in your non-dominant hand. Paint standing as far away as possible from the easel . Paint as if you have no joints in your arm. Paint with your brush in a fist that is placed under your chin.

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Abstract  Expressionism(De)Generate  Painting  Spiral  Workshop  2009

At a certain moment the canvas began to appear to one American painter after another as an arena in which to act.

What was to go on the canvas was not a picture, but an event.

Harold Rosenburg, art critic

Jackson Pollock

Joan MitchellUntitled 1956

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Free  Form  Color  Investigation(De)Generate  Painting  Spiral  Workshop  2009

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Degenerating  Vegetable  Matter(De)Generate  Painting  Spiral  Workshop  2009

Max BeckmanStill Life with Helmet and Red Feather 1944

Gabrielle MunterMadonna with Poinsettas 1911

Denice RinksPears 1990

Giorgio de Chirico

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Facial  Anatomy  Lesson(De)Generate  Painting  Spiral  Workshop  2009

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Expressive  Faces  Lesson(De)Generate  Painting  Spiral  Workshop  2009

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Chiaroscuro  Portraits  from  Life(De)Generate  Painting  Spiral  Workshop  2009

Chiaroscuro–strong darks and lights create form

The Blinding of Samson by Rembrandt van Rijn, 1636

The NIghtmare by Henry Fuseli, 1781

Film still from The Cabinet of Doctor Caligari, directed by Robert Wiene, 1920

Film Noir

Sin City comic by Frank Miller, 1991

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Expressionist  Self-­‐Portrait(De)Generate  Painting  Spiral  Workshop  2009

Gilbert StuartPortrait of George Washington

John Singer SargentVernon Lee

Egon SchieleSelf Portrait 1912

Gabrielle MunterMeditation 1917

Victor BraunerSelf Portrait with Plucked Eye 1931

Max Beckman

Emil Nolde

Lucian FreudFrancis Bacon 1952

Frank AuerbachPortrait of Juliet Yardley Mills II 1984

Francis BaconSelf-Portrait 1971

Jean Michel BasquiatUntitled 1981

Chris MarsA Soother for Trudy 2007

Jenny SavilleRosetta 2006

Expressionist Self-Portrait (De)Generate Painting Spiral Workshop 2009

Mapping CurriculumOn  what  basis  do  we  choose  projects  orsequences  of  projects?How  do  we  decide  which  vehicles  of  aesthetic  investigation  are  needed?  

ANSWER  2

Neatness does not count.It  is  not  possible  to  develop  21st  century  curriculum  in  matching  sets.  

 Each  unit  is  an  element  or  principle.Each  unit  introduces  a  different  media.Each  unit  is  based  on  a  period  in  art  history.

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↱ needs  of  students  and  communities  

↱ complexity  of  the  discipline

Principles  of  Possibilityplayingforming  selfinvestigating  community  themesencountering  othersattentive  living  designing  lifeempowered  experiencingempowered  makingdeconstructing  culturereconstructing  social  spaceselaborating  fantasiesnot  knowing

Principles  of  Possibility

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↱ needs  of  students  and  communities  

↱ complexity  of  the  discipline

FluidityAmbiguityComplexity

ParadoxUncertainty

Liminality

Hybridity

The  disciplinary  strength  of  such  a  frame  is  its  acknowledgment  of  the  complex,  contradictory,  ever-­‐evolving  nature  of  artistic  practices.  

curriculum

curriculumcomprehensive

insurancecomprehensive

What if a tree fell on your car?Will your insurance plan cover it?

What if a hail storm dents your car?Will your insurance plan cover it?

What if a giant inflatable sculpture landed on your car?Will your insurance plan cover it?

What if a giant inflatable sculpture of dog poo is in the news?Will your aesthetic understanding plan cover it?

What if an important artist deliberately destroys ancient urns? Will your aesthetic plan cover damage to your students’ belief in art?

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Bricolage:1.      a  construction  made  of  whatever  materials  are  at  hand;              something  created  from  a  variety  of  available  things.

2.      a  piece  created  from  diverse  resources.

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OMG  omg

La Maison Picassiette, 1938-1964 by Raymonde Isadore

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Bricolage  and  Bricoleur  has  a  long  history  in  theory,  including  in....↳  Subculture:  the  Meaning  of  Style  by  Dick  Hebdige  (1979)  which  identifies  the  repurposing  of  existing  objects  by  punks  as  a  form  of  “semiotic  guerilla  warfare”  against  the  dominant  culture.  

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Bricolage  and  Bricoleur  has  a  long  history  in  theory,  also  including  in....↳  Handbook  of  Qualitative  Research  edited  by  Norman  Denzin  and  Yvonna  Lincoln  (2006)  to  “denote  a  multi-­‐methodological  form  of  research  that  uses  a  variety  of  research  methods  and  theoretical  constructs  to  examine  a  phenomenon.”

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Bricoleur:the  (w0)man  who  works  with  any  tools  at  hand

Bricoleur  Art  Teacher:the  (w0)man  who  surveys  art  and  culture  and  chooses  those  tools  (cultural  theory  and  artistic  practices)  that  meets  the  needs  of  students  and  their  communities  by  providing  access  to  a  wide  range  of  interpretive  and  meaning  making  strategies.  

free  form  color  investigation  FIR

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“Seeing  Into”  Surrealist  SurveyUncharted  Territories  of  the  MindBureau  of  MisdirectionSpiral  Workshop  Office  of  Aesthetic  Investigation,  2011

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Sensory  Senseless  MappingAgency  of  RecollectionSpiral  Workshop  2009

Guide to the Psychogeography of ParisGuy DebordSituationist International

Vito Acconci Following Piece 1969

Marina Abramovic The Great Wall Walk 1988Abramovic & Ulay Relation in Time 1977

Gabriel Orozco Yielding Stone 1992

Francis Alys Sometimes Making Something Leads to Northing 2009

Richard Long A Line Made by Walking 1969

Richard Long Sixty Minute Circle Walk on Dartmoor 1984

Yukinori Yanagi Wandering Position 1996

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Making  FacesLiminality:  Alternative  PracticesSpiral  Workshop  2010

Bruce Nauman Self-Portrait as Fountain 1966-1967

Hannah Wilke S.O.S. Curlers 1975

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Social  SituationsLiminality:  Alternative  PracticesSpiral  Workshop  2010

add artists

Cindy Sherman

add artists

Charlie White Cocktail Party from the Understanding Joshua series 1991

Name:

Liminality - What is a social situation? An event where you interact with one or more persons.

Check all the social situations you have been a part of:

Surprise Party Graduation Party School Dance/Prom Baptism Extended Family Party (Family Reunion, etc.) Quinceañera Bar/Bat Mitzvah Birthday Party Wedding Slumber Party Parent-Teacher/School Conference Pizza Party School Tournament (Debate Team, Sports, etc.) Family Vacation Classroom Party Funeral Sporting Event (Spectator or Participant) Party w/ Parents Party w/o Parents What other types of social situations have you been a part of?

Name:

Liminality - What is a social situation? An event where you interact with one or more persons.

Check all the social situations you have been a part of:

Surprise Party Graduation Party School Dance/Prom Baptism Extended Family Party (Family Reunion, etc.) Quinceañera Bar/Bat Mitzvah Birthday Party Wedding Slumber Party Parent-Teacher/School Conference Pizza Party School Tournament (Debate Team, Sports, etc.) Family Vacation Classroom Party Funeral Sporting Event (Spectator or Participant) Party w/ Parents Party w/o Parents What other types of social situations have you been a part of?

                 interrelated  with/supported  by  

Mapping CurriculumBricolage Curriculum↱ needs  of  students  and  communities                ↱����������� ������������������  ����������� ������������������  ����������� ������������������  ����������� ������������������  ����������� ������������������  ����������� ������������������  complexity  of  the  discipline

Text

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Bricolage  Curriculum:curriculum  that  surveys  art  and  culture  and  chooses  those  tools  (cultural  theory  and  artistic  practices)  that  meets  the  needs  of  students  and  their  communities  by  providing  access  to  a  wide  range  of  aesthetic  practices,  a  wide  range  of    interpretive  and  meaning  making  strategies.  

😳Artists  and  designers  shape  artistic  investigations,  following  or  breaking  established  conventions,                    in  pursuit  of  creative  art-­‐making  goals.  

Draft: Enduring Understanding––Next Generation Core Visual Art Standards

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Create  an  evocative  and  provocative  pedagogy.

Create  the  future  of  art  education.  

Create  curriculum  that  is  meaningful  to  studentsand  includes  authentic  contemporary  artistic  practices.  

A version of this presentation is posted online.Google:Olivia Gude NAEA ePortfolio

Many projects shown in this presentation are online.Google:Olivia Gude NAEA ePortfolioSpiral Workshop NAEA ePortfolioSpiral Art Education website

NAEA=(U.S.) National Art Education Association

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Thanks  to the teen artist participants of Spiral Workshop.Their  intelligence,  openness  and  spirit  of  generosity  inspire  our  work.

Thanks  to the faculty of Spiral Workshop, emerging teachers who are art education students at the University of Illinois Chicago.Their  knowledge  of  contemporary  art,  hard  work  and  desire  to  become  teachers  who  make  a  difference  in  the  lives  of  youth  contribute  to  imagining  a  renewed  practice  of  art  education.  

Let’s  discuss.

Turn  to  your  neighbor  on  your  left:

Question:▷ Given  all  that  is  happening-­‐-­‐

Common  Core,  21st  Century  Skills,  Next  Generations  Standards,  digital  technologies,  contemporary  art  practices,  and  so  much  more....

▷ In  what  way  will  you  evolve  your  curriculum?

Let’s  discuss.

Turn  to  your  neighbor  on  your  right:

Question:▷ What  is  a  project?  ▷ What  learning  do  you  encode  in  a  good  project?