SPRING
2019
A MAGAZINE FOR COLORADO’S ART EDUCATORS
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4. President’s Message by D.J. Osmack 6. Editor’s Message by Alexa Overby 49. CAEA Executive Board and Division Representatives Council Directory 49. CAEA Task Force Chairs and Publications Directory 50. Regional Representatives
In This Issue 8. 2020 Colorado Academic Standards (CAS) Updates for Visual Arts by Donna Goodwin, CDE Visual Art Content Consultant & UNC Assistant Professor of Art Education 17. Restorative Retreat for Art Educators in Taos, New Mexico by Joyce Baker 19. Scholastic Art and Writing Awards 2019 by Pam Starck 21. Displaying Student Art: What Spaces Haven’t You Considered? by Roxie Mitchell
Table of Contents
In Every Issue
26. Art Students League of Denver 28. Recap of Denver Month of Photography Teen Show 2019 by Alexandra Overby and Linda Slobodin 31. Special Needs in Art Education by Kelley DeCleene, PhD 34. 2019 CAEA MidWinter Conference by Lisa Adams 35. Colorado TAB (Teaching for Artistic Behavior) 2019 Conference by Jessi Ruby 37. Paper Fashion Show, Denver 2019 by Janet McCauley 40. ArtSource Residency Program @ UNC in Greeley Page 17: Restorative Retreat for Art Educators in Taos, New Mexico by Joyce Baker
41. Exploratory Clayprint Workshop by Michael Cellan 44. Artcapades, The 2019 CAEA Traveling Art Show 45. NE Region Update by Carrie Mann 47. SW Region Update
Page 37: Paper Fashion Show, Denver 2019 by Janet McCauley COLLAGE is published by the Colorado Art Education Association D.J. Osmack – President Alexandra Overby – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Janet McCauley – Layout Design & Production Please submit all materials to: COLLAGE Editor: Alexandra Overby, alexaoverby@gmail.com
Page 41: Exploratory Clayprint Workshop by Michael Cellan
Cover Photo: Photograph by Marcus Witter, East High School from Page 28: Recap of Denver Month of Photography Teen Show 2019 by Alexandra Overby and Linda Slobodin
COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - August 1. Email all submissions to alexaoverby@gmail.com. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Word documents. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Images should be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, include captions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, and format. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include lesson objectives, appropriate assessments, procedures, standards applications, and materials.
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President’s Message
President’s Message by D.J. Osmack
I challenge you to find joy in the chaos and embrace every moment with your students because being in your class is often the best part of their day.
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Welcome to May! As we are finishing out our year, the feeling of being on an emotional roller coaster has set in for many of us. Our schedules have been adjusted and classes have often been altered to allow for things like testing and field trips but one thing is constant and that is our art. We have to remember that when we approach art instruction that we are approaching it with love, that we are a constant in our students’ lives because they are on a similar ride. So I challenge you to find joy in the chaos and embrace every moment with your students because being in your class is often the best part of their day.
Over the past semester, our students at North High School in Denver have been working on a collaborative presentation that is an artistic response to human experience. We investigated what shapes our identity by looking at how influences in our lives affect who we are, who we become, and how we see ourselves versus how others see us. Our students perceived that there are key elements in the human experience that become pillars and sometimes obstacles in our lives that we are often forced to navigate through on our journey to creating selfidentity.
What an amazing year it has been! Colorado’s art teachers and students are the best. In this new role, I have had the privilege of seeing so many shows like Youth Art Month, Scholastics, the Month of Photography show, and so much more. I am completely in awe of what you all are doing with students and it has been so inspiring to see!
Our students believe that there are four main stages in our lives that help shape our identity. In the first stage, they believe that identity begins at birth and that we are born with key influences that begin shaping identity. These influences are culture, social class, and family/heritage. As we progress in the formation of identity and begin to mature,
our influences change and we enter the second stage. The key influences in this second stage are school, mental health, social media, and societal expectations/social norms. Students relate to the third stage as a transitional stage where we begin to have a sense of awareness and are beginning to shift from the pillars of identity to the pillars of strength. In this third stage, our students feel that Art and Music as forms of expression become outlets to cope with external pressures caused by the previous stages. In the fourth and final stage, our students rely on their sources of strength – community; mental health supports; religion/spirituality/faith; social justice/fight for equality; and culture/heritage/ lineage – to reach self-actualization, self-courage, and self-determination. It is important to note that while these stages are presented in a linear form, our students believe that we can encounter these stages throughout our lives.
This coming year as an organization we are going to begin diving into ART ED&I (Equity, Diversity, and Inclusion). Our fall conference “Art from the Heart” will have a strong emphasis on Inclusion. As educators and artists, we are a main source of strength and support for our students in their stages of identity. We advocate for them and help them navigate through these pillars and obstacles and this year at conference will be a chance to add some new tools to our tool boxes. It is also equally important that we are advocating for ourselves – that we practice self-love and selfcare and are aware of our sources of strength. I hope that you all have a wonderful summer vacation and are planning for opportunities to reflect and become re-energized through your own artistic expression.
This coming year as an organization we are going to begin diving into ART ED&I (Equity, Diversity, and Inclusion). Our fall conference “Art from the Heart” will have a strong emphasis on Inclusion. As educators and artists, we are a main source of strength and support for our students in their stages of identity.
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Editor's Message
Editor’s Message by Alexa Overby
We all need time to relax and recuperate from the school year, but these strategies can lead to a smooth and manageable start to the next school year. Summer is almost here! By the time you are reading this, we are a few days out from this school year coming to a close. Hopefully you have plans of relaxing by the pool or taking a well-earned trip, but this may also be a great time to get ahead for the next year. Here are some ideas to help you start the next school year less stressed! 1. Reflect on this year. Now’s the time to think about how successful the school year was. The time is still fresh in your mind to remember how your lessons and events went. What went well? What did not go so well? Why? By reflecting on what happened in your classroom, you are able to start thinking about what you would like to change and what you want to keep. 2. Choose two to three things that create stress for you and come up with solutions. After celebrating all the great things that have happened, now is the time to choose two to three
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things that you would like to change. For example, maybe you did not like the project results from the brand of watercolors you bought this year or you felt that your lesson on color theory fell flat. You might be frustrated by the way clean-up is happening or the fact that your students keep losing their work on the drying rack. Once you have chosen those stressors, take the time to find a solution for each one. Ask your peers what they do, research the idea online, or post the issue to your favorite art teacher Facebook group and then make an action plan to implement in the fall. 3. Look at your overall curriculum design. Now’s the time to think about refining your curriculum. There may be lessons or units you want to change or to add new projects. What would make your students even more engaged in your classroom? Getting a strong outline now will allow you to gather your new resources and lessen the stress of going back to school in the fall.
Collage is always looking for articles and event summaries to share with our membership! 4. Organize your teaching supplies, resources, and digital files. With the amount of supplies and resources art teachers have, being organized is always a challenging proposition. During the last few weeks of school, start throwing away anything you haven’t used in two or three years. Get rid of those mangled paint brushes, broken oil pastels, and scraps of paper. Have students help you organize the supplies that are left. Create a supply list of things you need to order in the fall (and cross-reference it with your new curriculum design this summer). For digital files, I highly recommend sitting on your couch at home with a movie on in the background (and possibly a glass of wine nearby) as you sift through those files. Be ruthless and delete files that you haven’t used in the last five years. To be really on top of things, upload everything to Google Drive so that everything is in one place. 5. Read a book, watch a TED Talk, listen to a podcast. Summer is usually the only time you have to dedicate to finally open that biography on an artist, watch all the TED Talks you have bookmarked, or listen to that podcast series. While it is essential that you choose titles that you enjoy (it is summer after all), try to alternate a fun title with an academic title. You will find new ideas and inspiration to help you refine your curriculum and strengthen your teaching.
6. Start planning for conferences and workshops. While most conferences and workshops won’t start until late fall, now is the time to plan. Submit proposals to your favorite conference (CAEA’s deadline is June 1st; NAEA’s deadline is May 15th) and take a moment to find out if there are grants or scholarships to help you get there. Ask your school when they need to know that you are planning on going; some schools have money set aside to help support teachers with their professional development. This all sounds like a lot to do, but if you do a little bit every week, it adds up to quite a bit! We all need time to relax and recuperate from the school year, but these strategies can lead to a smooth and manageable start to the next school year. This spring issue has some great articles for you to read this summer and get inspired by! Donna Goodwin gives us deeper insight into the new Colorado Visual Art Standards. Roxie Mitchell tells us how she and her students presented their art in a larger setting. Kelley DeCleene provides an insight into special needs art education. Joyce Baker provides an overview of her experience in summer workshops in Taos. Janet McCauley tells us about her experience participating in the Denver Paper Fashion Show. Finally, you will be able to read what happened at some of our big art events during this spring semester. Collage is always looking for articles and event summaries to share with our membership! Please send your text and photos to: alexaoverby@gmail.com Have a wonderful summer break!
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2020 Colorado Academic Standards (CAS) Updates for Visual Arts by Donna Goodwin, CDE Visual Art Content Consultant & UNC Assistant Professor of Art Education
By now, most of us know that the 2009 Colorado Academic Standards (CAS) have been revised based on Colorado law which requires a review and revision of CAS every six years. The intention is that the standards become a living document that responds to the needs of Colorado teachers, students, and communities. The first revision is expected to be implemented in the school year 2020-2021. The graphic below illustrates a suggestion for how to use the implementation time. (See Figure 1.)
● Demonstrate best, first instruction when implementing standards-aligned curricula. CDE’s Office of Standards and Instructional Support (SIS) has developed 16 learning modules to build leaders’ and educators’ standards literacy. These modules support leaders’ and educators’ understanding of the 2020 CAS. The modules are at https://www. cde.state.co.us/standardsandinstruction/2020implem entation. The modules were intentionally designed to
Figure 1. Suggested implementation phases showing 2018-2019 and 2019-2020 as time for districts to transition to the 2020 CAS in all subject areas.
First, it is important to have a common definition of standards. Standards are broad goals articulating what students should know, understand, and be able to do over a given time period. They are not the curriculum that is decided by districts. For students to achieve the goals set by the standards, we as teachers should be standards-literate. This means we: ● Possess working knowledge of the terms and categories that structure the standards; ● Effectively apply standards to develop and revise curriculum; and
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support smaller and rural districts that may not have district-level content specialists. Any and all systems, however, can use the materials. The Office of Standards and Instructional Support highly recommends that each learning module be delivered in sequence at a dedicated time during staff meetings or professional development days. It also recommends that responsibility for facilitating each learning module rests with the school’s learning leader (Fullan, 2014). This co-learning model is shown to have significant, positive effects on student achievement (Robinson, 2007).
New Online Features with Greater Access to the Information You Need On the 2020 CAS – Visual Arts Standards Introduction page, you can download Introduction: the Purpose, Prepared Graduate Statements, Standards Category Definitions as well as the printable 2020 Colorado Academic Standards (PDF) and the Summary of Changes. Alternative formats are also available for downloading. On this page, you can download line-by-line Detailed Changes and the Visual Arts Committee Page. You can also search the standards online for a specific grade level. We are continuing to work on other documents and search features to make the standards easier to use. I would love your feedback at Goodwin_D@cde.state.co.us.
culture, information, and technologies.” However, the corresponding Fifth Grade standard was linked to three different Prepared Graduate Competencies. (See Figure 2.) There was little developmental consistency in the alignment of outcomes, in particular, between elementary and middle school and from middle to high school.
What to Look for Specifically for Art Teachers A Reorganization to Bring Alignment of Skills and Concepts Across Grades In the review and revision process, the focus was primarily on clarity of language and stronger alignment of learning expectations within and across grades. The alignment of developmentally appropriate expectations within the standards resulted in deletions, revisions, and reorganization. Guided by public feedback, the review and revision committee for the 2020 standards (“the committee”) addressed misalignment issues cited in a benchmarking report. The committee members, identified here, also took into account their own experience with the standards. The committee reorganized the standards so that PK-12 concepts and skills are developmentally aligned from the Prepared Graduate Statements to the Grade Level Expectations and the Evidence Outcomes. These changes were made to add specificity and clarity, not to fundamentally change what students are expected to learn. For example, in the 2009 High School Standard 1, the Grade Level Expectation 1 (GLE 1) is linked to a single Prepared Graduate Competency: “Make informed critical evaluations of visual and material
Figure 2.
The committee aligned outcomes PK-12 for smoother transitions beween grade bands for students and easier alignment for teachers who teach multiple grades in one school. (See Figure 3.)
Figure 3.
Verbs Added to Grade Level Expectations for Greater Clarity and Measurability Measurable verbs were added to all Grade Level Expectations PK-12 and to all four visual arts standards
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to increase specificity and rigor. Those of you who know me, know I am not a fan of the word “rigor.” I prefer to define rigor as “kids using their minds well,” a definition I learned from Kennedy Center Teaching Artist Deb Brzoska referring to the writings of Tony Wagner. For example, the 2009 Standard 4 (Relate and Connect to Transfer) for High School GLE 2 was a statement that was not measurable and did not explain what students should know or be able to do. (See Figure 4.)
Reducing Seventeen Prepared Graduate Competencies to Ten Prepared Graduate Statements In the 2020 revision, the Prepared Graduate Competencies are now known as Prepared Graduate Statements. These statements represent concepts and skills the committee determined, based on feedback, that all graduates need in order to be successful after high school.
Figure 4.
The 2020 revised Standard 4 (Relate and Connect to Transfer) for High School GLE 2 clarifies that students should develop proficiency in visual communication skills. The revised Evidence Outcomes specify how this could be done. (See Figure 5.)
Figure 5.
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2009 Prepared Graduate Competencies 1. Recognize, articulate, and debate that the visual arts are a means for expression 2. Make informed critical evaluations of visual and material culture, information, and technologies 3. Analyze, interpret, and make meaning of art and design critically using oral and written discourse 4. Explain, demonstrate, and interpret a range of purposes of art and design, recognizing that the making and study of art and design can be approached from a variety of viewpoints, intelligences, and perspectives 5. Identify, compare, and interpret works of art derived from historical and cultural settings, time periods, and cultural contexts 6. Identify, compare and justify that the visual arts are a way to acknowledge, exhibit and learn about the diversity of peoples, cultures and ideas 7. Transfer the value of visual arts to lifelong learning and the human experience 8. Explain, compare and justify that the visual arts are connected to other disciplines, the other art forms, social activities, mass media, and careers in art and non-art related arenas 9. Recognize, interpret, and validate that the creative process builds on the development of ideas through a process of inquiry, discovery, and research 10. Develop and build appropriate mastery in art-making skills, using traditional and new technologies and an understanding of the characteristics and expressive features of art and design 11. Create works of art that articulate more sophisticated ideas, feelings, emotions, and points of view about art and design through an expanded use of media and technologies 12. Recognize, compare, and affirm that the making and study of art and design can be approached from a variety of viewpoints, intelligences, and perspectives 13. Recognize, demonstrate, and debate philosophic arguments about the nature of art and beauty (aesthetics) 14. Recognize, demonstrate, and debate the place of art and design in history and culture 15. Use specific criteria to discuss and evaluate works of art 16. Critique personal work and the work of others with informed criteria
17. Recognize, articulate, and implement critical thinking in the visual arts by synthesizing, evaluating, and analyzing visual information
2020 Prepared Graduate Statements 1. See oneself as a participant in visual art and design by experiencing, viewing or making. 2. Visually and/or verbally articulate how visual art and design are a means for communication. 3. Practice critical and analytical skills by using academic language to discuss works of art and visual culture. 4. Critique connections between visual art and historic and contemporary philosophies. 5. Interpret works of art and design in the contexts of varied traditions, histories and cultures. 6. Create works of visual art and design that demonstrate increasing levels of mastery in skills and techniques. 7. Allow imagination, curiosity and wonder to guide inquiry and research. 8. Participate in the reciprocal relationships between visual art and communities. 9. Persist in the creative process and innovate from failure. 10. Develop new knowledge by actively doing and making (artistic praxis), acknowledging relationships between materials, objects, ideas and lived experience.
Figure 6.
Defining the Four Standards and How Each Fits in the Creative Process of Artmaking The committee re-worded the standards definitions to clarify the intent of actively embedding creative artmaking throughout each of the four standards. (See Figure 6, 2009 Standards, and Figure 7, 2020 Standards.) Public feedback and the committee members’ own experience indicated that they needed to clarify the intent of the standards definitions, particularly that artmaking is in each standard, not only Standard 3.
Figure 7.
Intentional Use of Academic Art Vocabulary The front matter of the 2020 visual art standards clarifies and defines many of the discipline-specific academic terms used in the document. One of several additions is the phrase “language of visual art and design” which replaces the phrase “expressive features and characteristics of art and design” (see Figure 9) used in the 2009 standards. Both phrases refer to the components of art that artists use when they make and talk about art. (See Figure 8.)
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This phrase includes the elements and principles of design used in teaching the formal qualities of artmaking, but allows for additional interpretations that may be appropriate for a particular context. The term acknowledges that visual elements (such as line, shape, color) and compositional choices (such as perspective, balance, rhythm) and others can be elements of “text� that convey artistic intent and meaning.
Academic Context and Connections This heading Academic Context and Connections (see Figure 10.) replaces 21st Century Skills and Readiness Competencies that was used on the right side of the 2009 visual art standards.
Figure 10.
Colorado Essential Skills and Meaning Making Figure 8.
The change continues to recognize multiple interpretations for addressing ways to construct and deconstruct works of art across various times and cultures.
The subheading Colorado Essential Skills and Meaning Making replaces the subheading Relevance and Application in the 2009 document. The new subheading identifies ways in which students demonstrate the ability to form, grapple with, and convey concepts and ideas through visual art and design compatible with critical and creative thinking found in scientific, mathematical, and other realworld applications. Many of these statements explain how literacy can be authentically evidenced through the corresponding Grade Level Expectation, linking discipline-specific literacy in artmaking to Reading, Writing, and Communicating and the Colorado Essential Skills.
Inquiry Questions
Figure 9.
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The committee kept the Inquiry Questions subheading from 2009. (See Figure 11.) The committee made significant edits and additions and designed each question to prompt deeper thinking about the visual art content described by the Grade Level Expectation and Evidence Outcomes. Inquiry Questions in the visual arts standards are phrased for a teacher to reflect
on the instructional practices used and the students’ learning. The questions may be rephrased to use as direct questions to students or to assist as they reflect on their own artmaking experiences.
Figure 12.
Elementary
Figure 11.
Learning Experience and Transfer The committee replaced the 2009 Nature of Visual Arts subheading with Learning Experience and Transfer. This new subsection is designed to illustrate how the learning and experience that happens in the corresponding Grade Level Expectation can be used to expand student thinking, encourage conceptual curiosity, and connect multiple disciplines and literacies.
The committee combined the Grade Level Expectations for developmental appropriateness to take into account the limited time available for instruction in elementary art schedules. Within the combined Grade Level Expectations, the Evidence Outcomes were streamlined for greater alignment. For example, in the 2009 Kindergarten Standard 2 (Envision and Critique to Reflect), there were two Grade Level Expectations and eight Evidence Outcomes. In the 2020 revised standards, there is one Grade Level Expectation and two Evidence Outcomes, as is the case with most other PK-Third Grade visual art standards. (See Figure 13 and Figure 14.)
Preschool The committee’s preschool revisions are a significant change compared to the 2009 standards, but a minor adjustment when compared with CDE’s 2013 Early Learning Development Guidelines. Instead of Grade Level Expectations in preschool, there are Preschool Learning and Development Expectations. Instead of Evidence Outcomes, there are Indicators of Progress. Instead of Academic Context and Connections, there are Examples of High Quality Teaching and Learning Experiences. (See Figure 12.) Figure 13.
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Content examples were provided to add clarification to some Evidence Outcomes. The standard is much more open to district and community interpretation of appropriate curriculum. It meets the same level of rigor in fewer Evidence Outcomes. (See Figure 16.)
Figure 14.
Middle School Visual art concepts and skills were shifted between Grade Level Expectations to establish greater coherence, focus, and alignment with research-based learning progressions for visual art. The Evidence Outcomes were clarified for greater alignment to the Grade Level Expectations and to increase accessibility. In 2009, the Sixth Grade Standard 4 (Relate and Connect to Transfer) was specific to one type of art that might not meet the needs of all communities and contexts. (See Figure 15.)
Figure 15.
The 2020 Standard 4 (Relate and Connect to Transfer) was revised to be more open to the application of individual schools and districts and for greater alignment from PK through High School.
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Figure 16.
In some cases, content examples were provided to add clarification of intent. So, there are content examples under the subheading Academic Context and Connections in the Seventh Grade Standard 4 (Relate and Connect to Transfer) GLE 3. (See Figure 17.) The content examples describe artists incorporating ideas from social and community activities.
Figure 17.
In the Evidence Outcomes, the committee added examples of artists whose work may have exhibited “how social issues influence the creation of contemporary works of art.� (See Figure 17.) This
is not meant to prescribe curriculum but to offer support for teachers to determine how they might best teach this standard in ways that meet the needs of their own community, culture, and context.
References
High School
Benchmarking Report Summary (PDF)
The committee clarified language to better define the focus of the content and the expected outcomes. Evidence Outcomes were clarified for greater alignment to the Grade Level Expectations and to increase the depth and breadth of the outcome appropriate to the High School grade band level. (See Figure 18).
Public Feedback: Visual Arts Online Standards Feedback System Comments (PDF) (Please note: Article/author citations included in the public feedback comments were provided by stakeholder reviewers and have not been edited or vetted by CDE)
Benchmarking Report (PDF) (Includes dance; drama and theatre arts; music; and visual arts.)
Public Feedback: Visual Arts Second Online Standards Feedback System Comments from October 2017 to December 2017 (PDF) The comments are separated by section and grade. (Please note: Article/author citations included in the public feedback comments were provided by stakeholder reviewers and have not been edited or vetted by CDE.) Dewey, J. (1934). Art as experience. New York: Minton, Balch & company. Efland, A. (1976). The school art style: A functional analysis. Studies in Art Education, 17(2), 37-44. Retrieved from: http://www.tandfonline.com/doi/ab s/10.1080/00393541.1976.11649921
Figure 18.
For example, in the High School Standard 1 (Observe and Learn to Comprehend) GLE 2, the committee clarified the intent of Grade Level Expectation and the Evidence Outcomes. (See Figure 19.)
Eisner, E. W. (2002). The arts and the creation of mind. New Haven: Yale University Press. Fahey, P. G. (2012). Common questions about the Colorado visual arts standards. Collage: A Magazine for Colorado’s Art Educators, 24(2), 20-22. Fullan, M., & Ebooks Corporation. (2014). The principal: Three keys to maximizing impact (First ed.). San Francisco: Jossey-Bass. http://o.b5z. net/i/u/10063916/h/Leadership%20Network%20 Sessions/The_Principal-Three_Keys_to_ Maximizing_Impact.pdf Gude, O. (2009). Art education for democratic life. Art Education, 62(6), 6. Retrieved from: https://arteducators-prod.s3.amazonaws.com/ documents/458/263497b2-f73c-43c5-b175b70b27dc43e6.pdf?1452930663
Figure 19.
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Hetland, L., Winner, E., Veenema, S., & Sheridan, K.M. (2013). Studio thinking 2: The real benefits of visual arts education (Second ed.). New York: Teachers College Press. Learning in a Visual age: The critical importance of visual arts education. (2016). National Art Education Association Retrieved from: https://arteducatorsprod.s3.amazonaws.com/documents/729/2b07a08fedc2-40f1-b9a8-7c61e84adc42.pdf?1469139315 Marshall, J. (2014). Transforming education through art-centered integrated learning. Visual Inquiry, 3(3), 361-376. doi:10.1386/vi.3.3.361_1NAEA. Robinson, Viviane. (2018). School leadership and student outcomes: Identifying what works and why. ACEL Monograph Series (41). https://www. researchgate.net/publication/242778021_School_ Leadership_and_Student_Outcomes_Identifying_ What_Works_and_Why Sullivan, G. (2010). Art practice as research: Inquiry
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in visual arts (2nd ed.). Thousand Oaks, CA: Sage Publications. Szekely, G. (2015) Play and Creativity in Art Teaching, Routledge Thompson, C. M. (2015). Constructivism in the art classroom: Praxis and policy. Arts Education Policy Review, 116(3), 118-127. Wagner, T. (2008). Rigor redefined. Educational Leadership, 66(2), 20-24. Zander, M. J. (2004). Becoming dialogical: Creating a place for dialogue in art education. Art Education, 57(3), 48-53. Retrieved from: https://tinyurl.com/ y7je58se​ Zurmuehlen, M. (1990). Essential conditions for making art. Studio art: Praxis, symbol, presence. Reston, VA: The National Art Education Association.
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Restorative Retreat for Art Educators in Taos, New Mexico by Joyce Baker
International cyclist turned artist
Floral painting session
I love the camaraderie of the other artists and art teachers that fosters great friendships which, in turn, encourages our individual creative journeys. Are you ready for a creative getaway where you can do your own art 24/7 for a week? I am going to share with you a little secret about a wonderful watercolor workshop in Taos, New Mexico that takes place every June. Another secret is that you do not have to be a watercolor enthusiast to attend. Anyone is welcome! This watercolor workshop has been going on since 1985 when it was under the umbrella of Adams State College. My participation in this workshop many a summer has been a way for me to de-stress from teaching art for another year and jump-start my own creativity. I love the camaraderie of the other artists and art
teachers that fosters great friendships which, in turn, encourages our individual creative journeys. The workshop does not have an instructor. However, scheduled into each day are several mini-workshops where participants teach a variety of creative practices. Instructors range from art teachers to professional artists and college professors. Personal critiques with professional artists from previous workshops is another great offering. This year we have a very special highlight which is going on a field trip to Abiquiú, New Mexico to see where Georgia O’Keeffe lived and painted.
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Francisco de Assisi Church, Taos
Painting on the covered patio
Personal Stories on the Patio Architecture Acrylic Painting
There are other important activities which enhance our workshop. After returning to the hotel in the evenings, we like to gather outside with our wine to watch the beautiful New Mexico sunset. Thursday at noon in the courtyard, there is a silent auction of works done by the participants. Friday has two events. First, there is the collective critique in the afternoon. On Friday night, the historic inn’s guest rooms are transformed into mini-galleries exhibiting the results of the workshop. We host the Friday Art Walk. We stay at the historic Sagebrush Inn just a mile from Georgia O’Keeffe’s famous church, San Francisco de Asis Mission Church. A typical day begins with a hot breakfast followed with a show-and-tell by some of the artists out on the sunny patio. Each day
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lunch is on your own. The group dinner plan at the Sagebrush Inn is only for a few evenings in order for the participants to enjoy the wonderful New Mexican cuisine at local eateries. I always look forward to this week and being with other creative people from all over the United States. The dates for the 2019 workshop are from Sunday, June 9, to Saturday, June 15. Taos Watercolor Workshop is on Facebook. The cost of the workshop itself is $150. When booking your room at the Sagebrush Inn, be sure to mention you are part of the workshop to get your discount. If you have any questions, please email me at jblupwe2@gmail.com All images by Woody Duncan
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Photograph by Kendra Yund
Scholastic Art and Writing Awards 2019 by Pam Starck Scholastic Art and Writing Awards is the nation’s longest-running and most prestigious recognition program for creative teens in grades 7-12. In Colorado, the program represents the entire state, from large cities to small towns such as Creede, Colorado. Creede is a small mountain town in southern Colorado. It’s a tight-knit community with fewer than one hundred students in the K-12 school. Alicia Hess, the art teacher, has been with the
district for nine years. She has been working with the junior high and high school students to help them create work that exemplifies originality, technical skill, and emergence of personal voice and vision. Kendra Yund, a student from Creede, is a Gold Key winner and a national Gold Medal winner, and she is going with her family to New York in June to attend the award ceremony at Carnegie Hall. Kendra identifies herself as a ranch kid who
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The Scholastic Art Awards validates not only Kendra but many student artists in small and large communities. wakes up early every day to finish ranch chores before heading to school. After winning a national Gold Medal from Scholastic Art and Writing, Kendra said, “I never thought my artwork would be good enough to win at nationals. This means that I am worth something.”
were adjudicated, the selected works were shown at the History Colorado Center, the Colleen Fanning Art Advisory exhibition space at the Chancery Building, and the Sie Film Center.
The Scholastic Art Awards validates not only Kendra but many student artists in small and large communities. It gives a voice to students from under-represented groups and creates a platform where all students can compete equally, no matter the location or the size of the school.
The Scholastic Art and Writing Awards identifies emerging artists and writers early on in their creative lives.
In 2019, 2,200 art students from across Colorado entered over 6,000 pieces of art. After submissions
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This is just the beginning.
These young students in our community are the next generation of visionaries, leaders, and entrepreneurs. We’re changing one life at a time for the future for all of us.
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Displaying Student Art: What Spaces Haven’t You Considered? by Roxie Mitchell
Finding space to display student art is a problem that has challenged me repeatedly over the course of my decade-and-a-half career as a high school photography teacher. Yes, I do the typical stuff: we have display cases at school, we have a student art show at the end of each semester, we have an annual district student art show, and I am always participating whenever possible out in the community as opportunities arise. However, despite measured efforts, these events inevitably end up only being accessed by a limited audience. Leaving me always coming back to the question, “How do I get more members of our whole community to see the great work that students produce?” As many of you know, we had quite a crazy summer in 2018 down here in Southwest Colorado due to the dry conditions and the resulting fires. As our area was flooded by large fire crews from all over the country, thankful citizens began putting up makeshift memorials along the routes that these crews traveled. These displays consisted of homemade signs, printed banners, balloons, and even some odd objects like Cabbage Patch Kids dressed up like firemen. One
such exhibit popped up on the fence outside of the high school where I teach. The fence was chosen by citizens for their makeshift memorial because it is in a high-traffic area along the major highway that runs through the middle of our town, and because of the amount of space that this eight-foot-tall, quarterblock-long fence allows for hanging. This got me thinking – and inevitably inspired me – to re-think this space as an installation spot for student art. Why had I never thought about hanging student art on the fence?! Serendipitously, a few months later, I was approached by our city arts commission about some funding they had for temporary communitybased art projects in the very neighborhood where our school resides. The grant was aimed at encouraging creative projects that can be enjoyed by the public based on a concept called “creative placemaking.” Creative placemaking “capitalizes on a local community’s assets, inspiration and potential, with the intention of creating public spaces that promote health, happiness, and well being” (https:// en.wikipedia.org/wiki/Placemaking).
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As our area was flooded by large fire crews from all over the country, thankful citizens began putting up makeshift memorials along the routes that these crews traveled. Why had I never thought about hanging student art on the fence?!
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Although the funding for this project was a one-time deal, it has spurred a larger conversation within our Visual Arts Department about how we intend to use the space in the future. I proposed to install a semester-long, pop-up photo gallery along the fence, consisting of 26 images produced by students in my Digital Photography classes. I called the project “Generation Z, Look & See.” The concept for this outside gallery of sorts was for the viewers to see the community through the lens and experiences of the high school students, humanizing the teenage experience and resulting in increased empathy and compassion between all generations in our community. Additionally, I proposed that the placement of the works would beautify the monotone, institutional look of the high school campus when viewed by passersby (walking, biking, or driving). After going through the grant proposal process, I was awarded funds to pay for printing the students’ digital photographs onto 4’x3’ vinyl banners; a stipend for my work on the project; and refreshments for an opening reception. I curated a group of bold images, both photo-realistic and graphic, with a variety of subject matters: landscape, portrait, nature, abstract, animals, adventure, places, etc.
The response to the installation by the community was overwhelmingly positive. Having their work displayed for such a wide, public audience definitely gave the students involved a boost in pride as art makers. I had not anticipated the arrival of snow shortly after hanging the pieces in December, which made the full-color photos pop even more for those passing by. Although the funding for this project was a one-time deal, it has spurred a larger conversation within our Visual Arts Department about how we intend to use the space in the future. We plan to continue to utilize the space on a regular basis to show student work to the community and inspire students to think about alternative ways to get their work out there. One teacher is considering using the whole length of the fence to do a weaving with found materials. Another teacher is thinking about filling the holes in the fence with material to create pictures, using the fence like a static pixel grid.
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save the date!
ART from the
heart 2019 fall conference november 7-9, 2019 breckenridge, c0 beaver run resort
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call for workshop proposals!
ART from the
heart 2019 fall conference november 7-9, 2019 breckenridge, c0 beaver run resort
due june 1st! click here to submit https://tinyurl.com/ ybaqufmf
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Art Students League of Denver Annual Summer Art Market WHEN: Saturday, June 8, and Sunday, June 9, 2019, 9 a.m. to 5 p.m. WHERE: West Washington Park neighborhood at 2nd St. & Grant St. WHAT: The Art Students League of Denver (ASLD) will host its 27th annual Summer Art Market (SAM), an event with 200+ visual artist booths, artist demonstrations, KidART programming, and food and beverage vendors. This arts festival features a range of media, including ceramics, painting, drawing, photography, printmaking, sculpture, fiber arts, and mixed media/book art. SAM is free and open to the public and features top-quality artwork from ASLD faculty and students for sale. KidArt Classes (ages 6 - 13) and Teen Studio (ages 14 - 17) WHEN: June 3 - August 9 WHERE: Art Students League of Denver Scholarships and supervised care available. New Faculty Show WHEN: April 18 - June 9 WHERE: Art Students League of Denver Featuring work by Deb Rosenbaum Anderson Ranch Arts Center Anderson Ranch Arts Center in Snowmass, Colorado offers half-price classes to teachers one week prior to the start of classes that are not filled. Andersonranch.org
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Recap of Denver Month of Photography Teen Show 2019 by Alexandra Overby and Linda Slobodin
CAEA is proud to have participated in this year’s biennial event: the Denver Month of Photography (MoP) Teen show, which invited Denver Metro high school photography students to enter into a juried exhibit – Emergence: The Next Generation. The exhibit was held in Lakewood at the Pirate Contemporary Art Gallery from April 12- 27, 2019. MoP Colorado is a biennial celebration of fine art photography with hundreds of collaborative public events throughout the region. It began in 2004. Beginning in 2015, high school art educators Alexa Overby (East HS) and Linda Slobodin (Lakewood HS) initiated a collaboration with Mark Sink, the iconic Denver artist and director of MoP, to add a high school exhibit to the venue. Mark was awarded the CAEA Distinguished Service Outside the Profession Award in 2017. The show highlights the style and vision of young photographers who are just beginning to explore the possibilities of the photography medium in a professional gallery venue. Awards were given by sponsors: • Mark Sink, Denver Month of Photography • Colorado Photographic Arts Center • Reed Art and Imaging • Englewood Camera • Colorado Art Education Association Additional assistance was generously given by: • John Davenport, Member of Pirate Contemporary • Samantha Johnston, CPAC Executive Director, Judge • Marty Foxhoven, Judge • Marilyn Hunt, Judge The selected work can be viewed on the Denver MoP Teen online gallery space: http://denvermopteenshow. weebly.com Photos were taken at the opening reception on April 12.
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Photograph by Tyler Troulliot, East HS
Photograph by Marcus Witter, East HS
Photograph by Ruwanda Etzaguzi, Gateway HS
Photograph by Wendy Osei Manu, Gateway HS
Photograph by Yaneli Solis, George Washington HS
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Special Needs in Art Education by Kelley DeCleene, PhD
Author’s Note: The term “special needs” is being used here because we currently use the term “special education” in both state and national education documents. According to the Centers for Disease Control and Prevention (CDC), one in four Americans (26%) live with some type of disability. https://www.cdc.gov/ ncbddd/disabilityandhealth/infographic-disabilityimpacts-all.html Disability does not discriminate; it affects all races, ethnicities, religions, socio-economic levels, and genders. As art teachers, we will have students with disabilities in our art classes. We too may live with a disability. This column, Special Needs in Art Education, is meant to shed light on equity and access issues, strategies, and perspectives. Access to the arts for students with disabilities IS a social justice issue. This first column will focus on what the law says about inclusion of students with disabilities; thoughts about intellectual and physical access to the arts; and perspectives about disability that may affect the way we as teachers deliver arts programming for our students.
The current trend toward student-centered pedagogy and full inclusion of students with disabilities means that we must be able to provide access to art making and arts learning for ALL of the students who come through our doors. In fact, the law requires it. The IDEA (Individuals with Disabilities in Education Act) mandates a free and appropriate education in the least restrictive environment for all eligible students with disabilities. Within IDEA, Congress states: Disability is a natural part of the human experience and in no way diminishes the right of individuals to participate in or contribute to society. Improving educational results for children with disabilities is an essential element of our national policy of ensuring equality of opportunity, full participation, independent living, and economic self-sufficiency for individuals with disabilities. (retrieved from: https://sites.ed.gov/idea/about-idea/) Yet art teachers may find themselves unprepared for the diverse range of learners in their classes, in particular, those with severe disabilities. For students with disabilities, however, art-making experiences may
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As my students became more engaged and art making and genuine learning started happening for these children, it became a passion of mine to provide access for students with disabilities to genuine, meaningful, and relevant arts experiences. Actually, it became my dissertation! be as beneficial — if not more so— than art making is for their peers (Loesl, 2012). Full inclusion can allow them to experience the joy of creating alongside their peers. I know what you may be thinking, “I already have 30 – 35 (or more) students in my class. They are already diverse. How will I be able to reach even more diverse students? I only have so much time in a class period.” I get it. I’ve been there. When I was first tasked with creating an art program for students in a specialized school for students with severe disabilities, I was overwhelmed, scared, and, honestly, feeling a little inadequate. I researched articles and books on adaptive arts, but really found nothing that fit my student population. So, I took the little bit of information I had and just started trying things. This was a decade ago, so there are more good resources now than there were then, but the point is that I started by getting to know my students, figuring out their strengths and weaknesses, looking at age-appropriate art curriculum, and then figuring out where there were gaps in what the curriculum required and what my students could do. It took some time to figure out the difference between “dumbing down” curriculum and providing access to the most age-appropriate curriculum possible by removing physical and intellectual obstacles. As my students became more engaged and art making and genuine learning started happening for these children, it became a passion of mine to provide access for students with disabilities to genuine, meaningful, and relevant arts experiences. Actually, it became my dissertation!
I began to recognize how many of these students had never really experienced genuine self-expression. Many of them hadn’t even been given much opportunity for basic art making or making personal aesthetic choices, let alone given the chance to really experience the joy of creating that led us to become artists ourselves. I love this quotation: Art expression in its purest form is an expression of the individual’s interaction with life. In order to create this personal statement, an artist requires significant freedom of thought, feeling, and mode of expression. (Day, 1982). It’s an oldie but goodie. To me, it means that art making can’t really be pure unless it comes from the heart and soul of individuals, created by them, through their own life lenses. We will have students who cannot hold art tools in a traditional manner; who cannot see the colors and textures we see; or who cannot understand the abstract concepts our lesson plan asks them to comprehend. Yet they can still make art. Pure, genuine art. We just need to remove the obstacles to their art-making opportunities. I’m really talking about Universal Design for Learning to begin with. How can we intentionally design lessons from the start that cast the widest net? How can we design them to allow for the big ideas of our lesson to be taught and learned and also allow for multiple means of receiving information, engaging in the lesson, and producing work that demonstrates
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learning? As we proceed through our lessons, how can we ensure that student participation is genuine? I would suggest that this often has to do with our own preconceived notions of what “good art” or at least what “this project” is supposed to look like when it is finished. We may find ourselves (or watch our paras) doing artwork for our students who can’t hold the brush or aren’t “following directions” in order to “help” produce our intended result. Perhaps with good intentions, we may just want their finished work to “look good.” But to whom? I can speak for many parents who have said that they know full well when an art project comes home whether their child made it or not. And, honestly, most recognize – and are thrilled by – the pride their child expresses when the child has engaged authentically. When we step in and “fix” students’ work or do it for them, what message are we sending? That they can’t do it? That their art isn’t good enough? Would these messages inspire you to engage more or less? The point of this first column is to encourage you to think about why you make art, why you think others make art, and what makes you want to make art versus wanting to quit. And then think about what this might look like for your students with learning differences who may or may not be able to communicate these thoughts to you. I just hope to get you to look at your physical art room, your lessons, and your art education philosophy from a little different angle.
We will have students who cannot hold art tools in a traditional manner; who cannot see the colors and textures we see; or who cannot understand the abstract concepts our lesson plan asks them to comprehend. Yet they can still make art.
I’m really talking about Universal Design for Learning to begin with. How can we intentionally design lessons from the start that cast the widest net? Then in the next few columns, we’ll get into some of the nitty gritty such as increasing access by adapting tools and materials; modifying curriculum and instruction strategies; encouraging choice-making and creativity; and facilitating communication. But one thing at a time. First, I just hope to inspire you to want to make a difference in the lives of students who aren’t always given the chance to experience the joy of art making; the self-worth that comes from self-expression and acceptance; and the pride that comes from having their work (even if it’s different) recognized and valued. I will leave you with this quotation, one of my favorites: It is one of my deepest innermost convictions that wherever there is a spark of human spirit – no matter how dim it may be – it is our sacred responsibility as humans, teachers, and educators to fan it into whatever flame it conceivably may develop.” – Viktor Lowenfeld References Day, A. H. a. M. (Ed.). (1982). Children and Their Art: Methods for the Elementary School. Gilmour, A. F. (2018, Fall). Has Inclusion Gone Too Far? Retrieved April 18, 2019, from https:// www.educationnext.org/has-inclusion-gone-too-farweighing-effects-students-with-disabilities-peersteachers/ https://sites.ed.gov/idea/about-idea/ on April 18, 2019 Loesl, S. D. (2012). The Adaptive Arts Specialist: An Integral Part of a Student’s Access to Art.
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2019 CAEA MidWinter Conference by Lisa Adams
…The snow threatened. Some weathered the storm while many stayed at home not risking the drive. And despite the snow, we filled the Art and Design Center at Arapahoe Community College. It was the 2019 CAEA MidWinter Conference. We introduced D.J. Osmack to his first MidWinter Conference and he brought burritos! As always, it was refreshing to break bread, catch up, and be inspired by each other. We were artists. We were students. We relaxed. We played with our artsy friends and colleagues from all over Colorado. On Saturday, March 2, the 2019 CAEA MidWinter conference welcomed five Colorado artists and teachers: ● London-born artist Christian Dore hosted “Grandscapes,” whimsical abstract paintings done on black. ● Newcomer Kim Anderson introduced spiritual and narrative portals in red body clay. ● Joe Higgins did a great workshop on monoprinting. ● Valarie Savarie returned to teach her Altered Book class; this is such a new and inspiring break from the norm in any art room. ● Amy Bailey taught cuttlebone casting. And despite the snow, this was our largest turnout.
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Many thanks and kudos to Angel Farris Belt, Trish Sangelo, and all of the assisting staff at Arapahoe Community College for sharing their time and space and flexibility with hosting the CAEA MidWinter Conference. They are fantastic partners, sharing a vision of advocacy and innovation with a genuine interest in the pursuance of the artist, the teacher, and the student. We catered in sandwiches for lunch in the Colorado Gallery at Arapahoe Community College. The Gallery featured the 2019 Cherry Creek School District (CCSD) High School Excellence in Art Showcase Rule Makers/ Rule-Breakers, a beautiful compilation of CCSD’s best high school artists and their work. Many thanks and kudos to Angel Farris Belt, Trish Sangelo, and all of the assisting staff at Arapahoe Community College for sharing their time and space and flexibility with hosting the CAEA MidWinter Conference. They are fantastic partners, sharing a vision of advocacy and innovation with a genuine interest in the pursuance of the artist, the teacher, and the student. If you know of any artists who could teach a class or have ideas for the 2020 MidWinter Conference or have any questions or suggestions, or would like to lend a hand, contact Lisa Adams at ladams7@cherrycreekschools.org. Good luck to IBers, APers, and to all of us who have busy, busy springs with our art departments! Have a great summer! You deserve it. And as always, thanks for all you do to make this world a better place for kids and for all of us!
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Colorado TAB (Teaching for Artistic Behavior) 2019 Conference by Jessi Ruby During the two-day Colorado TAB (Teaching for Artistic Behavior) conference, Julie Toole made a statement that resonated with me: A mirror is something like an artifact or a work of art that reflects our own culture and builds your identity in a positive way. A window is a resource that offers you a view into someone else’s experience. (Toole, J., 2019) This statement reminded me of the importance of the relationships founded at this conference. A total of 130 people attended this year’s conference. Some participants traveled from other states and one international attendee came from Mexico. The conference featured two keynote speakers (Julie Toole and Cynthia Gaub), mini sessions, cohort groups, panel discussion, and a presentation by Connie Stewart and Anne Thulson. The agenda may seem typical for a conference, but this conference was out of the ordinary. I attended my first TAB Conference in 2015. I remember feeling astonished by the amount of collaboration and camaraderie. The TAB conference continues to allow the opportunity for educators to connect and build relationships. The cohort groups are extremely valuable to that process.
The conference creates cohort groups who meet periodically throughout the conference to facilitate meaningful conversations. I consider the cohort groups to be the heart of this conference. The cohort groups provide a place to connect and share experiences through windows and mirrors as described by Julie Toole (2019). I have found that many of the cohort groups continue to stay in touch to provide support for each other. It is amazing to see this idea grow and grow every year. I am grateful for the meaningful relationships and friendships I have created from the Colorado TAB community. The next annual conference will be held January 18-19, 2020 at Rocky Mountain College of Art and Design. Check for updates on our website (Tabcolorado. weebly.com) and our Facebook page. Reference Toole, J. (2019, January 19). The reflective teacher. Speech presented at Colorado TAB, Inc. Conference in Rocky Mountain Collage of Art and Design, Lakewood. Retrieved from https://www.facebook. com/kelly.r.beach/videos/10102784163007232/
“I love that the conference is a place for us as professionals to experience the Studio Habits of Mind as we develop craft, stretching and exploring, reflecting, and understanding art world in our teaching and studio practices for our students. It is a time of true celebration, problem-solving, and community.” – Wendi Oster, Middle School Art Teacher, 2019 TAB Conference Participant
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Cohort group
I love that I get to talk to other teachers with similar teaching modalities as me. I took so many useful ideas back to school and USED them right away.” – Beth Anne Cummings, Middle School Art Teacher, 2019 TAB Conference Participant Two teachers participating in a one-minute sculpture activity from a past year
Cohort groups at the TAB Conference
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Paper Fashion Show, Denver 2019
by Janet McCauley Photographs by Blu Hartkopp, © 2019 Blu Hartkopp, www.bluhartkopp.com
Second Place Winner: “Flower of Life” by Blue Linen Creative (Brielle Killip, Jennifer Garber, Christopher Geissinger). Modeled by Jennifer Garber. (Paper: Neenah - Design Collection)
First Place Winner: “Sakura” by Paper Couture (Kim Lim, Chau Wilson). Modeled by Cindy Wilson. (Paper: CTI Aspire Petallics)
My friend Sarah Ball-Gallegos and I had the wonderful opportunity to participate as a design team in The One Club for Creativity Denver’s Spring 2019 Paper Fashion Show. It was the 15th Annual Paper Fashion Show, but our first time entering the show. It took place at The Hangar at Stanley Marketplace in Aurora on Friday, April 12, 2019. The show is organized and run by volunteers and the proceeds help to support Downtown Aurora Visual Arts (DAVA) and The One Club for Creativity Denver. DAVA provides free after-school art programs for youth ages 3-18. The One Club for Creativity Denver has raised over $58,000 for DAVA. The theme for this year’s show was “Flight Beyond Wings.” There were 50 designs from professional and student teams.
Third Place Winner: “Rise of the Bluegeosie” by Rosa & Rivera (Emi Rosa, Rudy Rivera). Modeled by Adrienne Harness. (Paper: Neenah - Textures)
Our Experience Paper for the show was donated by Spicers with paper from the following mills: Neenah, Mohawk, French, and CTI. Each team also received practice paper of the same weight. My team, Gifford Girls, chose Neenah – Design Collection – Tactile. We chose to create a snowflake-themed design to give the idea of snow swirling and dancing in the air as it falls to the ground. For this concept, we used a variety of white and off-white papers and we cut out different sizes of snowflakes. Each design must be 90 percent paper to qualify for the show. We first tried constructing our design with tape, but decided to sew the paper together because we struggled with our design coming apart when the tape was holding it together. We also used a thin piece
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“The Universe and The Earth” by My World (Malika Safar). Modeled by Suratmo and Ariana. (Paper: Mohawk – Curious)
of elastic to hold the dress securely on our model. Different lengths of snowflake strips hung down from the elastic to form the dress. We also created a wrist cuff and a tiara. I was excited to see how the total look came together for the show. When the day of the show arrived, we were excited and a little nervous. It was also the first runway and Paper Fashion Show for our model, Kinsey Alexander. Every design team gets free hair and makeup for their model before the show, so we arrived early to help Kinsey get ready. We chose to have Sarah’s daughter, Sky Gallegos, do our model’s makeup because Sky loves creating different makeup looks. Then Kinsey practiced walking on the runway and got her hair done. Once the models were ready, they waited patiently back stage with the design teams. It was almost time for the show! Variety of Designs and Winning Designs The show had so much variety. It was really interesting to see how different each design was! Each design was judged and awards were presented at the end of the show.
The Third Place Winner was “Rise of the Bluegeosie” by the design team Rosa & Rivera, lead designer Emi Rosa, additional Designer Rudy Rivera. (Paper: Neenah Textures) The Second Place Winner was “Flower of Life” by design team Blue Linen Creative, lead designers Brielle Killip, Jennifer Garber, and Christopher Geissinger. (Paper: Neenah - Design Collection) The First Place Winner was “Sakura” by design team Paper Couture, lead designer Kim Lim, additional designer Chau Wilson. (Paper: CTI - Aspire Petallics) There were so many talented designers and amazingly well-crafted designs that I don’t know how the judges were able to choose!
The One Club Spirit Award Winner was “Up in Flames” created by the design team Veronica Dewey Design, lead designer Veronica Dewey. (Paper: Mohawk Fine Papers - Carnival/Via)
Opportunity to Get Involved
The Star Student Award went to “Arctic Extinction” by the design team Thrashed, lead designers Erica Duda, Bailey Pixton, and Austin Draving. (Paper: Mohawk - Britehue)
If you are interested in getting involved, please check out the website (https://www.paperfashionshow. com/) or Facebook page (https://www.facebook. com/paperfashionshow/)
The DAVA’s choice award went to “Zephyrus - God of West Winds” by design team
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ArtHouse Design, lead designers Marty Gregg, Beth Rosa, Zach Kotel, Anaïs Mares, Aaron Hilst, Abigail Knab, and Daisy Corso. (Paper: French - Construction)
I recommend the Paper Fashion Show to anyone who enjoys art and fun fashion and wants to support a great cause!
Star Student Award: “Arctic Extinction” by Thrashed (Erica Duda, Bailey Pixton, Austin Draving). Modeled by Erica Duda. (Paper: Mohawk – Britehue)
“Beyond the Page” by Novella (Laura Pilz, Nora Tipton). Modeled by Nora Tipton. (Paper: Mohawk – Curious)
“In the Clouds” by Ove.ImprintOverland HS Fashion Club (Arielle Bergmann, Sanaa Roles, Jasmine Harrell, Fahem Fekadu, Anis Hule, Yaseen Malhdi). Modeled by Jasmine Harrell. (Paper: French – Construction)
“Honey” by Carlos Valles (Carlos Valles). Modeled by Heidi Estrada. (Paper: Mohawk – Britehue)
“Snö” by Gifford Girls (Janet McCauley, Sarah Ball-Gallegos). Modeled by Kinsey Alexander. (Paper: Neenah - Design Collection – Tactile)
DAVA’s Choice Award: “Zephyrus – God of West Winds” by ArtHouse Design (Marty Gregg, Beth Rosa, Zach Kotel, Anais Mares, Aaron Hilst, Abigail Knab, Daisy Corso). Modeled by Amber Dextrous. (Paper: French – Constructio)
The One Club Spirit Award Winner: “Up in Flames” by Veronica Dewey Design (Veronica Dewey). Modeled by Veronica Amancio. (Paper: Mohawk – Carnival/Via)
all photos © Blu Hartkopp, www.bluhartkopp.com
“Wild Queen” by DAVA Open Studio (Faith Resendez). Modeled by Aree Resendez. (Paper: French – Pop-Tone)
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ArtSource Residency Program @ UNC in Greeley “Beyond Tradition” Summer 2019, June 16th-21st Look at the benefits of traditions-Move beyond current practices Weave innovative creative experiences into practice.
Residency Guest Artists and Speakers Nicole Banowetz, Denver, Colorado, sculptural/installation artist, presentation and hands-on group installation work. http://www.nicolebanowetz.com/
Julia Marshall, San Francisco State University, art education, presentation/discussion of art as a form of inquiry for all learning. https://theartofeducation.edu/2016/08/23/august-importance-integration-conversationjulia-marshall/ Michael Jay McClure, PhD Contemporary Art History, University of
Wisconsin - Madison, presentation/discussion of art in a post media age. https://arthistory.wisc.edu/people/faculty/mcclure
Christian Dore- Colorado Artist, Abstract Painter, presentation/discussion on Artistic Process https://www.christiandore.com · · · · ·
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What is included in this amazing $600 residency experience? Engaging presenters that share cutting edge thinking in art education. Ample art studio time to work on your own ideas. Opportunity to collaborate, make new connections with other art teachers. A college campus environment with time to explore the outdoors. All-inclusive cost for presentations, lodging and meals. Scholarships available for CAEA members.
Visit http://www.artsourceco.org/ or http://www.caeaco.org to register!
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Exploratory Clayprint Workshop by Michael Cellan
Ok…I’m a believer in using the basics of what I was taught about putting artwork together, the freedom of creating with abstraction, and techniques that are pure process. I like doing art that no one else does. I love the rush of exploring a new technique. I like to be confronted with the blankness of a surface. I love to just start and let it develop into where it’s going to take me. So, twenty-plus years ago I’m walking through the Cherry Creek Arts Festival and I pass a tent that has about six 3’x6’ abstract images. I say “silkscreens” to the man in the back sitting on a stool. He says “Nope, clayprints.” I say, what everyone says, “What’s a clayprint?” I introduce myself and he says his name is Mitch Lyons and that he’s created this process, teaches workshops, and has a video. His next workshop is that
summer in Santa Fe….I show up for the weeklong workshop. I buy the video. I become hooked. I came home and honed the process and after a year or so, I called Mitch and asked him if he would mind if I started teaching clay printmaking. Mitch said he would be honored that someone wanted to carry on the process. Over the years I took a couple of more workshops with Mitch. Mitch passed away March 5, 2018. So, “What’s a clayprint?” You start a clayprint by building a wooden frame to hold a slab of clay. You allow the clay to become leather hard. Then three to five layers of kaolin are applied to the leather-hard clay. The plate is now called “the matrix.” Colored kaolin
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and chalks are applied, and textures are embedded into and onto the matrix and carved into the surface of the clay. Then you print on a substrate of polyester (Reemay or Pellon). The substrate is placed over the design and hand pressure is applied with a wooden pizza roller and metal spoon. A thin layer of colored clays adheres to the substrate. The print is permanently bonded to the surface which becomes a multi-colored, archival monotype distinguished by its velvety surface and rich color. After you’ve pulled a print or two, you coat the matrix with several layers of kaolin again and create another image. There is nothing like this process. I will be teaching a workshop this summer with my clay printmaking partner Mary Lynn Baird. Mary Lynn took a workshop from me several years and workshops ago and decided that she wanted to be a partner with me and my crazy obsession. She provides the space where we have the workshops or has them in her studio/backyard under tents during the summers. She makes wonderful clayprints using positive and negative space and is a master teacher and clayprinter.
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Each workshop will offer two hours of free CDE credit (if you take the workshop, make sure your school district will accept the CDE credit). Or, you can get two hours of credit from Adam State College for $55. Enrollment is capped at 10 people and we supply all materials. You have to provide an apron and some pastel chalks. If this makes your heart beat faster and your toes curl and it excites your inner artist, please contact Mary Lynn Baird for information and cost: ml3baird@ gmail.com, 720-318-5552
Exploratory Clayprint Workshop July 23 – 26 (Wednesday to Friday) 8 a.m. – 4 p.m. Clayton Elementary School, Art Room 4600 South Fox Street Englewood, CO 80110
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Unboxing, setting and arranging, hanging and cleaning the show
“ARTCAPADES” The 2019 CAEA Traveling Art Show at the BRIDGE GALLERY,
218 W. Colorado Ave
MAY 3-31
FRIDAY, MAY 3 RECEPTION, 5-8 PM
The Gallery is open only on Saturdays noon-5pm
The Bridge Gallery multi-color bldg.
The outside door from the porch to the Bridge gallery
A panoramic view of the interior of the Bridge Gallery with the marvelous ARTCAPADES show on three of the walls.
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The reception for the marvelous ARTCAPADES show where around 250 people attended. They looked, chatted, drank wine and were truly amazed how wonderfully creative and original each art teacher must be.
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NE Region Update by Carrie Mann
The Vacuum that succumbs to Cat Hair.
It’s Art extravaganza week here at Merino. Kicking off the week is the opening of the play Cats and Vacuums directed by Carrie Mann. There are five shorts covering a variety of human experiences. However, the highlight of the evening is the oneact play The Absolutely Insidious and Utterly Horrible Truth About Cat Hair by Bradley Walton, which is produced by Theatrefolk. It’s a cat-hair Armageddon killing appliances and humans alike.
The adorable Granola Bar that succumbs to Cat Hair.
The week ends with a K-12 art show about exploration and a concert about the ocean. The sixth grade has been engaging in a little STEAM; they have formed a bucket band. They have painted their buckets and wired them for lights. The lights turn on and off when they beat the drums. It has been a blast making the drums and combining Music, Art, and Science. The students can hardly wait for the debut of their creations. The audience is in for a treat.
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The Vacuum in the Cat Hair environment. Also seen are the Cat, the Cat Owner, two Narrators, and lots of Cat Hair.
The Roll of Tape that escapes the insidious and nefarious Cat Hair.
The Cat Hair triumphant with the dead all around.
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SW Region Update Durango 9R art teachers held the Creativity Festivity art show in the gallery at the Durango Arts Center. Here’s a link to information: https://durangoarts.org/2019-creativity-festivity/
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School of
Art and Design LOW RESIDENCY MASTER OF ARTS DEGREE The Low Residency Art & Design Master’s degree is designed for current art educators who wish to build upon their credentials while pursuing development as artists, teachers, and leaders in the field of art education. • Reconnect with your studio practices and develop new teaching strategies • Courses designed to fit your schedule with two summer residencies and courses conducted online • Learn through both expert faculty and practical field application • Discover new resources and contacts • Synthesize your personal talents with curricular interests
TO LEARN MORE ABOUT OUR LOW RESIDENCY PROGRAM, VISIT ARTS.UNCO.EDU/ART-LOW-RES. 48.
CAEA TASK FORCE CHAIRS & PUBLICATIONS Title
Name
Micheal Cellan Natalie Myers Pam Starck Open Elizabeth Stanbro Kim Williams Robin Wolfe Kim Chlumsky Kelley DeCleene Alexandra Overby Rosemary Reinhart & Elisabeth Reinhart Janet McCauley
medcellean@mac.com coloradokidscreate@gmail.com tplbstark@aol.com
Task Force Chairs Task Force Chair - CAEAE Commercial Scholastics Youth Art Month Arts Advocacy Awards Web Master Social Media Special Needs Collage Editor Collage Copy Editor Collage Layout
caeaawards@gmail.com caearobin@gmail.com kmchlumsky@gmail.com alexaoverby@gmail.com rsrhart@gmail.com janetmareamc@gmail.com
CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES Title
Name
President President-Elect Vice President Treasurer Secretary Past President
D.J. Osmack Michael Carroll Justine Sawyer Alexis Quintana Rachael Delaney Vanessa Hayes-Quintana
dosmack@jeffco.k12.co.us mcarroll@jeffco.k12.co.us justine_sawyer@yahoo.com lexi.quintana@me.com rdelane3@msudenver.edu caeapresident@gmail.com
Title
Name
Executive Board
Division Representatives Elementary Multi-Level Middle School High School Private/Independent/Charter Private/Independent/Charter Museum/Gallery Supervision Higher Education Retired Student
Jessica Walker Carrie Mann Christine DeVivo Justine Sawyer Andrea Crane Sam Mizwicki Sarah Kate Baie Open Theresa Clowes Deb Rosenbaum Open
carrieartmann@gmail.com justine_sawyer@yahoo.com sam.mizwicki@gmail.com sarahb@mcadenver.org tclowes@rmcad.edu
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CAEA REGIONAL REPRESENTATIVES Title
Name
Regional Representatives North West North Central North East Metro Metro East Central South Central South East South West West Central
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Open Sharon Jacobson-Speedy Open Kim Chlumsky Michael Carroll Lisa Cross Open Open Kari Pepper Open
speedywheat@aol.com kmchlumsky@gmail.com mcarroll@jeffco.k12.co.us lcross@d49.org
kpepper@bayfield.k12.co.us
For CAEA details and event information: go to www.caeaco.org