A MAGAZINE FOR COLORADOâ€™S ART EDUCATORS
In Every Issue Table of Contents
3. President’s Message by Vanessa Hayes-Quintana 6. Editor’s Message by Alexandra Overby, PhD 69. CAEA Executive Board and Division Representatives Council Directory 69. CAEA Task Force Chairs and Publications Directory 70. Regional Representatives
In This Issue 8. Making/Teaching Art: The Dangers of Teaching Art by Leo Segedin 17. Be the change you want to see in the [art] world. by Michael Bell 20. Happiness: The Fruit of His Labor by Natalie Myers 22. Building Clay Castles by Stone Leaf Pottery 24. CAEA Award Winners 34. Vendor Thank You 36. CAEA 2017 Fall Conference 42. NAHS Leadership Day 2017 by Justine Sawyer & DJ Osmack 44. Time Well Spent by Shell Acker 49. More Time on Task in Your Art Class by Dana Goodier 51. Scholastic Art Awards 2018 by Pam Starck 53. Cubism, Rabbit Holes, and Billy Crystal by Anne Thulson 56. The Evolution of an Artist by Mike Carroll
Page 17: Be the change you want to see in the [art] world. by Michael Bell
59. 2018 CAEA Midwinter Conference
Page 44: Time Well Spent by Shell Acker COLLAGE is published by the Colorado Art Education Association Vanessa Hayes-Quintana – President Alexandra Overby – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Janet McCauley – Layout Design & Production
Page 42: NAHS Leadership Day 2017 by Justine Sawyer & DJ Osmack
Please submit all materials to: COLLAGE Editor: Alexandra Overby, firstname.lastname@example.org
Cover Photo: Part of the Image of Artwork
by Leo Segedin, Exodus #2 (Full Image of Artwork on Page 15)
COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email all submissions to 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.
President’s Message by Vanessa Hayes-Quintana
I entered this school year with a renewed teaching spirit. My excitement about pursuing National Board certification, freshening up my classroom, and reaching physical therapy goals all had me ready to dive deep into embracing a new principal along with new mental health and teaching staff. A few short weeks into the new school year proved to me once again that all the planning in the world may not prepare you for what comes next. The past semester has turned out to be my most difficult teaching experience. And, with those worst moments come the greatest learning and growth. Let me tell ya, I have felt sufficiently challenged in the past few years and would eagerly pass up any difficult professional situations. Unfortunately. We’re not in complete control, and I get to make some more lemonade. Fortunately, I have so many wonderful people to share the lemonade, and equally amazing and wonderful successes to be proud and thankful for. Most of them are connected to CAEA. 2017 was a fantastic year for CAEA in so many ways. This sounds cliché, I know. But, while I was fretting about which students were going to take each other out first, or if someone was going to come to the rescue when they did, people at CAEA were making great things happen all over the place! At the unbearable risk of leaving anything or anyone out, I’d like to highlight a few things and recognize a few people you need to thank when you get the chance.
Lisa Adams put on a fantastic MidWinter Conference in February. The artists and the participants made art and ate lunch together picnic style, sharing stories, and art, and the spirit of being together. Pam Starck, Breezy Sanchez, Linda Schmale, Elizabeth Licence, Sharon Rouse, Miranda Ziegler, and countless other wonderful little fairies and volunteers set up, judged, tore down, hosted, etc. yet another spectacular Scholastics event. The shows at the History Colorado Center, the Denver Art Museum, and the Sie FilmCenter were simply stellar. The quality of the student work, breath taking.
It has been a longtime dream of mine to facilitate connections between high school students and potential college choices. I look forward to the NAHS Leadership Day growing and becoming a strong and enriching part of CAEA.
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In March, rep council and CAEA members descended upon New York City for the NAEA Convention. Ladies and gentlemen, this is some non-stop learning and growing! DJ Osmack and Justine Sawyer brought back the bones of our first National Art Honor Society Leadership Day (NAHS), which occurred on November 11th, 2017. (Yes, it was a week after the Fall conference. My father would say we are gluttons for punishment. Next year, it will be held in early Fall. ) DJ, Justine, and I worked together to plan a most inspiring event. High school students from the Metro area convened at South High School to explore art programs from the University of Northern Colorado, Colorado State University, Arapahoe Community College, and Metro State University. Students made art and engaged with college representatives on that personal level where students really get to connect with colleges and make their decisions. High school students make their college decisions based on those intimate relationships they form with instructors and professors. It has been a long-time dream of mine to facilitate these connections between high school students and potential college choices. I look forward to the NAHS Leadership Day growing and becoming a strong and enriching part of CAEA connecting high schools and colleges in Colorado.
2017 was a fantastic year for CAEA in so many ways….At the unbearable risk of leaving anything or anyone out, I’d like to highlight a few things and recognize a few people you need to thank when you get the chance. For those of you who haven’t taken advantage of the opportunity that is ArtSource, you don’t want to miss this summer event. Pam Farris has passed the ArtSource torch to a new team of amazing people who have spent the entire year tirelessly fussing
over the details of how they will grow and refine the ArtSource experience. Michelle Zuccaro and Karen Eberle-Smith will make sure that ArtSource continues to serve Colorado art teachers on that level of instruction and inspiration you can’t get anywhere else. And, there is the Fall conference. I honestly can’t imagine trying to add up the hundreds of hours of preparation that go into this amazing event. Every person listed in your program book, rep council members, CAEA members, friends, relatives, spouses, everyone, they all make this event happen. Workshop presenters prepare; teachers write sub plans and take care of their families; and vendors pack, unpack, and repack. Kim Chlumsky did an amazing job creating the conference promotional material and the schedule. In June, our executive council descended upon Beaver Run to put the schedule together and organize the bulk of the Fall conference. However, after we went home, Kim spent the entire summer making sure the schedule was as perfect as possible. Presenters pulled out, and there were holes in the schedule. People inquired about presenting, and Kim plugged them in. She did this up until the very last moment before the schedule book was printed. These are both HUGE jobs, and she really hit it out of the park. She also created material for emails, invitations for past presidents, and I can’t even remember everything else at this point, it was so much! Robin Wolfe is that wonderful lady who hand processes those district credit cards that PayPal won’t take. She spent literally hundreds of hours making sure that conference registration ran smoothly. She tirelessly answered the phone and returned messages about all of those conference details. It is notable to say that CAEA doesn’t have an office. We don’t pay someone to wait for your call. Everything we do is done through the work of volunteers. People take their personal time, after school, on weekends, during school, while waiting for their kids to finish practice, and away from their lives and their families to make CAEA spectacular. There is one person we have paid. Her name is Alexis Quintana. Yes, she is my daughter. Without
YOU NEED TO TEACH
Lead Free Glazes
Slab Rollers & Equipment
CAEA has been the highlight while I navigate my most difficult teaching challenges ever.
are simply amazing!! Rosemary Reinhart and her daughter Elisabeth are our copy editors. They aren’t art teachers or artists. But they have been part of producing Collage for, I believe, about 20 years. Janet McCauley, wife of our great Thad McCauley, makes Collage look beautiful every issue with her design skills, and Alexa Overby is the one who is collecting and calling you up for those past due articles! I’ve seen art education newsletters and magazines from all over the country. Collage is up there with the few best.
Other CAEA jobs people need to be thanked for…. Elizabeth Stanbro has stepped into promoting the Youth Art Month. She is an amazing advocate for the arts! I don’t know how she keeps on top of all of the legislation happening around Colorado. But, if you want to know something about arts advocacy, she is your lady!
CAEA has been the highlight while I navigate my most difficult teaching challenges ever. I can’t imagine what my world would look like without all of the amazing people who spend so much of their precious time on behalf of our Colorado art teachers. Each and every one of you are wonderful. If your name isn’t mentioned in this text, I still know and appreciate everything you do, and I am deeply thankful for what you do, both for CAEA and for me personally. Cheers to a great new year and to making every moment count!
sounding nepotistic, she too, is the best. Alexis is an accountant, and has organized and streamlined our finances so that when she steps away from writing checks and working with our CAEA accountant, the job will be perfectly fit for an art teacher!
There are a few people who many of you have never met. They put this Collage together three times a year for you. They collect articles, edit for copy and content, create the design layout, they
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Editor’s Message by Alexandra Overby, PhD
What can we do to continue this time to play and re-center ourselves when we are back into the crazy pace of school? Here are some suggestions that may work for you. Congratulations on another successful CAEA Fall Conference! It was so good to see everyone and get away from the daily routine of school (and being in beautiful Breckenridge is nothing to scoff at)! We had fantastic keynote speakers and master artists and ended the weekend with a spectacular bash with the Wash Park band. The best part of the conference? Seeing everyone visibly reenergize and refocus on the best part of our jobs: making art. After a busy fall semester of guiding our students to create personal work with technical skill, it was time for us to get back to what we love. From Sieger Hartger’s figure drawing classes to Sharon Jacobson-Speedy’s jewelry master class, I saw joy and passion return to teachers’ faces. What can we do to continue this time to play and re-center ourselves when we are back into the crazy pace of school? Here are some suggestions that may work for you.
Try 31 Nights (or a similar prompt process) Yes, it’s a lot of disciplined work, but if you give yourself 20 minutes a day, it adds up to quite a few hours of art making. I am trying 31 Nights from Michael Bell with my students and we are working through it together. Sure, some nights don’t pan out as well as others, but it’s helping reinforce the habit of creating something every day. It’s also helped me and my students define how we work best – I tend to want to find my compositions within daily life (rather than artificially set them up). Take a class Check out your local rec center or community college to see what types of classes are in your area. It doesn’t have to be an art class; sometimes doing something out of your comfort zone will amp up your creativity in your art making and help you see new connections. I have recently taken up yoga – I’m not very good at it (yet), but it forces me to slow down and focus. I am finding myself being able to calm down and refocus during the daily craziness of teaching high school.
Make art with your students While there is much debate in the art teacher community about making art at the same time as your students, I think these are invaluable chances to have students see you at work, fighting through the same creative process as they are. Obviously you cannot do this every class period, but every now and then can you sit down with them and work side by side? Share your work with your students On the same level as making art with your students, make sure to share work that you have done. It’s important for students to see that we are artists too, whether we are showing in a gallery or just making art for ourselves. I share my personal website as well as include a work every now and then on our class website. Sometimes I even include a work that wasn’t successful and I talk about what happened in the process. It doesn’t take that much time to share and I find that my students have a better connection to me and how I see the world. Have art time in your classroom with other teachers Welcome fellow art teachers and colleagues into your classroom for open studio time or a small lesson that can be completed in a short amount of time. Not only does this provide time for teachers to “play” and focus on themselves, it can be an opportunity for you to show off the amazing things that happen in your classroom. Invite the math teacher down the hall or the administrator who has not had the chance to see what you do; it’s a powerful way to advocate for your program!
Buy some new supplies … or limit yourself to what you have Treat yourself – will that new pen or set of watercolors make you want to create some work? Do it! I am not suggesting to blow your budget, but every now and then, a new art tool may be just the thing to re-energize your creativity. On an opposite note, you could challenge yourself with only a few supplies you currently have. What can you make when you limit your resources?¹ Join an art community Finally, join a group that could hold you accountable. Usually groups will work together to set due dates for finished pieces or work through a particular project or technique together. While finding a group within your community is the most authentic way to connect with people, there are also many groups online that you could join (via Facebook, Flickr, etc.). Sometimes knowing that other people are “watching” you might be the motivation you need to carve out some time to create again. I’m sure there are many more amazing ideas out there in the art teacher community, but hopefully one of the activities I listed gets you thinking about how to make time for play. As always, I hope you enjoy this issue of Collage. I am so excited that our keynote speakers offered their insights into art education for you to read! This is a wonderfully eclectic issue of diverse ideas and perspectives that demonstrate how amazing our art educators are. I encourage you to submit for a future issue of Collage! Please send me your images, articles, event summaries, lesson plans, etc. at alexaoverby@ gmail.com.
¹There’s a great TED Talk called “Embrace the Shake” by Phil Hanson that is all about the power of limitations. I highly recommend it!
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Making/Teaching Art: The Dangers of Teaching Art by Leo Segedin
Permutations IV (1979)
Editor’s Note: This is the speech Leo Segedin gave as the keynote address on November 4, 2017 at CAEA’s 2017 Fall Conference. CAEA thanks him for his generosity in allowing us to reprint it here in its entirety. I First – my credentials. I have been a maker of art – a painter – and a teacher of art – for almost 70 years. I began as a professional artist in 1949 – when I was an MFA candidate at the University of Illinois – in an exhibition called “Artists of Central Illinois.” I won Second prize. I had my last professional
gallery exhibition at the Byron Roche Gallery in Chicago in 2009 – and had a great show of my recent work in my “House” gallery last month. I have been a teacher of art too. I taught high school art for a short period of time and art in community centers for over 30 years. I gave my first university art lecture in 1948 at the University of Illinois as an assistant instructor – and my last as a professor of art at Northeastern Illinois University in 1987. Although I give occasional lectures, I quit teaching to become a full-time artist 30 years ago. I have 40 essays and almost 400 paintings on my website. These, then, are my qualifications for considering
the two issues I want to discuss today: the making and teaching of art as it affects us personally and our impact as art teachers on the artworld.
The two issues I want to discuss today: the making and teaching of art as it affects us personally and our impact as art teachers on the artworld. What is the connection between making and teaching Art? How do they affect each other? Is it possible to be a successful artist and a successful teacher at the same time? I am sure that everyone here is concerned with the art their students make, but what about your own creative work? What effect does your teaching have on what you do in your studio when no students are around? And – most importantly to your students – and to you as teachers…what is the impact of your work on theirs? For us – such concerns are personal. I doubt that any of us think of our work as being historically significant. We don’t teach or make art to make history; – we work to satisfy ourselves. But – on the other hand – we know that artists who are in the art history books must have had teachers. A question seldom given adequate consideration by art historians is the impact that art teachers have had on the history of contemporary art. I will argue in this paper that art teachers have had an unacknowledged, but major impact on the history of American art since the 1960s. A question I have asked myself…was I a painter who taught – or a teacher who painted? Had I been suffering from some sort of professional, splitpersonality syndrome during all those years? Did I dream of department meeting agendas or unfinished canvases? Was it possible to work at both – to be good at both – without neglecting either? When I began teaching art – it would never have occurred to me to ask such questions. I knew then that I was a painter who taught. What has happened since
then that would create such uncertainty today? Rembrandt taught painting and I am sure he did not ask himself such questions – why am I? II I doubt that any serious painter starts out to be an art teacher – but, as we all know – most painters can’t make a living from the sale of their art work. Even during the late 1960s – when graduates of the Art Institute of Chicago like the “Hairy Who” – who were famous at the time – of the Fine Arts majors who graduated from that institution during that time – only six percent of them were still supporting themselves in the Fine Arts 18 years after graduation. I know artists who became bartenders, construction workers and carpenters to support themselves and others whose were subsidized by their parents or spouses – but of all possibilities – teaching art was the most natural and personally rewarding and – for an artist – often the most secure and lucrative. This dual role of being an artist and an art teacher can be difficult for us. As teachers – we can support ourselves financially and pensions secure our old age. We are free to paint what we want without worrying about rejection – BUT – the “downside” is – we don’t have to paint at all.
So the danger for artists is that teaching becomes more fulfilling than the uncertain rewards of making paintings. Moreover – teaching art can be creative. It is certainly involving and – when students do exciting work – very gratifying. So the danger for artists is that teaching becomes more fulfilling than the uncertain rewards of making paintings. Unless artists are determined to continue to paint in spite of the satisfactions of teaching – teaching art can become an end in itself. In fact, what often happens is that – since they must teach – painters become teachers who teach other artists – who become teachers.
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City Facade (1948)
III It wasn’t always this way. One hundred years ago – there was no question that painters taught painting. There were no professors of painting – no university Art departments – no art education courses or university art degrees. Even 70 years ago – university degrees were not required to teach painting. As late as 1948 – when I was a student at the University of Illinois – none of my painting professors had college painting degrees. They had been hired on the basis of their reputation as artists – as were all art teachers ever since the first professional art academy in the United States was established in 1825. In 1949 – as a 22-year-old assistant instructor with a brand new Bachelor of Fine Arts degree – given to me by degreeless professors – I was on the committee that gave one of my professors his BFA. In 1950 – I was in the first class to receive an MFA in Painting at the University of Illinois. Afterwards, most of my professors went back to
As late as 1948 – when I was a student at the University of Illinois – none of my painting professors had college painting degrees. 10.
college to earn art degrees. Now most artists and university art teachers have MFAs. In 1948 – the teaching of painting was the major function of a university art department. When I was at the University of Illinois – the art studio teaching staff consisted of 26 faculty members and – although not all of them taught painting – most were practicing painters. That year – the first annual exhibition of American painting was held at the university. It consisted entirely of paintings. I was responsible for uncrating the paintings for the exhibition. I remember the reverence with which I handled those works of art. They were precious objects – “icons” of the Fine Arts. But – soon after – the exhibitions became biannual and – after 1974 – as painting lost its status in the art world – it was disbanded entirely. This year – out of about 60 faculty members in the School of Art and Design at the University of Illinois – only three are practicing painters. Out of about 89 BFA graduates represented in the department’s 2008’s exhibition catalog – only eight were painters. That year – at the influential Whitney Bi-annual Exhibition of American Art in New York – no paintings were exhibited. Painting – which had been the dominant Fine Art in the Western world for over 300 years – finally gained status in universities – only to lose it in 30 years.
IV Why has this loss of status occurred? First, if we accept the idea that the Arts create our cultural reality – technological media – popular film, video, and computer images – has replaced painting and drawing as the representation of this reality. One of the original functions of an Art department in a university was to give service courses in representational techniques for curricula elsewhere on the campus. Painting itself had low status – not only because it required manual skill – but also because it was not intellectual and had no practical function. Art department studio courses were justified – not because they developed professional artists – but because they taught drawing to future architects. Their function was practical – not cultural.
If we accept the idea that the Arts create our cultural reality – technological media – popular film, video, and computer images – has replaced painting and drawing as the representation of this reality. By the 1960s – in the art world outside the universities – the enthusiasm for the last historically recognized painting style – abstract expressionism – was waning. Artists – searching for new motivation – began to exploit popular media by appropriating it as legitimate subject matter. Technological images became the subject matter of painted images in the work of Pop artists. Real objects soon joined technological images as part of such artworks. By the 1970s – while Fine Art paintings themselves became multi-million dollar collectibles – the distinction between works of Fine Art, Popular art, and everyday objects began to disappear. As a result – the teaching of painting became a minor function of university art departments. Also – I believe that – at the same time – the art museum – as a repository of great works of art – was being co-opted by the idea that its function was – public entertainment. To maintain themselves
by attracting visitors – major art museums like the Art Institute of Chicago increased attendance by turning its traditionally “high brow,” quasireligious aura into attractive, social events. Welladvertised Blockbuster exhibitions of the works of famous artists – of historical periods and nonwestern cultures gave African Senufo fertility fetishes the same status as Rembrandts and Picassos. Functional objects — pots and silverware – were exhibited with the same aesthetic aura as Fine Art paintings. In fact, any man-made object – regardless of its original function – became a work of Art in museum displays. Explanatory, printed texts on walls – audio on earphones – and video presentations — turned any displayed object – let alone the most profound and subtle works of art – into easily accessible information. And – in ever enlarging gift shops – on posters, T-shirts and shopping bags – these works of art became – decoration. V But this is not the only way of thinking about the history of teaching and making art. I propose still another reason for the painting’s loss of status – one that is most important for understanding the contemporary relation between painting and the teaching of painting. The traditional danger of painters teaching painting in the 1950s was that – although they taught painting techniques and emphasized personal expression – such teachers often turned out imitations of themselves. Max Beckmann said that painting cannot be taught – but – nevertheless – his Washington University students turned out imitation Max Beckmanns. Students of Paul Weigart at the Art Institute of Chicago cloned Paul Weigart look-alikes. I maintain that the post-World War II generation of university art teachers – rather than perpetuating the painting traditions of these older painters – reacted against them by introducing the new ideas that diminished painting’s status. It is very noticeable – but seldom acknowledged – that – as more artists earned MFAs and taught in university art departments – fewer paintings were produced and publicly exhibited. Why? While granting all the other factors involved in what was
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happening in the artworld after World War II – I believe that the influence of art teachers on those events has not been given sufficient attention. After World War II – the GI Bill brought many American artists into colleges. Refugee European artists had already spread their new, often contradictory ideas about form, expression and the subconscious. By the late 1940s – artists had integrated
It is very noticeable – but seldom acknowledged – that – as more artists earned MFAs and taught in university art departments – fewer paintings were produced and publicly exhibited. these ideas into primarily abstract-expressionist forms of painting. Because no one at the time was buying their work – not only were they free to create heroic myths about the independent, self-expressive and spontaneous artist. They soon – of necessity – were supporting themselves by teaching – first in art schools and — increasingly – in the fast growing universities. University art departments were hiring. Universities had more status than art schools, and paid their faculty better. Consequently – painting as a Fine Art more and more acquired academic validation. BFAs in painting had been offered before the war – but by the late 1940s – MFAs were introduced and a few efforts were even made to offer PhDs. Courses in the Humanities, the social sciences and even the physical sciences became part of a painter’s curriculum. All these new academic curricula, of course, required intellectual as well as visual and technical skills. For art teachers – graduate theses about painting – academic papers – tenure and promotion documents – memos and meeting minutes – all involved being verbally literate. Also, because painting now had to justify itself as a new, legitimate, academic subject – painters were forced to examine and explain its presumptions. As a result – Art became self-referential. The subject of Art became Art. Since such explanations
required words rather than images – language soon became more important than vision and feeling. Painting had already eliminated the necessity for representational subject matter and composition – but – did it have to be flat? – Rectangular? – Or hang on walls? Was permanence necessary? Did painting have a fundamental essence? If so, what was it? Ultimately — these speculative artists asked – if the idea behind a work was most important – was an art object even necessary? Documentation replaced original works. Art had become “dematerialized.” You may remember Conceptualism, Minimalism, and something called “Art as Idea as Idea.” And, also – a fact ignored by most art historians – since these artists produced few saleable objects – most supported themselves by teaching.
By the 1960s, then – Art had rejected its previous expressive emphasis and was becoming conceptual and philosophical. In this new, academic environment – the role of the artist and the theoretician became interchangeable. By the 1960s, then – Art had rejected its previous expressive emphasis and was becoming conceptual and philosophical. In this new, academic environment – the role of the artist and the theoretician became interchangeable. Courses and programs in art theory were offered – often taught by non-painters. Northwestern even has a Department of Art Theory and Practice. Desperate for new material – PhD candidates in art history and philosophy – and art professors seeking tenure, promotion, and reputation – developed obscure theories about the nature of art in increasingly esoteric – academic language. Art curricula were sustained by books and articles in impressively incomprehensible magazines – which disseminated “post-modern,” deconstructionist definitions of art in which the artist and the art object disappear.
El Platform (1947)
During this time, also – Feminist and, to a lesser extent, Black critiques confronted the white, male bias of the art world and introduced nontraditional objects into the pantheon of the acceptable. Paint on canvas became only one of many kinds of media. Ultimately, anything could be rationalized as a work of art — rocks, cigarette butts, and – at the Metropolitan Museum of Art in New York – a dead shark in formaldehyde. In an exhibition in the Lever House’s lobby at Park Avenue and 54th Street – viewers would have seen “30 dead sheep, one dead shark, two sides of beef, 300 sausages, a pair of doves.” The British artist Damien Hirst described it as “his most mature piece.” Hirst is the wealthiest living artist in the artworld.
By the 1980s – since anything displayed in an art museum or gallery was interpreted as a work of art – there no longer was a dominant philosophy of painting – no one art style or movement. Therefore – in spite of the fact that thousands of artists continued to paint in many different styles – as far as gallery dealers and art museum curators were concerned – paintings had disappeared as an independent art form. Painting – which had begun as a practical, manual craft – raised to the cultural heights as the creation of almost sacred objects — was now defined as mere philosophical tokens. It went so far that – by 1985 – scholarly books – all written by professors of art history and philosophy and published by university presses – began to appear – declaring the end of art history – the end of the artworld – and even the end of art as we
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have come to know it. Thus – I maintain – artists as university art teachers themselves contributed to painting’s loss of status. VI In such an artworld context, it is important for us to remember that we – as artists and teachers – work in a world of real people – not in an abstract world of theory and history. We do our own thing in our studios and workshops – and we derive real satisfaction from these endeavors. In spite of the dangers of teaching for painters – both making and teaching art are very satisfying and rewarding experiences. I have been around
It is important for us to remember that we – as artists and teachers – work in a world of real people – not in an abstract world of theory and history. We do our own thing in our studios and workshops – and we derive real satisfaction from these endeavors. long enough to hear from former students who have become successful painters and from art teachers who are old enough to have retired. It is very gratifying to hear them tell me how much they appreciate the important influence I have had on their work. I continue to hope that other artists and art students find painting as important as I do – who see that – for them – the best way to express ideas requires paint on canvas rather than words on paper or images on computer screens. Helping others achieve this goal is a worthwhile purpose for our professional lives. Perhaps – if they develop confidence in the significance of their own work – painters will create meaningful works of art, and – if they teach – being successful art teachers who turn out productive, creative students.
VII On a personal note…Although as a painting teacher – I had been concerned with contemporary art issues – as an artist – I am not. I know why I became a painter and see no reason to change. For me – painting is not a philosophical activity. I have never been interested in defining art or in pushing its boundaries. I don’t believe that my subconscious has anything especially profound to offer and I don’t want to explore materials – express my emotions – or demonstrate my originality. I continue to want my paintings to be about my experiences in the world. I continue to think that painting requires skill, knowledge, experience, maturity, perseverance … and – of course – creativity. I still believe in quality. I want to make the best paintings I can. Judging paintings may not be the same as selecting the sweetest peaches on a produce counter – but some works of art really are better than others. I see my painting as the making of meaningful objects – in the same way that novels, poems, plays, films, TV presentations, and symphonies are meaningful. An individual painting may not have the range and complexity of a novel or a film — but it gives form to experiences in ways which are not accessible to these other media. Through painting – we experience unique and inexhaustible ways of seeing the world. We respond to representations of feelings of others. We are moved by religious beliefs and provoked by the problems of society. The works of Michelangelo, Goya, and Rembrandt hold their own against expressions in any media. And – like language – image making – with its 38,000 years of history – will never disappear as a means of making sense of the world.
I see my painting as the making of meaningful objects – in the same way that novels, poems, plays, films, TV presentations, and symphonies are meaningful.
Postscript In a paper I gave seven years ago, I said that: Painting is still potentially significant enough to regain that former status — albeit not with traditional Fine Art’s highbrow, spiritual aura – or as revelations of the artist’s psyche – or as theory – but rather with relevance to contemporary concerns. I understand that at the University of Illinois recently – the number of art students graduating with an MFA in Painting had gone from two to six. If this is true – perhaps
a trend? Since I intend to continue painting as long as I can — perhaps – if I live long enough – as painting makes a comeback – I will be considered avant-garde – rather than an old reactionary. Unfortunately, the number of painting majors at the University of Illinois continues to drop as graphic and industrial design majors rise. According to a report last week – the “…numbers of Painting majors has been steadily falling, from about 30 per class about 20 years (ago), to about 11 or 12 per class a decade ago, to 8 per class in 2015, but trending up with 9 per class this year and 10 applications for the freshman class next year up from only 2 the previous year. It is safe to say there
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are about 20 – 30 total undergrad studio majors (all four levels) whereas 20 years ago, there would have been that many per level.
biggest fear is not of dying – but of disappearing before I am dead. So I’m glad that you think that I might still have something worthwhile to say.
But – at the beginning of this year – the Whitney Bi-annual 2017 Exhibition – for the first time in several decades – exhibited the works of many painters. This is a radical change. Even the last Whitney show three years ago contained almost no paintings. What happened to account for the change? My take…The ideas which have dominated the professional artworld for the last years have been exhausted. As usual – a new generation of artists has reacted against the values and concepts of their teachers. Of the 60 artists represented in the exhibition – only 5 were born before 1960 – the beginning of the period I discuss in this paper. An ambitious artist today – as in previous generations – has a choice of being second generation – of doing variations on what has already being done – or establishing their identity by doing something new. Rather than investigating the nature of art – they now respond to current social issues. They are concerned with racial, ethnic and gender issues rather than reducing art to its essence or appropriating comics, photographs, advertising and TV. New museum curators search for new material by which they might distinguish themselves from their predecessors. Their work will break with tradition and – after becoming established – become tradition.
Author’s Bio: Leopold Segedin was born in Chicago in 1927, received his BFA (1948) and MFA (1950) from the University of Illinois. He has taught at the University of Illinois (assistantship, 1948-50), U.S. Army Engineers (drafting, 1952-54) and at Northeastern Illinois University (1955-87). He has also taught at the Horwich JCC and the Evanston Art Center. He is Art Professor Emeritus at Northeastern Illinois University. He retired in 1987 after teaching there for 32 years.
In conclusion – Thank you for inviting me to speak here today. At the age of 90 – I find that my
His work is included in Harvest of Freedom: A Survey of Jewish Artists in America (1989) by Louise Dunn Yochim.
Mr. Segedin has been an exhibiting artist since 1947, his works having been shown at such museums as the Art Institute of Chicago (including the 60th Annual National Exhibition), the Corcoran Art Gallery in Washington, D.C. and the Milwaukee Art Institute. Since retiring, in 1994, he had a major exhibition in the Renaissance Court of the Chicago Cultural Center called “I Remember,” a retrospective of paintings on Chicago themes done since 1947. He has exhibited with a group called the “5” at the Belzekas Museum of Lithuanian Culture, the Loyola University Art Gallery, the Ukranian Institute of Fine Art and Suburban Fine Art Center in Highland Park. In 2000, he was included in a group show at the Muskegon Museum of Art called “Moments of Grace: New Regional Painting.” Also, during 2000, he had a oneman show at the University Club of Chicago. In 2001, he participated in “Survey 2001” at the Byron Roche Gallery. He was represented at “Chicago 2002,” the international show at Navy Pier. In 2000, 2002, 2006, and 2009, he had one-man shows at the Byron Roche Gallery. In 2010, Mr. Segedin was featured in a major retrospective at Northeastern Illinois University in Chicago. He has had 17 one-man shows and has won awards at several museums including the Art Institute.
Be the change you want to see in the [art] world. by Michael Bell This past November at the Colorado Art Education Association (CAEA) conference, I was blessed to deliver an inspiring keynote to 480 art educators from CAEA as well as teach Master Classes on my innovative 31 Nights movement that is sweeping the country and an Oil Painting 101 Workshop . . . renaissance-style. While my message for Colorado was clear – know your why (why you do what you do, or perhaps why you were drawn to art and education in the first place) and capitalize on what your strengths as an artist in education already are – I also came away with a powerful message coming from the various “rebels” I met within CAEA itself. That message is for us all to fight on!
Don’t get off the mountain when the climb seems too steep, or when the road seems too wearying. Don’t be constrained by “the system,” or stifled by the constant barrage of new mandates or initiatives. At the end of the day all great teaching comes down to one simple thing – truly caring. Going above and beyond to be the change we want to see in the world while maintaining our passion for being artists first and foremost. And, all great art comes from listening to your own intuition, not someone else’s. We need to keep cultivating the kind of artistic behaviors that renew the creative spirit within
us all. Among our colleagues, among our fellow artisans, and among our students. And we all have something special to offer to the world as artists and as educators. We all have at least one certain “special something” that nobody else has but us. It’s what makes us unique, and it gives us our vision, our ability to sing in only our unmistakable voice. We all have hard lessons we’ve learned that we’ve used as fuel to keep moving forward, despite any circumstances or obstacles in our path. We need to all think bigger. Start with big ideas, universal themes surrounding global, national, regional, family and the self. Big ideas that can be expanded on through creating choice-based and conceptual approaches to our own art-making
processes, married with the right amount of traditional and technical skills. Enough to keep our kids interested, fluent, but still original. No more “project-making” . . . only the creation of “personal work.”
“What’s my why? I want to catch kids before they fall. Do what nobody ever did for me. Draw that line from my life to my art that is straight and clear.”
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This past June, I also decided to share these big ideas, and countless personal success stories of triumph against all odds with the world in a bestselling memoir DUAL LIVES: From the Streets to the Studio.
the highest accolades in the country. It’s incredible how the power of imagination can move us to take action, and travel the road less travelled, like the John Keatings, Erin Gruwells and Jaime Escalantes of the world.
Michael Bell (left) with his son Carmen and wife Lisa at his October 6 gallery exhibition opening in Williamsport, PA.
I wrote DUAL LIVES after experiencing what some might call my Jerry Maguire moment. In the field of education I had done the unprecedented, coming off three national teaching awards in one year, students earning over 10 million in scholarships the past five years alone, and seven back-to-back national NAEA Rising Star Award winners and eight Scholastic Art National Gold and Silver medalists three years straight . . . all the while, I was hit with personal family tragedies I wouldn’t wish on anyone, coupled with a growing dissatisfaction with the direction our country was heading in public education – a system I’ve devoted over half of my life to. I knew now was the time to share my story with the world. Writing DUAL LIVES started out like a similar “vision” I had while founding and creating ArtQuest, which started out as an idea to host a small student art show to help increase an interest in art in order to save my job, but ended up becoming one of the largest and most inclusive K-12 student art exhibitions in the nation, complete with a national sponsor in Kathy Kahre-Samuels (owner of ArtQuest, Inc. based out of St. Louis, MO) and a platform for our students to showcase some of
So, go out there and create alongside your kids. Get that next gallery exhibition so your kids see you as an artist. Lead by example. Draw that line from your life to your art. Be the change you want to see in the world. Begin writing your own memoirs even. After all, each of us has a story to tell, and through our art, our pictures are also filled with our stories. And, if you’ve lost any of your passion, it’s never too late to begin again. Renew your spirit. Gain that spark. Believe in yourself. It’s often that strong belief that I’ve had in kids that helped them play “above their heads” when they didn’t even believe in themselves. It’s a belief you must also have in yourself. So, believe. Trust in the process. Have faith. And continue to fight. Be the change you want to see in the [art] world, and beyond. Purchase DUAL LIVES online through Amazon at http://tinyurl.com/duallives or http://duallives. com Visit Michael Bell online at http://mbellart.com
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 2018
Happiness: The Fruit of His Labor by Natalie Myers
All Colorado students age 5-18 have the opportunity to honor Scott Harrison by contributing an illustration for an upcoming childrenâ€™s book about Scottâ€™s story. Details for uploading drawings may be viewed at www.coloradokidscreate.org. Remember being a child and the joy of riding on a carousel? Scott Harrison, of Nederland, Colorado, spent 25 years carving wooden animals for The Carousel of Happiness that now resides in his town. That journey of creative perseverance and determination began on the sad, war-torn fields of Vietnam among pain and horror. It was there that Scott, as a young soldier, received a package from his beloved sister. In it was a music box that played Chopinâ€™s Tristesse. While listening, he imagined a mountain meadow with a carousel
on the grass, kids running around and families picnicking. After the war, Scott moved to San Francisco where he worked for Amnesty International, now a global movement of millions of people demanding human rights for all people. He met his wife, Ellen, there and moved to Nederland where they both continued working for Amnesty. They would receive news daily of human rights violations and actively worked for peace and resolution.
It was during this season of life that Scott happily discovered that he enjoyed wood carving. First, he made a rabbit as requested by his son and, over the course of time, created 60 whimsical animals. The search for a carousel to house his menagerie led him to one that was originally built for the Saltair Amusement Park in 1910. There have been over 500,000 rides on the carousel since it opened in 2010. The cost is firmly set at a whopping $1. The carousel is run by a volunteer staff. Katrina Harms, Executive Director of The Carousel of Happiness, said their mission is to bring joy and art into the community, providing an accessible, inclusive environment, and partnering with groups which benefit people in crisis and those with special needs. Katrina asked Colorado Kid Create, Inc. to write a children’s book about Scott’s story. All Colorado students age 5-18 have the opportunity to honor
Scott Harrison by contributing an illustration for the book and qualify to win great prizes. Details for uploading drawings may be viewed at www.coloradokidscreate.org. The deadline is March 1, 2018. Here is an excerpt from Don’t Delay Joy: The Story of the Carousel of Happiness by Janette Keene Taylor: “We need more heroes in the world who make, instead of break. A short, pleasurable moment, a three-minute amusement ride in a small mountain town, may not seem very much. But for many, it is a moment to remember that creating is a healing activity, and that whimsy is essential to shake up our daily routine. Giving, with the pure intention to make people happy, creates a magic all its own. And a lovely carousel, reborn again and again, is a potent symbol for belief in the value of human potential.” Never underestimate the power of imagination, Art, and song.
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Art Educator of the Year
Rachael Delaney is a dynamic teacher and leader of art education at Metro State University in Denver, Colorado. She exemplifies what a professor of art education and an advocate for art education should be. She is incredibly smart, articulate and passionate about her work. She can take highly complex and abstract ideas and make them accessible and understandable. Her focus is on what art education should be and how can we get there in practical terms. She cares about people and keeps them grounded with humor and compassion. To sit in one of her presentations is to be immersed in the depths of her knowledge of art history, and to be inspired by her creative applications to contemporary classrooms. Colleague Dale Zalmstra reflects, “I have known and at times worked with Rachael over a number of years. As an elementary art teacher, I have been the cooperating teacher for her student teachers. I know from the students what the priorities and focus are in their art education classes. I know the efforts Rachael has made to mentor and facilitate the growth of her students. I know she has very high standards and high expectations for her students. She calls for their best in a way that both inspires and motivates them as they grow in understanding and confidence.” Yet another of Rachael’s cooperating teachers, Sarah Shay, concurs. “Each teacher candidate I met had a unique pedagogy, a different disposition and their own philosophy of education they were developing. Inevitably it never took long before each candidate referenced a key conversation that they had with Rachael that brought them to the next level of developing their teaching practice.” In addition, Rachael is one of the creators of the Theory Loves Practice study group that meets at Metro’s Center for Visual Arts. The study group is an extension of Rachael’s philosophy and commitment, stretching beyond the classroom and creating the bridge between theory and practice. This study group was created with new art teachers in mind. One of the group’s primary functions is to be a support and network for teachers as they begin their first jobs. The group provides time to share experiences and learning. Sarah Shay concludes, “What makes Rachael so unique is that she has high expectations for the field of art education, and works on the individual level to empower the next wave of teachers to bring those high expectations forward with them in their own ways. She is a behind-the-scenes mover and shaker who elevates Art Education in all that she does.”
CAEA Art Educator of the Year
High School Art Educator of the Year
Rui Haagen has always given 100% of herself to her students and to the development of a fine ceramics program at Cheyenne Mountain High School in Colorado Springs. This is evidenced by merely walking into her classroom where she is always up to her elbows in clay while engaging and encouraging the students to a higher ideal in craftsmanship and skill.
Rui understands the infinite possibilities of expressing ideas and feeling through ceramics, jewelry and sculpture, and has a rare ability to share that with her students in an extraordinary way. She also passes on her passion for art, quest for mastery and attention to detail quite effectively.
Springs Arts community.
Rui’s technical knowledge of ceramics is unsurpassed and her ability to connect with her students is simply amazing. If one then wandered through one of her many art shows in which her students participate, you can pick out her students’ work by the high quality and fine attention to detail. If one then talked to her students, you would then understand their testimonials and devotion. In addition, Rui has always been a very active participant in the Colorado
Fellow art teacher, Nancy Roach, responds to what it is like to teach alongside Rui, stating, “It is a challenge to keep up with this woman, but I have enjoyed every minute of working with her. I admire her professionalism, her artistic curiosity and her very deep daily commitment in doing the right thing in every situation. She is an extraordinary woman and although I am selfishly saddened by her impending retirement, I know she is merely moving onto another chapter in her life.” Former student Sevin Murdock describes Ms. Haagen as “one of the most reliable, kindhearted, hard working, supportive and caring people in my life. She is great because she wants everyone that walks into her room to be successful in whatever aspects of their life they may choose. My success is her success. I would not be half the person I am today if I had not had the positive influence of Ms. Haagen or walked a path of victory for my artwork because I wouldn’t have learned to see the beauty in something half finished, the potential a lump of clay has, or the awards it can be turned into.” Sevin concludes, “Teaching is so much more than showing how to create the desired outcome and unfortunately that’s a common misunderstanding. Teaching is knowing how to connect with your students on an individual level and make them better than when you met them in more than one aspect of their lives and that’s a gift Ms. Haagen has held steady at my school for 18 years.”
High School Art Educator of the Year
Middle School Art Educator of the Year
Kimberly Chlumsky Kimberly Chlumsky’s passion for and commitment to her work, her students and her profession consistently rise above and beyond the ordinary. Eagerly undertaking challenges, Kimberly is an inspiration for all art teachers. The reasons are as numerous and varied as Kimberly’s talents.
Kimberly is the art teacher and department chair at Rocky Heights Middle School in Highlands Ranch, Colorado. In the classroom Kimberly is an innovator. This is seen in the design of her classroom and the 21st Century learning experiences she provides her students. Walking into Kimberly’s learning space automatically places students in the role of practicing artist. The room’s look and feel reflect an authentic artist’s studio. Kimberly worked hard to make this happen, attending classes, writing proposals, securing funds and finalizing plans, moving her dreams of what a perfect art classroom should be to reality. Her lessons are no different. She works tirelessly to make sure her students get the kind of learning they need to realize their own dreams. Kimberly’s classroom includes state of the art technology, a 3-D printer, poster printer and computers, providing students with the needed knowledge and skills to move their minds and work forward into the future and all the possibilities yet to be imagined. Learning experiences Kimberly creates are engaging and include a vast amount of personal choice. Units move students through the creative process and are designed to ignite curiosity and imagination; they include voice, skill building that leads to care in craftsmanship, and products that clearly display a unique personal interpretation and style. The artwork Kimberly’s students produce is always high quality and distinctive, a step above commonplace. Colleague Heather Cox writes, “Kim was instrumental in bringing a digital media program to our arts department and collaborates with our technology teachers to produce sustainable learning opportunities for students. Kim continues to take initiative to grow and learn as an instructor and brings that enthusiasm to the classroom. Each time I visit her studio, her students are eager to show me their work in 3-D printing, graphic design, screen-printing or paper sculpture. Likewise, Kim is often eager to show me what new ideas she has planned for her students.” Fellow art teacher Pamela Cogburn exclaims, “My admiration for Kimberly is boundless. Personally, I have learned so much from her example and will be forever grateful. Her contribution to our profession has been immense and is just beginning. Her desire to constantly improve her own practice and help others in that endeavor demonstrates her extraordinary leadership and innate desire to further the profession.” Middle School Art Educator of the Year
Elementary School Art Educator of the Year
Christina Martinez has served the art education community from her rural school, Holyoke Elementary, with an incredible amount of energy and passion. Ms. Martinez is not only the only Art teacher in the building. She is one of only two in the entire district. Christina actively engages and encourages the other educators in her rural community. Her impact on students’ lives and their learning can be seen when wandering the halls of her school and seeing the tremendous work of her students everywhere. Mr. Martinez instructs all 325 students ranging from the ages of 5 years old to 12 years old on a daily basis. Having to adjust her verbal and nonverbal explanations, vocabulary and outcomes for different age groups and different art lessons to meet the age appropriateness of each class is something that she excels at. Students in her classes get the opportunity to create many different types of artwork using a wide variety of mediums while also learning about famous artworks and the artists who create them. Ms. Martinez asks her students to plan, create and evaluate their own projects. She accomplishes these tasks with great initiative and with a very positive attitude. Ms. Martinez does a great job of balancing close personal relationships with her students with the excitement and energy she openly displays about all aspects of art.
Kyle Stumpf, Holyoke Principal, reflects on Christina’s accomplishments. “Ms. Martinez has performed the role and duties as our K-6 Art teacher with passion, desire, excitement and with a purpose in an effort to positively impact a student’s art understanding and student’s overall art appreciation. This year she created and implemented an adaptive art class for high needs special education students. Ms. Martinez holds an adaptive art class everyday for non-verbal, wheelchair bound and autistic students. The fine motor activities combined with the personal small group or one on one attention has truly inspired and opened communication pathways for several of the high needs students. While she always strives to make learning art accessible for all students regardless of the background, this class and her implementation of art therapy concepts has taken her students' outcomes to a new enlightened level and is a joy to witness. “ In addition, Christina serves on many committees within her school, community and state relating to standards inclusion, advocacy and lifelong learning. If you attend a Holyoke performance, her passion for visual art and the students can be seen in the collaborate work of set design and costuming. Her students' creativity and attention to recycling can be viewed in the work produced for table decorations at past CAEA Awards Ceremonies. She has inspired her students to think beyond the classroom, entering exhibitions and statewide competitions such as Youth Art Month. Music teacher Marcia Dalton concludes. “Christina has a huge heart and deeply cares for her students. She would do anything to make sure they find success in her classroom. She is very involved in CAEA. She has so much enthusiasm and passion for her job. She has been inspiring and refreshing for all of us on staff and in turn has given us a new excitement for teaching. She always shows the utmost of professionalism in her daily activities. Christina’s love of art has been evident in her interaction with students and she is deserving of recognition.”
Elementary Art Educator of the Year
Art Educator Rookie of the Year
Kevlyn Walsh During her time as a student teacher at Westerly Creek Elementary, Kevlyn Walsh demonstrated a high aptitude for the many complex layers and tasks of teaching art including: self-discipline to manage planning and other school-life demands, differentiation and support for students with autism, active monitoring of student work during lessons, supply and materials management, as well as a restorative justice approach to behavior management and student discipline. In addition to her strong work ethic, she is described as having an exuberant energy that is felt by all who are graced by her presence.
Right after student teaching ended, Kevlyn took her first job at Stedman Elementary as a long-term substitute. Its always difficult starting a job in the middle of the school year, but it was exceptionally challenging at Stedman because of its low-income and high needs student population. But Kevlyn put her heart and soul into the position even knowing that it would only last one semester. Kevlyn remains committed to providing the best possible art education for her students. Currently, Kevlyn teaches at the Denver Center for International Studies. Even on trying days with middle school students, Kevlyn always has a positive outlook on the potential of her students and her own abilities to problem solve. During her first six-week teaching at DCIS, Kevlyn was offered the opportunity to serve as the Tour Leader and take 15 students abroad to London. She accepted the offer with enthusiasm and even traveled to Rome for professional development to learn more about how to be an effective tour leader with students abroad. Kevlyn is fearless when faced with new, unfamiliar opportunities and approaches everything with a growth mindset. The projects that students are involved in are creative; and she always allows some flexibility and choice. This builds in buy-in from students and is one reason why students are so engaged in her class. Another reason for such high engagement is her enthusiasm for the work and her passion for the kids. Her love of art and kids is palpable when you enter her classroom. Assistant Principal Mario Fiardello reflects, “She is an outstanding teacher, contributor to our culture, and goes above and beyond the duties of a teacher… she is a mentor and advocate. We would not be the same school without Kevlyn’s passion and enthusiasm. We are better because she is here.” Barth Quenzer, Visual Arts Instructional Curriculum Specialist for Denver Public Schools, concludes, “In working with Kevlyn this year, I became aware that something uniquely special was occurring when we got this new teacher. Not only was she highly present and participatory with the professional learning in the district, she provided evidence of a highly reflective teaching style. This type of meta-reflection on the teaching process is not common among first and second year teachers. For a new teacher to be participating in the type of professional dialogue that encourages reflective strategies (for the purpose of improving one’s pedagogy), well that is unique. I have no doubt that Kevlyn will become a future teacher leader in the field of art education.”
Rookie of the Year
Distinguished Service Outside of the Profession
Mark Sink is an iconic figure in the Denver art scene, having worked for over 35 years as a photographer, gallery owner and arts organizer. In addition to helping to found the Museum of Contemporary Art in Denver, Mark is founder and director of the Month of Photography (MoP), an enormous biennial event during March and April in the Denver Metro area with over 160 galleries, museums and schools participating. In addition, considering the international recognition the event commands, Mark has helped shape Colorado’s current fine art status.
In conjunction with MoP, Mark desired to encourage through inclusion young student artists, hence, the Month of Photography Teen Photography Show was added to the festivities. Mark is a champion for all photographers and artists, including those at the start of their careers as well as helping to mentor those who are further along. The high school photography show is a wonderful example of that. This show continues to provide opportunities for students all over the Denver Metro Area to be acknowledged for the work they are creating. Samantha Johnston, Executive Director of the Colorado Photographic Arts Center, recalls, “In 2015, when I was still teaching high school, my students participated in the Month of Photography Teen Photography Show. It was a great opportunity for my students, and I appreciated the chance for them to experience being involved with a juried exhibition. Mark often comments how exciting the exhibition is for him to see so much new and exciting talent. It has been a fantastic experience working with Mark and seeing his enthusiasm for the medium of photography. He creates community and brings attention to the amazing things happening in the photo-related arts.” With Mark’s impressive background—from his friendship and collaborations with Andy Warhol’s Factory to his feature in Westword in the 100 Colorado Creative series and continuous participation in Denver’s art community—Mark still has a genuine interest in young artists and has given the same support to teenage high school photographers. He has been their advocate and champion. His influence has helped young photographers exhibit work, often for the first time, in professional settings. In fact, Mark’s willingness to include high school students in the Month of Photography event has brought needed attention to not only other Colorado galleries, but, more importantly, public school art students in general. Alexandra Overby concludes,“Mark has created an amazing opportunity for high school photography students within the Denver Metro area. Entry into the show is free and because of Mark’s support, other photographers and gallery owners volunteer their time to help judge and host the event. He is truly a lifelong advocate of the photography community here in Denver.”
Distinguished Service Outside of the Profession
Distinguished Service Inside of the Profession
Elizabeth Stanbro As a practicing artist, Elizabeth Stanbro has been sharing her passion for art with her students for over a decade. Her teaching has always supported the ability of all her students to learn through the arts. Beginning with her teacher training, she immersed herself in a field experience at a juvenile detention center. Her teaching career in art at elementary and middle schools in Pueblo, Colorado led her to become the art teacher at the Bijou Alternative High School for At-Risk Youth in Colorado Springs. Elizabeth’s former principal at Bijou Alternative High School, Kathryn Presnal, recalls, “As her supervisor, I experienced first hand her skills as an innovative and creative art teacher. Elizabeth used her understanding of the transformative power of art and her compassion for students with difficult backgrounds to help them express themselves more effectively, to make peace with certain demons and to develop a love of the arts. Her projects motivated even those students who initially seemed to have neither interest in nor aptitude for any form of art expression.” It was in this environment, during her tenure at Bijou with those students, that Elizabeth found her calling, leading her to develop Young Vision in 2013. Young Vision is a non-profit designed to bring Socially Engaged Art Projects to at risk youth. Since that time, she has worked with incarcerated youth, homeless teens and teens that have sought haven in a program for LGBTIQ youth. Active in both the National Art Education Association and the Colorado Art Education Association, Ms. Stanbro has presented and shared her expertise with her fellow educators. A life-long learner, she regularly attends both state and national conferences to improve her practice. In 2007, she published the article “Invisible Lines”. This article focused on her teaching experience with students with developmental disabilities where she quickly discovered how often we underestimate the abilities of all our students to think critically and create meaningful works of art. Connie Stewart, Area Head of Art Education at the University of Northern Colorado, concludes, “Ms. Stanbro is dedicated to making artwork with those students whose potential others may overlook. She has guided students from homeless, LGBTIQ and identified 'at risk' communities into personal, powerful and socially meaningful artwork. Her work is fueled by a desire to support those students who need the arts to understand themselves and navigate the world. She possesses a valuable ability to apply scholarly interest in the arts and educational theory to the classroom. Her own curiosity enables her to provide meaningful and relevant learning experiences for her students. I am impressed with how Elizabeth works tirelessly to improve the educational experience and lives of her students. Her passion to change education experiences for those students who may be overlooked, her classroom experience and her dedicated community service make Elizabeth Stanbro deserving of this award.” Distinguished Service Inside of the Profession
Retired Art Educator of the Year
Peter Youngers Pete Youngers is an art educator, retired from his tenure at the Northeastern Junior College (NJC) in Sterling, Colorado. At Northeastern Junior College, Pete taught a variety of art classes and was the liberal art department chairperson for the college. Pete has always been active in the Colorado Art Education Association, having even served his stint as the CAEA President.
While at Northeastern, Pete was very supportive of the arts community, acting as a resource for local professional artists and K-12 art instructors in the public school. Former colleague Larry Prestwich concludes, “I have known Pete Youngers for nearly 50 years and have worked with him for over 45 years. We taught at the art department at Northeastern Junior College in Sterling for the greater part of that time. We have taught together, created art work together and hung hundreds of art exhibits together in the beautiful art gallery on the NJC campus. I know Pete is very committed to the NJC art program and contributes significantly to its progress and success.” In addition, Northeastern Junior College has an art gallery that features various exhibits throughout the year featuring both professional and amateur artists. While at Northeastern, Pete secured submissions, selected judges when needed and hung the exhibit. Each year there was a Secondary School Art Exhibit and Peter worked closely with art instructors in the area. Although retired, he continues to help hang exhibits at NJC. Peter is still held in high regard in the college community as evidenced by the fact that this art gallery was recently named for him. Carrie Mann reflects, “All of Pete’s professional work was in support and promotion of the arts. As an area art educator, I feel Pete in a variety of ways has positively affected my teaching. Pete is generous, highly knowledgeable and energetic in his education and promotion of the arts in northeastern Colorado.” Nancy Mann concludes, “Pete taught and continues to teach students, community members and other artists and continues to support and promote the arts throughout the northeastern Colorado. He judges the art at various county fairs and works with various non-profit organizations in the community, gladly donating works of art for their auctions to raise money. “
Retired Art Educator of the Year
Marion Quin Dix Award
Michael Cellan For years and years, Michael has been a living advocate for the arts. Art is a part of him that comes out naturally and enthusiastically in his day-to-day life and conversations. It wouldn’t be a surprise to know that Michael has probably influenced most art educators in Colorado, in some way, either as an educator or as an artist. Robin Wolfe reflects, “I met Michael in my first year of teaching and he immediately became a mentor, advocate, and inspiration to me in how I teach, create art, and live my life.” In addition to teaching in Manitou Springs public schools for 42 years, he has taught kindergarten through graduate school classes, and continues to hold workshops all around Colorado, Wyoming, and New Mexico. He wouldn’t care for you to remember, but it’s not surprising that Michael has received CAEA’s Art Educator of the Year award.
Michael has been and continues to be invaluable to the Colorado Art Education Association. Although his preference is to remain back stage, he has been a part of the representative council longer than anyone in our recent history, serving the association for over 25 years. He is always available to give advice or fill a position the council is in need of. His work of serving as the conference registrar is invaluable. Beginning with registering over 400 attendees by hand, then being instrumental in moving registration and membership into a functioning database and a website, he keeps members connected and allows the association to have full control of digital functioning. Michael has enlivened and energized the CAEA Art Exhibition by creating artistic challenges for participants. He never wants anyone to brush off an old piece hiding in the garage to throw into a show, but seeks to inject life and ongoing creative energy into the artists and their work by pushing them to make more art. Michael literally single handedly packs and moves the show to every nook and cranny of our state. He shows CAEA art everywhere! Cafes, bars, galleries… he makes sure everyone has the opportunity to appreciate the great art that teachers make. He tirelessly lends his expertise and guidance to any teacher willing to learn from him. Through his many “Great Art Workshops” and personal interactions, he fulfills every opportunity to teach or advocate for art. Vanessa Quintana adds, “Michael has inspired me to remain an active artist in spite of every part of life that pulls me away from my art. It is Michael’s ongoing support that inspires me to make the art I do today.” Michael also advocates for arts on the board of the Pikes Peak Arts Association (they awarded him the Pikes Peak Arts Association Artist of the year in 2010, another factoid he doesn’t care to divulge). He judges Scholastics and assists with their portfolios, has been a co-owner of two galleries, and supports many different artists in his surrounding area and inspires and encourages upcoming artists to participate in the arts scene. Michael continues to make art and show his work, winning many awards in group and solo shows. Michael is a one-man brigade in bringing art to touch the lives of everyone he encounters.
Marion Quin Dix
T hank You
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Current + Sensing Current Sensors ship with every KilnMaster Kiln. KilnLink is an optional upgrade.
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NAHS Leadership Day 2017 by Justine Sawyer & DJ Osmack
Colorado’s first leadership day for National Art Honor Society (NAHS) members and high school art students occurred on Saturday, November 11, 2017. The all-day event was held at historic Denver South High School. Several schools from across the front-range attended the event to work with their choice of two colleges in a studio setting in a morning session and an afternoon session. Each session included a conversation about what to expect in college; information about applications and portfolio development; and a studio art-making opportunity. Students enjoyed the opportunity to have small-group interactions with the college representatives.
College representation included the University of Northern Colorado, Metropolitan State University, Arapahoe Community College, and Colorado State University. Large-group activities included the creation of bleach-dyeing black logo t-shirts; breakfast and lunch; open studio art-making set up throughout the day; information gathering from college tables; a gallery walk sharing the artwork created throughout the day; a motivational video titled “Chuck Close Notes To Younger Self;” and a tour of the South High School clock tower. Students enjoyed the opportunity to meet and interact with like-minded students from other schools and to have a full day of art!
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Time Well Spent by Shell Acker
Discovery Canyon Campus Academy District 20, Colorado Springs Art teachers always have students that complete their work early. We have the student make adjustments to the artwork and still the student completes the work before other students are done with their work. What to do? I did a presentation at CAEA this year that helps an art teacher make valuable use of the â€œextraâ€? time in the classroom and promote the art program at the same time. I listed some of my projects for filling in the extra time on a brochure. (See image of my brochure from CAEA presentation.) Some projects are for certain months during the school year (for example, coupon booklets in May) and others are able to be completed at any time during the semester.
Murals are a great way for students to have a buy-in to their school surroundings. When I raise enough money with fundraising efforts such as the Art To Remember program or sales of melted wine bottles or cookies, then the murals can begin. Students are able to research the images, help tape the walls, prime the walls, and transfer the images onto the walls. The students also help block in the color, all under the guidance of the professional artists I pay to work with the kids. At the beginning of the year, I have the students do a drawing as a pre-assessment. The drawing is worked
give me a baseline assessment of what the kids can draw when they are new students to my classroom. My students work for the month of October during warm-ups and during extra minutes on their Veterans Day Grocery Bags. I have done this every year for the last 25 years. I do three different videos and give the kids lots of resource materials to use for creating the giant thank-you cards on either King Soopers or Safeway paper grocery bags.
on during â€œextra minutesâ€? in class after the initial demonstration and lesson is presented. Then over the first month of school students can work on the drawing when they have extra minutes. The drawings are sent to a company like Art To Remember and the parents are able to order products online of their studentâ€™s artwork on the various products. The preassessment drawings allow me the chance to let the kids do a drawing of their choice and also it gives them something to work on if they, for example, place their clay work on the drying shelves and there are still minutes left in the class period. The drawings
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kids creating artwork that gives advice to graduating seniors (see steps with 207 different colleges from 2016 graduating class); creating coupons for their parents (IB communicators/caring learner profiles); or helping to create “Art Games” to help with literacy goals the staff has selected for the yearly theme or campus goals. My students are currently helping create wooden words for the giant plaza word game “Write DCC.” It is basically a large magnetic poetry game, only made of wood to be used by classroom teachers. Teachers give their students a prompt and let students work in groups to help form poems, sentences, lyrics, etc. in an “artsy” sort of way.
The store gives me the bags and then, after we display them for the Veterans Assembly and throughout the school the week before Veterans Day, I take them all back to the store to use for groceries going home with customers. The bags are beautiful works of art created by middle-level students and getting those out into the community has been both wonderful and heartwarming. My students work on the bags during the month before the holiday. I display them in several different places on our campus in both the high school and middle school before giving them back to the store. Other extra minutes involve our students creating International Baccalaureate (IB) posters/ceramic pieces and promotional artworks for permanent display on our campus. The works beautify our conference rooms and halls and they also promote the students thinking in an IB sort of way. The students create the posters/ceramic pieces during the extra minutes in the classroom so not all the students will get to participate. My campus is very large (84 acres) and we serve preK12th grade students in a public school setting. Many of the extra minutes in my classroom are spent with
My students help photograph student work, hang work, and help with my gallery spaces in displaying artwork. If students finish early and have extra minutes, they then are selected to help with these type of special projects. My “early finishers” are not allowed to finish quickly to get to these other projects. They see the rubric before the project begins and must meet all the criteria before getting selected to help in other classroom areas.
The empty-bowl dinner is another great activity for students who complete their work in a timely fashion. Students make bowls/glaze bowls for the empty-bowl dinner and also help research what charity the money will go to that year. We collect Halloween candy for soldiers while participating in Operation Gratitude with my local dentist. Our students then write postcards and letters to the soldiers to go with the candy during the week after Halloween. My students have created ceramic fortune cookies and hidden them on campus, helping to promote kindness and joy. We did 26 random acts of kindness after we lost the students in Sandy Hook Elementary school in Newtown, Connecticut. Students want to be busy and students want to help create a wonderful environment in the classroom and school. The teacher that prepares materials ahead of time and plans out different projects during the semester will be pleased at how the classroom environment is one of organization and also one of creating community support for the art program on the campus. Display student work and brag about your students at every opportunity. All of these things help promote the arts but also make the administration proud of the campus. Painting the mission statement in watercolor for the front hall promotes the mission and also the notion of the arts being an integral part of the goals for the school year. Creating artwork in all the conference rooms also promotes IB and art while, at the same time, sprucing up the academic spaces. Academic teachers need to see that students are more engaged in the classroom if involved in the mission of the campus. Students who help created the murals/teaching spaces will always have the buy-in that administrators want in their buildings. If art is everywhere, the staff will begin asking art staff how to incorporate creative ways to present their lessons. It creates a win-win for everyone. Enter the local art competitions like Scholastic and Young Peoples Art Exhibit. If your studentsâ€™
work is not being presented to the public, you are doing a disservice to your students. My first slide of my presentation at CAEA was to promote doing workshops at CAEA. If your administration sees you as an instructor on the state level, it only adds to promoting your program and your curriculum. My students helped me with my presentation and it was good for them to see why we do so many things outside of the regular classroom lessons. Finally, include your students in helping promote the arts. I show a video each Friday instead of the visual arts journal entry during warmups. The video is a â€œnewâ€? art medium each week and I present it in such a way as to talk about the Personal Project our students do in the IB Middle Years Programme (MYP) during their sophomore year in high school. The media are always a bit weird such as sugar, dirt, or ice. The students are instantly interested; we talk about how this medium can become a work of art and how the artist is able to make a living making art. The students really are engaged in the artistic process and want to help think of ways to promote the arts at our school. There are no wasted minutes in my classes. My students look at the daily objective and know the expectation for the class on that day. A prepared teacher has engaged students and not off-task students. A prepared teacher has the materials ready and available for creating community in the school.
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24. Pianos on the plazas
48. Picnic Tables for campus USAFA cadets
25. Photo Visual Art Journals
49. Principals Retreat
CAEA PAST-Workshop slide
26. The Giving Plate Project
50. Discovery Plaza Benches
Social Media jpg for advertising your workshop
27. Fidget Joke
51. Fortune Cookies on campus
School theme on walls in school
28. Paint the Learner Profiles on steps
52. Earth Day Poster Contest
Hang Art Work/Theme on walls
29. Fidget Stick for parents
53. College Steps Advice
Every Flower Blooms in its own way
30. Fidget, Flip, Dab, and clay
54. Texture Walk
DCC Writes… Literacy Game/Art project
31. Melt Wine bottles 1350 degrees
55. Flip Books with Index cards
Mission Statements for front Hall of school
32. Space Day for campus
56. Hang Artwork everywhere in school
Brain Concussion Contest by District Office
33. Powerball joke
57. Conference Room Placards
10. IB posters around the school /classrooms
34. Hat Workshop for Alice in Wonderland tea party
58. Reception Window glass and stone
11. Retirement gifts for the school admin. To give
35. Wine Bottles and etched glasses
59. Shoe Print Mural
12. IB Platters for walls around school/conference rooms
36. School Banner on Discovery Space Shuttle
60. Coupon Booklets
37. Empty Bowl Dinner/ice cream social
61. EAC retirement mugs
38. ABE speaker advertisement
62. Administration Caricatures
39. ABE awards / Centerpieces
63. Photograph kids art work
13. DCC Rocks 14. Button Maker for events/art shows 15. Veteran Grocery Bag Thank you ‘s 16. Vet Postcards for Soldiers/Operation Gratitude 17. VFW Award for shellacker
18. Vet Postcards for Soldiers 19. Vet Assemblies 20. Art Installations 21. Koi Photos 22. Hammer Down Card Company
40. ABE printing cards to sell
64. Sponsor –A-Frame
41. Silent Auction Art work fundraiser
65. Last week of the school eyar
42. District Banenrs
66. Bubble Day
43. Copier Joke
67. Use your Hands
44. Technology Joke
68. Teacher quote
45. Coloring Book of your school campus
69. Dear Mrs. Acker
46. Mural Sketches
70. Zero Talent
47. Mural Photo Space and Aviation Mural with Astronaut.
71. 36th year in teaching/Lifes Journeyy last slide
Time Well spent CAEA presentation
Contact Me Shell Acker Discovery Canyon Campus 1810 Northgate Blvd. Colorado Springs, Colorado 80921 719-234-1800
What do you do with the students that work too fast and or too slow. I always say… promote the ARTS… Promote your program and make your school look amazing!!! Brag about your kids and display their work at all times.
Visit us on the web: www.northwind.com
More Time on Task in Your Art Class by Dana Goodier
Have you ever wondered how you can achieve more time on task in your art class? More time to get all the projects you had planned for the year done? More student engagement during your lessons about famous artists and new techniques you are teaching? Well, if you’re one of those teachers who finds that too much time in class is spent dealing with low-level (and sometimes higher-level) problem behaviors, this article is meant to help you!
What can we do as educators to ensure that our Sometimes and Never students are engaged and getting their needs met, without disrupting the classroom? You probably are aware from your experience in the classroom that students can fall into three types. They are the Always, the Sometimes, and the Never students. Your Always kids are always on task. They are a joy to have in class, they seem to always do the right thing. Your Sometimes students might sometimes pay attention, sometimes do their work, sometimes be on time, and sometimes listen to you! Finally, your Never students are the type you aren’t prepared for when you enter teaching. These kids are never on time, never listen, and are never prepared. They are also never sick! What can we do as educators to ensure that our Sometimes and Never students are engaged and getting their needs met, without disrupting the classroom? There are three classroom management styles most teachers fall into. The categories are: Authoritarian,
Permissive, and Authoritative. In Time to Teach! The Source for Classroom Management! (Dahlgren, Malas, Faulk & Lattimer, 2008) the authors put it this way: Classroom management style essentially relates to how a teacher manages student behavior in his or her classroom and encompasses a wide range of approaches, from the authoritarian “dictator” to the permissive “hands-off ” teacher. But a middle-of-the-road approach for most classroom situations combines the positive elements of both extremes (p. 103). In building relationships with students, it is also important to remember that we should use both contingent and non-contingent interactions. Contingent interactions are talking to them about class-related topics, such as how well you think they did on their mosaic. Non-contingent interactions are when you’re talking to them about their personal interests, such as commenting on how well they played in a game or acted in the school play. These two types of interactions need to be 50/50 with your students so they know you are interested in them and respect them as human beings, not just as a member of your class. The key is to use proactive, not reactive, strategies. “Kids don’t care how much you know until they know how much you care,” said Madeline Hunter. Building relationships is the cornerstone of building a positive classroom environment! (Dahlgren, et al., 2008). Proactive strategies can include changing up the seating arrangement often and without warning, maintaining close proximity to students while they are working, and considering ecological classroom settings such as lighting, sound, and smell. Recently, I bought an essential
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oil diffuser for my classroom. Most students enjoy the different scents I put in it but, if it bothers them, they are free to turn it off as they please. I also tend to play some type of soothing music while kids work. I find it helps them concentrate and it also is a simple gauge for me to tell if the noise level in the room is getting too high. If I can’t hear the music when I’m the farthest away from where it’s playing, then students’ working voices are too loud. We have all heard how positive reinforcement can increase the likelihood that a desired behavior will happen in the future. We’ve seen this in canine training classes and with preschoolers. How often do we use it with our K-12 students? Many of us use some form of PBIS (positive behavior intervention and support) but the rewards that come with using “Pride” tickets and other common forms of rewards only motivate some students. In exploring what works for your particular group of students, you can come up with incremental rewards that may be based on a points system, tickets, or other ways of tracking positive behaviors. Using the model of “Teaching to expectations” (as described in Dahlgren & Lattimer, 2012), teachers are able to come up with a way to model positive behaviors. Many teachers believe that students know what appropriate behaviors are. However, even at the secondary level, it is imperative for teachers to start out the school year modeling the behaviors he or she expects to see in class. This can be accomplished by role play and student input and must be followed up when an infraction occurs. We too often see that after the “honeymoon period,” teachers get lax on their behavioral expectations. When students see that as an opportunity to act out, the teacher will start having difficulty maintaining authority in the classroom. A few crucial steps to the process are (1) identify areas of need; (2) devote adequate time to “teaching-to” the rules and routines; and (3) develop a lesson plan for your classroom expectations, rules, and routines (Dahlgren, et al., 2008). There comes a time, even with the best laid routines, when a student will want to “test how far they can bend the rules.” Often, this can come in the form of a low-level misbehavior such as tapping a pencil or crumpling a water bottle. When consequences
are needed, push the negative behavior aside with a short message to the student and deal with it during a more appropriate moment (such as during lunch or a passing period) instead of taking away from the teaching momentum in the moment. The key to maintaining teacher self-control is to avoid having power struggles. If students are questioning your authority or credibility by statements such as “This is stupid” or “Mr. Jones did it a different way,” then acknowledge their statement and move on. Use a simple diffuser such as “Maybe so” or “Probably,” and continue with your teaching without skipping a beat. You can easily come up with diffusers that will work for you. I hope these tips will serve you well as you embark on planning for the rest of the school year. I had the pleasure of speaking at CAEA’s Fall conference and would be happy to come to your school to speak to your staff more about the strategies mentioned in this article. Please contact me for more information. Dana Goodier is a veteran teacher and aspiring administrator and trainer with the Center for Teacher Effectiveness. You may find out more about her classroom management PD offerings via her website at www.danagoodier.com and follow her on Twitter @ danagoodier References Dahlgren, R., & Hyatt, J. (2007). Time to teach: encouragement, empowerment and excellence in every classroom. Hayden Lake, ID: Center for Teacher Effectiveness (CTE). Dahlgren, R., & Lattimer, M. (2012). Teach-tos: 100 behavior lesson plans and essential advice to encourage high expectations and winning classroom behavior! Hayden Lake, ID: Center for Teacher Effectiveness. Dahlgren, R., Malas, B., Faulk, J. & Lattimer, M. (2008). Time to teach! The source for classroom management! Hayden Lake, ID: Center for Teacher Effectiveness.
Scholastic Art Awards 2018 by Pam Starck Scholastic Art Awards change young people’s lives. The Awards are the nation’s largest, longest-running, and most prestigious student recognition programs. All students in grades 7-12 (whether in public, private, or home schools) are encouraged to apply. PLANNING FOR SUCCESS • Visit website: coloradoartawards.org • Mark down important dates: ENTRY DEADLINE: JANUARY 8 · · · · · · · ·
● Jan 13-14: Payment and signed entries due at Cory Elementary School (10:00 a.m. - 3:30 p.m.) ● Jan 30: Regional winners announced on website ● Feb 24-25: Winning artwork due at Mile High Framing (noon – 3:30 p.m.) ● March 3: Show opens ● March 3-30: Public display dates at History Colorado Center (HCC) ● March 11: Awards Ceremony ● March 13: SIE Film Night ● March 31: Students and teachers remove their artwork
• Re-read categories Multi-photo load Scholarship form • Sign up to volunteer: coloradoartawards.org • Make reservations with History Colorado Center (HCC) to bring your classes to view exhibit Contact Shane Ewing at 303-866-2394 or Shane.ewing @state.co.us The exhibition is a positive teaching tool that brings student groups from across the state to see the displays of winning artwork. Such exposure stimulates visiting students’ creative processes and their understanding of possibilities as they return to their classrooms and work on their own art projects. Aspiring artists learn that their innate abilities must be nurtured by hard work, careful instruction, and diligent practice.
We know one moment of recognition can create a lifetime of memories.
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Alyssa Brunner Age 17, Grade 12, Legend High School Parker, CO 80138
Emily Strock Age 16, Grade 11, Golden Senior High School Golden, CO 80401
Cubism, Rabbit Holes, and Billy Crystal by Anne Thulson “You Look Mauvelous!” Actor Billy Crystal coined this popular phrase on an old Saturday Night Live sketch, “Ferdinando’s Hideaway.” Crystal played a frivolous talk show host obsessed with appearances. He flattered his guests with superficial praise about their hair, their clothes, and their bodies. This was especially funny when his guests were people of intellectual substance who didn’t subscribe to his Hollywood world view. In my first year as an art teacher, I sometimes treated the art I was teaching in this same way. I looked at the surface of the art, did a quick sprint down memory lane from my college art history class, and wrote a lesson on what the art looked like, rather than what the art meant. Basically I followed Billy Crystal’s mantra, It is better to look good than to feel good. I thought more about what the art made by my students was going to look like and less about what my students were discovering. If my students made art that looked like a cubist painting, then I thought that they had learned about Cubism. I was uncomfortable with this kind of approach, but it took me another year to figure out what was amiss. I began to shift my lessons to be more about my students’ internal learning and less about making my students make something that I thought looked mauvelous. This is what I figured out. If I wanted my students to learn about Cubism, I had to research Cubism again, even though I thought I had a pretty good understanding of it. I couldn’t rely on my hazy memories of Tuesday afternoons in the art history lecture hall with Professor Walford with his pointed goatee and his British accent lecturing about Braque and Picasso. This produced vague ideas in my mind of geometric shapes, shattered objects,
pieces of newsprint collaged onto paintings, etc. Those were lovely memories, but not enough to equip me to teach about it. So, like Alice, I fell down the rabbit hole into the Wonderland of research. At first, I thought I was researching Cubism to spruce up my three-day lesson. However, I ended up with way more content than I could possibly teach in my allotted three sessions. Here’s what I found out about Cubism. MULTIPLE PERSPECTIVES Let’s see, there’s the thing about multiple perspectives. The cubists wanted to show how we really see things through time and movement. You can walk around a still life and see the back of the vase as well as the front of the vase. When you or your friend walk as you have a conversation, you see their face in profile and in three-quarter view and straight on as well. We crunch all those moments of time into one moment of time in our real lives. Our brain processes it into one thing. Uh oh. That leads to more content. My research was leading me down another rabbit trail…. ONE-POINT PERSPECTIVE In order to understand multiple perspectives, I should teach my students what the cubists were fighting against. That was the still, unmoving perspective of one person’s eye gazing across a scene. I can teach that without the ruler and the vanishing point. We can all just look through a view finder and hold perfectly still. We can take a photograph while standing still and then take a photograph while moving. Why is one clear and one fuzzy? We notice that a clear, one-pointperspective image requires stillness and a singular, unmoving viewpoint. Unlike this calm and reasonable viewpoint, the cubists wanted to depict the fuzziness of reality. They depicted the dynamic
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results of moving while capturing a scene. Uh oh. That leads to more research. MOMENTS OF TIME DEPICTED IN ART The cubists weren’t the only artists who tried to depict more than one time in one picture. People did this in other time periods as well, and for other reasons. What about those Chinese Blue Willow plates that tell the entire, complicated story of the two lovers who turn into birds? What about those Renaissance paintings that show the same saint in one picture doing three miracles in three different scenes? What about Edward Muybridge and his cinematic photos? What about comic strips? Why did these artists have the need to crunch many moments of time into one image? Did they, in their own way, think it was a more real depiction of reality? The cubists certainly thought so. ABSTRACTION Which makes me then think about how earnestly Picasso and Braque wanted to depict the real. We’ll have none of this artificial, stuffy history painting, they thought. They wanted to make a truly contemporary picture of reality. They wanted to depict truth as they experienced it. What is truth? Well, for Picasso and Braque and many European artists at this time, the cubists thought that one aspect of truth hid behind the visual world. Deep down, an object had a true self revealed in a simple, geometric ideal shape. Good ol’ spheres, cubes, and cylinders were something solid that you could rely on. If it was good enough for the ancient Greeks, it’s good enough for us. So they did a most satisfying thing. They reduced real objects down to their basic geometric shapes. That’s abstraction 101. An apple becomes a sphere. They just wanted to cut to the chase and get real. Which reminds me of another tangent…. COLLAGE What could be more real than, um, a real thing? Let’s not paint a newspaper anymore, they thought. Let’s just rip out a page of a newspaper and paste it on the canvas. Picasso and Braque weren’t doing this because they were interested in texture or because they were “doing” a collage. They did it because they were interested in interrupting the illusionistic picture plane with a dose of reality. It was a result of
their deep desire to make pictures as true and real as they possibly could. They wanted their paintings to not just show truth, but to be truth. Wouldn’t you have loved to have been a fly on the wall in their studios, privy to the conversations they had? Who thought of these ideas first? How did their ideas build on one another? COLLABORATION Wait a minute. That opens up another can of worms. Who was responsible for Cubism? Braque or Picasso? Why does Picasso get more credit? What ever happened to Braque? Is there such a thing as the individual genius or is genius a collaborative effort? What else did Picasso steal? Is stealing a form of creativity? How are art movements like collaborations? What collaborative artists work today, intentionally deconstructing the concept of the individual genius?
So, like Alice, I fell down the rabbit hole into the Wonderland of research. At first, I thought I was researching Cubism to spruce up my three-day lesson. However, I ended up with way more content than I could possibly teach in my allotted three sessions. Here’s what I found out about Cubism. Yikes. My three-day window to teach Cubism has been blown to bits. Here is what I found out after my first year of teaching. There is no three-day window to teach Cubism. What I’ve got here is a whole unit. I found a heck of a lot of content in those wonderland rabbit holes I just went down in the name of Cubism. I can offer this content to my students. It just will take more than three days. That’s what you call a unit. FUZZY PICTURES Observe through viewfinders and take clear photographs and fuzzy photographs to find out about one-point perspective.
A ROOM WITH MANY VIEWS Draw multiple sides to one object, person, scene by moving your position every minute. PEOPLE WITH MANY VIEWS Interview your classmates on one topic and build an artwork representing the multiple opinions. COLLAPSING VIEWS Hybridize two viewpoints into one artwork. COLLAPSING TIME RESEARCH Research how different artists from different time periods collapse time into one artwork. COLLAPSING TIME MAKING Make an artwork collapsing two or more moments in time. ABSTRACTION RESEARCH Research how different artists reduce the real world down to geometric shapes. REDUCTION EXERCISE Reduce something complex down to geometric shapes. REDUCTION EXERCISE ON STEROIDS Look at the Color Field painters and the Minimalist sculptors from the 1960s. Reduce those geometric shapes you made last time down to even more essential forms. INTERUPT AN ILLUSION Take an illusion from real life and interrupt it with something from real life to make it more real. (Maybe interrupt a toy catalogue or fashion magazine with reality.) SELF-PORTRAIT WITH REAL STUFF Empty out the bottom of your backpack, locker, pockets, pencil case. Use those objects to create a portrait of yourself.
BECOME A COLLABORATIVE Research art collaboratives and read some 20th century art manifestos. Then, in a group of two to four, create a collaborative and write a manifesto with 10 shared beliefs on life and art. MAKE COLLABORATIVE WORK Based on your 10 shared beliefs, make an artwork together, reflecting those beliefs. ALL TOGETHER NOW Create a whole-class installation connecting all the collaborative artworks from the day before. CUBISM Introduce Picasso and Braque’s invention of Cubism. Ask your students to make connections between Cubism and the students’ own work from the previous lessons. P.S. (E and P Alert!) What about the Elements and Principles of Design? That’s the easy part. You can layer these on, when appropriate, lesson by lesson. You are looking at Color Field painters – there’s your opportunity to learn about color. You are helping students arrange found objects into a portrait collage – there’s your opportunity to learn about unity and variety. You are making clear and fuzzy photographs? There’s your opportunity to learn about line. It is impossible to teach about visual art without referencing how artists use the elements and principles. The elements and principles are infused into it all, but they aren’t the content. They are the tools we use when we make art. As a teacher, we point them out constantly. P.P.S. (FAVORITE RESOURCES) I came across two wonderful picture books this semester that address the multiple perspective aspect of Cubism: They All Saw a Cat by Brendan Wenzel and Elephant in the Dark by Mina Javaherbin.
POEM WITH SOCIAL MEDIA Take your last 10 texts or tweets. Create a poem out of them. Illustrate it.
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The Evolution of an A rtist by Mike Carroll
What happened? I had 183 college credits to my name and no Bachelor's degree. I love learning and being an artist. I had spent a lot of time in graphic design classes and in Art Ed classes but had not been able to bring it to completion – but that is a whole other story for another day. Juggling Ball #1 I stumbled on to the idea of going to the University of Denver (DU) through my friend Doug, who had gone to DU. Doug said I should look into it because he thought it was a great school and they might accept more of my credits in transfer from all the other colleges I had attended over the years. He was right. But I’ll never forget the look on the academic advisor’s face when she looked at my transcripts. She told me that I had all but two classes to actually complete a BA degree, but that virtually no university will issue a degree without you attending at least a year at the university. Her suggestion: take a year of classes and make it a BFA with a concentration in what I wanted. My artistic desires had been headed into the sculptural world, so that is what I did. I had taken a couple of clay classes fairly recently, working with the human figure, and thought I wanted to keep building stuff. I walked into the sculpture studio on the first day of classes and asked the instructor if we would be working with clay in this sculpture class. He turned to me and, in a slight Australian accent, told me, “We don’t do clay in here. You’ll have to go down
the hall to the ceramics room for that.” But it was that day that my instructor would change my life as an Artist forever. That day's first lesson was about torch safety and Lawrence Argent taught me how to braze metal. I still have that first project made from wire and brazed connections. It was a lizard that I still keep in my classroom today, 20+ years later.
As the year and the classes continued, I learned more about welding with oxy-acetylene, arc welding with stick and TIG processes. Some of the best learning came from our discussions and critiques of these projects and how to improve techniques to refine the end product.
in a way that the rest of the country makes that connection. All because he wasn’t afraid to let it evolve. I think embracing the evolution heightens creativity in some ways.
My graphic artist background gave me some problems when I started working with metal. I liked a lot of the precision that you find in graphic design, and a newbie with a welding torch leaves a lot to be desired in the way of precision. I’ve improved my skills considerably over the past 20 years or so, but there is a certain amount of letting go that has to be embraced when you are working with steel and welding. My ideas always evolve as I am making the thing that I am making, even though much of my work is about balance and is kinetic in nature. There is a lot of precision in trying to get a mobile to balance, but things change in every piece I work on.
*Most of you know someone in our profession who deserves some recognition. Please look for the ad in this issue about how to nominate someone for an award from CAEA. Nominations are being accepted now! I definitely learned a lot of that from Lawrence. I even saw that in his work, like when the maquette of the bear came out in that blue color. His original idea was for the bear to be black, but he fell in love with the blue and how it connected with the space where it would reside. And now, “I See What You Mean” is a sculpture that is connected to Denver
Lawrence Argent 1957 - 2017
Juggling Ball #2 As my professional teaching career progressed, things were going well. I was employed in the Jeffco School System, and somehow got a position as adjunct faculty at Rocky Mountain College of Art and Design (RMCAD). Through that position, I met Lisa Hochtritt, the head of the Art Education Department at RMCAD. It was through her thoughtfulness that I was nominated for, and received, the 2011 CAEA Elementary Art Teacher of the Year* award. Although I am no longer teaching at RMCAD, that eight-year experience of working with pre-service teachers was an eyeopening and enlightening experience that kept me in tune with the ever-changing world of education. Juggling Ball #3 Also in my professional teaching world, I met Willow Seely, a second-grade GT teacher in my building. She would turn out to be another big influence in my Art career. She was writing a book and needed an illustrator to work with. I was completely honored that she asked me! Of course,
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that meant another change in direction with my art making – back to the graphic design side of things. We are currently working on our second and third books, so it wasn’t just a one-shot deal. My Art career now has embraced a balance between the kinetic sculpture and the illustration world. Juggling Ball #4 I need to be an Artist. I think kids need that too. I believe that art is an instinctual thing in humans. The Upper Paleolithic Period of human evolution, the beginning of the “modern human,” began about 40,000 years ago. The oldest cave painting is about 40,000 years old. Coincidence? I think not! In my struggles between the restraints that “Art Education” can have and the freedom to be an Artist, I decided I needed to be a teacher that just teaches Art. One that doesn’t have to worry about administrators looking for learning targets posted on the walls.
So I started a business: Shining Bear Art Studios (Shiningbear.org). Starting my business got rid of the targets on the wall for me. In fact, it got rid of the walls. I do “Art in the Park” with kids during the summer. I teach a how-to lesson, but then I let them go be Artists for a couple of hours. We do painting, drawing, mixed media, and even a little sculpture, depending on the day. We are just outside creating! For the most part, I like to believe that I have evolved to having a pretty “artistic life.” But the most interesting thing is that the only constant in life – is change. I figure I’m about halfway through my life now. I can’t wait to find out how much I’ll be juggling in the second half. One thing I believe is that I will always trend towards the Arts in some way. I will always have some connection to teaching others. But what that actually looks like is bound to evolve.
Mike Carroll, CAEA Vice President
2018 CAEA MIDWINTER CONFERENCE
Saturday March 3rd, 2018 8:00 a.m. - 3:00 p.m. Arapahoe Community College 2400 W. Alamo St. Littleton Questions? Lisa Adams firstname.lastname@example.org
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MARIE EVB GIBBONS
PICTURE THIS… from Collage to Clay PICTURE THIS DESCRIPTION *8:30 - 1pm Participants should bring a completed collage to class (8x10 or smaller), we will use this collage as inspiration to create a bas relief clay tile. When creating your collage stay loose with your ideas and let things that you choose from magazines come together from more of an aesthetic motivation that a hard themed advance idea. My suggestion is to sit with a pile of magazines and tear out pages with imagery that catches your eye, after accumulating a nice pile of your likes start to play as if putting together a puzzle, one that you don’t KNOW what the end image will be. Allow yourself to play, have fun. Think of fantasy or dream like images such as using the head of a bird on the figure of a person etc. Also, don’t limit your collage by thinking about the clay piece, just create with the images, be free, have fun!!! We will begin by sharing our collages, and discussing approaches to creating similar imagery in bas relief clay, followed by the creation of our bas relief tiles. POST FIRED FINISHES ON CLAY *1:30-3:00 Marie will discuss and demonstrate using post-fire finishes on bisque fired, low fire white clay. Participants will have textured bisque test tiles to experiment on and experience some the techniques discussed WRAP UP DISCUSSION and Q & A *3-3:30
MATERIALS & DETAILS
Limit of participants: 15 Materials list for participants to bring to your class. • Acrylic Craft paints, variety of colors (2 oz bottles) and black (8oz bottle) brands: apple barrel, ceramacoat, anita’s, folk art — any brand will do • bucket or two for black washing • Mr. clean type magic eraser sponges (can be store/generic brand) • Green scrubby pads (both these and the magic eraser sponges can sometimes be found in the dollar store)
CLAUDIA ROULIER USING NEGATIVE SPACE AND A CLIFF NOTE APPROACH collage/drawing/painting class
http://www.claudiaroulier.com/recent-work/index.html Having a newish twist on something old is always fun and helps you see things differently. I love negative space and thatâ€™s what we will work with. In this class we will use collage and drawing to create a subject and use the paint to create our background instead of our subject matter. You will need a cradled board or something with a hard tough surface in a size you are comfortable using. I have Modge Podge or you can bring your own matte medium gel to use to glue your back ground. If you have old maps, those make good collage material or an old newspaper or phone book are also good. Use any acrylic paint you like plus brushes and water container, bring a variety of colors of your own choice. Then any drawing or mark making pencils that you usually use, along with dry pastel and/or charcoal, colored pencils and eraser. We will work from a reference photo, high contrast animal, black & white printed on a piece of 8x10 or so paper. Animals are good because they are something everyone recognizes, has some sort of emotional feeling about and tests your drawing skills. I want you to concentrate on the cliff notes of the animal outline keeping it simple but conveying shape and bulk without relying on a lot of lines and shading, so a simplified form with a presence.
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I will bring: • Modge Podge matte Materials you provide: • hairspray to fix pastel or charcoal • cradle board (at Michaels or Hobby Lobby probably the cheapest) or Meinigers • acrylic paints, brushes, water container • drawing pencil, eraser charcoal and/or chalk pastels, colored pencil if you like • reference photo printed out in high contrast and black & white • workable fixative if you already have it • Maps, Tissue paper, Specialty papers for Collage • High Contrast Black & White imagery/resource to use • Matte Medium
Alternative Mark Making with Acrylics
In this workshop students will experiment with alternative marking making in acrylic painting. Students will learn new techniques and ideas to enhance their current painting style. Alternative mark making applications can include the following: collage, crackle medium, laser toner transfer, spattering, dripping, stenciling, etc. https://www.facebook.com/artistsnetwork/videos/10157078150603298/
MATERIALS & DETAILS I can bring a few tools for scraping the paint but I will not have enough for every student. Materials list for participants to bring to your class. •
*two to three 14” x 18” masonite boards or panel boxes (Masonite can be purchased at Lowes or Home Depot)
2B pencil *Water container (small bucket)
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• • • • • • • • • • • • • • •
*12” x 16” disposable pallet paper or your own pallet Kneaded eraser and Gum eraser 1 roll of white artist tape or blue painters tape *Small battle of Acrylic Matt medium *Small spray bottle Small sponge Scissors Strait edge or ruler paper towels small container of white gesso 8 to 16 oz. paint shirt or apron Sand paper (fine grit) SEE PICTURED Above: Old tooth brush Exacto knife and blades Old plastic cards (expired credit cards), plastic scraper
• • • • • • • • • • •
Old window squeegee Acrylic Paint set or bring what you have such as primary and secondary colors Titanium white Yellow Cadmium red light Alizarin Crimson Green Blue blue black Purple Orange *Variety of Brushes: bring lots of brushes! A few suggestions on sizes, # 6, #8, #10 filberts (hog hair or nylon hair) # 2, #4, #6 brights (hog hair or nylon hair) small house paint brush
MICHAEL CELLAN and MARY LYNN BAIRD Clay Printmaking
http://mcgreatart.com/ There is nothing like this process. You start a clay print by building a slab of clay in a wooden frame then allow the clay to become leather hard. Colored slips are applied and textures are embedded and carved into the surface of the clay. Then a substrate of polyester is placed over the design and hand pressure is applied with a wooden pizza roller and metal spoon. A thin layer of colored clays adhere to the substrate. The print is permanently bonded to the surface which becomes a multicolored, archival, monotype distinguished by its velvety surface and rich color.
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AMY BAILEY JEWELRY
Patricia Harrison ACC Student
Judy Brown ACC Student
Creating Color through Anodization of Titanium and Niobium Learn how to create color on metal through anodization. This process can only be done on titanium or niobium. A wide range of color can be achieved through using a rectifier. Participants will learn different applications of using color through imagery, patterns or texture. Since titanium and niobium can not be soldered, various cold connections will be shown to complete pieces of wearable jewelry. This is a workshop that does not require any prior metalsmithing /jewelry experience. Open to all skill levels. Participants= 10 Participant fee= $15.00 Materials you will provide (If applicable) that are easier for you to obtain and bring. Class participants may purchase material from you.
Bring a Jewelerâ€™s Saw, Needle Files, and Sand Paper if you already own them. Otherwise, those things will be available for general class use. I will prepare a packet with both Titanium & Niobium and any other materials needed for the workshop. This packet will be $15.
PASTEL LANDSCAPE PAINTING ________________________________________________________________
Description: Soft Pastel landscape or subject of your choice painting. All levels welcome. Participants- 10
Materials & Details 1. Soft pastels set Sennelier, Unisom, Art Spectrum, Ludwig or similar 2. Sanded paper- or your choice La Carte color Sand- larger sheets 3. Easel Hardboard for pinning Art 4. Pins 5. Way to transport finished pieces
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LISA DIMICHELE Screen Printing ____________________________ email@example.com Description:
Learn how to process a screen for printing onto paper and fabric. The image/s will be hand drawn or created digitally using Photoshop. We will cover what makes a good image for screen printing, how to make a screen, how to transfer an image to a screen and how to print the screen onto different materials. Materials & Details
1. Screens which I might be able to provide some or EZ screens which are $10 a piece and come pre coated with emulsion. Or 2. Photo emulsion for traditional screens 3. Transparencies 4. Paint makers or black sharpie markers 5. Ink 6. Paper and t-shirts 7. Clear packing tape Lisa recommends each participant buy a Speedball screen no larger than 10" x 14".
CAEA TASK FORCE CHAIRS & PUBLICATIONS Title
Micheal Cellan Natalie Myers Pam Starck Elizabeth Stanbro Kelley DeCleene Kim Williams Robin Wolfe & Michael Cellan Kim Chlumsky Alexandra Overby Rosemary Reinhart & Elisabeth Reinhart Janet McCauley
firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org
Task Force Chairs Task Force Chair - CAEAE Commercial Scholastics Youth Art Month Arts Advocacy Awards Web Master Social Media Collage Editor Collage Copy Editor Collage Layout
CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES Title
Executive Board 2016-2019 President President-Elect Vice President Interim Treasurer Secretary Past President
Vanessa Hayes-Quintana DJ Osmack Ben Quinn Alexis Quintana Rachael Delaney Elizabeth Licence
email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org
Division Representatives Elementary Multi-Level Middle School High School Private/Independent/Charter Private/Independent/Charter Museum/Gallery Supervision Higher Education Retired Student
Amy Marsh Carrie Mann Chris Lager Justine Sawyer Jesse Diaz Sam Mizwicki Sarah Kate Baie Open Theresa Clowes Open Open
email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org JDiaz@cca-denver.org email@example.com firstname.lastname@example.org email@example.com
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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
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For CAEA details and event information: go to www.caeaco.org