A MAGAZINE FOR COLORADOâ€™S ART EDUCATORS
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In This Issue
4. President’s Message by D.J. Osmack
8. Interview with Carlos Frésquez by Rachael Delaney
6. Editor’s Message by Alexa Overby
16. A Story of Student Teaching by Claire Dean and Rachael Delaney
94. CAEA Executive Board and Division Representatives Council Directory
21. ArtSource 2019 Summer Residency
94. CAEA Task Force Chairs and Publications Directory
22. CAEA 2018 Award Winners
95. Regional Representatives
33. Community and Art: Using Community-Build in Your Classroom by Steve Wood 42. Photo Essay of 2018 Fall Conference
Table of Contents
In Every Issue
66. 2019 CAEA MidWinter Conference 70. Retirement???? by Deb Rosenbaum 72. So, You Want to be an Art Teacher? Student Teachers’ Practical Guide to Student Teaching by Donna Goodwin, Allie Marino, Katelyn Kittilson, Samantha Calderon, Laura Martin, Kate Forman, Nancy Erekson 84. Second Annual National Art Honor Society Leadership Day by D.J. Osmack and Vanessa Hayes-Quintana 86. Past President’s Message by Vanessa Hayes-Quintana Page 8: Interview with Carlos Frésquez by Rachael Delaney
Page 33: Community and Art: Using Community-Build in Your Classroom by Steve Wood
High School Level Winning Artwork by Arcelia Guerrero, Grade 12, Paula Rowinski (Teacher), Legacy High School, Broomfield from Page 89 : Youth Art Month 2018-19 Flag Winners by Justine Sawyer, YAM Coordinator
87. Youth Art Month 2018-19 Flag Winners by Justine Sawyer, YAM Coordinator
So, You Want to be an Art Teacher? Student Teachers’ Practical Guide to Student Teaching by Donna Goodwin, Allie Marino, Katelyn Kittilson, Samantha Calderon, Laura Martin, Kate Forman, Nancy Erekson
COLLAGE is published by the Colorado Art Education Association D.J. Osmack – President Alexandra Overby – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Janet McCauley – Layout Design & Production Please submit all materials to: COLLAGE Editor: Alexandra Overby, firstname.lastname@example.org
COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - August 1. Email all submissions to email@example.com. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Word documents. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Images should be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, include captions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, and format. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include lesson objectives, appropriate assessments, procedures, standards applications, and materials.
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Presidentâ€™s Message by D.J. Osmack
A goal of mine is to keep the spirit of creativity and the energizing force we all feel at conference alive throughout the year by creating a more collaborative environment on our Facebook page and in our Elementary, Middle, and High school group pages. In the near future, we will be branching out to create webinars for you to participate in, virtual classroom tours, and much more. Wow, what an amazing Fall Conference! I hope you all enjoyed diving into the Art of Play and that you found something valuable to take back to your studios and your students. The value of play is something that we as adults should never lose. For me, our conference was a reminder of the importance of play and that it is important to take some time to allow myself to play, even if I have to schedule it. It is always inspiring to be surrounded by so many creative people. Thank you for making our conference an energizing force that refueled us all. As I reflected on our time together, I was reminded that the energy we put into our
work and our willingness to pour our hearts and souls into our students can often cause us to be stressed and feel depleted emotionally. Therefore, it is important that we take time through play to recharge our creativity. 2019 will be a great year filled with amazing opportunities as artists and educators. Personally, I am so excited for this transitional period from President-Elect to President. It is an honor to represent and serve so many wonderful art teachers in Colorado. I am looking forward to carrying on the great traditions that our Past Presidents
have created to pave the way for a bright future in our organization. In addition to all of our great opportunities for professional growth, a goal of mine is to keep the spirit of creativity and the energizing force we all feel at conference alive throughout the year by creating a more collaborative environment on our Facebook page and in our Elementary, Middle, and High school group pages. In the near future, we will be branching out to create webinars for you to participate in, virtual classroom tours, and much more.
encourage you all to share what you are doing with us. Speaking of all the amazing things that you are doing, I want you to know that it’s never too early to be nominating your peers for awards, as we are always looking to grow our awards program. I hope you all had a wonderful winter break and Happy Holidays. I wish you all a very joyful New Year!
Thank you for making our conference an energizing force that refueled us all.
It is important for all of us to hear about the amazing things that are happening in your classroom, community, and across our state. I
YOU NEED TO TEACH
Lead Free Glazes
Slab Rollers & Equipment
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The Race to Art Show Season by Alexa Overby
As always, we welcome all types of articles, lesson plans, and event summaries for future issues of CAEA’s Collage – share your knowledge with fellow CAEA members!
Is it just me or did the fall semester fly by? By the time you read this, we are well into January and, before we know it, art show season. I’m sure all of us have some tricks up our sleeves on how we manage the extra responsibilities, but here are a few ideas that may be helpful for you. 1. Keep student artwork that you think you may want to display. After every project, save the work that you feel would best represent your students’ work. If you create a checklist of which student work you kept, you can have a quick way to see if you saved a piece from everyone. Make sure to tell the students what you are doing with their work. Usually, students are pretty excited that their work is an exemplar of the
project and there is a good possibility it will end up in an art show in the future. 2. Cut your mats early and often. If you are like me, cutting mats is the worst chore in the art room! If you cut a few at a time, it makes the end rush of getting ready for all the art shows a little easier to handle. Some teachers may even be able to cut standard size mats in bulk due to the paper or print sizes they require out of their projects. There is no shame to buy precut mats for emergencies. I have a small stash in my classroom for those last-minute art show opportunities when matting is not a possibility. I just don’t use them all the time – I don’t know anyone who has the budget for that!
3. Make name tags ahead of time. It may take a few minutes the first time around, but make a template to use. Your future self will thank you! Then, type in all your students’ names and make name tags for each of them or keep adding names as you collect work during the year. My school uses address labels for name tags – they are very easy to peel and stick on a black railroad board tag. This is a great job for your high school/middle school students who are your teacher assistants – just make sure you check for spelling afterwards! While you (or your teacher assistants) are typing in students’ names, don’t forget to cut enough name tag backs. Cut plenty to last the whole year and find a good place to store them. 4. Double check your supply of tacks, tape, and display needs. The best time to do this is in the fall when you are ordering all your supplies, but doing this at any point before art show season can eliminate another stress point in your life. Think about what you usually use: masking tape, doublesided tape, sandpaper, mat board, etc. You will save money if you plan ahead and don’t have to rush out and purchase a last-minute item. 5. Create an invite and posters.
there is extra credit involved. There may be a service club at your school that is looking for volunteer hours. Parents are also a good group to ask for help (even at the high school level there are helpful parents). There may even be a teacher or staff member who would like to help. Lastly, when in dire need, our significant others and family members will come to our rescue (although you may need to buy them dinner afterwards)! In this issue, we have some fantastic recaps from our conference presenters! Rachael Delaney interviewed Carlos Frésquez, one of our fabulous keynote speakers, and she collaborated on a reflection about teaching with one of her students. Our other conference keynote speakers share some wisdom as well. Steve Wood from Concrete Couch gives us advice on how to engage with the community to create public artworks. Donna Goodwin shares thoughts and advice from a group of student teachers. Finally, one of our own CAEA members, Deb Rosenbaum, reflects on the beginning of her retirement. As always, we welcome all types of articles, lesson plans, and event summaries for future issues of CAEA’s Collage – share your knowledge with fellow CAEA members! Please email your text and photos to firstname.lastname@example.org. Enjoy the issue!
Most of us know when the big art shows come up in our calendar. Work ahead and create invitations for your administration and district leaders, community members, and parents. When the show comes up, all you have to do is print or email those announcements. Posters can be created quickly on Canva (https://www. canva.com ), Photoshop, or some other graphic design program, but if you create these ahead of time, you will save yourself some time during the final rush to get the show ready. 6. Round up some volunteers. Finally, no art teacher can do it alone. Students are often willing volunteers, especially if
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Interview with Carlos Frésquez by Rachael Delaney
The following is a conversation I had with Carlos Frésquez, the 2018 CAEA Fall Conference Keynote speaker, about teaching, being an artist, and his community outreach work. A prevailing theme during the conversation was Carlos’ compassion and genuine concern for students, and how that concern has influenced his professional practice as a working artist. Carlos’ deep ties to the Denver community, which began when he was a student at MSU Denver, have continued through to his current position as an associate professor, leading generations of future artists as they establish their artistic voice as a result of his guidance. There were many influential experiences in his life that propelled
Carlos into the profession of being a working artist; this article is a synopsis of some of those experiences. Rachael Delaney: Can you share with me some influential experiences in your life that guided you to becoming a professional artist?
Carlos FrĂŠsquez: When I started attending school at Metro State in the fall of 1974, I started looking back, asking myself: Why do I want to do this? And why do I even want to be an artist? I began to think about my past and what brought me to the decision to go to school to study art. So, I spoke with my mom about a memory; I remembered string, and
yarn, a fragment of a shiny piece of paper, cutting out the figure of Mary from a religious card and I remember gluing them all together and giving that collage to my grandmother. I wanted to see if she remembered that collage and I wanted to know how old I was when I made it. She had to think for a moment and she said, â€œWell hijo you were probably around three years old when
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you did that.â€? This was probably the first time I made something creative on my own. Another experience I had with art was with Ms. White (devoid of color) my kindergarten teacher. One day she placed on the table these Donald Duck juice cans. As a kid I remember those juice cans clearly because they had Donald Duck on them and I was intrigued by that. Ms. White filled each can with thinned out tempera
paint and in each can there was a brush, we sat at short round tables with newspaper, this is all so vivid in my mind. She told us to drop each color of the paint onto the white construction paper, she told us to look at the paint and then she told us to pick up the paper and let the paint drip on to the newspaper, so I picked it up and all of a sudden I see yellow and blue coming together and turning green, and I then was like, what the heck is this? Because I had never experienced this
before, in front of my eyes the paint is dripping and turning green, and I thought Ms. White was a witch, I seriously thought this was magic – that first moment of paint. It set something inside me, something magical. That was the first point in my experience in wanting to be an artist but not knowing at the time what that was. I thought about this experience I had with paint because of Ms. White and that is when I realized I wanted to make the magic that she had made for us. And so at age 3 and age 5 there were these fundamental experiences for me solidifying my desire to be an artist. I declared, between third and fourth grade, to my parents that I was going to be an artist. I mean even playing pretend in my neighborhood I would play the role of the artist and my cousin Miguel would pretend to be a fireman – so even in my imaginary world I was an artist. I just knew it was a part of me. When I had children I asked them what do you want to do with your life and my daughter was like “I don’t know” and I was like what? How do you not know, I knew from such a very young age that I wanted to make art my career. There was another teacher, Mr. Norris, my sixthgrade art teacher. He was a painter and when we would do art, he would do art. Mr. Norris would show us what the assignment was and then he would go and work on his painting. I remember watching the paintings progress. He would wear a suit and paint while we painted and it was so cool to just see him painting. We were making and he was making and there was this cool synergy. Rachael Delaney: I talk a lot with my students about the importance of creating classrooms that have an immediate sense of welcoming. When that teacher showed you that yellow and blue make green and it just occurred, the door opened – all are welcomed to become makers. That experience taught you that you did not need special knowledge, you did not need special tools, all you had to do was engage in the activity and allow wonder to be part of the experience. Ms. White showed you that art does not require a special talent.
Carlos Frésquez: I was lucky we had field trips, we went to performances, they made the arts part of the instructional space – art was always right there. Rachael Delaney: Was there ever anybody in your world that told you that you could not be an artist? Carlos Frésquez: No – everyone was supportive. When I told my father that I was going to go to college, he took me aside and asked me how was I going to make a living as an artist, making paintings and selling them. I told him that I didn’t know how I was going to do this – I just knew that I was going to be an artist. Each time he asked me how I was going to make money, I kept answering with: I don’t know. Coming from a poor family, my parents were like what is art? There were no artists in my neighborhood, no models for me to follow. But I remember so vividly one summer day my father yelling for me to come to the living room, the Ed Sullivan show was on and Ella Fitzgerald was on the screen and she threw her head back while she was singing, and my father pointed that out to me and asked me: What is she doing? And he said to me, she is giving it everything she’s got – she is pouring out her soul and spirit. And he told me that is what I have to do, bare my soul for my making. Rachael Delaney: Have you always been this courageous? Carlos Frésquez: I don’t see it as courageous, I was determined. I was going to do this and nothing was going to stop me. That was the only point my father was trying to make, he did not try to stop me, he just wanted me to pause and think about how was I going make a living as an artist. I was fortunate enough to have professors at Metro, art teachers that encouraged me. But I left school with no professional practices course, like art survival classes that would teach me how to professionally work as an artist. When
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I finished school I did not know what do with these paintings I made. So I met with other graduates from Metro, they started Pirate gallery, their thinking was, just make it happen – open your own gallery. But at that time Pirate was not the right fit for me and I went out seeking other organizations and that is how I became involved with the Chicano Humanities Art Council and I began to network and meet people and this is how my career started. I also submitted work for calls for entries. Others recognized my work and said it was valuable and that encouraged me some more. But it took some time to get my art going because after I finished school I got a job working full time and I was not making my work. My wife was like, I went to your graduation ceremony and I don’t see you making work anymore. I wanted to make art – get back into it but I did not know how I was going to do that working 10 hours a day. During this time the Chicano neighborhoods in Denver were filled with all this graffiti and that inspired me. So, I decided that I had to find a quick way to make art. This is why I started using xerography in my work; using found pictures of my family I would blow up the images and tile them together. I would prepare 3’x3’ panels and assemble the artwork after work at night using the photocopied images and spray paint to make art quickly. I submitted this work into calls for entries for shows around Denver and I started selling work. One show I entered was for the first annual All Colorado Artists’ art show at the Curtis Center in Greenwood Village. I think they have now had 35 of these exhibitions. A gallery owner saw my work in the exhibition and approached me about representing my work. This experience helped me with professionalism because the gallery owner showed me how to make my work look more professional. I learned from her what I did not learn from school. After my first year with the gallery I had my first sale and soon after my work started blowing up in her gallery. I also started to get invited to show my work in different exhibitions.
In 1989 I quit my job with my wife’s coaxing and I was making more money working part time as an artist than I was making working full time spray painting professionally. Then it was for real so I started taking notes, keeping imagery, and organizing my ideas for future works in files. I knew that the determination, the laser focus, is as delicate as a thread. All of this focus resulted in a growing career and 10 years after graduation in 1992 I was in 33 exhibitions. I was making tons of money with the abstract works I was making. Then I decided that I was just painting for money. During this time, five different galleries were representing me. One of the galleries was up in Aspen and I had this crazy drive up there to drop off some more work. The road had all these hairpin turns and I made it around this one bend and all of a sudden there was this deer in the middle of the road. I slowly started to inch towards it to try to scare if off the road and instead the deer ran into my car! When it ran into me it knocked off my sideview mirror, but I did not know that at first, I only noticed when I went to look back and see if it was ok, and the mirror was gone. So I couldn’t look back. In that moment I decided I had to look back on myself, was I just painting for money? That deer was my sign; I stopped making the abstract work. This was the experience that brought me back to teaching. I started teaching more classes because I was making less money from the paintings I was selling. I started working with youth at risk and this gave me more purpose with my own art making. Around 1990, I made a commitment to the higher power – if I want to survive as an artist I need to be involved in my community because I want my community to help me. I decided in that moment to commit to my community for the rest of my life. Then in 1993 Denver went through the summer of violence – gang violence. I wanted to help, to try to have a positive impact so I went to the quadrant schools, North, South, East and West high schools, and offered to work with kids at those schools to make work about the impact
the summer of violence had on them. I was able to get 21 kids to participate and we had a show at Edge Gallery where the students created altars for the kids killed during the summer of violence. One of the local papers picked up the story and wrote about how art can heal, and how art has power. This experience inspired me more to be a mentor, a positive influence, an artist that was part of the community. This led me to working with more at-risk youth in after-school programs run by ArtReach. One of the many programs I did with ArtReach was at the Mount View detention center. There were all these kids under 18, there were 12-year-
olds in jail. While I was there I worked with the kids to create a mural in the lunchroom, these little kids. I remember this moment when I went to go hand out pencils and this guard came in and held up the pencils and counted them out 1-10. He told the kids when we are done I want 10 pencils back â€“ so I am standing there in shock, because the guard did not want the kids to take a pencil and turn it into a weapon. So when we ended the session and the guard started the process of counting back and collecting the pencils and I look over and I see this little kid break the tip off of the pencil before he gave the pencil back to the guard. So I walked over to him and I picked up his paper to make it appear like
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I was talking with him about his drawing. I told him that I saw him break the lead off the pencil; he told me that he was going to go back to his pod and use the lead to draw. I asked him if they gave him paper to draw on and he told me no, that he draws on the walls. He said that he drew faces on the wall so that he had someone to talk to. This little fragment of graphite was like survival for this child helping him to handle the day-to-day in this place. Being in that situation taught me so much – art is survival – maybe this kid always wanted to be an artist. There are many moments like these that affected me and still do to this day. Rachael Delaney: How have you used what you learned from these experiences in your teaching? Carlos Frésquez: I get to know my students – I learn a little bit about them, I learn about their lives and what they do. Even when I am critiquing their work,
discussing with them what they did, I talk with them about their lives and their experiences. I don’t want to just teach students a technique or process, I want to also learn about them, get to know them a little deeper. Because by knowing who they are I can be a better teacher for each of them. Rachael Delaney: Students come into the classroom as human beings and if we nourish their humanity then we can experience them as humans with unique stories to tell, but if you see them as anonymous students then they just become a homogenous mess. Carlos Frésquez: Yes, that is why I am keeping the door open like the door was kept open for me.
Art and Design LOW RESIDENCY MASTER OF ARTS DEGREE The Low Residency Art & Design Master’s degree is designed for current art educators who wish to build upon their credentials while pursuing development as artists, teachers, and leaders in the field of art education. • Reconnect with your studio practices and develop new teaching strategies • Courses designed to fit your schedule with two summer residencies and courses conducted online • Learn through both expert faculty and practical field application • Discover new resources and contacts • Synthesize your personal talents with curricular interests
TO LEARN MORE ABOUT OUR LOW RESIDENCY PROGRAM, VISIT ARTS.UNCO.EDU/ART-LOW-RES. Collage Winter 2019
A Story of Student Teaching by Claire Dean and Rachael Delaney
Janine Antoni Gnaw, 1992 600 lbs chocolate cube and 600 lbs lard cube gnawed by the artist, 45 heart-shaped packages of chocolate made from chewed chocolate removed from chocolate cube and 150 lipsticks made with pigment, beeswax, and chewed lard removed from lard cube Each cube: 24 x 24 x 24 inches (60.96 x 60.96 x 60.96 cm); Installation dimensions variable Installation view The Museum of Contemporary Art, Los Angeles
I want people to love art and appreciate the richness it can provide for one’s life. I see teachers as our first initiators. This introduction can set the stage for what a relationship with art can be. One does not need to be an artist to have one’s life enriched by art. Art provides an alternative way of learning that can be valuable in all aspects of our lives. Although I am far from a trained teacher of art, I feel that looking at an artist’s creative process can give clues about how to approach teaching art. — Janine Antoni (Fusaro, 2012 para. 6)
In 1993 artist Janine Antoni placed a cube of lard and a cube of chocolate on pedestals at the Whitney Biennial. Each cube weighed 600 pounds and, for a month and a half, Janine Antoni gnawed on these blocks of lard and chocolate, eventually transforming the chewed up bits of fat into 150 sticks of red lipstick and the bits of chocolate into 27 heart-shaped candy boxes. Janine Antoni’s seminal work Gnaw examined important questions about identity, power, and desire through the use of her body to radically alter materials filled with cultural symbolism (Steadman, 2015). Janine Antoni stated that she “was interested in the bite because it was both intimate and destructive. It summed up my relationship to art history [which] defined me as an artist, and excludes me as a woman, both at the same time” (Cottingham, 1993, p. 104). The labor and endurance of biting away at these massive cubes for a month and a half placed importance not just on the finished artwork but also on the process as being essential to the meaning of the artwork. Like many conceptual artists, Janine Antoni does not hide the process from the viewers, instead she includes them so that they can have access to more than just the objects but the ideas that went into creating the objects. Janine Antoni teaches us that the act of making art is a human behavior that viewers can relate to through their own bodies. As stated by Janine Antoni, “I am much more interested in the viewer empathizing with my process” (Horodner, 1999, para.7) because through empathy Janine Antoni can facilitate a more meaningful relationship between the artwork and the viewer. This act of revealing the process as a way to engender empathy so that a deeper understanding can develop is something teachers in the art classroom do every day. When art teachers demonstrate that making art is a human behavior and not a special behavior, students learn to transform their ideas into objects that can be shared and valued by others. There are very few classrooms where the act of learning is as important as the results of learning. So when art teachers offer to share their classrooms to mentor student teachers, they are offering more than just a space to practice teaching, they are revealing the enduring process of learning.
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Each semester student teachers transition through tears, laughter, vacant stares, anger, frustration, disappointment and joy as they experience what it means to become a teacher. Beyond the learning of routines, systems, and procedures of the mentor teacher, the student teachers are also trying to acclimate to the culture of the classrooms and the schools they are working in. Like the new student in a school, student teachers are trying to figure out how they fit in, and this acclimation process can be disorienting and intimidating. In addition to this, student teachers are also responsible for using their time in the classroom to both build and test their ideas. This time of transition is a moment when theories about teaching run up against the practical realities of the classroom and student teachers learn to navigate the competing demands of teaching. Sometimes this results in student teachers deciding that teaching is not a profession they want to pursue full time, while for others the clinical experience in the classroom reinforces their desire to become an educator. The following is a graphic article written and illustrated by Claire Dean, a former student teacher at Metropolitan State University of Denver who has recently transitioned into the role of full-time art teacher. In her article, Claire describes the insights she gained from her practicum experience and how the process of teaching became more familiar because of the guidance and mentorship of her host teacher Nick Rubino, the students she worked with, and the communities she became part of. Empathy is a prevalent theme throughout the narrative, deeply influencing Claireâ€™s perspective on teaching and will certainly inform the instructional approaches she will take in her own classroom to build a positive classroom culture in her first year of teaching. As her former professor, I (Rachael) am excited to see how the process of learning will reveal itself to Claire and her students and how understanding and meaning will be built as a result of that process. All Images ÂŠ Janine Antoni; Courtesy of the artist and Luhring Augustine, New York
Images on this page by Claire Dean
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Cottingham, L. (1993). “Janine Antoni: Biting sums up my relationship to art history.” Flash Art. Summer, 104-105. Heon, L. (2001). “Janine Antoni’s gnawing idea.” Gastronomica, 1(2), 5-8. Horodner, S. (1999). “Janine Antoni.” BOMB (66). Retrieved from https://bombmagazine.org/articles/janine-antoni/ Fusaro, J. (2012). “Talking with Janine Antoni and getting set for NAEA: Part one.” Art21 Magazine. Retrieved from http://magazine.art21.org/2012/02/22/talking-with-janine-antoni-and-getting-set-for-naea-part-one/#. W3NHRH4nZmB Steadman, R. (2015). “Woman’s work: The epic two decades of Janine Antoni.” Observer. Retrieved from http://observer.com/2015/04/womans-work-the-epic-two-decades-of-janine-antoni/
…JOIN US FOR A WEEK-LONG SUMMER RESIDENCY EXPLORING THE THEME “BEYOND TRADITION” G JUNE 16-‐21, 2019
UNIVERSITY OF NORTHERN COLORADO CAMPUS
ArtSource summer residency offers art educators an immersive professional development experience that is run by teachers for teachers. This summer’s theme, “Beyond Tradition,” will look at the benefits of traditions and moving forward beyond our current practices. As artists and educators we seek to find ways to weave innovative creative experiences into our practice. This is an opportunity to reawaken the deeper reason for teaching and making art.
• • • • •
What is included in this amazing $600 residency experience? Engaging presenters that share cutting edge thinking in art education. Ample art studio time to work on your own ideas. Opportunity to collaborate and make new connections with other art teachers. A college campus environment with time to explore the outdoors. An all-inclusive cost for presentations, lodging and meals. Visit http://www.artsourceco.org/ for more information. Scholarships available for CAEA members.
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Art Educator of the Year
Kimberley is a true innovator, leader and advocate, and a passionate working artist in the field of art education and the art world. Her name really does have ART in it! Kimberley consistently refines her own art practices, which translates into truly engaging and innovative projects for her students. There is a perennial lingering question of whether an art teacher creates their own work, or if they “just teach art.” Kimberley is always doing both. She is always working on something; whether it is drawing in a sketchbook, working on ideas for students or creating her own work for an exhibition, or creating for the sake of making art. Kimberley’s k-6 students learn about art mediums, processes, and techniques that are above and beyond the k-6 level. In her classroom, Kimberley innovates with varieties of media and techniques such as encaustic painting, mixed media, collage, and printmaking. Kim Chlumsky recognizes Kimberley’s student work, even at first grade levels rivals middle or high school art making. Kimberley’s students are consistently honored at her district art shovaw, and are always represented in a variety of art shows in the Castle Rock community. When viewing her student’s work in a sea of exceptional pieces, Vanessa Quintana always notices that there is often something extra special that is evident. Kimberley is able to guide students in getting to the heart of why they are creating their work, and the heart of their art shines brilliantly. Her commitment to excellence in art education has a significant impact in the visual arts in Douglas County Schools. Assistant Principal, Stacey Roberson appreciates Kimberley’s ability to make extremely solid relationships with the students, teachers, and families that she works with. Her strong work ethic and diligence to details allow her to help her art students understand what the artistic process is, and how it doesn’t need to look like everyone else. Kimberley’s dedication to her profession often includes staying late and weekend visits to school. In the classroom, her veteran status translates to effective instructional pedagogy that leads to student growth outside the artistic avenues of social and academic arenas, and into their middle and high school endeavors. A true leader in the Douglas County School district, Kimberley has served on the Art Curriculum Council for many years, along with being a chair and organizer for DCSD Art Shows. She currently advocates for professional development among the elementary school art teachers. She created a wonderful art education community, and opportunities for teachers to gather, share ideas, and engage in professional development endeavors. She created a professional development day for elementary teachers who attended the CAEA fall conference to share their learnings. Kimberley independently creates these opportunities to connect with other art teachers absent of any district mandate. Kimber-ley has also presented at CAEA fall conferences for many years. Her sessions are always packed, as other art teachers want to learn the innovative processes she teaches her students. Kimberley’s curios-ity translates to what she teaches students and how she inspires others. An exceptional art educator, and an exceptional artist, Kimberley is more than an art educator of the year. Congratulations, Kimberley D’Arthenay 2018 Colorado Art Educator of the Year
Art Educator of the Year 11
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High School Art Educator of the Year
There are many wonderful ways to describe Alexa’s unique ability to connect with her students and colleagues. She exhibits exemplary professionalism within all of her teacher and leadership responsibilities. She is a skilled performer, a master juggler, compassionate, and supportive. Her driven and tenacious “make no excuses” spirit is softly cloaked in humble gentleness. Her reach is extensive within her classroom, and out into the world of art where her work and advocacy touch East High School as a whole and within the Denver Public School District and surrounding community. She balances with seeming ease, her roles as a Photography Teacher, Curriculum Specialist, East High School Senior Team Lead, Denver Public Schools Regional Team Specialist, CAEA Collage Editor, and Mother to three extraordinary girls, a dog, and numerous other animals. Linda Slobodin recognizes Alexa’s ability to foster growth among dedicated art educators in her leadership roles that illustrates her desire to further enhance the professionalism of art education in Colorado. Alexa’s AP Studio Art, AP Art History, and Photography students know her to be patient, empathetic, and kind. Through her ability to analyze and reflect, and in her spirited belief in the power and potential of learning, Alexa seeks endless ways to authentically engage students and show their work where they are regularly recognized for excellence. Barth Quenzer shares that one of the hallmarks of Alexa’s pedagogy of praxis is her ability to put a persuasive vision into collective action. She built a photography program without adequate resources, a handful of cameras, and an overflowing classroom. She collaborates with the Center of Visual Arts at Metro State University, leads National Art Honor Society, participates in Scholastic Art Awards, Denver Month of Photography Teen exhibitions, Colorado Student Art Month, East Art Walk, Art Camps, Internships, and in many other community collaborations and events. Linda Slobodin shares how Alexa initiated a collaborative art installation piece with their classes that fostered a clearer sense of community within their department. She provides activities which ignite curiosity, for example, students chose adults who impacted their life, and created large black and white portraits of staff members showcased in the main school hallway. Joyce Baker concludes, “This woman exceeds all definitions of what it takes to be a great educator. I know of no other educator I have ever met in my 30-year career who is more deserving of this honor.” Congratulations, Alexa Overby 2018 High School Art Educator of the Year
12 Awards: High School Art Educator of the Year
Middle School Art Educator of the Year
During the past ten years, Ms. Scott has been an Art Educator at Eagleview Middle School. She has been described as having an “infectious enthusiasm and unwavering commitment to helping students take healthy risks and develop a love for visual arts, while simultaneously helping maintaining guardianship of our school-wide Visual Arts program, from which all students at our school benefit.” Ms. Scott is committed to making a difference in the lives of students through art, as well as enhancing the appreciation for arts throughout the community. As a member of the Eagleview community, Ms. Scott has played an integral role in training teachers how to successfully integrate arts into their curriculum, an essential component in the Academic Arts Academy. Her Principal John T. Jamison said, “When I first toured Eagleview Middle School, I was immediately aware of the impact the art program had on the school. Every corner of the school rings of creativity and innovation because of the work of her students. Over the past nine years, Ms. Scott’s 8th Grade classes have created extraordinary art installations for the school. In 2013, she worked with students to do a project of painted pavers for the school’s community garden. In 2014, Ms. Scott was awarded the 'Unique Project' award from the Arts and Business Education Consortium for the work she did in the community garden as well as the 8th grade installation projects.” Students leave behind their legacy at EMS by taking part in these installations that become a permanent display in the school. School administrators say that “Vanessa Scott is a dedicated professional who maintains positive and productive relationships with all staff members throughout the school and school district and is always willing to assist and provide leadership when needed. Ms. Scott is a visionary who is unfailingly willing to take on new challenges and has proven ability to create opportunities for students, teachers and administrators to think beyond traditional problem solving paradigms.” Congratulations, Vanessa Scott 2018 Colorado Middle School Art Educator of the Year
Awards: Middle School Art Educator of the Year 13
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Elementary School Art Educator of the Year
Elisabeth Flynn Marcus Echoing in a hallway somewhere, is Liz Marcus’ laugh. Trailing in her wake is the magical presence of life. Liz exudes the joyful excitement and enthusiasm being an art teacher brings. She passes her creative energy and love for the arts to her adoring students who gain a lifelong appreciation for art, and who are safe to be themselves. Wilmot principal Matt Cormier expresses Wilmot School community’s tremendous appreciation for the incredible master art teacher Liz is, and they wholeheartedly see her as “Colorado’s Best.” Not simply in art, but for Liz’s innovation and passion, and the path that she chooses to teach, inspire and challenge every one of her 600 students. Liz is one of those rare educators that you could give an instructional manual of any subject and she would create an inspiring and effective lesson. Matt jokes that Liz could teach people how to change a transmission in a car, and she would do it in a way that would inspire and lead to success. Liz’s students will say she is “fun and funny, they learn 'sooooo much,' and art is the class they most enjoy.” They love to “WOW” Mrs. Marcus as she gives them the space to expand their love for creating.
Liz is deeply invested in making meaningful connections with her students and community. She goes above and beyond to create a safe and welcoming envi-ronment where students become confident to take risks. Wilmot Instructional Coach Sarah Lindmeier shares that each class Liz teaches hosts an art show three time per year. With a total of 42 art shows, Liz guides students to organize the vision of their shows that include instruments, creating murals with families, and having stations where students can teach their craft to their guests. Every year, Liz takes to heart the 3rd grade public art unit. When Wilmot endured a tragedy with the loss of a 1st grade student, Liz involved the student’s older 3rd grade brother. Through working in the community garden, students created three totems to memorialize the 3rd grader's brother by creating ceramic animals. Liz worked with the family to create the toppers for each totem. This year, she partnered with an artist who came to our school and worked with her to help students paint the shed in the community garden. Liz is also a part of Wilmot’s PBIS committee, and goes out of her way to be sure she individually knows each student. Liz hones her content knowledge, her ability to connect with students, her col-leagues, and the community by presenting workshops and ideas that teachers continually use in their own classrooms. Liz also served on the Douglas County School District Arts Council, and was an asset to the leadership committee. She brings a fresh perspective to teaching elementary art, and contribut-ed greatly to organizing art shows and professional development in the Douglas County community. Liz’s unmatched energy and passion for her craft often leave everyone in the room in stitches. Congratulations, Elisabeth Flynn Marcus 2018 Colorado Elementary School Art Educator of the Year
Private/Charter/Independent Art Educator of the Year
As an exceptional art educator and artist in the Denver area, Ryan Talbot’s character and integrity is highly respected among his trusted colleagues, his friends, his students, and within the community. At All Souls Catholic School, his leadership and zeal for teaching is unmatched. He received his undergraduate and graduate degrees from the University of Northern Colorado School of Art and Design where he also taught Art Foundation courses. University of Northern Colorado Professor Seiger Hartgers describes Ryan as, “well educated and exceptionally motivated, bringing total devotion and dedication to the classroom, and to his students and any art project he is given to accomplish.” Ryan is also a working artist, always pushing himself creatively to use a variety of media and concepts. He is visible in the art world through his support of being a member and showing work at galleries such as NEXT, ZIP37, and the Fellowship Denver Visual Artists Group. He recently had a solo show titled “Shelters” at Zip38. In his love for teaching and creating art he brings tremendous skill, creativity, and unique flair to his classroom. Ryan’s high expectations and level of art instruction are apparent to anyone who views his students' work. Ryan engages and inspires every single student at his school in art. He is dedicated and caring, demonstrating a love and respect for young people who respond to his warmth and enthusiasm. Principal Tracy Alarcon says Ryan’s teaching “reflects flexibility of methods and an ability to meet his students' varying needs with highly engaging and creative lessons that give each student the unique opportunity to let their own inner artist shine.” Ryan consistently displays work in his school to celebrate and communicate the im-portance of art education; and he authentically bridges the gap between the classroom and the “real art world” by organizing shows for students at a professional gallery. Mr. Talbot’s professionalism is highly regarded among his peers and parent community. He is very generous with his time and is a team-player. Kim Chlumsky reminisces about workshops Ryan gives at the CAEA Fall Conference. “The room was packed as the title of the workshop about Pixelated Mosaics captured everyone’s attention. The workshop was truly inspiring and sparked many ideas that have driven many of the projects in my own classroom. Ryan takes an unexpected spin on every workshop he has presented at the CAEA conferences over the past four years, including Louise Nevelson inspired robots and Zentangled, cubism inspired self-portraits. Ryan’s workshops give inspiration to all art teachers to create engaging projects for their students.” Ryan also organizes and hosts the Annual Archdiocese of Denver Catholic Schools Art show. This venue allows other art teachers to show their student’s artwork and honor their accomplishments. Ryan’s community of friends and colleagues view him as a great asset to humanity and art education. Congratulations, Ryan Talbot 2018 Colorado Private/Charter/Independent Art Educator of the Year
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2018 Distinguished Service Outside the Profession
For the past several years Lexi has passionately volunteered her time as Treasurer for CAEA. Lexi’s role far exceeds the duty of promoting financial stability and success for our organization. Lexi has a problem solver attitude and is a forward thinker. It is her expertise that has moved CAEA forward in our financial fortitude, although she might emphasize a “team effort”. This is also one of her best attributes. She is a team player and wants what is best for CAEA. Lexi has single handedly restructured the CAEA financial system in a way that is more comprehensible to the “artist mindset”. She has brought much of our financials into an understandable format that has helped the Executive Council increase their ability to make proper, responsible decisions that will elevate the impact of what CAEA can do for education. Mike Carroll points out, “Like many Executive Council members, and those dedicated CAEA members, she has volunteered many hours, over several years, at our conferences in Breckenridge and Executive Council meetings and on her own time. She believes in what we do, and she actively participates to better our association even though she is not an Art Teacher.” Most of us see Lexi as a young woman with a bubbly personality and a huge smile who is always willing and happy to help with registration but Lexi’s impact on our organization does not stop there. Lexi is an ultra professional who loves to remind us that she is not an artist, but if it were not for her passion and creativity behind the scenes, CAEA would not be as financially sound as we are. Lexi has spent countless hours combing through our financial records, organizing our books and making sure that all transactions including those at our conference are processed and our accounts are up-to-date and accurate. DJ Osmack comments, “Lexi’s enthusiasm and dedication to CAEA is boundless. I am honored to call Lexi a colleague and friend. Her contributions are an integral part of our organization. Her desire to constantly evolve and improve our financial stability demonstrates her extraordinary leadership and innate desire to further the profession.” Congratulations, Alexis Quintana 2018 Distinguished Service Outside the Profession
16 Awards: Distinguished Service Outside the Profession
2018 Distinguished Service Within the Profession
Miranda is a truly gifted advocate for the arts and art education. As the Community Outreach Ambassador for Rocky Mountain College of Art and Design, she is always thinking about what she can do next to support us all, and what can we do to inspire students to continue making art in college and beyond. As the Community Outreach Ambassador at RMCAD for the past six years she has run numerous projects to encourage community activism in the arts. Everything from spearhead-ing scholarships in local art districts, congressional compe-titions, hosting summer programs, camps, and pre- college for high school students at RMCAD, to organizing portfolio events and attending events nationwide. Miranda also di-rects the RMCAD Professional Development Day opportuni-ties for area art and design educators from 2014 to present day, most recently the 2017 JeffCo Professional Develop-ment Day in August with over 150 art and design educators. She mentors design students in the community within the AIGA Elevate program and hope to engage the artist of our future by volunteering in local programs. Miranda has been a huge contributor to the Scholastic Art Awards Program. Miranda has spent countless hours re-designing the Scholastics website, established a plagiarism committee, found sponsorships and scholar-ships, digital assets and organizing the Red Carpet Premiere and awards ceremony. It is so important that there are supporters of this incredible organization, and her hard work is incredibly appreciated. Miranda supports the Scholastic Art Awards and art teachers further through her workshops at the CAEA Fall Conferences. Topics have covered: How to Photograph your Art, Digital Edits and Scholas-tics Overview. Congratulations, Miranda Ziegler 2018 Distinguished Service Within the Profession
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2018 Emerging Professional Art Educator of the Year
“Ms. Fischer is a gifted and motivated educator. She came to work with us at American Academy in the fall of 2015 having just completed her degree at University of Northern Colorado.” Mark Middlebrooks, the Director of the Specials Department at the American Academy continues to say: “Since that time, Ms. Fischer has demonstrated an innate ability to connect with students and to do so in the context of her discipline, with exceptional ease and rapport. Students are drawn to her gifts and her personality, perhaps most aptly demonstrated by an overwhelming waitlist in place for students to join Ms. Fischer in extra-curricular after school programming, but also clearly indicated in student surveys that comment consistently on the enthusiasm of participating in Ms. Fischer’s programming both during the school day and in extended programming. Ms. Fischer sets the bar for respect among her peers. She is amiable, sensitive, and always willing to flex and help out whenever needed. She frequently creates works of art for the benefit of our entire community and I can adamantly indicate that she is always focused on her impact in this community.” Angela Yu, a co-worker at American Academy, comments,“I met Mrs. Fischer two and a half years ago when she began teaching art at American Academy in Castle Pines, Colorado. As librarian, I have the great opportunity to see all the students, and there was excitement in the air! The chatter was spreading through the school about 'the most amazing new art teacher', and when I met her, I instantly saw why.” Kim Chlumsky, who nominated Kelsea, says “[She] is a true art advocate as she has transformed American Academy from a STEM school to a STEAM focused school. She has shown students that they all have the ability to be creative thinkers and to connect the arts in everything that they do. I look forward to seeing what else Kelsea will do in her career as an art teacher. Kelsea is truly a wonderful person, artist and educator who has a gift of inspiring those around her. She truly does deserve this award.” Congratulations, Kelsea Fischer 2018 Colorado Emerging Professional Art Educator of the Year
18 Awards: Emerging Professional Art Educator of the Yea
2018 Marion Quinn Dix Leadership Award
Those privileged to know Tom Fleecs are aware of his history of successful contributions to the arts community in Colorado Springs, Colorado. Bringing and keeping the arts alive in education and the community, Tom Fleecs’ work has touched thousands of people for the duration of many years. Thousands. Teachers, administrators, community members representing all walks of life and career fields, and most importantly, students. Few people have worked as tirelessly for their “thousands” as Tom Fleecs. His support for the arts reaches throughout the community as a man who communicates and connects with diplomacy and finesse, to a rubber meets the road in the trenches supporter of classroom teachers. Tom was originally a music teacher, whose passion for supporting all forms of art led him to his position as an instructional supervisor for District 11 in Colorado Springs, and to his role as a Chair of The Arts, Business, Education Consortium. Michael Cellan recognizes how CAEA members have always appreciated Tom’s highly involved support of art teachers. He ensured that art teachers understood the importance of attending the CAEA Fall Conference and advocated for their professional development by writing a letter of support they could present to their Principals or Supervisors. Kris Stanec shares, “Indeed, Tom is one of the most inspired and inspiring people I know.” In his passionate and unending reach that turns into nightly attendance of events around the city, Tom is always seen with a sparkle in his eyes as he personally ensures the arts are getting noticed, and guiding his colleagues to do the same. With Tom, Shell Acker co-chairs The Arts, Business, Education Consortium which promotes the growth of cultural arts in education in the Pikes Peak area. Serving 15 school districts, businesses, and community supporters, the consortium honors those who contribute significantly to the arts in education. Shell reflects, “For over thirty years, Tom has been the go-to person, the conduit you can count on to attend to every arts need in every corner, to facilitate, to collaborate, to educate, and to advocate.” Lisa Cross describes Tom as a gracious, intelligent and empowering leader of ABE and the District 11 Arts program. “Tom has been a mentor to me in the past few years and has encouraged me to pursue my own leadership abilities and passions in arts education. Tom is a visionary director that has strengthened and legitimized arts education in Colorado Springs, his legacy is a priceless gift that will endure for years to come in the Pikes Peak Region.” Congratulations, Tom Fleecs 2018 Marion Quinn Dix Award Winner
Awards: Marion Quinn Dix Leadership Award 19
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Community and Art: Using Community-Build in Your Classroom by Steve Wood, Executive Director of Concrete Couch “Building Community Through Creative Projects” www.ConcreteCouch.org It was great to meet so many fabulous teachers at CAEA in Breckenridge, and it was an honor to share the work that Concrete Couch does with art teachers from around the country. The following is a synopsis of my presentation. WARNING: Community Built is addictive and may radically alter your relationship to teaching, your students, and your community!!
Superstars You are all amazing humans who do a host of things for your students beyond just teaching art. You are tracking state standards, managing tough schedules and sometimes even tougher students, and you’ve got it covered. So you really do not need another thing to do. I would recommend you skip to the next article at this point ... (or, what the heck, keep reading!)
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What Is Community Build? When you have your students work collaboratively together on a project that is Community Built. When the project gets bigger and you seek community support, it’s Community Built. You already do it, so here I will share some tips to make it easier so you can do it more fully. Why “Do It More Fully”? • You will engage students in a new way. • You will be exposing your students to new hard and soft skills. • You will build leadership skills. • There are opportunities for cross-curricular work. • Students will learn ideation skills. • Students will learn group problem solving skills. • It is fun and will increase the visibility of your program and keep you interested too. Sounds Good, But What Is the Catch? At the conference, people told me their concerns about doing these kinds of projects. They mentioned having no extra time, no budget, lack of some needed skills, and that other kinds of resources are slim (administration support perchance?). ALL LEGITIMATE CONCERNS! Below are a few ways to move forward with a community-built project, with support. Moving Forward To move forward, you will need helpers. Your helpers can be involved parents. They can help work with students, provide a specialized skill, bring food, go to a park’s board meeting, etc. People want to help if their expertise is utilized, if their contribution is spelled out (e.g., they know how many hours the work will take and what is expected of them), and they are acknowledged. They also want to be part of something special. Small is Beautiful. Use skills you possess and a structure that is easy. Most teachers do their
first group project through an after-school art club, and take on something like a mural. In this structure, you are being paid, you can use supplies you already have, you have a manageable student group, and the “new bits” are limited.
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Even with a mural, you may have material needs that exceed your school supplies and might require a budget. But there are lots of easy ways to find materials for free, and even recycled.
There is a ton of “small” money for projects, but again we recommend you start small with free projects. Here is a list of the 10 most popular, successful, and fun projects we do:
Deploy a parent to visit paint stores, Habitat for Humanity ReStores, and other sources … and ask them to donate (some will, and they will be willing to do it again and again). As your projects get bigger and you locate other helpers, you will need more supplies, but these helpers will help with supplies and the new tools you will need for new skills!
1) 2) 3) 4) 5)
If you conscript a parent who is a mason to help teach students how to apply tiles to a wall, that helper will often have tools and materials to donate. When you start your 3-D mixed media mural and find a builder to help students use hand drills and saws, that person will also often be able to provide scrap wood to construct a frame for the mural. After your first five projects, you will develop a complete lack of shame and will be soliciting cranes and backhoes … and that will be great!
Murals on walls Painted banners Mixed media murals on panels Mixed media sculptures (totem poles) Murals incorporating tiles and painted areas, direct application to a wall 6) Lantern parades 7) Low-tech tee-shirt printing 8) Plywood cut-out figures for ugly fences 9) Stump seats (the zero-dollar smart precursor to ANY amphitheater project) 10) MFUs (Modular Fence Units) 11) Little free libraries 12) Cardboard castles, etc. 13) Ceramic tile covered light-post bases 14) “Loose Play” (Google it) 15) Painted playgrounds Okay, so that’s 15; I got carried away. The point is that you can do any of these during the course of 5-10 sessions of an afterschool art club and you can do them with little help and no budget.
Your Team Is Bigger Now!
For bigger projects, you will need more helpers and there will be a budget. The number of helpers needed will be relative to the scope of the project. You might not try to make a giant concrete sculpture until you have a parent who is a concrete contractor sitting in front of you telling you how little Latisha is thriving in your class … then that IS the time to mention your life-long goal to have students design and cast a concrete sculpture!
You have read this article, seen my presentation, or visited with me or a member of our staff … so you are now a member in good standing of our “Community Build Consortium!” You can freely direct people to our website and reference the project photos because they represent what we have done WITH COMMUNITY and also what you could reasonably do. (Remember, of our 800 projects, only two had what anyone would call a “real” budget!) If this opens doors for you, then we are very happy. We are also happy to answer questions via email. We do consult for a fee, but the majority of art teachers use us for just a few ideas and a nudge in a direction, and that’s free.
There is a lot of grant money available for projects, but again start small! (Also, please visit our website for our one page Super Grant Writing Guide.) Don’t Forget the Snacks! Healthy snacks are key to ANY project. Our go-to is carrots, crackers, and apples and cheese cut into hand-sized pieces. This can be prepared ahead of time and put in one large bowl to be passed around. It will cost about $7 per 15 kids, and, given guidance, a parent will prepare it and donate it! Healthy snacks give us energy and a second wind. (Preachy advice: Unhealthy snacks KILL sustained energy so avoid the cakes and cookies.)
Other Resources There are other resources for you online, so many in fact that it can be a time sink to explore all the links and sub-links. YouTube is great for learning how to place a tile on a wall, but a local mason will teach you more and can loan you tools and donate scrap materials … so use all your resources! We think the information on our website (especially the free downloads under the “PROCESS” section) are valuable. Additionally,
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the Community Built Association has some good information and videos about the history and value of the community-built process and practitioners all over the country. Finally, your chums from CAEA are great resources! At the conference, I met with a group of teachers in the Denver area who have experience and questions and dreams about running group projects … within one group of three teachers, they had the skills and opportunity to do so much more than they could individually! CONNECT with your buddies … then present on that process at the next conference!!! Evals We usually do a simple evaluation at the end of each project. It is good to know if the students felt like they learned anything, and what they liked the most, or what was most challenging. Plus, this information is GREAT for a followup letter to sponsors, for any grants you may write (or, if you are very lucky, your school’s dedicated grant writer!). Our questions usually are something like: Rate your skills before the project in tool use (or designing, or expressing your ideas in a group, or ???) from 1 to 7. (Circle your choice), where 1 is NO SKILLS and 7 is YOU are A MASTER! 1 2 3 4 5 6 7 Now rate your skills now. (Have you improved?) 1 2 3 4 5 6 7 It takes a little math to show the improvement, but it’s not hard. Try them! Gratitude It is worth mentioning that showing gratitude is a value and a skill and that helping your students practice it is good for them, you, and our world. We thank our helpers, visiting
artists, craftspeople, donors, and the students with simple things like a celebration, food, certificates, and a color photo of the project with a Sharpie notation saying, “THANKS Ms. Volunteer Person for helping us on the Big School Project, 2018.” People respond to being engaged and part of something cool. There are other super easy and impactful and zero-dollar ways to say thanks, so get creative (i.e., ask the local chamber of commerce to put a Thank You on their kiosk, write letters to the editor, etc.). Sum It Up Start small. Find real supporters. Find a project that is real and do-able. Have FUN! Reflect at the end. You have all the skills and a community to help. YES, it’s more work, but you may find you have sufficient energy to do it (again and again). Thanks for reading this and please stay in touch (or get in touch!). We are happy to help, or even visit the next time we swing through your town.
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2018 Fall Conference
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Saturday Night Bash
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2019 CAEA MIDWINTER CONFERENCE
Saturday March 2nd, 2019 8:00-3:00 Arapahoe Community College 2400 W. Alamo St. Littleton Art & Design Center (AD) (303) 797-5958
Lisa Adams- 303.956.5365 call w/ questions or problems Ladams7@cherrycreekschools.org Special Thanks to Angela Belt and Trish Sangelo for assistance with facilities, gallery, lunch and for opening their space to CAEA! As always we have a great variety of classes, fabulous teachers and an awesome venue at ACC!! • Conference begins at 8:00 am ends at 3:00 pm • CCSD Art teacher’s registration covered for 20 teachers, first come first served. Email Lisa Adams your paid receipt. • Check your materials list (it is in the original class descriptions on the CAEA website) • You got your first choice unless otherwise notified • Bring water • Park in Lot J, Nevada St. or in the RTD lot on Prince. • Catered Lunch -11:30 in the Colorado Arts Gallery in ACC’s Annex Bldg. • CCSD Excellence in Art Showcase in Gallery during lunch
CAEA 2019 Studio Class Descriptions Joe Higgins- Mono-Printing
http://www.joehigginsmonotypes.com Joe Higgins Monotype Workshop Printmaking Basics, This workshop will focus on using non-toxic materials including water soluble inks. Mixing ink, applying in effective ways, and low cost tools and materials are discussed. Demonstrations on both hand-rolling and using printing press. We’ll discuss creative strategies for beginners in black and white and color, Mylar (acetate sheets) and using ghosts to explore ideas. Joe Higgins is a monotype artist since 1989, working at Denver’s legendary Open Press, and Printmaking instructor since 2010 at the Art Students League of Denver, currently teaching monotypes for both adults and children. He has won a Colorado Council for the Arts Fellowship and has been featured in Westword’s 100 Colorado Creatives. He has show in many Colorado venues, including the Arvada Center, Aspen Art Museum and the State Capitol. Materials to bring if you have: Brayer/Barens Rags/old towels for blotting Scissors/Exactos Cotton swabs
Christian Dore- Grandscapes https://www.christiandore.com
Work and be inspired with London born artist Christian Dore. His imaginative, intuitively explored and magical landscapes are filled with wonder and awe. You will start with a small 9 x 12 sketchbook and develop your sketches into a whimsical organic painting starting from a black gessoed surface. Materials to Bring 9 x12 sketchbook canvas- max 20 x 20 Acrylic paints/unbleached titanium/black Acrylic brushes
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Valerie Savarie-Altered Book Art www.valeriesavarie.com
Learn the basics of creating altered book art by cutting, collaging, drawing, painting, sewing and just letting your imagination run wild! We will be working on what I call the “Mouse House” style of altered book which is a great beginning project. The cutting will be rough and allows for a more free form style – as though a mouse has chewed through it to create its home. Any little critter could ultimately live inside the 3-D world you create, the choice is yours. Using stencils for cut-outs adds to the overall composition by creating depth and shadows in a predominately black and white back ground (text and page). You can create your inhabitants (draw or paint) or use images from book scraps that are provided. If you would like more of a challenge - precise clean cut, this is an option that can be worked on instead as the same basic tools are used – just need a steady hand and a bit more patience. A book will be provided but you may bring your own if you have one that you are wanting to turn into art. Materials to Bring Limit of participants: 15. Materials you will provide (if applicable) that are easier for you to obtain and bring. Class participants may purchase material from you. (I will provide at no cost)
* Book (vintage Reader’s Digest)
* Illustration board
* Sheets of Canvas
* Book page scraps
* Mod Podge glue
* Band-Aids ;)
kimandersonartist.com Kim Anderson is a mixed-media and ceramic artist from Denver, CO. She studied at The College of Santa Fe, New Mexico, and then Metropolitan State College of Denver, where she graduated with a BFA in 1994. Her work has been in many galleries and group exhibits, and in addition she co-owned Id Gallery from 2009-20012, where she curated shows along with showing her own work. Using Low Fire Terracotta Clay the student artist will create Textural Reliefs of Spiritual Narratives through Portals and/or inspired by the Tarot. The finishing techniques will also be demonstrated and students will have an opportunity to work with the process. Materials: Clay tools
Amy Bailey- Cuttlebone Casting Work and be inspired with Arapahoe Jewelry teacher Amy Bailey. She will be doing Cuttlebone Casting and old process good for all ages. Materials to Bring
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Retirement???? by Deb Rosenbaum
At work in the studio!
I always had summers off so it didn’t kick in until I found myself in my studio one Tuesday morning around 10 a.m. and realized everyone else was at school. It’s best described as a new life segment. Former colleagues at DSA (Denver School of the Arts), friends at the recent CAEA conference, students, and friends – they all want to know: “How’s retirement?” It’s become a standard greeting, perhaps because they no longer know what to talk to me about, or maybe they really just can’t imagine what it’s like. For those who have gone before me, I just get knowing smiles – “It’s great, huh?” It didn’t hit me until around mid-September. I always had summers off so it didn’t kick in until I found myself in my studio one Tuesday morning around 10 a.m. and realized everyone else was at school. It’s best described as a new life segment. There was childhood, teen years, college, a few years of pondering what I was going to be, kids, and then a long career of teaching art. Now there’s this. The end was full. There were amazing gifts, love letters, ceremonies, some tears, and a zillion hugs. I felt loved and appreciated and never, ever, had room to feel sad. The program I led for 15 years is in strong, creative hands who are implementing things I never even tried. I love seeing the work the students are doing.
meditation and joined Silver Sneakers (65ers) for free exercise classes, but I still mainly work out at home. For the most part, I am currently stress free. I read, cook, garden, clean house, and sometimes stay in my jammies all day. My mind is completely mine, but there still doesn’t seem to be enough hours in the day to get it all done!
It will be here before you know it and, if you’re careful, you will have another segment of life made richer by the job you are doing now and all those you’ve touched. So, in a nutshell, I offer this advice. Be patient and keep at it! Every job has its bullies, micro-managers, and hoops, but you are surrounded by art all day instead of a carpeted dividing wall where you can hear what’s going on in the next cubicle. You have the supreme luxury of working only about nine months a year. You get to recharge, re-evaluate, replan, and restart your job every single year. Your work is always changing, creative, and challenging, and you can call most of the shots in your own classroom. You get to teach ART! So save money, invest in savings and a retirement plan. It will be here before you know it and, if you’re careful, you will have another segment of life made richer by the job you are doing now and all those you’ve touched. And take an art class once in a while. I’m teaching adults at the Art Students League and DSA!
Here’s how it’s different: I wake up every day (when I want to and never in the dark) and try to remember what day of the week it is. Then I think about how to spend my time. I get to have coffee with Geof every day instead of just the weekends. I figure out and schedule adult classes, travel, and volunteer work. I surf the Internet. Most of the time, I’m just at play in my studio. I’ve taken up
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So, You Want to be an Art Teacher? Student Teachersâ€™ Practical Guide to Student Teaching by Donna Goodwin, Allie Marino, Katelyn Kittilson, Samantha Calderon, Laura Martin, Kate Forman, Nancy Erekson
Lesson planning topic map. Photo by Nancy Erekson
Example of student work – Fern. Photo by Nancy Erekson
The intention of student teaching is to provide a beginning teacher with an introduction to the profession (Gray, 1960). It is the time after years of study that one learns how to perform the role, not just observe others or read about education, but to actually demonstrate teaching ability and skill. Beyond demonstration of knowledge, teaching can be art (Eisner, 2002; Lutzker, 2012). Viewed in this way, teaching therefore requires a requisite framework of artistic knowledge. A teacher possesses an acquired set of skills used to achieve a purpose — similar to a musician’s sensitivity to timbre and tone and ability to adjust as required or a painter’s ability to use color or emphasis to express a desired result.
Eisner states that there are four ways that teaching is like art. First, “teaching can be performed with such skill and grace that, for the student as for the teacher, the experience can be justifiably characterized as aesthetic” (2002, pp. 154-155). He further states that teachers make instantaneous decisions based on what unfolds and that the job is not routine but “influenced by…contingencies that are unpredicted” (p. 155). Finally, he says teaching is an art in the way that “art has been defined as the process in which skills are employed to discover ends through action” (p. 155). Learning to teach is more than just “applying decontextualized skills or of mirroring pre-determined images” (Britzman, 2003, p. 31) of what a teacher should
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be. It is a bringing together of past experiences and application of theory; it is being present in the now, and considering the future simultaneously. The dynamic tension between process and product results in a unique blend of art and education â€“ an art teacher. Several of the graduating art teachers from the Art Education department of the University of Northern Colorado want to share with you what they have learned in their process of student
teaching. This is written in their voices as they shared a heartfelt and honest conversation at the closing of the semester just before graduation. Introduction Look, we are not writing this to lie to you. Student teaching is hard. It is a lot of mental and physical strain. You will be tired, most likely you will get sick. Your immunity is not built up yet. You may be thinking to yourself, What did I get myself into? Is this worth it? Can I handle this?
Example of student work â€“ Path. Photo by Nancy Erekson
Lesson planning topic map. Photo by Allie Marino
Student work displayed. Photo by Allie Marino
Student art. Photo by Katelyn Kittilson
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Student art. Photo by Katelyn Kittilson
Now, we will not lie to you, but we also donâ€™t want to scare you off. You have gotten this far and, of course, you can handle this. Itâ€™s tough, but nowhere near impossible. Teaching is rewarding beyond belief, especially in art. We have put this article together from our own experiences in student teaching. This is a collection of things we wish we knew before we started to make the road a little less bumpy for you on your journey. This is, however, nowhere near an exhaustive list. Your student teaching experience will be unique and special to you, so take everything we write in a way that will help you. That is what this is here for. Student teaching is a time of growing, gaining
knowledge, failing, succeeding, getting to know and love kids, making incredible art, and then suddenly it is over. Hopefully this is a little boost to help you along the way. Embrace Your Inner Teddy Bear Breaking down the walls of adulthood enough to reconnect with your inner child. Nancy and Allie: Study what characters, shows, books and games are popular with kids and include them in your lessons and models, if possible. Incorporate kid culture when you can, you will increase engagement and you will have more authentic art creations.
Laura: Yes, get to know your students. Ask what they like to do for hobbies or what kinds of shows they like, games they play, and movies they’ve seen. You’ll be surprised how this can help you build connections with them and give you and your class ideas for projects. Allie: Fun call-and-response routines to gain attention are pivotal for elementary. If your host teacher does not use one, make one up. Here are some examples: Call: “Mona.” Response: “Lisa.” Call: “Class Class.” Response: “What what.” Call: “Red Robin.” Response: “Yum!” Have fun with it. When you’re having fun, the kids know it. Allie: When you want to make sure students remember steps to follow, try “Repeat after me” in a sing-song voice. Your voice is a classroom management tool. Make it interesting and attentiongetting by changing the pitch and tone. Have cute interactions when you can. For example, when a student gets something right say, “Give yourself a kiss on the brain” and watch them try to hold back an inevitable smile. Katelyn: My cooperating teacher has such a great relationship with the students. If a student is losing a tooth or has lost one, he says, “Quick! Go get it! We need to glue your tooth back in!” Or “I thought I told you guys to always brush your teeth so then they won’t fall out!” The kids always laugh and enjoy class with these types of interactions. I began to do it and, now at the end of my time there, the students are asking if I will come and visit or if I can stay longer. Laura: Letting students know you’re available after school or during lunch is super important especially if you know your students are behind or your time with them is coming quickly to an end with due dates and finals week. Helping students one-onone can be some of the most genuine moments you spend with your students. You’re only with them for a short time and most of that time is spent building relationships with the class as a whole, so it is good to get to know students who can use a helping hand more personally. It’s amazing to see
their quirkiness and unique personalities shine. You also have the chance to work with them on building up a particular skill they might struggle with. This helps you as a teacher too. Samantha: Don’t be afraid to jump in and talk to students. The sooner you can establish your presence the better. Nancy: Yes, and be an active listener when kids talk to you. Ask them questions if you don’t know what they are talking about. Or ask them to teach you something they know that you don’t know. Allie: When you praise the students, avoid generic statements such as, “I love this” or “Good job.” Be more specific such as saying, “Your shading is dynamic in this area” or “The colors you are using work really well together.” This way it gives authentic feedback that they can run with rather than train them to become praise junkies. Katelyn: Be honest with your students. If you are having a rough day, let them know. If you mess up on a demo, let them know. Keep them informed. Students wonder why you are only there for a short time, who the people are that come in to observe you, why their teacher isn’t teaching more … let them know about it. They appreciate the honesty and I’ve noticed they feel more comfortable in talking to you about things. A fifth grader told me, “I feel like with you I’m not just an art student, but I am an actual person.” They appreciate it in the end. Samantha: Yes, talk about student teaching with the students. They find it really interesting and they are getting to know you too. A majority of students in the high school I was at thought I was getting paid! Share with them that you are a student too and a teacher simultaneously. It leads to fun conversations that you can relate back to what they are doing in class. Creative Play ... for the Student Teacher Breaking out the chalk pastels and experiencing materials the way students do. It’s time to let yourself be the explorer for once and conduct some mad experiments!
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Samantha: When students discover something new and are proud, let them share with the class. Example: A normally shy first-grade student was painting and mixed blue and yellow together and discovered it made green. He was so excited, he called me over, and I explained that other students might want to know how to do that and asked if he could teach us. It was the first time I heard him talk in front of the class and not the last. Allie: Yes, watching them interact with new materials is such fun. There was the time we were painting with watercolor and I brought in salt. I had no idea how much fun salt would be! Katelyn: Scribbles are GREAT! Don’t push the little ones away from the scribbles as they are exploring line, repetition, and are just being creative! Students grow out of the scribble phase quickly because they want their art to look “right” so they don’t scribble. But in gesture drawings, for
example, you need to learn and have that quick scribbling motion and idea. Don’t push the little ones out of the scribble phase, but encourage new ideas or maybe things they could try with their scribbles. Nancy: If you have a few moments during lessons, sit down with the kids and make art alongside them. Let the kids see that you are experimenting and making mistakes. Laura: Yes, don’t be afraid to have a time when you sit down with students and experience a new material together. Let it be social and a time to share ideas, while also guiding students with suggestions or questions about the new material. Samantha: It’s okay if a student knows how to use a medium and you don’t. This happens a lot with new technology. Ask them if they will teach you!
Some of the student teachers. Left to right: Caitlin Hanson (did not participate in article), Kate Forman, Katelyn Kittilson, Laura Martin, Samantha Calderon. Not pictured: Nancy Erekson and Allie Marino (who graduated the day before in the graduate ceremony). Photo courtesy of the University of Northern Colorado
Nancy: Ask your cooperating teacher if you can take materials home to experiment with or make exemplars with. Art classrooms are sometimes stocked with exciting and unusual materials that you may not have had the chance to use before. Laura: Make plenty of examples when you start teaching high school. Be sure to get ahead of the game on example making. If you are teaching a class with an art subject that you are weaker in, this will be your chance to work out the kinks and get a clear idea of your own ability to use that material and teach it. Stretch and explore your abilities. “Know thy limits, push past them.” – Olan Rogers Samantha: If you can create in-progress examples that you can show the students at once, do it! A time-saving way to do this is progress photos. Use your artwork/examples to demo how to critique. Encourage feedback and give them questions to think about.
can’t read your mind. You will need to reach out. You’ll find people there to help you when you do. Allie: You are going to get tired and exhausted. Some days will be harder than others. Find something you enjoy about each of the classes you teach, even if it’s a little thing. It can be easy to get discouraged after a hard day, but keep reminding yourself that you really are doing what you need to be doing because you’re learning, not giving up, and you care about the lives of your students. Laura: Let your students know that they are helping you to become a better teacher – because they are! Give them praise for giving you patience as you try to figure out how to present, demonstrate, and give lessons.
Allie: Bring in your own artwork to show the students (and yourself ) that being a teacher doesn’t mean you stop being an artist. Have your host teacher take a few photos of you in action teaching – it is nice to have them for your portfolio.
Laura: Build relationships with the kids who have strong personalities. They are the leaders in the behavior of the class. If you can show those kids you care about them, then controlling the buzz of the classroom becomes that much easier. Your leader kids can also help you get class attention, pass out papers, and take on other helpful responsibilities. Leaders are found across all grade levels, and some may surprise you.
Samantha: Take as many pictures as you can – of everything! Progress photos taken by students are a great way to incorporate technology and teach them the benefit of seeing their work evolve over time.
Allie: Immediately learn school rules so you can follow them to the letter; you don’t want to be a pushover and cause tension with your host teacher or administration. Ask questions and be persistent about getting answers.
Be Worldly, Not World-Weary Enjoying the moments – some tips to aid in the journey to teacherhood and help you with your student teacher’s experience from starting line to finish line. Allie: “Fake it until you make it” with confidence. You may feel weird at first, but roll with it. Teacher personality is a mixture of authenticity and acting.
Allie: Take negative off-hand comments with a grain of salt. Try not to take frustrating experiences or seemingly failed lessons home with you. Student teaching is a learning experience, we wouldn’t have to do it if we were all 100% ready right away. Trying and failing is sometimes a better learning experience than succeeding. Learn from the positive experiences, learn more from the negative ones.
Allie: Study your cooperating teachers’ organization and layout, you may find that borrowing A LOT of it will help you set up your own art room, or figure out what doesn’t work.
Allie: Start putting together your licensure application and understand what you need to fill it out early on in the process and definitely before you graduate.
Samantha: Be honest with your host teacher and ask questions; they are there to help you, but they
Nancy: Save all the art that kids make for you. Ask them to sign it, and have them write your name on
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Morning routine comic lesson. Photo by Allie Marino
it for you if they didn’t already. These are gifts from the heart and will help you remember why you love kids and teaching so much.
university supervisors for advice. Just because we may only see them a handful of times over the semester doesn’t mean they aren’t there to help!
Nancy: Write down clever and funny things kids say on a clipboard or in your sketchbook during class. You will forget if you don’t write them down.
Be the Social Butterfly Building connections both personal and professional within placements.
Allie: Wash your hands! Every time you think of it. Buy hand sanitizer and put it on your lanyard or on your desk. Drink lots of water, and try your best to eat healthy. Katelyn: Take time in-between your classes to close your eyes and breathe. It may not be for long or you may only be able to fit in in when you’re standing at your door with your students waiting to come in. But take that moment. Remember why you’re teaching and just breathe.
Allie: Advocate for yourself and for art even in student teaching. Talk to other teachers, talk to parents if you can. Integrate lessons, share ideas, eat lunch with other teachers even if your host teacher doesn’t. Talk to the secretary and administration. Get to know people in the building. During the teacher work days at the beginning of the school year, politely contribute to discussions and ask questions so people in the district get to know you. Ask your principal to come observe you. Make sure your principal KNOWS you.
Samantha: If you are having problems with your cooperating teacher, ask your professors and
Katelyn: Offer to do things right up front! Join an after-school club or activity, do recess or lunch
duty. You really get to know staff and students’ families when you actively join in on these things, and they also then truly welcome you into the school community. If they know you, they trust you with their kids and their classroom. Samantha: Build professionals that questions, but be students, not only
a relationship with the parawork in your room, ask them sure to communicate with the the paras.
Allie: Write thank you notes to EVERYONE in the school who helped you, from giving advice to letting you in the building before you got a key. If you can swing it, buy or make a small gift for your host teacher. Gift baskets are great, especially if you are working with a department of other art teachers, which is more likely at high schools. Make or buy cards for your host teachers and secretly observe what they drink and eat to help you become aware of diets, allergies, and preferences. Allie: Food is always a solid gift idea. In high school, writing a personal note on a post-it for each student can leave a lasting impression on them and your host teacher. Nancy: Make friends with the janitors and let them know how much you appreciate their hard work. Make their job easier by having an excellent cleanup system, especially at the end of the day. Kate: Get coffee with your cooperating teacher or go somewhere away from the school if you have time. It will help build a stronger relationship with them and also will help you be out of the school setting for a bit of time to reflect on things. Allie: Ask for letters of recommendation while you are still at your placement, that way you will have them on hand when you need them down the road. Allie: Follow art teachers on social media to get ideas and to build your community beyond your placement. Create a “proper” teacher persona online, delete anything that would make you seem young or unprofessional. If you wouldn’t show your principal or your grandmother, do not put it on social media at all.
The Things We Do for Love Going the extra length to ensure you are doing the best for the students in your placement and your future career. Allie: Be prepared for late nights. Between afterschool events, grading, and planning, there are late nights. Allie: If you can get really passionate about the project you’re going to be introducing, it can help you stay focused on the example you have to crank out in those wee hours. Remember that while a great deal of what you do is for your students, you also have to do yourself a favor too and do the things you love. The more passion and enthusiasm you have for something, the more your students will become infected with that energy. Nancy: Find time to do extra with the students. If it’s possible to let students work in your classroom during lunch or after school, let them do it. You will have meaningful and entertaining conversations with kids who you might not get to know during regular class time. Nancy: Volunteer to create bulletin boards for the school. You will show how passionate and skilled you are about teaching and art – treat it like a showcase. It is a great way to get to know the administration and other teachers in your building. Nancy: Go to school sporting events, even if just for a few minutes. Go to school activities and volunteer to help. The students are thrilled to see you out of the classroom and other teachers and administration are grateful for your contribution to the school. Learn and Use Classroom Management Overcoming the struggles you may face when practicing/ attempting discipline in your classrooms. Allie: Observe when your host teacher is disciplining students, figure out tone of voice and language that would be useful for self-agency and taking responsibility. You won’t know it until you try it. Put into action the types of management routines you see and be a copycat of your host teacher.
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Close-up of morning routine comic lesson. Photo by Allie Marino
Allie: Don’t be afraid to be serious when you have to. You are there for the students’ safety. You might feel like you are being mean at first, but students appreciate order. Safety is as much mental and emotional as it is physical. Sticks and stones may break bones, but words can definitely hurt too. Management can equal safety. Nancy: Don’t be afraid to call parents when necessary, even as a student teacher. Most parents already know if their child has challenges at school but, as a teacher, you may feel more empathy for the student and their family when you work together with a parent. Find something great and honest to say about the student before you launch into the difficult conversation. All parents need to know that others see something wonderful in their child. Nancy: Do not take it personally when a student acts out, even after you have built a relationship of trust with that student. Remember that students are still developing as humans, and try to give them choices that will allow for success next time.
Nancy: Be aware of students who may try to take advantage of your being a student teacher. They may become manipulative and take advantage of your kindness. Keep your social senses sharp and catch onto tricks before they make it a habit. Examples include students who use the bathroom pass too often, ask to go to the nurse, ask to leave, ask for too much help on a project, etc. Nancy: Work with other teachers and professionals in the building to help students with severe behavioral challenges. With your cooperating teacher, schedule meetings with the school counselors and the school psychologist. Don’t be afraid to talk to the principal about students with challenging behaviors. The principal already knows these students and may have some additional information that will help you. Final Thoughts Reaching out to sources for help, avoiding panic moments, and breaking down the work load one chunk at a time.
Katelyn: Get a giant planner and write in it with PENCIL. Put down everything you are doing in school as a teacher and as a staff member.
this is a whole new world. You are back in a school every day for longer than eight hours with hundreds of students and staff always watching you … it is tough. But don’t give up, think of all those moments when a student gives you artwork they made or when they tell their families about you (because they do). Think of the difference you are making in their lives and the difference they’ve made in YOURS. You are still learning and growing. There will be good, there will be ugly, and there will be moments of absolute joy.
Samantha: Try to plan at least three days in advance, especially in high school because you will have time to make adjustments if something doesn’t go as planned.
And remember, in the words of our professor, “It’s all data!” How you interpret findings and what you choose to make of it is entirely up to you. Teaching is an art – and you are the artist.
Katelyn: Lesson plans ARE GOING TO CHANGE. Be prepared. The way you write down your original lesson plan may not be how it goes and you may end up going a completely different direction with it. Roll with that and embrace the changes.
Britzman, D. (2003). Practice makes practice: A critical study of learning to teach (2nd Ed.). Albany, NY: State University of New York Press.
Allie: Even though you may be young and not quite an official teacher yet, students will look to you as the leader. Oftentimes your emotions and attitudes are more influential than your words. Katelyn: Student teaching is tough. You’re going to have those days when you want to hide in the corner of the classroom and cry and you’re going to have other days when things go so well you are filled with energy and happiness. Just remember,
Eisner, E. W. (2002). The educational imagination: On the design and evaluation of school programs (3rd Ed). New York: Macmillan. Gray, W. B. (1960). Student teaching in art: A handbook for student teachers and beginning art teachers. Scranton, OH: International Textbook Co. Lutzker, P. (2012). “Developing artistry in teaching: New approaches to teacher education.” Research on Steiner Education (RoSE). 3(1), 52-58.
Allie: Figure out your schedule as soon as you can. Print out your own copy and put it on the wall for easy reference if your host teacher doesn’t have it up already. Buy and wear a watch. Yes, an old fashioned on-your-wrist watch to be able to keep track of time (and your schedule), so you are not looking at your phone in front of students.
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Second Annual National Art Honor Society Leadership Day by D.J. Osmack and Vanessa Hayes-Quintana We held our second annual National Art Honor Society Leadership Day (NAHS) for all Colorado high school art students on September 29, 2018 at North High School. The purpose of the National Art Honor Society Leadership Day is to personally connect high school students to Coloradoâ€™s college and university professors and their art programs. High school students often make their college decisions based on academic needs and the personal connections they have made with a particular person at a college they have visited. Additionally,
the path into creative industries for high school students is often unclear. Creative industries are leading employers in Colorado, and Coloradoâ€™s institutions of higher education are a rich resource for creative students as they plan for their future. Our Leadership day allows for our students to visit with local colleges like Adams State and Colorado State University in a low-stakes, individual setting that is less about recruiting and more about personal growth as artists. Students made art with university representatives and had the chance to
Alexa Overby from East High School facilitated a workshop led by her NAHS students. Groups of students created animated masks using found objects and displayed them on parade. Other highlights of art making included kinetic wire sculptures and foil-relief sculptures.
This event is in its infancy. Our experiences have revealed opportunities for future growth in facilitating connections to Colorado’s higher education art programs and illuminating creative career paths for Colorado’s high school students. If you are interested in being part of this event, please let us know! Possibilities for connections are endless! We will be planning for the Fall 2019 NAHS event soon.
chat about what college looks like in each of these institutions. Students got to learn about campus life, school programs, and course offerings.
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Past President’s Message by Vanessa Hayes-Quintana
I am often approached by those who feel as if their contributions are insignificant. People always want to give more. This is particularly challenging in an all-volunteer organization. People navigate busy lives, families, personal struggles, and careers … I am continually amazed at how, in the face of life’s struggles, CAEA members and representatives turn their passion into something special for art teachers and their students all around Colorado. No matter how big or small, each heartfelt contribution produces seismic effects that sustain our work and our vision for the future of visual arts in our personal lives, in our schools, and in our society. We don’t always see this as we sit so close to our work. I’ll be the one to tell you, what you do is beyond enough! Let me share an outside perspective. A few years ago, my daughter’s boyfriend Cameron joined us for our awards banquet. An awards banquet can
No matter how big or small, each heartfelt contribution produces seismic effects that sustain our work and our vision for the future of visual arts in our personal lives, in our schools, and in our society. be quite a moving experience. Cameron is a pilot and attends events like these typical to his industry. They endure hours of talking heads and checking their watches. He was blown away at the obvious extent of quality relationships and connections we have within our community. He commented about how he saw that teaching art isn’t just a job, and he’d never seen people motivated like we are by the meaningfulness of their work. I am so grateful to be part of our art family in sustaining and growing the great work we do for our students and our society. Thank you for the opportunity to serve you as president. Thank you for bringing your love and passion into my life. Thank you for making this journey amazing. Thank you, thank you, thank you!
I want to express my sincere gratitude to each and every person whom I have met and worked with as CAEA President. I am beyond blessed to have been part of CAEA’s 80 years of serving art educators in Colorado. You have all made this experience one of the most amazing of my life. I believe that true leadership means serving those you work with, giving people the tools and the support to bring their visions to fruition and make their magic happen. I hope you feel that I have served you well.
Youth Art Month 2018-19 Flag Winners by Justine Sawyer YAM Coordinator Congratulations to our 2018-19 Youth Art Month (YAM) Flag competition winners! All flag submissions will be on display at the Colorado State Capitol building in March for the Youth Art Month Art Celebration. Winners will receive prizes from Sargent Art Supplies at the reception in March (date TBD). The winning flag design will be made into a 3ʹx5ʹ flag and flown at the National
Art Education Association (NAEA) conference in Boston, Massachusetts. Other level-winning work and NAEA selected works will be on display at the conference in Boston in the Youth Art Month Museum. Thank you to all who participated in the robust competition this year!
Overall State Flag Winning Artwork
Artist: Sydney Brown Grade: 11 Teacher: Devon Lawrence School: D’Evelyn Junior/Senior High, Denver
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Elementary Level Winning Artwork
Artist: Crystal Nguyen Grade: 5 Teacher: Thad McCauley School: Aurora Frontier K-8, Aurora Middle School Level Winning Artwork
Artist: Tatum Leevers Grade: 6 Teacher: Kim Dâ€™Arthenay School: Soaring Hawk Elementary, Castle Rock
High School Level Winning Artwork
Artist: Arcelia Guerrero Grade: 12 Teacher: Paula Rowinski School: Legacy High School, Broomfield National Art Education Association Conference 2019 selections:
Artist: Hannah Baumgardner Grade: 9 Teacher: Shell Acker School: Discovery Canyon Campus High School, Colorado Springs
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Artist: Sydney Chitwood Grade: 11 Teacher: Sean Henry School: Grand Junction High School, Grand Junction
Artist: Emily Osborn Grade: 12 Teacher: Sean Henry School: Grand Junction High School, Grand Junction
Artist: Allie Harting Grade: 8 Teacher: Jamie Lynn School: Discovery Canyon Campus, Colorado Springs
Artist: Liv Roth Grade: 11 Teacher: Alexandra Overby School: East High School, Denver
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Artist: Alexis Paulson Grade: 11 Teacher: Lisa Cross School: Sand Creek High School, Colorado Springs
Artist: Caitlyn Thai Grade: 8 Teacher: Mary McDonald School: Bear Creek K-8, Lakewood
Artist: Jaden Best Grade: 8 Teacher: Brinda Pumphrey School: Rocky Mountain Academy of Evergreen, Evergreen
Artist: Isabella Smith Grade: 6 Teacher: Alisha Gallegos School: Southeast Christian School, Parker
Artist: Sky Schmelzer Grade: 8 Teacher: KayLee Parson School: Falcon Middle School, Colorado Springs
For more information on Coloradoâ€™s YAM events, please see the CAEA webpage: http://www.caeaco.org
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CAEA TASK FORCE CHAIRS & PUBLICATIONS Title
Micheal Cellan Natalie Myers Pam Starck Open Elizabeth Stanbro Kim Williams Robin Wolfe Kim Chlumsky Kelley DeCleene Alexandra Overby Rosemary Reinhart & Elisabeth Reinhart Janet McCauley
email@example.com firstname.lastname@example.org email@example.com
Task Force Chairs Task Force Chair - CAEAE Commercial Scholastics Youth Art Month Arts Advocacy Awards Web Master Social Media Special Needs Collage Editor Collage Copy Editor Collage Layout
firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com
CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES Title
President President-Elect Vice President Treasurer Secretary Past President
D.J. Osmack Michael Carroll Justine Sawyer Alexis Quintana Rachael Delaney Vanessa Hayes-Quintana
firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com
Division Representatives Elementary Multi-Level Middle School High School Private/Independent/Charter Private/Independent/Charter Museum/Gallery Supervision Higher Education Retired Student
Jessica Walker Carrie Mann Christine DeVivo Justine Sawyer Andrea Crane Sam Mizwicki Sarah Kate Baie Open Theresa Clowes Deb Rosenbaum Open
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CAEA REGIONAL REPRESENTATIVES Title
Regional Representatives North West North Central North East Metro Metro East Central South Central South East South West West Central
Open Sharon Jacobson-Speedy Open Kim Chlumsky Michael Carroll Lisa Cross Open Open Kari Pepper Open
email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org
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For CAEA details and event information: go to www.caeaco.org