S P RF I NA G L 2015 L 2 01 6
A MAGAZINE FOR COLORADOâ€™S ART EDUCATORS
YOU NEED TO TEACH
Lead Free Glazes
Slab Rollers & Equipment
9. The Daily Noodle-Doodle: A Classroom Management System for Elementary Art by Katy Mathes
5. President’s Message by Vanessa Hayes-Quintana
14. ArtSource Presents: CAEA 2016 Artist Teacher or Teacher Artist? Come Join the Call to Action and Reclaim Your Creative Passion! by Gwen Ahlers, ArtSource 2016
7. Letter from the Editor by Alexandra Overby 47. CAEA Executive Board and Division Representatives Council Directory
16. Art Teacher-Action Researcher by Donna Goodwin, Art Education Faculty University of Northern Colorado
47. CAEA Task Force Chairs and Publications Directory
19. One Man’s Journey to Find Voice by Luke Herbert
48. Regional Representatives
25. A Personal Encounter of A/R/Tography: Rekindling the Creative Process by Wendi K. Oster
Page 9. The Daily NoodleDoodle: A Classroom Management System for Elementary Art by Katy Mathes
Table of Contents
In This Issue
In Every Issue
30. Anne Thulson and Rachael Delaney Elaborate on the Art ,,,,,, of Being Both Artists and Art Educators by Khaleel Herbert 32. 2016-17 Youth Art Month Flag Design Competition ___by Justine Sawyer , 35. My Trip to NYC with Sargent Art Colorado YAM Flag Winner by Cindy Migliaccio 37. CAEA Award Recipients 2016:
Linda Slobodin (Art Educator of the Year) Carrie Mann (High School Art Educator of the Year)
Rachel Dunn (Middle School Art Educator of the Year) Pamela Cogburn (Elementary Art Educator of the Year)
Page 19. One Man’s Journey to Find Voice by Luke Herbert COLLAGE is published by the Colorado Art Education Association Vanessa Hayes-Quintana – President Alexandra Overby – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Janet McCauley – Layout Design & Production Please submit all materials to: COLLAGE Editor: Alexandra Overby, email@example.com
Christine DeVivo (Private/Charter/Independent Art Educator of the Year)
Sieger Hartgers (Higher Education Art Educator of the Year)
Angela Farris Belt (Distinguished Service Within the Profession) Brianne Sanchez (Distinguished Service Outside the Profession)
Robin Wolfe (Marion Quin Dix Leadership Award)
Cover Photo: Bailee Shostrom and Katie Ellis Artwork from A Personal Encounter of A/R/Tography: Rekindling the Creative Process by Wendi K. Oster
COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email all submissions to firstname.lastname@example.org. 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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Reconstructing the World through Art
Eric M Scott David R Modler
& Advocacy Breakfast Speaker
2016 CAEA Fall Conference November 3rd-6th 2016 Breckenridge, Colorado
* 120 Workshops * 8 Master Classses * AP Workshops * Educator Effectiveness with Donna Goodwin Register at www.caeaco.org
L A E D G G E R G
President’s Message by Vanessa Hayes-Quintana
This summer, Ben Quinn and I represented Colorado as part of the Pacific region at the National Art Education Association’s Artistry of Leadership conference. I returned from Washington, D.C. still trying to determine if my brain was fried by the heat or all of the great ideas that come from spending time around awesome art teachers! State leaders in art education from all over the country gathered to discuss, plan, and troubleshoot the health of our art education organizations. Ben and I greatly appreciate the opportunity to share and learn with this group. And, like all great art teachers, we exercised our duty to steal all of their juicy information and ideas to bring to CAEA!
Do we look past our own life context to know and understand the context of others, in our teaching, in our professional interactions, and in our personal lives? A highlight of the conference was keynote speaker Dr. Wanda Knight. You might remember her advocacy address at our fall conference a few years
ago. Dr. Knight discussed issues of difference, and our personal and professional role in nurturing and sustaining diversity, which includes race, class, gender, ability, etc. We’re familiar with these discussions. Yet, Dr. Knight’s elephant-andgiraffe metaphor illustrated how we can adapt to understand and then accommodate for differences we live among every day. We couldn’t expect a wide, stout elephant to enter and dwell comfortably in a residence built specifically for a tall, thin giraffe. The lesson: Recognize where our own prejudices lie. Do we expect or anticipate that those around us exist in our own context? Do we look past our own life context to know and understand the context of others, in our teaching, in our professional interactions, and in our personal lives? How do you support the differences of others?
CAEA will celebrate its 80th birthday next year! We are seeking someone to serve as a CAEA historian. We need someone to digitally archive our documents and artifacts, and to create a safe place for CAEA’s story.
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CAEA’s rep council has spent the summer planning the fall conference. We can’t wait to fast forward to November 3-6, 2016 at Beaver Run Resort in Breckenridge! I thought carefully about art-teacher demographics in Colorado. Regionally, we’re quite a homogenous group of teachers. However, we do serve a diverse population of students. How might we attract and retain a more diverse art-teaching population? Also, how might we more authentically serve and attend to the differences of our diverse population of students? These are great questions to consider as we enter the new school year. By the way, welcome to another great school year! CAEA’s rep council has spent the summer planning the fall conference. We can’t wait to fast forward to November 3-6, 2016 at Beaver Run Resort in Breckenridge! I would like to invite each and every one of you to attend our fall conference this year. It’s the best opportunity of the year to renew and recharge your teaching and art-making engine. Members have asked for more art-making opportunities as well as workshops relevant to the high school audience. This year, we feature workshops in painting and drawing, AP training, questions, and concerns, lots of art making, and an Educator Effectiveness strand. Our featured keynotes are Eric Scott and David Modler. Yes, The Journal Fodder Junkies! We also feature Native American artist Gregg Deal and DaVinci Initiative Atelier instruction from classically trained artist Amanda Hallenius.
Information and conference registration can be found at www.caeaco.org. The conference rates are an exceptional value and you can fill a room with lots of people! We’ll continue to hold many extra activities, such as the art auction for scholarships, karaoke, the awards banquet, art mart, and the Saturday night bash. I hope to see you there! Some exciting things are peeking up over the horizon. CAEA will celebrate its 80th birthday next year! This is quite extraordinary, and stories found in our archives are equally interesting. I’m looking forward to sharing CAEA’s stories with you. Speaking of archives, we are seeking someone to serve as a CAEA historian. We need someone to digitally archive our documents and artifacts, and to create a safe place for CAEA’s story. Contact me if you’re interested! Make a note to look for my monthly newsletter that will include upcoming events and important dates for your calendar. It won’t include lengthy commentary. Life is busy, and I want to deliver what you need without much fuss. And, if you ever need anything, I’m a phone call or email away. See you all in Breckenridge!
Letter From the Editor
Letter Fr om the Editor by Alexandra Overby I’ve missed more than 9,000 shots in my career ... I’ve failed over and over and over again in my life. And that is why I succeed. — Michael Jordan By the time this issue is published, we have all gone back to work and are entrenched in the everyday of teaching art. Like many of you, I am wondering how on earth summer went by so fast! While I did not go very far in my travels, I did get to visit Meow Wolf ’s House of Eternal Return, the new interactive art space in Santa Fe, New Mexico. This place is amazing! Trying to explain what it is like to walk through this old converted bowling alley is a little difficult – it is part community center, maker space, art installation, and mystery game. You can touch everything and interact with sound and light while you try to solve a strange story about a family
I did get to visit Meow Wolf’s House of Eternal Return, the new interactive art space in Santa Fe, New Mexico. This place is amazing! Trying to explain what it is like to walk through this old converted bowling alley is a little difficult – it is part community center, maker space, art installation, and mystery game.
We should look at the traits that help drive the Olympic athletes to greatness – could we use those attributes in our own teaching? who somehow opened portals to other dimensions. You get to walk, crawl, and climb through their house and the other realms plus there are secret passageways to find (traveling through the fire place is pretty fun!). I suggest spending some time looking closely at the handmade wallpaper by the actual bathrooms – it’s very surreal. The best part is watching all these people who are not your average art museum visitors get a chance to immerse themselves in an art experience. For more information about Meow Wolf, visit https:// meowwolf.com. Another exciting event to follow was the Summer Olympics. It is awe inspiring to watch the athletes at the peak of their craft vying for a medal. Their focus and time in training is beyond impressive – does anyone else feel intimidated by their work ethic? We should look at the traits that help drive these athletes to greatness – could we use those attributes in our own teaching? Here are some behaviors that may help strengthen our teaching practice:
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Embracing conflict as an opportunity for growth. Olympic athletes know that facing obstacles can provide a chance to learn from adversity. The quote from Michael Jordan (page 7) can remind us that becoming excellent at something involves failing, A LOT. While teaching visual art is always full of challenges (budgets, weird schedules, too many preps), how can we use our difficult obstacles as a way to grow as educators? It might involve thinking creatively about the problem at hand or collaborating with someone you did not think about working with before. Imagine, what if you could use the obstacle as a way to move forward in a way you didn’t think about before? Being coachable. Olympians are extremely open to coaching and critique. These athletes watch performance videos, study their competition, and constantly reflect on their progress. They take faith in their coach and listen to critiques about their efforts. Coaching and evaluation is also becoming commonplace in the field of education. Many of us have an instructional coach or administrator who oversees our efforts. We are asked to reflect on our practice and focus on areas that we may not be as strong in. It is difficult to reflect on one’s practice and not take any form of criticism personally - feeling defensive is completely normal. What if we changed our perspective this year and used our observations as a chance to grow? Try to be more open to those difficult conversations and see what happens. We can all agree that teaching is an art form – it takes time and support to become the best educators we can be. Having a laser focus. Olympians are excellent at their sport because they have the ability to be consistent in their performance. Firstly, Olympians keep their emotions out of the task at hand. Athletes who can focus on the task at hand can perform without distractions. Secondly, their thought process is matched to their actions. They have a clear mental picture of
what they want and how to move closer to their objective. Olympians are constantly working on small, targeted goals to make their times faster, their muscles stronger, and their jumps higher. Can we narrow our focus to strengthen our teaching practice? How can we reduce or eliminate distractions that hinder our ability to be the best art educator we can be? Try and start with small, measurable goals and see how you can start moving forward. Dreaming big. No one can deny that Olympians think big. They are not easily dissuaded from their goals and, oftentimes, they are overcoming large obstacles to become some of the best athletes in their sport. These athletes make the decision to sacrifice family time and friends to become professionals. While I am not advocating that level of sacrifice, I do think it is necessary to remind yourself, during those tough times of the school year, as to why you became an art educator. Take yourself back to those idealistic college days in which you were hopeful and excited to work in our field. What were your goals for your students? What could we accomplish in our schools if we dream big? As you settle into your school year, I hope you can take some time to reflect upon your amazing efforts in the classroom and what it would take to make your program even better. A fantastic place to do this is our CAEA conference in Breckenridge in the beginning of November! I hope you join us in lively discussions, engaging master classes, and relevant professional development. It is a wonderful opportunity for you to learn and renew as an art educator! As always, I love getting articles, lesson plans, and event summaries for Collage! We are always looking for new voices to share with our community. We’d love to hear from you! Send your submissions anytime to email@example.com.
The Daily No odle-Do odle : A Classroom Management System for Elementary Art by Katy Mathes Visual Arts Instructor Peak to Peak Charter School firstname.lastname@example.org
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Can you remember the feeling of being a first-time teacher? I can recall a distinct feeling of panic. They never taught me this is in college! Am I really prepared? More specifically, I felt classroom management was where I was lacking. And perhaps classroom management is something that cannot truly be learned in theory. Regardless of whether you are taught it or not, it becomes a necessary focus in your first years of teaching. Nine years later, I am still looking for ways to improve. The nature of our profession is rooted in adaptation. We must embrace change in whatever form it comes in and strive to be lifelong learners, continuing to improve our practice and ourselves. Such is the fulfilling, endless cycle of an art educator. In the area of improving our practice, classroom management is a subject in which art educators face many
challenges. I could list them all, but one seemingly universal theme is time. Maximizing art-making time for students is crucial. With a 45-minute block of time, I felt that my students were spending too much time on routines and transitions and not enough on creating works of art. I embarked on a journey to create a technology-based classroom management system. Classroom routines are encompassed within the system, resulting in seamless transitions and processes such as my anticipatory set and closure. After years of experimenting and tweaking the design, the model has evolved into a highly efficient vehicle for instruction. The system I created, called the Daily Noodle-Doodle, increases engagement, builds student autonomy, and streamlines transitions. It also supports reading and writing in a meaningful way. Beyond this, it allows my students to reach their art-making and instructional goals in a concise 45 minutes.
From observations I have made in my classroom, I see that students are more likely to stay on task when you engage them right away. When I began teaching nine years ago, the first few minutes of class were spent giving directives to the students. More often than not, I was repeating these directions more than once. Five minutes into class, I was struggling to bring everyoneâ€™s attention back to finally begin my lesson. I needed a way to engage students. The Daily Noodle segment of the Daily Noodle-Doodle supports literacy and is a question or directive students read and respond to in writing. When students enter the room, the Daily Noodle is displayed on the projection screen. The question or directive either asks students to recall information from their last class or is something to prepare them for the lesson at hand. In addition, the Daily Noodle is a valuable tool for formative assessment. In order to facilitate this routine efficiently and with minimal paper waste, I installed individual white boards that are
stored under the art tabletops using magnets, as well as a hanging bucket of dry erase markers and erasers for each table. Using the Daily Noodle-Doodle system, students are engaged from the moment they enter the classroom. Beyond supporting literacy, the system builds student autonomy. On the top left of the Daily Noodle-Doodle slide is a section called â€œset up,â€? showing a list of materials that the helper table is to hand out to the whole class. While the helper table passes out materials, the rest of the class is engaged in the Daily Noodle. After students answer the question on their white boards, they may do their Daily Doodle underneath. The Daily Doodle is free drawing time where they can plan for their project or just doodle for fun. Instead of a roomful of students waiting for me to tell them what materials to hand out and then waiting for them to be distributed, each student is engaged in their task immediately with no loss of instructional time. Once materials are handed out, the class discusses their re-
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sponses to the Daily Noodle and then it is time to transition into the lesson for the day. Students need a clear break between activities, yet I was struggling with how long my transitions were taking. I was repeating directions and waiting for students to complete the task for several minutes. What I needed was a more structured transition that would help maximize learning time. In response, I created music-cued slides within the Daily Noodle-Doodle system. Using the system, the transition from the Daily Noodle-Doodle to classroom activities takes about 30 seconds, whereas it used to take several minutes. Music cues students to clean off their white boards, put them away, and fold their hands in “Hook Ups” by the time the music ends. Hook Ups are a way of folding your hands that can help relax the nervous system. In addition, the movement crosses the center
mid-line to activate both hemispheres of the brain. So, not only am I transitioning students in a mere 30 seconds, but also I am helping them activate their brains for learning. Gone are my days of the first-time teacher, but the classroom management journey continues. Indeed, some things cannot be taught in theory; you must experience them. In the cycle of an art educator, these continued experiences will cause you to adapt and this becomes part of your journey. The Daily NoodleDoodle system increases engagement and autonomy, which are important factors in our classrooms. But the most important part of the system is that it results in more time for creating art with my students.
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TO LEARN MORE ABOUT OUR LOW RESIDENCY PROGRAM, VISIT ARTS.UNCO.EDU/ART-LOW-RES. Collage Fall 2016
ArtSource P resents: CAEA 2016 A rt ist Teacher or T eacher A rtist? Come join the Call to Action and reclaim your creative passion! by Gwen Ahlers ArtSource 2016 I recently had an opportunity to sit down and talk with Charles and Collin Parson. The creative energy in the room was over the top. Two generations of ideas, experiences, and great success. Our conversation generated questions and ideas around balancing the teacher and artist in each of us. We often struggle with finding creative time, competing with life activities, important relationships along
We dream of the artist “studio.” What does the studio need to look like? Chuck suggested letting go of the “studio envy” and create in whatever studio space we can find. This could be our garage, basement, kitchen table, spare room, or even making use of our school classrooms after hours. The important thing to know and remember is to be practicing artists while we teach.
Charles and Collin continue the conversation with us at 2016 CAEA conference, generating ideas and creative insight and inspiring us all to go out and make art. “A Call to Action.” with all of our classroom responsibilities. Many art educators and other creative professionals struggle with finding time to feed the artist within. Passion with teaching art often takes much of our energy and fills most of our time.
Making the time to create is always a challenge, so how can we push ourselves to create and prepare for studio time? Collin recommended setting up a show deadline to inspire us to work in our studio and challenge us to complete a body of work. Another way to challenge our inner artist is to
measure or define our success. Setting goals, creating a timeline to create, show, sell, and marketing our work can bring forth huge satisfaction. What is the best practice for marketing our work? Exhibiting in galleries and art festivals and providing a website create exposure and marketing opportunities. Marketing our diverse skill sets as the Artist and Teacher establishes how unique we are as creative innovators. Charles and Collin continue the conversation with us at 2016 CAEA conference, generating ideas and creative insight and inspiring us all to go out and make art. “A Call to Action.” What does it take to maintain the artist within and fuel the creative part of us? How do we pursue the business side of our other career? How do we push ourselves to extend concepts for an exhibition? How can today’s digital world help support and communicate our creative practice? How can we present our work to exhibition spaces to continue our growth and become a part of our creative communities? What does pursuing the artist within do for our students? Can we validate the process for our profession? All art educators face some or all these quandaries at some point in their teaching careers. Balance and resolve with teaching and studio practice can bring fulfilment through a variety of pathways and in different times in our lives. About the Artists: COLLIN PARSON received BFA degree, 2004, in Theatre Design with an emphasis in Lighting and Scene Design from the University of Colorado at Boulder. He received his MA, 2011, from Regis University with a major in Visual Culture and Arts Administration. Building upon his theatrical design experiences, emphasizing lighting, his choice to move into the world of the visual arts world of the Fine Arts profession has resulted in numerous exhibitions and numerous one person presentations throughout the state. He has received numerous awards including Westword’s 100 Colorado Creatives, and numerous Best of Westword’s for both his creative and curatorial projects. Recent public commissions are being installed this year at the Pikes Peak Art Center in Colorado Springs, a new luxury hotel in Cherry Creek, Denver, and the Hyatt in Belmar in Lakewood. Collin is represented by Michael Warren Contemporary in Denver, current artist-in-residence at RedLine Denver, a former member of Pirate: Contemporary Art and is the Director of Gallery and Curator of the Arvada Center for the Arts and Humanities. His work has been reviewed in multiple forums such as Denver Post, CPR, PBS Art’s District, Art Ltd magazine, and a Colorado Homes and Gardens feature. He is also a drummer.
CHARLES PARSON studied at the A.E. Backus Studio in Florida from 1962-66; he received his BFA in 1970 from the Kansas City Art Institute with a major in Painting and Drawing and a minor in Printmaking. He was awarded a MFA from Cranbrook Academy of Art in 1972 with a major in Painting and a minor in Materials Technology. He has over 75 One-person exhibits throughout the U.S., along with an extensive participation in group exhibits, as well as large-scale installations and monumental public sculptures which have been seen in places such as New York City, Chicago, Kansas City to name a few. His artwork has been extensively reviewed and features profiles in local, regional and national newspapers, magazines, books, radio, and television. He additionally worked for 25 years as a contract illustrator and graphic muralist for the Denver Museum of Nature and Science. He still teaches as a Professor of Art at an urban college in the Denver area. He is also a musician, performing on the guitar and bass.
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UNC Action Research
Art T eacher~ Action R esearcher by Donna Goodwin Art Education Faculty University of Northern Colorado Donna.Goodwin@unco.edu I never made a painting as a work of art, it’s all research. – Pablo Picasso
a basis depending on the needs of the teacherresearcher.
What is arts-based action research? In his book Art Practice as Research: Inquiry in the Visual Arts, Graeme Sullivan argues that the process of creating art, from the imagining and identification of an idea, to the intellectual task of seeking further information, through the physical act of creating a work of art, is actually a form of research. This research, this “form of inquiry” (2010, p. xi), can be done anywhere an artist works. Action research can be done by anyone “empowered to take action…for the purpose of improving their future actions” (Sagor, 2011, p. 5). It is not the sole domain of universities. While it is one way to comprehensively demonstrate growth and understanding of a course of learning, it can also be a way to deepen (McNiff, 1998) both teaching and artistic practices throughout one’s career.
Why would I want to do it? Buffington and Wilson McKay (2013) state that art teachers researching into an area of personal importance can generate “cognitive dissonance between old and new information” (p. 6) and results in powerful experiences in teaching and in art making. It is an emergent way of informing the practice of both the educator and the artist that is cyclical. As we reflect on what we learn through action research, new ideas and directions emerge. In 1944, John Dewey stated words that could not be more true today: “If we teach today’s students as we taught yesterday’s, we rob them of tomorrow” (p.167). Arts-based action research can give us, as artist educators, the knowledge and power to refresh and renew.
Is it really “real” research? Action research, in particular that which is arts-based, is generally focused more on a heuristic search for understanding rather than a particular methodology. While it may not necessarily be bound to rigid requirements of social science research (May, 1993; Sullivan, 2010), it does share the practice of a systematic approach and critical interpretation. There are many arts-based research paradigms (Rolling, 2010) that can be used as
How do I get started on my own arts-based action research? The first thing required is a mind shift. You are probably already in the midst of deep research, but you just have not labeled it that yet. Are you struggling with how to find time to create your own art? Are you wondering about how to encourage your students to take more ownership of their learning? Are you considering the best way to manage behavioral issues with a particular class? How many of you have spent your out-of-school time searching for works of art and project ideas
Arts-based action research can give us, as artist educators, the knowledge and power to refresh and renew. 16.
that you think might inspire your students – especially that one? We know that one, we all have or have had that one student that frequently needs more of your teacher’s heart than the others. That one is always a good place to start. Each of these quests is a form of research. You have most likely already established parameters based on your knowledge of your students, the limitations of your schedule, the identification and exploration of your teaching philosophy, and other elements unique to you as the teacher – as the researcher. Easy, No-Fail Recipe for Arts-Based Action Research My friend and colleague Judi Hofmeister has written a clever resource for educators called Cake Baking and the Creative Process: Recipes for Imagination. It takes what could seem like daunting ideas of constructing creative environments for performing arts situations and structures them into the easy-tofollow steps of a cake recipe. Using Judi’s ideas as inspiration, I have come up with a virtually no-fail recipe for arts-based action research for the art teacher (see Figure 1). Feel free to try it, experiment, and add variations that meet your taste.
UNC Action Research
You are probably already in the midst of deep research, but you just have not labeled it that yet.
Figure 1. Donna ’s Ambiguous Recipe for a No-Fail Arts-Based Action Research Experience
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UNC Action Research
References Buffington, M. L., & Wilson McKay, S. (2013). Practice theory: Seeing the power of art teacher researchers. Reston, Virginia: National Art Education Association. Dewey, J. (1944). Democracy and Education, New York: Macmillan Company. Hofmeister, J. (2014). Cake baking and the creative process. H2oh! Productions. May, W. (1993). “Teachers-as-researchers” or action research: What is it, and what good is it for art education? Studies in Art Education, 34(2), 114-126. McNiff, S. (1998). Art-Based Research. London: Jessica Kingsley Publishers. Rolling, J. (2010). A Paradigm Analysis of Arts-Based Research and Implications for Education. Studies in Art Education, 51(2), 102-114 Sagor, R. (2011). The action research guidebook: A four-stage process for educators and school teams (2nd ed.). Thousand Oaks, Calif: Corwin. Sullivan, G. (2010). Art practice as research: Inquiry in visual arts (2nd ed.). Thousand Oaks [Calif.]: Sage Publications. Thornton, A. (2013). Artist, researcher, teacher: A study of professional identity in art and education. Bristol: Intellect.
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to Find Voice by Luke Herbert email@example.com
Have you ever had a Luke Skywalker moment? No, it’s not the feeling of devastation after your hand was lobbed off by your estranged father. I’m referring to the moment of disarray Skywalker experienced after crash landing on Dagobah in search of the Jedi Master Yoda. Unpacking on the swampy bank, Skywalker confides in R2-D2, “Now all I have to do is find this Yoda, if he even exists.” Luke understood his goal, but the path was clouded by uncertainty. In my years of teaching art, I’ve experienced this moment all too often. For myself, the ultimate goal of art education is to provide an opportunity for students to gain confidence through the discovery of artistic voice. I think of voice as the essence of the artist exhibited in an art form. Thus, how do art educators help young artists reveal their voice? I crashed landed at Fort Lupton Middle School in 2008. Throughout my career, I’ve attempted numerous forms of teaching art from small collaborative groups to direct-instruction projects. The Force was not strong in my classroom. I felt frustrated and empty because I was limiting the potential discovery of artistic voice. The opportunity for students to find their inner Force was all but taken away on my account. I needed to find my Yoda. In 2014, I began experimenting with ChoiceBased Art Education (CBAE) in my middle school classroom. CBAE is an art education style that considers students as artists and offers
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One Man’s Journey
them real choices for responding to their own interests. Classrooms function like an open studio with different centers such as drawing, painting, sculpture, etc. (Douglas, K. & Jaquith, D., 2009). My first real unit was based around cultures throughout the world. I used a modified version of CBAE in which students chose from a predetermined list of cultures, researched that culture, and created traditionally based artwork using a variety of materials. As good as the art projects were, it still felt too orchestrated for my liking. The following school year, I decided to transfer to a completely choice-based classroom. As I began to research different styles, I noticed that many teachers, mainly at the elementary level, used stations or centers which were based around a specific media (Hathaway & Jaquith, 2014). In the middle school setting, I thought these types of models were not the best fit for the needs of my students. While pursuing my MA at the University of Northern Colorado, we discussed an article about Julia Marshall’s (2010) Phases of Creative Inquiry Process research model. Marshall’s model, based on Wallas’ 1926 Four Stages of Creativity, outlined steps in which students in secondary education could follow to incubate, reflect, and create choicebased artwork. I could feel the Force rising inside me giving me strength to overcome my fears. Marshall’s model became the map I would use on the journey for finding artistic voice.
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UNC Action Research
I began to deconstruct the Phases of Creative Inquiry Process model to the essential categories that best fit the middle school setting. Initially, Marshall uses Wallas’ four basic categories, Preparation, Incubation, Illumination, and Verification, then added subcategories within the four major categories such as Distill; Hunt, Gather, and Collect; Construct; and Reflect (2010). Marshall (2010) explains: I extended the Wallas format in this way to provide a much more detailed map and description of a creative inquiry process than Wallas’ four-stage plan offers and to highlight the analytical, associative, and transformative thinking that goes on in that process. (p. 17) Feeling that the terminology was not adequate for the classroom vernacular, I eliminated, preserved, or renamed specific parts of Marshall’s model. For example, in the Preparation stage, Marshall uses the term Name and Distill to describe the naming of the project to find the essence of the problem (2010). In my adapted model, I called this stage Initial Thought. In this stage, students explored their personal aesthetic by creating a list of items that were important to them. For example, students listed favorite activities they participate in outside of school, cultural rituals they participate in, or aspects of popular culture they enjoy. The list was conducive to individual expression. Students used some of their ideas to explore different types of art using online resources. I referred to this part as the Hunt & Gather stage. This stage fits with Marshall’s stage named Hunt, Gather, and Collect. I believe this stage is very important because it acts as a window into possibilities for potential artwork. In the third stage, students began to narrow and explore their interests. Marshall refers to this as Mine and Extract. I simplified the category by calling this stage Brainstorm. In this stage, students expanded upon one interest from their list by constructing a brainstorming web (see Figure 1). In the web, students examined the personal significance of their idea, cultural influences, and mediums that they were interested in using.
Figure 1. Student A’s and B’s brainstorming webs for their final projects.
Afterwards, teacher and student discussed how to turn the brainstorming web into a driving question. Andrew Miller (2015), a consultant for the Buck Institute for Education who specializes in project-based learning, states:
In my art classroom, a driving question acts as the theme for the artist. The teacher and student discussed making a driving question that is broad enough to explore an array of projects within (see Table 1). Table 1. Student A and B’s Driving Questions Participants
How do people express their feelings in the 21st century?
How can I examine football?
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[A driving question] captures and communicates the purpose of the project in a succinct question. When reading the driving question, the teacher and student should be clear on what the overall project is as well as its purpose. Also for the teacher, it helps to guide planning and reframe standards or big content and skills. (p. 1)
To this point, Marshall’s model and my adapted model were very similar. However, the next three stages, Connect, Synthesize, Juxtapose, Cast or Frame, and Project/Extended, are quite different. I simplified these stages into two different steps: Sketch & Design and Practice & Experiment (see Figure 2). In these two stages, students “take ideas further to new applications and possibilities” by sketching the form of the project, adding measurements, and outlining steps that will be followed (Marshall, 2010, p.18). Afterward, in order to cultivate confidence, students experimented and practiced with the medium they had chosen to execute their final art piece. This activity can be accomplished by using pre-made practice sheets, working inside a sketchbook, watching an example video, taking notes, or engaging in any other activities that would benefit the art production.
Figure 2. Student A’s and B’s sketches for their final projects
In the sixth stage, students created their final artwork. Marshall (2010) refers to this stage as the Construct stage in which students “put ideas into concrete form” (p. 18). In my model, I changed the name to Final Project to make it more relevant to the classroom vernacular (see Figures 3 and 4).
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Figure 3. Student A’s final project
Figure 4. Student B’s final project
(Exactly where I want to be!) Lesson Plan for Grades K–8
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After the artwork had been constructed, students entered the Reflection stage, which is also a component in Marshallâ€™s model. In this stage, students reflect upon the meaning, process, and evaluate their final product in written form. The reflection was attached to the artwork and then the entire process was repeated (see Figure 5).
Figure 5. Choice-Based Research Chart
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Now that the map had been fully constructed and each step of the journey laid out, it was time to see if this path would lead to the discovery of students’ artistic voices. For 12 weeks, I monitored twelve students. Two students, a male and female, were chosen at random from Grades 6, 7, and 8. The main objective for each student was to complete three projects that addressed a driving question by the end of the twelve-week period. After examining the data, I could see a real change in process and product. For example, Students A’s artwork demonstrated her ability to examine real-world issues that pertained to her age group and society in general. Initially, she wanted to focus her theme around social media. After her first project, she began to dive deeper into the effects of social media like violence, slander, and cyber bullying. It became apparent that she was not only increasing her painting skills, she was analyzing and internalizing the concept of her artwork. If you’re a teacher considering a choice-based classroom, give yourself and your students time. Time is essential to this journey. Each student works at his or her own pace and style. Many of my students exceed the three-project minimum over the course of a trimester, while some only complete one, which are typically very large. The choice-based classroom should provide an environment for students to explore ideas that are conducive to their timetable. If only one choice project is offered, I do not believe students will grow and learn in comparison to exploring a theme or concept for an extended amount of time. Give yourself enough time to find resources, structure your classroom, and experiment with new methodology. What works for one teacher doesn’t always work for another. I can access technology for research very easily, which may not be the case for others. Thus, some creative thinking may need to be employed. Same goes for classroom materials. I pillage the cafeteria for cardboard every week for students who are interested in sculpture. Furthermore, when I used folders as a sketchbook, I noticed many students lost papers and artwork. So, we started stapling papers into a notebook and lost papers became a thing of the past. Choice-Based Art Education can be a research tool that expands and deepens the conversation surrounding secondary art education. I believe students who are given enough time to pursue themes that are personally meaningful will see growth in their process and product. The choice-based classroom can provide opportunities for self-discovery to acquire an artistic voice powerful enough to shake the Force. This process has been my roadmap and will continue to inform my decision making in the future. Maps help guide us through uncertainty and doubt when we are unsure of the destination of the journey. References Douglas, K. & Jaquith, D. (2009). Engaging Learners Through Artmaking. University of Michigan: Teachers College Press. Marshall, J. (2010). Thinking Outside and On the Box: Creativity and Inquiry in Art Practice. Art Education, 63(2), 16-23. Miller, A. (2015, August 20). How to Write Effective Driving Questions for Project Based Learning. Retrieved from http://www.edutopia.org/blog/pbl-how-to-write driving-questions-andrew-miller
by Wendi K. Oster Definition A/R/Tography is arts-based research as a form of inquiry and learning process to discover new knowledge and construct meaning while offering insight into self. Furthermore, it encompasses the different roles of an individual as an artist, researcher, and teacher, providing for one role to influence the others reflexively to inspire change, validation, and holistic understanding (Irwin, Kind, & Springgay, 2005; Marshal, & Kimberly, 2011; Watson, 2009).
personally participated in a Living Historiesยน project that my students had previously experienced. In the classroom setting, my students interviewed community members about their stories and then made artwork to reflect personal appreciation (seeFigures 1-4).
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A Personal Encounter of A/R/Tography: Rekindling the Creative Process
Introduction As a middle level art teacher, I embrace dialog with my students and encourage questions to build relationships and rapport with them in order to enhance our classroom community. One day a student asked if I was truly an artist or simply a teacher teaching art. This caused me to question my intentions of teaching and art making as well as my identity. Had I become stoic in teaching and making art? What did it mean to be a practicing artist? Was I alone in feeling stifled in my creativity? This quest for understanding provided the motivation needed to begin my arts-based research with the intentions of rekindling my art-making process and exploring the depths of my identity. Method The following account reveals how I utilized A/R/Tography as a safe place to explore new media and techniques while fostering intrinsically meaningful metaphors to heighten the concepts expressed through the works created. Because A/R/Tography is based on reflexivity, I had to be open to allowing different elements of my life to inform my artistic creations. For example, I
Figure 1. Brett Bloom
Figure 2. D Lane Joens
ยนAfter attending the CAEA fall conference in 2014, I decided to implement a Living Histories project in my classroom as introduced to me by Abi Paytoe Gbayee. She is an art educator in Wyoming who wanted to encourage community involvement in her classroom. She invited several volunteers to be interviewed by the students who then made artwork based on the stories shared.
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As a researcher, I chose to interview my family members and reflect on how their stories have shaped my own. In order to track my thoughts and revelations, I began journaling which focused on memory work. These reflections revealed subliminal changes that heightened my awareness of past and present experiences. Along the way, an autoethnographic account began to take place, “the memories of events, feelings, thoughts and emotions which contribute through varying methods of recall, collection, and analysis towards different types of systematic introspection in order to illuminate and to facilitate understanding” helped me to understand the complexity of my own identity (Hayler, 2011, p. 19).
Figure 3. Cesar Bustillos Artwork
These narratives provide an opportunity to “make sense of our lives” (Zander, 2007, p. 191) and, in doing so, we stimulate interest or passion that leads to inspiration for the creative process that is emotionally charged and adds to the concepts being portrayed because “…our own stories can serve as a jumping-off point for new interpretation” (Zander, 2007, p. 194). I wanted to allow my artwork to commemorate my family’s influence on my perspective and purpose, but I also wanted to demonstrate my own navigation of self through my artwork. This research provided the inspiration needed to explore the creative process. Results of Art Making Actively participating in art making, I experienced the complete artistic process as something that I have struggled with in terms of time and voice for as long as I can remember. Where did the hesitation come from? What did I have that was unique to express? In my classroom, I focus on the Studio Habits of Mind while encouraging my students to create choice-based projects (Hetland, 2013). How can I sincerely encourage this without authentically experiencing it for myself? I was afraid to take risks because I am a planner. I like to be able to anticipate the outcome. I struggle with new things because I do
Figure 4. Bailee Shostrom and Katie Ellis Artwork
Figure 5. Wendi Oster Phototransfer Collage
not want to look incompetent. This A/R/Tography experience was a sink or swim momentâ€Śwas I willing to go through the same experience as my students?
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There is so much exploration and risk taking in the creative process that I have always felt limited in my abilities. My previous works were more technical in their appearance because they were strategically planned. However, I decided to stretch and explore with a different technique of collage using photo transfer and washes in order to embrace the ambiguity of the meaning surfacing from this experience (see Figure 5). I collected images that portrayed monumental moments shared with individual family members and his or her impact on my life. After researching the process and experimenting, I created photo transfer collages to document my personal understanding of the relationships and events of the past. I envisioned the works created as artifacts that demonstrated the depth of understanding I gained through this research. I could not control the outcome and had to allow the pieces to evolve organically. This ambiguity was a challenge to accept. After successfully interacting with my family members, I decided to focus on my navigation of self. What events had shaped me? How had I allowed them to influence my every day? What spoke to me artistically? I began to observe artists and reflect on experiences which had had a profound impact on who I am as an artist and person. In doing so, I was able to identify specific elements of personal aesthetics and styles that I resonated with.
As an artist, I needed to find the inspiration for visual representation. My ideation process began with interviewing my family members, but what came next? To help spur on the creative process, I engaged in analyzing photos based on past experiences and memories, which allowed me to evaluate the influence of each family member. My appreciation for them and understanding of their perspectives was enriched through the interviewing process. How do I portray the depth of a person and my appreciation for each of them? Figure 6. Wendi Oster Family Dinner
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communicates the significance of everyday events and how they contribute to personal understanding (see Figures 6-7). I diligently crafted a tablecovering of memories to foster open sharing and reminiscing of the past while bringing the members of my family together around the table with mix-matched furnishings. By highlighting the everyday, my students may become aware of their daily activities and see them as sources of inspiration for art making. I have been enthralled by projection pieces for as long as I can remember. I love how they invite the viewer to experience and contemplate the image or text being projected. I decided to create a projection piece that narrates my personal journey of becoming (see Figure 8). This visual narrative allowed the viewer to witness my contemplation of how my identity has evolved.
Figure 7. Wendi Oster Family Dinner
I am intrigued by art as a social practice and how it provides an encounter of interaction for viewers. Furthermore, I am also fascinated with installation art and how it transforms the space in order to alter the awareness of the viewer on a phenomenological level. However, it is the narrative and personal connection that has held me captive. Being firmly rooted in these essential elements, I was able to create works of art using new media outside of my comfort zone: performance art, pixilation, and installation. The performance piece of a meal shared with my family
The installation was achieved through the juxtaposition of the meal setting and the pixilation video (see Figure 9). I intimately opened up my personal journey and reflection for my family members to witness. Although this might not seem like a very daring task, it was for me. I am someone who usually compartmentalizes aspects of my world: school, family, friends, etc., and maybe this is why I have felt limited in my time. By
Figure 8. Wendi Oster Pixilation
If you are feeling a disconnect between your theory of teaching art and your personal artistic expression, I would encourage you to explore A/R/Tography as a way to personally rekindle your passion for making art and experiencing the creative process. By actively experiencing ideation, researching process or concepts, and creating works of art, we are better equipped to help our students to do the same.
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to artistically create works that express my personal meaning to share with others. This empowers me to empathize with my students and better assist them in their creative process. It also demonstrates the importance of taking risks and exploring media in order to continue growing as an artist. My goal for the future is to explore A/R/Tography in front of my students so that they are able to see the influence of different roles during the creative process.
References Figure 9. Wendi Oster Installation
compartmentalizing, I was not allowing each aspect to inform and influence the others. A/R/Tography provides an experience of unity because it allows for the researcher to inform the artist and the artist to influence the teaching roles we experience on a day-to-day basis. In order to utilize these media, I had to engage and persist in order to develop craft for mastering each new media. On several occasions, I needed to rely on the expertise and assistance of others which exemplified how art can foster an understanding of community through interdisciplinary studies and stories. Seeking help from others and experimenting with media can help ensure that the art being created continues to nourish my soul and encourage me to hold tight to my artistic identity. Conclusion As a teacher, I always want to improve on my practice to further enhance my students’ experiences. In order to create a classroom environment of creativity and individualized expression, I must serve as an authentic example to model the process of researching ideas, exploring inspiration, and processing through media in order
Hayler, M. (2011). Autoethnography, self- narrative and teacher education. Rotterdam Boston, Massachusetts: Sense. p. 1-115. Hetland, L. (2013). Studio thinking 2: The real benefits of visual arts education (Second ed.). NY: Teacher College Press. Irwin, R., Kind, W. S., & Springgay, S. (2005). A/r/tography as living inquiry through art and text. Qualitative Inquiry, 11, 897-911. Marshall, J. and D’Adamo, K. (2011). Art practice as research in the classroom: A new paradigm in Art Education. Art Education 64(5), p. 12-18. Watson, C. (2009). Picturing Validity: Autoethnography and the Representation of Self? Qualitative Inquiry 15(3), p. 526- 544. Zander, M. (2007). Tell Me a Story: The Power of Narrative in the Practice of Teaching Art. Studies in Art Education, 48(2), p. 189-203.
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Anne Thulson and Rachael Delaney Elaborate
on the Art of Being Both Artists and Art Educators by Khaleel Herbert The opening reception of the Radical Compliance and Wayfinding to Sustainability exhibitions not only showcased a plethora of art crafted by art educators from all over Colorado, but also included a lecture by art educators Anne Thulson and Rachael Delaney from Metropolitan State University of Denver (MSU). The opening reception took place on May 6, 2016 at MSU Denver’s Center for Visual Art. Thulson and Delaney’s lecture covered the feeling of being lost as an art educator and how it made, and continues to make, an impact for them as teachers, artists, and students of their own craft. Since 1987, Thulson has taught college students and children. She has been teaching art at MSU Denver for five years. Delaney started teaching art at the K-12 level in 1997 and has taught at MSU Denver for 10 years. “We wanted to explain from our own experiences that teaching is an impossible profession. On one
hand, teachers need to know what they want their students to be able to know and do,” says Thulson. “On the other hand, in reality you never can know ahead of time what your students will be able to know and do. In that paradox, we teach.” Thulson and Delaney explained why they wanted to teach art as well as create it. “I fell into being an artist because the world makes the most sense to me through my metaphor, story and image,” says Thulson. “I went into art education because I was more interested in doing art with others and not by myself.” “I never thought I was going to be an educator. Then I had the opportunity to teach–and it transformed me,” says Delaney. “I had the opportunity to collaborate, think and build with others. I found out I am the most effective when I share and design with others. I am not good at being the lone wolf.” Art educators can sometimes get “lost” when teaching, but Delaney and Thulson say that it
is an opportunity for educators to be students. “Teaching requires the educator to always be the humble learner,” says Delaney. “Being lost means that you need to always be researching and finding your way. You can’t teach well if you do not continually study what it means to teach,” says Thulson. “You must remain an inquisitive researcher of your students, your methods, your content and yourself. If you don’t, your curiosity languishes, your empathy dries up and your curriculum stagnates.” As art educators, Thuslon and Delaney had come across confrontations with their students. “It was a terrible project in my early days of teaching that I concocted,” recounts Thulson. “Students were constructing some architectural forms out of rolled paper. They had no choice in the content or the material or the manner in which they manipulated the material. “Because they had no choice, they were not engaged. They were making my art through their obedient hands,” continues Thulson. “One ‘disobedient’ student deviated from my plan. When I criticized him, he said, ‘This isn’t your project! This is my project!’ That changed my teaching and I started to introduce more ways for students to have agency and construct meaning in my classroom.” Delaney recalled a moment of confrontation when she was teaching color theory to her students. “I ignored the fact that my students already had expertise in color. I needed to build off of their expertise and not insert expertise onto or instead of their knowledge. “I needed to build for understanding and all I was building for was book knowledge about color,”
continues Delaney. “Trust me, the assignment sucked.” Delaney and Thulson discuss how they practice art as artists while being art educators. “I make in a very painful and labor intensive way and I love it,” says Delaney. “I use my summers to make and my semesters while I teach to research and practice what I am making. This past semester, I have been teaching myself how to make lace. Now that it is summer, I will start to make the art.” Thulson says her art output is limited, but she stays devoted to it. “I think making art is sustainable while teaching, but I have an intentionally limited output. I’m committed to do at least one transient time-based artwork a year like the lecture/ performance we enacted. I make paintings too. “Being a painter is not a career for me. It’s not a hobby. It’s more like a practice, like yoga,” continues Thulson. “I also think of teaching as an ongoing performative conceptual artwork. So in that sense, I’m making art every day during the schoolyear.” Delaney elaborates on the importance of the teacher practicing what is taught. “It is disingenuous to ask others to make when you do not do that yourself. I also find that my teaching is smarter and I am more effective in the classroom when I am making and caring for my own creative practice.” “It is about empathy,” says Thulson. “How can you teach something that you don’t do?” Thulson and Delaney’s lecture reminds art educators to never stop learning. Getting lost allows them to reflect and learn from experiences that will aid them in “getting back on course” with their students.
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2016-17 Youth Art Month Flag Design Competition National Theme: “United Through Art”
2016 Overall State Flag Winning Artwork by Ella Johnson Teacher: Cindy Migliaccio, Cherry Creek West Middle School, Cherry Creek Schools
2015 Overall State Flag Winning Artwork by Aeneas Gomez Teacher: Robin Wolfe, Monte Vista Middle School
Flag Design Competition:
2014 Overall State Flag Winning Artwork by Edna Adame-Hernandez Teacher: Dr. Alexa Overby, Lincoln High School, Denver Public Schools
(Be a part of our growing collection of winning flags!)
Your mission: Assign your students the task of creating artwork to be used as a flag design submission in your choice of media following the guidelines below. - Each current CAEA member teacher may submit up to 2 student artworks - Each teacher who submits will have at least one student artwork in the Spring 2017 Statewide Exhibition (depends on number of overall submissions and space available at the venue) (site/date TBD)
*Physical submissions of artwork due: 5:00 PM Friday, November 5 for the YAM Art Show/Competition at Fall Conference (you may submit your work ahead of time by mailing it to or dropping it off with: Justine Sawyer, South High School, 1700 E. Louisiana, Denver, CO 80210 by October 31, or send your artwork with a colleague to Breckenridge if you can’t attend conference) - Submit work and fill out tag at YAM check-in table near registration area (all works displayed as space allows)
- Jurying by the CAEA Executive Council and their designees will occur Friday at 5:00 PM (no submissions accepted after this time)
- Winning works will be announced at the Art Auction Friday night at Fall Conference - All work not selected as level winners (elementary, middle, and high school) or for the spring show MUST BE PICKED UP BY 4:00 PM ON SATURDAY AT CONFERENCE so banquet set up can begin The design must: • Be created by students of current CAEA members • Represent visual art and may represent Colorado • Include the Youth Art Month logo (Cut-outs of the logo will be available to add when checking in your work at the fall conference if you do not want your student to permanently have the logo as part of their work) • It may represent the 2017 national theme “United Through Art” but this is not required • Be matted/mounted using black or white mat board • Identifying information must be written on the back of the work: Student first and last name,
Grade, School Name, District Name, Teacher name, Teacher email, Teacher phone number (cell phone preferred)
The winning design:
The winning design will be made into a 3’x5’ flag and flown at the annual 2017 NAEA Convention in New York, NY, so be mindful of this as you assign the size of artwork to create to your students. Some proportionally scaled down sizes include: 12”x20” 9”x15” 6”x10”
NEW PRIZE STRUCTURE sponsored by Sargent Art: One Overall Prize: The Overall winning student receives a cash prize of $1,500.00 in the form of a check The Overall winning teacher receives classroom art supplies worth $2,000.00 One Elementary School Level (PK-5th) Category Prize: The Elementary level winning student receives an assortment of art supplies worth $100.00 The Elementary level winning teacher receives classroom art supplies worth $300.00 One Middle School Level (6-8th) Category Prize: The Middle level winning student receives an assortment of art supplies worth $100.00 aThe Middle level winning teacher receives classroom art supplies worth $300.00 One High School Level (9-12th) Category Prize: The High level winning student receives an assortment of art supplies worth $100.00 The High level winning teacher receives classroom art supplies worth $300.00
Visit the CAEA website www.caeaco.org and go to the Youth Art Month tab for details. Check these sites for ideas:
http://www.caeayamflags.weebly.com (submission galleries 2014-16) http://www.pinterest.com/justinesawyer/youth-art-month-ideas/ http://www.pinterest.com/justinesawyer/youth-art-month-flags/ https://www.pinterest.com/youthartmonth/youth-art-month-ideas/
Questions? Contact State Youth Art Month Chairperson: Justine Sawyer, e-mail: firstname.lastname@example.org
Ways to get involved in Colorado’s Youth Art Month (REMEMBER: It’s Youth Art Month All Year Long—Not just March!) Everything you do throughout the year advocates for the arts and your program—please share your ideas and achievements. 1. Create flag designs: Have your students create flag designs for submission. Find lesson plan details at www.caeaco.org. 2. Consider planning an event or art show: Listed below are SUGGESTIONS, not requirements • Consider doing an activity correlating to the current year YAM theme. The goal of participating in this activity is to advocate for the arts, so if your project can involve people outside the art education field, that is great! See the resource pages at www.caeaco.org and Pinterest pages (links above) for ideas. • Include “CAEA presents YOUTH ART MONTH 2017” (or something similar) on all advertising such as flyers, posters, & invitations to have a farther-reaching appeal. • YAM is nationally celebrated in March. Strive to have your exhibit in March. However, if that is not possible, it can be held at some other time. • Remember to invite local dignitaries to your celebration & reception. 3. Request a YAM Mayoral/Dignitary Proclamation, School Board Resolution: Contact your local congressional representative, mayor, school board or school district officials/ principals, superintendents, artists, businesses, etc. Suggest they make a proclamation declaring March as Youth Art Month (sample form available at www.caeaco.org under the YAM tab). 1. Write a brief letter. Include the suggested proclamation and/or endorsement—IT IS ALREADY PREPARED FOR YOUR USE! Simple, yet powerful to do! 2. Your mayor/dignitary will read the information, approve the proclamation and have it prepared for his/her signature. After you pick it up, duplicate it for distribution. 3. Include an appearance request. 4. The Board of Education will usually add the request to the agenda. Public officials are usually eager to participate in YAM, if you will just ask them! 4. Contact your local news media for event coverage and recognition: One goal of YAM is to make art education visible in our schools and community. (Press release form available at www.caeaco.org) 5. Be a part of the State YAM Report: Please document all YAM activities and events and submit to www.caeayam.weebly.com by May 1st, 2017. Your submission will be included in a statewide report, which is sent to the National YAM chairperson.
Thank you for your participation!
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Current + Sensing Current Sensors ship with every KilnMaster Kiln. KilnLink is an optional upgrade.
My Trip to NYC with the Sargent Art Colorado YAM Flag Winner by Cindy Migliaccio
Colorado YAM Flag Winner: Ella Johnson, 8th Grade, West Middle School When I found out that I won a free trip to New York City (NYC) funded entirely by Sargent Art, I was shocked. My student, her mother, and I were treated with such care throughout the entire trip. Our flight landed in New Jersey at noon and we were greeted by a Sargent Art staff member and taken to our hotel where we were greeted and handed lunch. Wow, then the Awards Banquet was so special for all the students, teachers, and parents. The art was on display and each student was awarded. We had time to interact with other artists and teachers from the United States.
The next day, Saturday, was an action-packed day! The tour guides were amazing and very experienced. It was really nice to listen to stories about New York history and funny little things about NYC and New Jersey. First, we took a stroll in Central Park and learned some history about Yoko Ono and John Lennon and the Strawberry Fields/Imagine mosaic such as the story of their lives, music, and their work as peace activists. Then we explored The Metropolitan Museum of Art (the Met). If I only had more time there! Next, the buses picked us up right in front of the Met. I took so many pictures.
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Next, money was given to each of the 90 people for lunch. I thought that was interesting. Next, Top of the Rock Observation Deck at Rockefeller Center where I got a great photo of my student Ella! All of this was strategically planned! After lunch, off to The Museum of Modern Art (MoMA). Ahhh, my happy place. Such a perfect day. Bringing creative minds together to meet and share art. Yoko Ono was at MoMA too! Then again, there was our bus waiting for us. Off to dinner – all 90 of us. We ate a wonderful family-style meal and talked about the day together at a large table with lots and lots of food. The day was so inspiring and amazing. After dinner, we went to Times Square and then to see The Lion King! Are you kidding me? All a gift. It was never-ending. “Please someone roll out the red carpet.” This day will be forever imprinted in my mind. Just to see the look on my student’s
face everywhere we went was priceless. Sargent Art has touched so many lives by doing such an act of kindness. Sunday we had a personal tour from our tour guides to go see the Statue of Liberty and the 9/11 Memorial site. I really was sort of not wanting to go see the memorial but it was a good end to the trip and very emotional. We heard about the history of Wall Street and other detailed information from guides who lived to talk about 9/11. The history of NYC in a very detailed manner was so interesting I never would have heard that if I were on my own traveling. What a neat experience to go do all these activities with 90 other people. My student, her mom, and I thoroughly enjoyed every minute. Thank you, Sargent Art, from the bottom of my heart!
Linda Slobodin’s passion for encouraging the artistic experience in others has been Art Educator the driving force throughout her thirty years as an art of the Year educator. In addition to her years teaching college classes and elementary art, Linda has been on staff at Lakewood High School, teaching IB visual arts and photography for 19 years. An active life-long learner, Linda is constantly searching and growing in order to find materials, experiences, or ideas she can use to help others also learn. She is virtually a storehouse of techniques not only in the darkroom, but in the digital lab. Linda cares deeply about ensuring that her students receive a rich and varied learning experience, including exposure to guest speakers and field trips to museums and galleries in the Denver/Boulder area. She has also tapped many former students to talk about their own educational and professional journeys in the arts. Linda glows when talking about the former students who keep in touch with her, many of whom have pursued careers in photography, film, fashion, painting, art history, and art therapy – truly, every area of the arts. The long list of awards received by her students in district, state and national exhibits is a testament to the breadth and depth of arts education Linda provides. This is also true of the many scholarships her students have received to art schools and colleges. This extensive list also includes students who received advanced degrees in painting, photography; one received a master’s of art history from Oxford University and another recently obtained a Ph.D. in medieval cartography in England. Throughout her career, Linda has given freely of her time to expose her students to various arts environments in order to fully engage in the artistic experience. Every year, when other teachers began enjoying their summer break, Linda spent her time organizing teams of students to participate in the Denver Chalk Art Festival. Many of these teams won first and second place in the competition. Organizing the team entailed planning designs with the students, teaching chalk techniques, and being on the street for two full days with students in the sun, rain and heat; this was far beyond the call of duty. Her students loved it as did she! Displayed in Linda’s classroom are news articles about her students’ participation in the Chalk Festival as well as other stories of their artistic accomplishments. Linda’s students have consistently been accepted to and won awards in the Jeffco High School Art Exhibit, Scholastic Awards (a statewide juried exhibition), and the annual Sixth Congressional District art exhibit. She worked with community institutions to exhibit student work, including at the Belmar Library, the Lakewood Library, the Department of Motor Vehicles, as well as at galleries in the Denver metro area. All of these shows involved working closely with students to develop and select high-quality work. In doing so, her students learned to professionally mat and frame their work. Once prepared, the work is tagged, delivered, juried, and hung for the exhibit. Often times the students and Linda are the ones taking care of all of these details, plus attending the opening of the shows, picking up rejected work, and then taking down the show and delivering the work back to the students. This is an enormous time commitment for each event, yet Linda is eager to enter these shows year after year with her eye on the experience (and possible scholarships) her students gain by participating fully. Retired art teacher Sara Behling concludes, “Many in education have the dream to work with individuals that possess a passion, have a vision and then spend every waking moment, living out a life style based on that vision; a person who receives a great sense of reward and reinforcement from the response of her students. And, as students learn, and grow, and develop, the teacher is given new strength to invest more time, more energy, and more concern in the lives of others; an individual drawn to a truly life-giving process. Linda Slobodin is one of those individuals.”
Collage Fall 2016
Carrie Mann High School Art Educator of the Year
If you know Carrie Mann, you know that no category can contain Carrie Mann. Yes, she is a high school art educator extraordinaire, however, she also currently teaches multiple levels and subjects in the Merino School District in Merino, Colorado. Her collaboration in the K-6 and 7-12 buildings is truly remarkable. Carrie not only teaches K-12 Art, she also teaches K-6 Music and 9-12 Drama. So, in addition to prominently displaying artwork throughout the school all year long and organizing a spring art show in which each student has three pieces of art displayed, she puts on musical performances, two plays a year, and makes all the costumes and set designs with the help of her husband and her art and drama students. Carrie’s dedication to her craft is inspirational and tireless. She is a true leader in her schools and an avid advocate for all of the arts in her community and beyond. Principal Lonnie Brungardt observes, “It absolutely amazes me with art shows, music performances and drama performances going on at the same time how she is able to accomplish so many tasks at once. Well, it is because she is so driven for her students to have the same opportunities as larger schools and she devotes her life to these students at Merino.” Colleague Christina Martinez adds, “Carrie is a leader in her school for the arts. Carrie has an annual art show for all her K-12 students every year with a new and different theme. Some years students learn about Egyptian art and dig so deep into the culture that they mummify Barbie dolls and make a sarcophagus for them. I had the pleasure of attending the workshop Carrie taught on this lesson at the 2014 Fall Conference and I was simply amazed! The lesson was engaging, creative and cross-curricular. What more can a teacher ask for.” Most recently, Mrs. Mann has taken her involvement in art education farther by becoming CAEA’s K-12/MultiLevel Representative. Since joining the council, Carrie has become very involved in CAEA’s fall conferences, making table decorations for CAEA’s Award banquet, volunteering her time, and presenting amazing workshops We are grateful.
Middle School Art Educator of the Year As a middle school art educator at Drake Middle School in Jefferson County Public Schools, Rachel Dunn’s work as an art educator is layered with a sense of humor, a respect for the creative process, a belief that all students can succeed, and a rigorous studio classroom that is in tandem with inquiry. Rachel is an asset to her entire school community and to the Jefferson County School district. She is an outstanding art teacher who has excellent rapport with her students and is highly respected by the students, their parents, and her colleagues.
Entering into Drake Middle School, a visitor clearly sees that this is a school where art is alive! Murals adorn the hallways and artwork is exhibited in every available space. Rachel’s studio classroom at Drake Middle School is an environment where students are engaged in higher-level thinking, are confident, and demonstrate an artistic fluency in their artwork. Joy in the imaginative process is evident in Rachel’s studio classroom. Students at Drake Middle School want to be in Rachel’s classes because she creates space for and encourages their middle school voices to be expressed, thoughtfully challenged, and always respected. On the district level, Rachel has proven herself to be a leader time and time again. She is a member of the Visual Arts Middle School Curriculum Writing team in Jefferson County that is constantly developing Visual Arts Year’s curriculum and resources and continues to be an online resource for teachers to use for their planning and teaching. Rachel has also worked for numerous years on the district-wide middle school art show as the coordinator, implementing new ways for teachers to submit and hang their students’ artworks, and helping streamline the entire Jeffco Schools Middle School Art Show. Rachel has mentored new art teachers, and supervised many field-experience teachers over her numerous years of teaching. Finally, this year in collaboration with other Jeffco Visual Arts teachers, Rachel has served as the lead teacher on a grant which her group received from Jeffco Schools. This group spent this school year collaborating on curriculum and developing assessments for elementary and middle school visual arts teachers. Rachel has addressed teachers on both a personal and professional level with these meetings. Miki Reddy of Metropolitan State University exclaims, “Rachel Dunn! How can you not smile when you hear or are in the presence of this amazing lady? Rachel has given more than a decade of her adult life to her students, providing them with the wonderful gift of learning how to express themselves through the media of art. Rachel’s passion and love of art is at the forefront of every project she presents to her students as well as the many fortunate student teachers she has supervised over the years. So many of these student teachers are now solid amazing art teachers, too. Her legacy continues!” Visual Arts Coordinator Shannon May concludes, “I have known her for many years and have worked with Rachel in many venues in the Jeffco Visual Arts Department. In that time, I have observed her teaching strategies, curriculum development, and the leadership she demonstrates at the district and school level where she has created an excellent visual arts program. When all’s said and done, Rachel’s enthusiasms for teaching art and for the arts in general are obvious. She is a devoted teacher who is committed to her students, committed to her school, committed to her district, and most of all, committed to her passion in visual arts.”
Collage Fall 2016
Pamela Cogburn Elementary School Art Educator of the Year
Pamela Cogburn is recognized for having created an incredibly strong art program at Renaissance Magnet School in Castle Rock. It is one that promotes creative thinking and problem solving that students truly do use throughout their lives. The work that is created with her students not only engages them and gives them voice and choice, but also includes the importance of learning the skills necessary to be a successful artist. The projects created are visually interesting, well-crafted pieces of art, and compare well to that of higher level art students. According to Principal Deborah Lemmer, “Pamela Cogburn is an extraordinary art teacher. Just what is it that sets her apart? She doesn’t teach art – she constructs a learning experience where students discover, explore and engage in the creative process. Through the creative process, her goal is to empower students to be problem solvers, have openness to new ideas, and to deepen their awareness of themselves and their world. She uses the work of artists to inspire students – first by noticing and wondering things about the work, and then exploring it. She provides a foundation in art principles that students can use to see their world in a new way, to apply it to original ideas and to analyze and evaluate with a critical eye through self-reflection.” In addition, Pam writes a blog for her school community to make the learning process that takes place within the classroom visible to parents. This learning is shared with parents and the teaching community through the blog. It is through the sharing of this blog that Pamela ensures that students’ learning is not contained within the walls of the classroom, but shared with the world. Colleague Kimberly Chlumsky concludes, “I am in complete awe of what she creates with her students, her ability to communicate and through her passion to promote and improve art education. I have been privileged to teach some of Pamela’s former students, and cannot believe the passion for art and creativity that has been instilled in them. Pamela’s former students have communicated to me what a wonderful teacher ‘Ms. Pam’ is, and have shown me many works of art they have kept as masterpieces from their time at Renaissance Magnet School.”
Private/Charter/Independent Art Educator of the Year
Christine DeVivo, of Imagine Classical Academy at Indigo Ranch, is described by colleagues as a dynamic, innovative, and dedicated teacher and artist who loves to share her passion with her students and fellow educators. She not only teaches her regular art classes for grades preK-8, but she also teaches an Honors Art Class two days a week for grades 6-8. It is during these 45-minute classes that students are able to create works of art based on their interests and ability levels. Principal Frank Fowler proclaims, “Christine is a valued member of our staff. Christine supports our school’s commitment to the Integration of Core Knowledge sequence by grade level. In doing so, she balances this powerful integration of content with classroom teachers aligning Colorado State Standards, Core Knowledge sequence and the Common Core. In addition, she is passionate about the psychology of creativity and works to include art therapy, choice-based, Studio Habits of the Mind and Project Zero’s Visible Thinking Techniques to enhance lessons and build stronger artists. She is always pushing herself and her students to be better creative thinkers and experimenters and is constantly working on lessons and curriculum that are relevant to her students’ lives.” Christine’s students have participated in statewide competitions such as the Aspen EcoArt Contest in Aspen, Colorado where her elementary student won first place. Christine is a leader in her school. She most recently started a National Junior Art Honor Society at her school during the 2015-2016 school year, which is run like a pre-Advanced Placement art class so students can experience and discover their own paths as artists. In addition, Christine is diligently working to make her school an arts magnet school and is the founder and sponsor of her school’s Enrichment Night and Art Show. At this event, students, parents, and the community come together to create art, look at art, and listen to music performed by students. Katie DeLeon says, “Christine DeVivo is a true practitioner of love through teaching. I can honestly say that having Christine as a partner with me in the education of our students has definitely made me a better teacher.” “Any time I visit Christine’s classroom, it is a place of vibrant discussion, hard work, and beautiful products!” says Katie DeLeon. “I have also had the pleasure of simply walking into Christine’s room during various lunch periods, and there are always students hanging out, eating lunch, discussing life with Ms. DeVivo, and seeking advice about what to do in various situations. It is during these times that I feel Christine TRULY shines. Her love and caring for her students is consistently and continuously shown in her thoughtful discussion and true kindness.”
Collage Fall 2016
Sieger Hartgers Higher Education Art Educator of the Year
Whether teaching undergrad students at the University of Northern Colorado or teachers looking to refine their skills in making fine art, Sieger Hartgers is the prime example of the combination of master teacher and skilled artist. Mr. Hartgers is an Associate Professor of Printmaking and Life Drawing at the University of Northern Colorado (UNC). He loves teaching, he loves creating art, and he truly loves his students. He cares about them and goes out of his way to help them succeed. UNC colleague Donna Goodwin observes, “He enjoys his profession in a way that makes everyone around him happier in his presence. When he sees you he smiles, a genuine smile that encapsulates every feature from his kind eyes to his flowing white hair to the stylish scarf he is almost never without. It seems as if everybody knows, and everybody loves Sieger.” He is a true artist teacher and has the teaching ability to translate what he knows in a manner that encourages his students to not only attain a myriad of new skills but to find their own artistic voice in which to use them. He grounds his students’ art making in a solid foundation of technique and form. His students are held accountable for their actions as they learn the qualities and processes of expression. He holds the same high standards for himself and his own work. His art combines extraordinary skills developed over many years with his own life experiences in a beautiful poetic form. He tells his students to “Think of a composition as a chance to romance the viewer through rhythm,” as he romances us through his marks and images. In addition to his courses at UNC, Sieger regularly attends the CAEA conference and teaches studio classes to working teachers. Year after year, Sieger’s workshops at the CAEA fall conference have drawn large crowds of teachers eager to learn a new skill or dust off and refine those skills that have become stale. UNC Colleague Connie Stewart adds, “Sieger’s legacy goes beyond his classes into the example he provides with his own character and beliefs. Former students, now contributing to the world in different ways, remember his ‘Siegerisms’ and use them as guides for art and life. ‘Make your make mean something.’ ‘It isn’t about making the best art but having the courage to make your mark.’ And most importantly of all, ‘Be a good person.’ Sieger is a good person who has contributed to his students, to teachers, and to art and art teaching through tireless work. He is deserving of recognition.”
Distinguished Service Within the Profession
Angela Farris Belt
Angela Farris Belt is dedicated to providing quality access to art programs at both Arapahoe Community College (ACC) and at the K-12 level. She has hosted the Spring CAEA workshop at ACC for a few years and has worked hard to ensure CAEA has access to the facilities and faculty for various workshop opportunities. She has also provided further professional development opportunities for teachers, such as the clay workshop she hosts for teachers to refine their skills in teaching ceramics. Ms. Belt is dedicated to fostering the best environment possible for art-career training at ACC. She is the Department Chair and spends a lot of her time making sure her faculty and students are supported in their efforts. Ms. Belt is working to offer dual enrollment opportunities for high school students through Career and Tech Education. She has spent hours working with the Colorado Department of Education (CDE) to align courses and requirements for students to have a smooth transition between high school and post-secondary education. According to Katie Caron, Head of Ceramics and 3D Design at ACC, “As a department, one of our goals is to encourage students from the surrounding high schools to take courses within our program. Angela has worked very hard through her involvement with CAEA to help students find their path, through portfolio reviews, curriculum alignment and events at ACC. Her drive and vision has impacted the Art Education world and supported Colorado teachers and students.” As a master teacher, Angela truly cares about students and is always looking for ways to improve the classroom and the entire fine arts program experience. Angela continues to learn in the classroom and frequently adjusts courses according to each student’s needs and the class dynamic as a whole. Her approach is creative and determined – never satisfied with subpar work from students. She works vigorously to move the fine arts program forward into a more progressive and vital educational program. During her short time at ACC, Angela is already developing a CTE photography program and has implemented other forward-thinking changes to make the art programs a “big deal,” as she likes to put it. Katie Caron concludes, “I have observed Angela in the classroom as master teacher, both inspiring students and challenging them to push themselves and their work to ask deeper questions. She asks the same of her faculty, always encouraging innovation, collaboration and community.”
Collage Fall 2016
Brianne Sanchez Distinguished Service Outside the Profession
As a high school art student, Brianne “Breezy” Sanchez began her association with the Scholastic Art Awards Program painting walls and hanging photographs for the program at the Museum of Outdoor Arts. As a student at Rocky Mountain College of Art and Design, she began to help with the graphics of this prodigious program. She has had a diverse set of experiences in a variety of assignments in this volunteer organization and has now established herself as an outstanding volunteer for the Scholastic Art Awards in Colorado. This year she has been involved in almost every aspect of the program. With over 5,000 pieces of artwork submitted to Scholastics of Colorado, it was a monumental task to organize, catalog, and adjudicate. Brianne was there everyday, as teachers turned in the paperwork for submissions, checking on the website to make sure artwork was correctly submitted. She then not only proctored but also judged during adjudication. She had previously never proctored this competition, but was a quick learner, and became the best person on staff to ensure no mess-ups in the judging and was quick on her fingers with complicated computer data. Once artwork was awarded, it was daunting to install, run, and de-install the exhibition at the History Colorado Center. Not for Brianne. She was there every day for installation and tediously hung artwork and matched nametags. She made sure artwork was not only hung straight, but had a wonderful flow in the new salon-style exhibition space. She did it with a smile, and some sweet rolls and coffee. As a leader, she addresses the needs and expectations of the various projects with enthusiasm. Even with all the hours she gives in her demanding roles of being responsible for graphics and website development, finding and establishing a Red Carpet Night, and overseeing grant presentations and the multitude of daily activities, Breezy never loses site of what this means for secondary students in Colorado. Pam Starck, Director of the Scholastic Awards, concludes, “Breezy is highly respected and well thought of throughout the state for all she does for Scholastic Art Awards and gives a 120 percent to the program to make it the best it can be. Scholastic Art Awards, Colorado Region would not be what it is today without her dedication. She understands the importance of supporting and nurturing students as they blossom as artists and discover their own creativity.”
Robin Wolfe Marion Quin Dix Leadership Award
Robin Wolfe is an outstanding example of a state association president who has demonstrated extraordinary contributions to further the role of art education in Colorado by strengthening the Colorado Art Education Association. As she stepped into her role, Robin was confronted with an association suffering from sagging membership, budget problems, and programs that needed to be reexamined and reinvented. Robin began this transformation “behind the scenes” as president-elect by reworking the CAEA fall conference and making it an exciting and relevant professional development opportunity for art educators in the state as well as a profitable enterprise for the association. As president, she moved the organization to streamline practices and procedures, reinstate Youth Art Month, and move Collage—the Association’s journal—to an electronic format. All important changes to move CAEA forward! As past-president, she offered invaluable support and assistance to the president and continued to assist the president-elect in planning and presenting the conference. CAEA President Vanessa Hayes-Quintana proclaims, “What I admire most about Robin: in the most difficult situations she always conducts herself with unwavering patience and grace. In the face of conflict and difficult choices, I’ve never seen Robin lose her composure. She thinks and acts carefully and thoughtfully in the most stressful circumstances. She exercises integrity at every turn. She simply does the right thing because it’s the right thing to do. I admire the intestinal fortitude she has used to navigate her leadership challenges and follow through. Robin’s ability to make decisions with this strength of character has made CAEA a stable, productive, and healthy organization.” Past-president Patrick Fahey concludes, “Robin Wolfe is a strong leader. She provides guidance by modeling practice and supporting and creating consensus among the organization’s constituents. She is a powerful advocate for art education and continues to be an important force for change and advocacy in the arts in Colorado. Robin Wolfe exemplifies the virtues of the Marion Quin Dix Leadership Award and I fully support her nomination.”
Collage Fall 2016
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