star-post-art-january-2018

STAR - POST (ART) JANUARY ISSUE | 2018

Inquiry in Art

Discovering Wonder, Making Connections

CON T EN T S 2

The Wonders of Drawing 10

Design Thinking in Art

Building Capacity for 12 Museum-based Learning 15

STAR’s Art Networked Learning Communities & Inaugural Share Fair 16

Inquiry into the Creative Process: The Artist at Work

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My Artmaking Process

CAPS!2017: 22 Engaging in Art Practices 34

Writing Artist Statements

Prelude to MUSES 2018: 43 Q & A with Karleen Gardner 45

Contact Us

Co-Editors & Co-Designers: Low Sok Hui, Dorathy Lye Illustrations: Octopus Ink

WELCO M E This issue of STAR-Post focuses on how Art teachers are learning about and through inquiry, and in that process, encounter moments of wonder and make connections between teaching practice and artistic practice. Teacherleaders who contributed their thoughtful reflections demonstrated how colleagues from different schools and across levels could collaboratively inquire and delve deep into pedagogical approaches. Each NLC meeting generated rich discussions, new lesson ideas and pedagogical knowledge that would enrich students’ learning.

It is heartening that colleagues in the art fraternity are also embracing inquiry in personal artistic practices. Teacherartists in Contemporary Art Practices in Schools! (CAPS!) and the Advanced Diploma in Art Education revealed how the inquiry process was not always a smooth path in artmaking. They had to re-think, re-imagine, and persevere through iterations of messy, tangled ideas. Along the way, they were energized by critique sessions with peers and celebrated unintended outcomes. These are precious professional development moments that we hope would inspire and transform learning for our students.

Enjoy the read! We look forward to the many opportunities to learn with you in 2018!

by Ms Seow Ai Wee Deputy Director, Art Singapore Teachers’ Academy of the aRts

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Gallery walk and peer critique during NLC session.

Drawing Networked Learning Community 2017

The Wonders of Drawing uu Compiled by Victoria Loy, Master Teacher (Art) from STAR

Drawing is deemed to be the foundation of art which allows children the freedom to express and communicate their ideas and imagination. It engages the multiple capacities for perception and actions as well as cognition and offers valuable opportunities for teaching and learning. It is a powerful mode of discovery and creativity.

As drawing is one of the three core learning experiences in the MOE revised Art Primary syllabus and an important component in the Secondary Syllabus, the Drawing Networked Learning Community (NLC) has been formed since 2016 to support teachers in deepening their understanding of drawing and engage in discourse on experimental drawing approaches in the art classrooms.

The Drawing NLC 2017 focused on the inquiry into drawing, exploring, experimenting and applying different drawing approaches in the art classroom. NLC members also worked towards designing a 3 to 4 weeks drawing module for their art classroom.

The joy of learning in the NLC enables teachers to:

Exploring translating 3D structure created by a strip of paper into 2D drawing with special lighting.

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Articulate why drawing is important and how it fits in the curriculum at various levels (Pri to JC).

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Introduce various drawing approaches to their classroom teaching, gain confidence in making drawings, through several observational and experimental “drawing” exercises.

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Benefit from group perspectives on different approaches to inquiry in teaching and inquiry on teaching.

We are pleased to share some of our insights when we had the opportunity to learn and discover together. The power of the collective enables us to experiment, wonder and discover more of how we can better support our students in their learning.

Drawing NLC members immersing in gestural drawing using unconventional self-created tools.

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The detailed schedule for 2017 Drawing NLC: Session 1: 31 March, Fri (2.30-5.30pm)

Session 5-6: 21 July and 25 Aug (2.30-5.30pm)

IMMERSIVE EXPERIENCE-CREATIVE DRAWING GAMES We get to know one another, establish collaborative norms, as well as be immersed in experimental drawing exercises. Drawing exercises inspired by and building on to Pg 88-89’s Strips of Paper in 50 drawing Exercises book were used to facilitate participants’ explorations and learning about drawing.

CREATIVE DRAWING LESSON UNIT DESIGN SHARE FAIR Each NLC sub group (Lower Pri, Upper Pri, Lower Sec, Upper Sec, NT Lower Sec, NT Upper Sec) will share their work and showcasing their students’ outcomes. Participants engaged in a peer critique and review session.

Session 2: 7 April, Fri (2.30-5.30pm) CREATIVE DRAWING LESSON IDEAS We go through four drawing exercises including unconventional drawing tools and gestural drawings.

Session 3-4: 18-19 May (9.00-4.30pm)

Aug-Sept: Further mentoring and refining of lesson unit plans by core team and Master Teacher Session 7: 13 October (2.30-5.30pm) Art NLCs Share Fair Sharing of learning experiences and insights gleaned with Design NLC and Museum based Learning NLC members.

2 full days Drawing Camp facilitated by Dr Andrea Kantrowitz IMMERSIVE EXPERIENCE INTO EXPERIMENTAL DRAWING We began by using drawing as a way to explore and develop academic language and abstract thinking skills through scaffolding a series of individual and group activities in the creation of visual metaphors. These exercises include using drawing in groups to define and solve non-visual problems. In addition, the participants experimented with using observational drawing as a springboard for conceptual thought.

Teachers immersing in drawing during NLC Drawing Camp.

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It is heartening to note the change in perspectives and understanding about drawing in all the NLC participants. Here are the samples of their responses using the thinking routine “I used to think but now I think (about what drawing is)”.

“I used to think that it is alright to let drawing take a back seat sometimes if the focus is not on drawing. Now I think that drawing is essential in allowing students to look more deeply / creatively / innovatively, before they embark on the next step in their process.”

“I used to think drawing is a more structured exercise, now I think that there could be other more experimental approaches to drawing.”

Ng Siew Kuan, Ang Mo Kio Secondary

Teh Ting Ting, CHIJ Toa Payoh Secondary

“I used to think drawing is a skill that has to be taught technically. Now I think that drawing is a natural gift we have and is a mode to express and communicate our thoughts. The drawing can be technical or free. Drawing could even help me clarify my thoughts and is great at solving problems.”

“I used to think that drawing uses our sense of sight only with typical drawing mediums but now I think drawing enables us to use other senses such as touch which trigger our sense of inquiry.”

Maefrize Khoo, Lim Meng Hui, Anderson Primary

Mardiyana Roslie, Bedok View Secondary

“I used to think that teaching drawing in the classroom had to be very rigid (e.g. using grid drawing) given that in my school we only have 1 teacher to 40 students, and art only once a week. Now I think that it is very possible to have lessons that inspire creativity, spontaneity and excitement if we think out of the box and try something new.”

Michelle Lim, Ahmad Ibrahim Secondary

“I used to think drawing is used essentially for realistic portrayal of subject matter…Now I think drawing is a tool of thought and can be used for idea generation and collaborative work.”

Sarene Loh, Ngee Ann Secondary

“I used to think that drawing is a rather personal expression of self. Now I think that it can be very open ended through collaboration with others.”

Sim Siok Siok, Boon Lay Secondary

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Key Insights

Gleaned from Drawing NLC Core Team

“In this NLC journey, I’ve come to understand the importance of the role of a teacher leader in promoting the culture of collaborative learning. Even though Sarene and I were cofacilitating the sessions, I learnt a lot from the sharing and discussion from our participating teachers. I could see how an idea was built on by others. I was enlightened when our participating teachers offered suggestions to extend the idea to some other more interesting ideas. I could see and hear how collaborative learning is played out in the entire NLC. In our effort to promote and to foster a culture of collaborative learning, NLC has the potential to encourage our art teachers to extend their learning to other teachers in their own schools and cluster to urge them to think deeply about why we do the things we do. In order to keep the spirit of inquiry in our practice, we must learn together collaboratively to build each other’s capacity so that we are more skilled in our craft. Only then will we have the confidence to mentor other art teachers and to grow our community of art teachers professionally to improve instructional practice so that our students can experience meaningful art lessons.”

Michelle Chu, Deyi Secondary

“Upon reflection, in preparation for the co-leading of the Drawing NLC sessions, one of the main challenges was being aware of the needs, expectations and concerns of the target audience; which in this case, teachers. In my opinon, while planning the sessions, the primary focus for the team was for teachers to explore idea generation in a collaborative manner, and for teachers to learn about the different approaches to inquiry in teaching drawing. Furthermore, the teacher participants in the Drawing NLC workshops had diverse backgrounds with varying teaching experiences and beliefs about Drawing. As a result, the activities that were planned had to take into consideration both teachers’ beliefs and experiences about drawing, encouraging teacher participants to use some of the collaborative structures as a platform to enhance teaching and learning in the classroom context. In this NLC, I became more aware that leadership does not only equate to a position of being a leader, but it is the ability to set direction and create an inspiring vision, motivating others to believe in the vision.

It is also about collaborating with others, building a team as different team members contribute by having different skills and abilities to achieve a common vision. I believe that continuous professional learning is also essential as the roles of teachers constantly evolve through our aspirations.”

Sarene Loh, Ngee Ann Secondary

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A Summary on Recommendation Regarding Drawing Gleaned from our Outstanding-Educators-In-Residence, Dr Andrea Kantrowitz

Drawing and the curriculum should not be viewed in isolation. Rather, this may be an opportunity to integrate drawing into everything you teach, and not just one type of drawing, but the many forms and purposes drawing has to offer. The introduction of visual journal for every student from the earliest primary grades through Junior College is a great way to facilitate students to document their thinking, learning and ideas.

In summation, art teachers are strongly recommended to alternate in a balanced way between: •

Drawing to learn and learning to draw (conceptual and technical approaches)

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Two and three dimensional modalities

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Traditional and digital media

Students may sketch to gather information from direct observation, and concurrently, use • drawing to give concrete form to the wanderings of their imaginations. Students should draw as an essential part of any visual planning process, • and also draw to reflect on what they have made. Translating two dimensional experiences into three dimensional ones, and back again, • speeds up acquisition of basic drawing skills.

Drawing is foundational to any art or design process, but also drawing is a way students may naturally integrate subject matter and prior knowledge from other subject areas, reaching across disciplinary boundaries. In fact, students should be encouraged to bring their sketchbook from class to class, so it is available when they need it, and becomes a repository for their own process of making connections and taking ownership over their learning processes.

The open-ended, iterative nature of drawing makes it an ideal arena in which to explore nascent curiosities and unexpected relationships. This is the kind of learning experience that young people will need in the coming decades. With more and more digital visualization tools at our disposal, drawing to learn should be emphasized over learning to draw, though of course the two are inextricably linked. Interaction with simple, direct tactile materials are vital, yet digital tools have a place as well.

Drawing to observe and drawing to imagine Mastery of traditional experimental approaches

skills

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Drawing as foundational in art and design and drawing across disciplines

Useful resources generated Drawing NLC camp:

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1. Drawing - 9 More Ideas for You 2. Extended/Focused Observation 3. Drawing the Light Instead of the Shadow 4. Drawing to Analyse and Synthesise Form, and Drawing to Plan a Course of Action 5. Connecting Universal Moods and Emotions Through Mark-Making 6. Drawing Someone Else’s Memory 7. Collaborative Drawing 8. Drawing Sequences and Processes 9. Visually Communicating Abstract Concepts Dr Andrea Kantrowitz is an Assistant Professor at State University of New York at New Paltz. She is also the Director of the Thinking through Drawing Project at Teachers College, Columbia University.

Her main research focus examines how drawing can be a tool of thought that engages and integrates multiple capacities for action, perception and cognition.

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Reflections on Drawing Networked Learning Community uu Written by Lim Jia Ning Michelle, Art & Literature Teacher from Ahmad Ibrahim Secondary School

At the beginning of this school year, I asked all the Secondary One students whom I teach what they thought about drawing. “Who feels that drawing is difficult?” Over half of them raised their hands. It seems that by the time they enter secondary school, many students already lack confidence in their artistic ability, particularly in this medium. It would be an uphill battle to win them over, and enable them to feel excited and empowered about art.

I joined the Drawing Networked Learning Community (NLC) in an effort to learn more about how to do so. During the 2016 Arts Education Conference, the inaugural batch of Drawing NLC participants had shared such exciting ideas about what they had tried out in their classrooms. I still vividly recall a colleague’s presentation about how she attached markers to the ends of repurposed broom sticks and got students to use them to draw on large sheets of paper on the floor. Simply listening to the sharing ignited a spark of excitement in me – what other amazing ideas are this community exploring and bringing to their students? Could I join them?

It was thus with great enthusiasm that I found my way into this year’s Drawing NLC led by Mdm Victoria Loy, Master Teacher/Art and cofacilitated by Lead and Senior Teachers such as Mdm Michelle Yin and Mrs Sarene Sim. In this community I found a team of like-minded teachers who are all generous with their expertise, yet humble in our mutual exploration of what it means to draw. The facilitators orchestrated and facilitated hands-on drawing experiences and sharing of lesson unit plans over the seven sessions of drawing workshops with one session of Share Fair across with the Museum based as well as the Design Thinking NLC colleagues.

What I found enriching as well was the two-day drawing camp with Visiting Professor Andrea Kantrowitz.

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Drawing our problems as Dr Kantrowitz looks on.

The camp was an intensive two days during which Dr Kantrowitz guided us in exploring a variety of drawing games and activities. The hands-on nature of the activities enabled us to step into the shoes of our students while we worked through the tasks. Doing so helped us to better understand a learner’s thought processes as one experienced the activities.

For instance, one of the group drawing activities involved coming up with problems that we faced in our lives, then giving these problems visual form through drawing. Using language laden with visual metaphors, we then talked through our problems and drew corresponding solutions to the problems. In such an activity, drawing was a way to process the tangle of emotions that lay at the heart of our problems. The group drawing session took on an almost art-therapy nature as we sat in our groups and discussed potential solutions to our problems, and how they might acquire visual form.

Games such as these enabled us to explore the open-ended, collaborative nature of drawing.

Drawing and discussion clarified our thoughts, and helped us imagine and invent. Rather than focusing on how technically accomplished the drawing was, the emphasis was on the depth of

a lesson package to try out in our respective schools in Term 3. Getting Dr Kantrowitz’s expert opinion helped to refine my initial ideas, and make connections such that the lesson package could be more coherent. One thing that I learnt from her was to intersperse drawing games with close observational studies, as doing so can As Dr Kantrowitz’s research lies in the value of help students develop their creative thinking drawing as a tool for facilitating thinking, her and hone their technical skills at the same time. lecture on the topic also helped us connect the dots between the hands-on activities and their theoretical underpinnings. It was gratifying to know that underlying the fun, these drawing games promote connective thinking and analogic reasoning – skills that the art subject is particularly primed to hone, yet which are valuable to other disciplines. creative thinking that the process could yield.

As such, we moved away from the common conception of drawing as a staid artifact of technical skill, and focused on how it could be a tentative and exploratory process – very much active and alive.

Notes made in consultation with Dr Kantrowitz about my lesson package.

A student engrossed in drawing his comic about how to cook Maggi mee.

I am excited to try out these lesson ideas with my students next term. Perhaps, then, when I ask them who finds drawing difficult next year, there will be no more hands in the air, but confident smiles on their faces.

It has been barely a week, but I have already found utility in the many drawing games that Dr Kantrowitz introduced us to. During an hour with my Secondary 3 Normal Academic students, we tried out some basic comic drawing. The students in their post-exam mood were initially reluctant to participate, but they were eventually drawn to the task (bad pun unashamedly intended). They were to illustrate a 5-frame comic about how to do something – anything – of their choice.

Perhaps there is something to be said about the undeniably human quality of drawing, that invites even the most reluctant person to put pen to paper. Drawing, in this form, is storytelling, and in doing so, the students learnt a little about how they themselves organised their lives in narrative.

The camp was also a valuable opportunity to workshop our lesson ideas with Dr Kantrowitz.

As part of the Drawing NLC, we would develop

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Design Thinking Networked Learning Community 2017

Design Thinking in Art uu Written by Lim Kok Boon, Master Teacher (Art) from STAR

Playing Disruptus, as a tuning-in to be sensitive to combining ideas, processes and materials.

Design Thinking is a mindset and process, supported by a range of tools, that can be used to develop student’ creative confidence (IDEO, 2017). Teachers and students can engage in hands-on design challenges that focus on developing empathy, promoting a bias toward action, encouraging ideation, developing metacognitive awareness and fostering active problem solving.

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The Design Thinking NLC was formed primarily to introduce art teachers to another inquirybased pedagogical approach. In the second year running, this NLC allowed art teachers to study how Design Thinking can be used by students in the primary and secondary art classroom.

For instance, can Design Thinking be adapted to guide the making of artworks? What Design Thinking tools can we use in our art classrooms?

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The 2017 NLC was formed by inviting teachers who had attended a Design Ventura workshop conducted by Dr. Helen Charman, Director for Learning and Research at the Design Museum, London. Over the sessions convened, NLC teachers learned how Design Thinking can be: • •

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an inquiring mindset that can be used to encourage learner engagement used on products, spaces, services, systems

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dependent on good observations, leading to insightful interpretations built on experience played as a game, such as using existing games such as Disruptus, Khandu, and Extraordinaire, and these can be used to arouse interest in a lesson, and activate prior knowledge guided using different worksheets, with key questions to deepen learning, and selecting and sequencing content appropriately embedded as part of a lesson, where a task is a design challenge more fruitful if teachers go through a “prototyping stage”, to try out what they want students to go through and make, and adjusting the lesson preparation accordingly

Teachers found the workshop, materials and collegial sharing useful. Wendy Chui from East Spring Primary School wrote, “I learned that design thinking can be simplified to suit primary schools. The strategies and tools shared in the workshops were useful for tuning-in, introduction … (Design Thinking also served as) a catalyst for thinking about how elegant tasks can be designed”.

Presenting “toy” created from using “Extraordinaire Design Studio Pro”.

Teachers sharing their ideas with one another.

Using the Design Challenge worksheet to guide the toy design process.

Learn more about how teachers from the NLC applied what they learned, by watching these two presentations: * Art Lesson Presentation: “Using Card Games in the Art Classroom” by Yeo Bi Xia * Art Lesson Presentation: “Let’s Discover Ang Mo Kio”, a board game design lesson by Michelle Kan Example from the toy design challenge: poncho with pouch, convertible into a soft toy.

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Museum-Based Learning Networked Learning Community 2017

Building Capacity for Museum-based Learning

uu Written by Ira Wati Sukaimi, Lead Teacher from Mayflower Secondary School, and Chua Lee Beng, Lead Teacher from St Anthony’s Canossian Primary School

We were the Chief Learning Curators for the 2017 Museum-based Learning Networked Learning Community (MBL NLC). As we brainstormed through multiple iterations of the design and implementation for the NLC, we wanted to encourage a sense of community among our peers by providing opportunities for exchange of ideas. We were deeply committed to building a positive learning community where participants could share their successes and concerns about incorporating MBL into art classroom learning. Our belief was always “we are all learning together” since MBL is a new area of focus in the 2018 Primary and Lower Secondary Art Syllabuses.

Facilitate Meaningful Experiences Many of us were used to the lecture approach when viewing a work of art as a group in a museum setting - the docent would disseminate all the information about the art and artist while the viewers quietly listened. However, we learned about student-centric approaches in MBL from STAR’s Outstanding-Educators-in Residence (OEIRs) Ms Heather Maxson and Dr. Helen Charman at the 2017 Museum Education Symposium. The OEIRs’ fresh perspectives about MBL got the NLC members eager to try out the new strategies, learn more tips, and gather more ideas from each other that would encourage close looking and facilitate meaningful experiences with works of art through open-ended discussions.

Extend and Expand Learning Through a guided trip to see selected artworks found in MRT stations along the Circle line, we encouraged NLC members to look at artworks we encountered in our daily lives as resources that could extend and expand the learning of art for their students. The guided trip sensitized them to the importance of slowing down and taking time to enjoy the artworks around us. It also sparked the

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NLC members’ imagination for designing selfdirected learning opportunities to highlight these artworks that students’ might encounter on their daily journeys.

Inquiry in Art and Across Disciplines NLC members were invited to design and implement a museum-based art lesson unit that supported inquiry in art for current or future implementation in their respective schools.

Teachers were encouraged to facilitate their students’ inquiry by making connections with other disciplines, framed by a big idea that scoped the focus for each lesson.

“Protected Time” to Enjoy Art Probably the best part of this NLC, members appreciated the “protected time” to look at artworks both independently and in a large group setting. The independent viewing time spent wandering around the galleries of different museums was particularly precious as it allowed them to contemplate, make sense and consider meaning of the artworks quietly and at their own pace.

Overview of MBL NLC sessions: Session 1: Open-ended Experience it!

National Gallery Singapore

discussion

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The focus of this session was to help NLC members generate different type of openended questions that they could use back in the classroom or when they brought students to the museum. They were asked to consider posing open-ended questions that encouraged students to: Describe the work of art; Deepen looking by providing visual evidence; Activate prior knowledge and connect to personal experiences; and Trigger imagination Session 2: Leading a discussion – Try it out!

National Gallery Singapore

Session 4: What is a good theme?

Singapore Art Museum at 8Q NLC members learned how themes and big ideas could provide an overarching focus to the make an MBL session more meaningful and deepen students’ understanding. The theme or big idea would also connect the classroom learning to the museum learning.

Session 5: Lesson ideas – Let’s discuss!

Singapore Art Museum @ 8Q Having gone through 4 sessions of MBL NLC, members were ready to share resources (unit plans, artists’ information and worksheets) and useful tips on what worked well in our teaching as well as personal challenges encountered while conducting lessons in a museum setting.

This session provided opportunities for a few NLC members to conduct micro-teaching in the galleries, which allowed them to reflect on their own MBL practices. The session also created a community supportive of each other’s learning, adopting a positive learning attitude and providing encouraging feedback.

Session 3: Museums and what else?

Select MRT stations along Circle line This session was a Learning Journey to check out commissioned artworks in a few stations on the Circle line. The idea was to look at artworks that we encountered in our daily lives and how we could engage our students in conversations about the artworks.

NLC members having a contemplative moment at Lie of the Land by Laotian artist Bounpaul Phothyzan.

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NLC member Ms Wong Yu Ling from Radin Mas Primary sharing her MBL lesson unit and art project.

Feedback from select MBL NLC participants 1.

“It has been a really good learning experience and I wish we could have more sessions! I think session 1 and 2 were really good when we shared with one another how we applied what we have learnt in our lessons.”

[Participant from Primary School] 2.

“I am reminded to capitalise on artworks in the museums, at MRT stations and even on streets to engage students in appreciating different art forms.” [Participant from Secondary School] 3.

“Would have liked more opportunities to practice facilitating art talk.” [Participant from Secondary School] 4.

“Planning the lesson is one small component of Museum-based Learning; sharing of real scenarios and logistics planning are important, especially for me as I am a lonely, sole Art Teacher in the school.” [Participant from Primary School]

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Learn more tips for MBL by watching these 6 short videos focused on the relevance of the Singapore Teaching Practice (STP) in the art museum: • • • • • •

Deciding on instructional strategies for each artwork Facilitating collaborative learning at the museum Selecting and sequencing 3-5 artworks Using questions to deepen learning at the museum Setting expectations and routines for a museum visit Activating prior knowledge during a museum visit

Networked Learning Community 2017

STAR’s Art Networked Learning Communities and inaugural Share Fair uu Compiled by Lim Kok Boon, Master Teacher (Art) from STAR

Networked Learning Communities (NLCs) are teams of teachers from different schools working and learning collaboratively to examine and reflect on their practice. The members learn from one another, with one another, and on behalf of others by co-creating and sharing new knowledge and practices to improve student outcomes.

On 13 October 2017, members from the Drawing NLC, Museum-based Learning NLC, and Design Thinking NLC shared lesson ideas and personal learning experiences in an informal presentation setting at STAR. These are photographs showing a glimpse into the rich learning gleaned by the participants.

Amy Koh sharing how she used a museum visit to enrich the art learning of students with learning needs.

Michelle Yin sharing how she used experimental drawing to deepen her students’ learning in art.

Wendy Chui sharing how she tried embedding the Design Thinking in her PAL lessons, and fostering students’ socioemotional competencies in the process.

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Inquiry into the Creative Process: The Artist at Work uu Written by Low Sok Hui, Senior Academy Officer (Art) from STaR

For the 2017 edition of a|edge exhibition, teacher-curators invited the audience to take a peep into the creative journeys of the teacher-artists through a web documentation of their processes (https://staraedge.com/). Each final artwork in the show had an accompanying QR-code which, when scanned, direct visitors to the rich insights behind the making of the work. The documentation and sharing of processes is much appreciated by the teacher-artists and the art teachers’ fraternity as it reveals how the teacher-artists apply or make use of inquiry into their own artistic practice.

Most poignantly, the documentation of processes is a manifestation of the five key processes in the Art Inquiry Model -– 1) connect and wonder, 2) experiment, 3) make, 4) investigate and 5) reflect.

Art Inquiry Model

When we take a look at the documentation of processes shared by the teacher-artists, we cannot help but notice that each is markedly different. This is only right as the creative processes of making each work is as personal and individual as each teacher-artist and his/ her final artwork. Some of these teacher-artists write, some work individually whilst some work

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collaboratively as a group. Besides the use of journals, their documentation took the forms of photographs showing their choice of techniques, books or places that inspired them. The photos were also accompanied by written reflections so that we know some of the choices and decisions that have to be made in the process and the ensuing outcome. Some

teacher-artists explain their work and processes better verbally and these were captured via interview transcripts or video footages showing the making of their work. Installation works show technical diagrams and mock-ups. Whatever form the documentation takes, it should reflect or capture the conceptual, creative, and technical aspects involved in creating the artwork. The ultimate aim of sharing documentation is to make visible the creative thoughts of the teacher-artists.

that even teacher-artists face struggles in their artmaing and that they do not always necessarily know what they are doing when they first start.

Just as the Art Inquiry Model is dynamic, the documentation of processes highlight to our students that the creative journey is not always a smooth, linear progression. Instead, the creative journey can be a messy, frustrating process. Through the documentation, we want to show how teacher-artists problem-solve, seek alternatives and move on to find breakthroughs in their artmaking. The tougher the problem is, the

Documentation of processes by teacher-artists from a|edge 2017.

In showcasing the documentation of processes, we want to ‘demystify’ the artwork by providing deeper insights into the ideas and thoughts of the teacher-artists. We see for ourselves how the five artmaking processes in the Art Inquiry Model are used in a dynamic manner. In sharing the HOW behind the creation of each artwork and making the documentation an integral part of the process, we encourage our teachers to learn from their peers. The documentation, in turn, also serves as a teaching resource to engage our students during our art lessons.

Most of our students dread making a start in their artwork or they sit around waiting for inspiration to hit them. By opening up the private spaces of the teacher-artists, we can share with our students how to overcome the blank canvas syndrome and to debunk our students’ misconception that ideas emerge out of nowhere. Instead, the documentation points our students to ways they can they can tap upon their experiences for artmaking, create by responding to works by other artists, or glean insights from books. It is also reassuring to know

more the teacher-artists will try new approaches to solve the problem. Opening up the creative processes also provides opportunities for the teacher-artists to showcase failures. Doing so serves as a reminder to our students that we can experience failure as part of the creative journey but what is fundamental is how we overcome them. Such rich documentation thus in turn highlight how studio habits such as learning to envision, developing craft, engaging and persisting look like for the artist in action.

How do you take a private vision or the little seed of an idea and transform it into a work of art? Let us look forward to a|edge 2018 and the opportunity to partake in the creative journeys of our teacher-artists.

References: Hetland, L., & Teachers College (New York, N.Y.).

(2007). Studio thinking: The real benefits of visual arts education. New York: Teachers College Press.

McNiff, S. (1998). Trust the process: An artist’s guide to letting go. Boston, Massachusetts: Shambhala Publications, Inc.

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Advanced Diploma in Art Education 2017

My Artmaking Process uu Written by Abigail Goh Wenmei, Art Teacher from Ngee Ann Primary

Remember, 2017

Advanced Diploma in Primary Art Education: Art Show, 27 November 2017 Remember, 2017 Abigail Goh, Aznani Bte Aladin & Wang Shing Huei Singapore is seeing the largest school merging exercise in 2019 due to Singapore’s changing demographic landscape. The three of us have experienced the merging of our schools in one way or another. Even though we felt sad, fond memories of our schools are etched in our minds. Through our artmaking, we hope to be able to freeze time and reminisce upon the experiences that we once had.

My greatest take away from the 4-month full-time NIE Advanced Diploma in Primary Art Education was the application of my understanding of contemporary art theories and practices in creating an artwork, and setting it up for exhibition. Building upon the foundation from the 9-month part-time Art Teacher Practitioner Programme at STAR, the overall experience enriched my knowledge and awareness of the artmaking process, from conception to actualization, and negotiating the constraint of a tight timeline.

While there were only 3 of us in this collaborative art project, brainstorming for a theme we could relate to as a group proved to be difficult at the start. We quickly dropped our initial theme on

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the impact of environmental issues in our lives as we could not relate to it on a personal level.

In one of our later discussions, we shared our views on the topic of schools merger. We felt that we could relate to this topic as it affected us in different ways – one of us was teaching in a school that was in the midst of merging and a few of us in this cohort went to schools that were slated to merge in 2019. The schools needed to be merged due to Singapore’s declining birth rate. As the alumni of merger schools, we felt the desire to tap upon our mixed emotions to create our artwork. Although we felt a sense of loss to see our schools move into history, we would hold dear our memories of nostalgic times spent in our schools and the interactions within. This led the 3 of us to think about how we could pay

tribute to the merger schools as well as share our special memories, and present them in an artwork the viewer might empathise with.

This longing to “freeze” time led us to explore more on the sub-themes of memories, homage and preservation. Our initial attempt was to make use of resin to freeze different objects found in one of our schools. Unfortunately, the results from the resin experiment did not turn out satisfactory and so we had to seek alternatives. We stumbled upon the use of image transfers on YouTube and thought it could be a feasible idea to try to ‘print’ images of schools on canvas to give them a washed-out look. We also transferred images on plaster of Paris using containers as moulds to make tiles that represented the merger schools. Our initial layout was to display two canvases and some tiles to represent the merged schools. However, after surveying the exhibition site, we realized we needed more work to fill up the expansive exhibition area in order for our installation to create a stronger impact. After consulting with our exhibition module lecturer, Ms Ching Chor Leng, we were asked to consider making tiles for all merger schools, and fill the wall with the

Tiles that symbolise the basic formation of a school.

names of these schools. The names were printed on stickers and we experimented with various ways of composing them before deciding that having them aligned in straight rows was the best layout option.

When we came to installing the artwork for the exhibition, we were faced with several challenges. We learnt that it was not easy to put up stickers in a straight line but we did the best we could. Just when we thought we were almost done, Ms Ching came to advise us about the placement of our objects. We had to remove a collage and patch up the wall before re-drilling the holes to rearrange some items. We realised that had we been more thoughtful and thorough in exploring layout possibilities, such a hassle could have been avoided; the challenge was to find a balance between trial and error, and proper planning. Ms Ching saw this as a teachable moment and went on to explain the importance of well-conceived composition. Her suggestions were valid and insightful, and we learnt a lot from her as a facilitator. The experience was mentally and physically draining but we persevered and made the necessary changes, and everything turned out well in the end.

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Throughout the artmaking process, we had many opportunities to problem solve and learn to work in a stressful environment. Personally, I was thankful to have good team members, which made working on the exhibition memorable. I certainly would not be able to achieve this alone as I realised that preparing for an exhibition was not as easy as it seemed. Having gone through the process from conception of artwork to installation, I became more aware of what went on behind the scenes of exhibitions.

I believe I am now in a better position to advise my students on how to curate and exhibit their artworks in the school. I would also be able to share my own artmaking experiences and artworks with them. As I guide my students in their artmaking, I will also be helping them develop problem solving skills, team work and perseverance. And as they gain experience in setting up their own art exhibitions, they will in turn better appreciate museum visits and other artists’ works.

Broken tiles thrown by audience in response to the artwork.

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Contemporary Art Practices in Schools! 2017

Engaging in Art Practices uu Compiled by Dorathy Lye, Senior Academy Officer (Art) from STAR

39 uu Visual Journal of CAPS!2017 and Artist Talk by Rafidah M Dahri, Art Teacher from St. Joseph’s Institution Junior

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INKpulse

uu Contributed by Kwok Liwen Beryl, Art Teacher from Victoria Junior College

INKPULSE was one of the five workshops that were conducted from 13 to 17 November 2017 under the Contemporary Art Practices in Schools! (CAPS!) Milestone Programme with STAR.

These were some of the many initial experimentations that Yeo Shih Yun made us try out during the CAPS!2017 INKpulse workshop conducted from the 12 to 15 November 2017. One of the most amazing things that I experienced during these sessions was her continuous encouragement towards experimenting with the materials. These experimentations were very useful in getting me to play with the material and subsequently understanding the material. Sometimes in the the midst of trying to be a teacher we forget or at least I forgot that learning can be fun and Art is probably one of the most fun subjects to learn when you are in school.

Interestingly the main method that was the base in which my final work was created was discovered through an accident. As we were doing one of the experimentations and I accidentally laid the Sumi paper on top of some dried ink from the previous day resulting in a smudge on the paper. Captivated by the effect and encouraged by Shih Yun to experiment further I probed further and tried out various ways in which the smudge could be used and controlled.

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Assemblage: Manipulating Found Objects and Materials uu Contributed by Lim Win Nie, Art Teacher from Commonwealth Secondary School, Koh Chia Hwee, Subject Head (Art) from Loyang Primary School, Chung Ai Ling Denise, Art Teacher from Hwa Chong Institution (High School), and Chan Xiuwei Felicia, Art Teacher from Corporation Primary School

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“Coming into CAPS!2017 I was hoping for a fruitful learning experience and I wasn’t disappointed. Khairullah Rahim, our artist mentor, was friendly and forthcoming. He was entusiastic in sharing his work and philosophy in artmaking with us. Through the various demonstration of knotting, paper-making, transformation of found objects, we gradually found our own artistic voice. I love the opportunity that was given to me to experiment with new techniques with familiar materials to make and create something amazing.”

Chung Ai Ling Denise, Hwa Chong Institution (High School)

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Dive into Charcoal

uu Contributed by Iris Chia Hoon Nie, Art Teacher from Anglo-Chinese School (Barker Road), and Xie Shangyi, Subject Head (Art) from Nanyang Girls’ High School

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“It is important that my style of artmaking evolves and that I put myself in the shoes of a learner. I would probably conduct the gestural drawing and figure drawing in my art lessons. They are good for entry level learners, with readily achieveable results.”

Iris Chia Hoon Nee, Anglo-Chinese School (Barker Road)

“I’ve never seen charcoal as a finished medium and always treated it as a sketching, experimentation tool as I lacked control over the material. After this workshop, I am more confident and have seen it for my self the elegance and potential of the medium to want to teach it to my students in class.”

Xie Shangyi, Nanyang Girls’ High School

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The Votive and Figurative Sculpture

uu Contributed by Loo Yuan Rong Jeannie, Visual Arts Specialist from Edgefield Primary School, and Ong Theng Choo, Art Coordinator from Fuhua Secondary School

The Votive and Figurative Sculpture – Parry The final sculpture created was intuitive by nature, Romberg Syndrome but encompassed the essence of the physical and emotional interpretation of the disease itself.

The Parry Romberg Syndrome is a rare condition The sculpture was made to simulate the possible that only affects one side of the face. It is a psychological state a viewer might feel should progressive facial atrophy of skin, subcutaneous they encounter a person with the syndrome, yet tissue and musculature. inviting the viewer to take a closer look and from different perspectives, with many questions they My sketches aimed to explore the Parry Romberg want to ask.

Syndrome in abstract ways to represent the possible physical and emotional state one might experience in it.

“I have defintely learnt a lot about clay as a medium and the entire artmaking process was very much about working with the material and negotiating the problems as I progressed.

Working with little time was a big challenge, especially working with clay due to the drying process. Working with a completely unfamiliar and unexpected theme was also difficult.

However, the whole process was an enriching one, pushing limits, challenging ideas and pushing one out of comfort zone.”

Loo Yuan Rong, Edgefield Primary School

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“I’m excited by what can be done in 5 days. I’ve learnt new techniques and the importance of tradition and history in ceramics. Moving forward, I want to focus more on developing ideas in my classroom.”

Ong Theng Choo, Fuhua Secondary School

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The Image: Looking . Seeing . Reflecting

uu Contributed by Shirley Toh Lay Peng, Art Coordinator from Ang Mo Kio Primary School, and Miao Hanqing Megan, Art Teacher from Pioneer Junior College

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“Through the activities I have participated and the sharings I have heard from my team, I have learnt to see different perspectives. It broadens and creates deeper learning for me. I really like the dynamics and synergy of our group discussions and collaborations. I will be looking at doing that in my art practice. I will also be finding ways to allow students to engage in deeper discussions.“ Shirley Toh Lay Peng, Ang Mo Kio Primary School

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Writing Artist Statements uu Written by Lim Kok Boon, Master Teacher (Art) from STAR

Writing to be understood Artists need to write artist statements for various reasons. There might be a need to submit a written account of one’s work to apply for a residency, grant, commission or exhibition. In some instances, the organisers or funders require specific information, such as personal beliefs or philosophies about art, motivations, the medium of choice, experience with the use of technology and so on. An artist statement is sometimes needed for a press release from which the gallery will lift information. An artist statement is also sometimes used in a publication to promote a particular exhibition, or used on the artist’s website. So, artist statements are important pieces of writing that are crucial for the artist to function in the art world, and like all writing, the better it is written, the better it is understood.

According to Vicki Amorose (2013), “an artist statement is a concise arrangement of words that acts as a bridge to connect your audience to your art”. Artist statements can vary in length depending on its purpose, but it needs to be concise and cogent. I for one will like the reader to spend more time looking at the artwork than reading the text. Like all good writing, keeping the audience in mind while writing is important.

The reader will form impressions of the artist and artwork based on the artist statement. If the viewer has not seen the work, an artist statement is an open invitation to the reader to see the artwork. If the viewer has already seen the work, an artist statement can re-define who the artist is, what the art is about, so that the reader will want to re-examine the artwork or artworks more closely.

From my personal experience, the difficulty of writing artist statements lies between starting on a blank canvas and writing an appraisal for my own artwork. Starting a blank canvas is daunting because I worry about bad outcomes or fear not knowing what the finished work

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might truly look like. In the same way, I fear writing artist statements because the text might do injustice to the work. Writing a self-appraisal is a more excruciating process because I might not always have a benchmark to evaluate my work against. Also, it is difficult to be objective when the creative process can be subjective, and successes come from accidents. Moreover, the fear of making grammatical errors and not giving myself enough time to write feeds my excuse for procrastination.

So how does one start to write an artist statement? Here are some tips that have guided me not only when I write artist statements but also writing my art reviews. My writing process has three broad stages: 1. Pre-writing: focusing on the key ideas I want to communicate, depending on the purpose and audience 2. Drafting: Development and ordering of key ideas, and what I want to elaborate 3. Revising: making linguistic choices, correcting grammar; other revisions may include re-ordering sentences or even paragraphs!

Stage one: Pre-writing

Stage two: Drafting

There are three things to consider before writing: • Topic: what are you writing about the artwork or process?

• Purpose: why write? Is it to persuade, explain and describe the artwork or process?

• Audience: Who is going to read it?

Next, I will develop and order my topic sentences, based on the main ideas and key words. At this point, I might have written certain sentences that convey particular arguments or my writing voice for a text. Just as our tone of voice—the way we say something—can make an impression and convey additional meaning, a writing voice can convey the attitude, tone and personal style of the writer. I try to identify my favourite sentences about the key ideas, and use it to guide the rest of the writing.

With these in mind, I will create an outline for what I will write with a concept map, usually in the form of scribbles on loose sheets of paper.

In my concept map, I will write the main ideas I want to communicate, and key words that elaborate my main points. I might write down the “purpose”, “reader”, “word count limit” on the top right-hand corner of the sheet of paper, to remind me to stay on course. I might also allocate the word count to different sections or paragraphs, which serves as a tangible target to help me manage my time. After jotting down notes, I might let the outline “sit” for a while before beginning the next stage.

Vicki Amorose, in her book Art-Write (2013), suggested two ways to organise the writing of an artist statement in the drafting stage, which could be useful to artists suffering from writer’s block, or a bout of procrastination flu. The first, using “beginning, middle and end” to recount a story; second, focusing the writing to describe “Medium, process, and understanding”.

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Structure One: Storytelling: beginning, middle and end Structure

Possible Questions to guide the writing

Beginning

• • • •

What am I investigating?

What inspired this direction?

How might this be similar to an aspect of a known artist’s work?

How did I express this so that I can articulate the uniqueness of my work?

Possible statement stems • • • • • • •

Middle

• • •

Ending

• • • •

What is interesting about the work? How has exploration brought me this work?

How did I make the work?

Is there any research I need to make to ensure that I am describing the technical processes accurately?

•

What am I communicating?

What qualities characterise the work?

What does it represent?

How does it connect to my other work? What keeps me curious/obsessed?

What did I learn from making this work?

• • • •

• • •

• •

I take inspiration from ….

I work in _____ because it allows me to …

I created ____ (title/series of work) to express my _____(belief/emotion/ idea) concerning …

In the same way that _____’s (known artist) work points out _________, my work explores the effect of …

My work is a combination of ____ and _____ …

I was thinking about ____ and I created …

My vision …

I am drawn to the subject of ______ because …

In the process of creating this work …

I want my viewer to …

To me, this represents …

In the final stage, I added …

I want my viewer to …

My work represents …

This work connects with my other work, _______, because …

This work adds to my body of work about …

By making this work, I have learnt …

Statement stems adapted from Amorose’s “Exercise: Develop sentences”.

Note: this can be used to guide the writing of three paragraph or one long paragraph with an introduction, discussion and concluding thoughts.

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Structure Two: Medium, process, understanding Structure

Possible Questions to guide the writing

Medium

• •

What is the work made of?

What will the audience see?

Possible statement stems • • •

Process

• • •

Understanding

• • •

After experimenting with _____, I found …

I work in _____ because it allows me to …

I am intrigued by … / What interests me about … (aspect of the medium or art form)

How did I make the work? How • is it constructed?

• How did I choose this medium? • • Subject?

Is there any research I need • to make to ensure that I am describing the technical processes accurately?

In this work, I approach …

With _____, I discovered …

My process … (starts with…)

Rooted in …

I attempt to bring focus to …

• What am I communicating?

How does it connect to my other • work? What keeps me curious/ obsessed?

What did I learn from making • this work?

•

In the final stage, I added …

In the same way that _____’s (known artist) work points out _________, my work explores the effect of …

My work is a combination of ____ and _____ …

To me, the most important thing is …

Reflecting on my work, …

•

Note: this can be used to guide the writing of three paragraphs, or three sections, with each section containing two or more paragraphs.

As part of my drafting process, I will also pay attention to how my paragraphs are written. Each paragraph is written by completing one sentence at a time, and asking myself what else I want to say to “value-add” to the previous sentence. I remind myself that each paragraph is a sequence of sentences put together, and a good paragraph is one that is coherent and easy to read. In general, a paragraph has a topic sentence (i.e. the key idea of the paragraph) followed by relevant details organised in a logical flow to support the main idea. Graphically, each paragraph can be about:

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Paragraph graphic organiser Paragraph Parts

Possible Questions to guide the writing

The Main idea • Stated as a topic sentence, explaining one main point • • •

What do I mean when I say this? Do I need to explain it?

Is there an argument I am making?

An argument = claim, backed by reasoning + evidence/logic. If so, can I elaborate on the claim, reasoning and evidence/logic?

What examples can I give?

Major detail • Explains the main idea; provides support/elaboration to the main idea

Is this clear enough? Can I elaborate on the claim, reasoning and evidence/logic?

Minor detail • Explains the major detail; Provides • secondary support/elaboration to major detail; most specific idea in the paragraph, and prepares to link to the next paragraph

How will the last sentence link to the next paragraph?

What transition words will I use next?

Stage three: revising In the last stage, revision takes place by revisiting the paragraphs sequentially. The revision process may not necessarily be linear, but an effort is made to evaluate the text in its entirety, before examining the details and revising sentences and words one at a time. The following table shows some examples of questions teachers may find useful to prompt their own revision. Re-writing is a necessary part of the revision and not an afterthought. Re-writing often requires time for the mind and eyes to rest, before resuming the revision process. At my final draft, I will often invite a trusted, critical friend to comment on the artist statement.

Questions that can prompt revising Broad • Are the main ideas expressed suitably to the purpose and audience? Did I get to the point?

• Are facts, sensory details, anecdotes, or examples given appropriately and accurately?

• Is the writing voice consistent?

• Have I used “lively” verbs and the active voice, rather than the passive voice?

• Is there a variety of sentence lengths and styles? Are sentences too long because they are compound and complex? Can some be shorter, and simpler?

• Are any points raised, irrelevant to the purpose?

• • • •

Detail Are there any grammatical errors? E.g. verbs agree with the subjects?

Are there any awkward sentences (e.g. when the sentence is read aloud it feels complicated and difficult to understand)? Can the words be re-arranged suitably?

Can I re-write the sentence with fewer words, yet convey the same meaning? Or convey the meaning in a better way?

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• • •

Did I use unnecessary jargon? If there are “big” words used, what words can I use instead?

Are punctuations, capitalisation and spelling used correctly?

Have I used suitable transition words to link paragraphs? Are the transition words varied?

Artist statements in the art classroom Writing artist statements can be part of a repertoire of written tasks in the art classroom. The examples shared here are not the only way to approach the writing of artist statements. As they are written for the art teacher in mind, the tables above are unlikely to be suitable for students if they are used in their entirety. Instead, teachers can consider providing less information so as not to overwhelm your students. For instance, providing only one structure, using either statement stems or question prompts in a worksheet, and using fewer statement stems and the question prompts. For primary level students, or students with less writing experience, consider using simpler sentences and fewer words. Also, the teacher might consider demonstrating how that worksheet is used with a student example. It might be worthwhile to check with the English teacher if other writing structures were used with your students in their English class. If students can work with a writing structure they are familiar with, they may be better focused on drafting the content of their artist statement. Showing examples of effective artist statements can help students see the importance of writing, and help students understand the elements of good writing. Besides writing artist statements, teachers can also consider using other written tasks in the art classroom. These include: • • • • •

Thinking Routines as writing prompts to support looking, talking and writing to interpret artwork(s) “10x2” teaching action to help students list words to describe an artwork, situation or process, from which they might want to use in their writing Concept maps or graphic organisers to help students respond to an artwork or given question Structured questions Creative writing. (E.g. poetry or Haiku, or photo essay accompanied by short annotations)

The question prompts and statement stems in this article might be suitable, or can be adapted for some of these writing tasks too.

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To conclude, writing artist statements can be guided, and writing can be a valuable learning experience that accompanies the making process. As students pull their artist statements together, they learn about the importance of ordering, structuring, and organising their disparate thoughts into coherent written text. Art teachers may also draw similarities between processes of writing artist statements and creating artworks. Creating artworks can also be described in three stages of ideating (pre-writing), exploring (drafting) and creating a final work (revising). This way, students may find a greater connection with their art-making process and better appreciate the relevance of writing.

Writing artist statements can compel students to confront their assumptions and explain their decisions clearly, and reflect on what they have learnt. Writing artist statements should not be an end itself, but part of a cycle of making and reflection. As students write, we hope they can discover something about themselves and discover how language can also shape the way they observe, think and talk about art. To this end, I hope the writing of artist statements will find their way into more art classrooms.

References: Amorose, V. K. (2013). Art-write: the writing guide for visual artists. Luminare Press.

Gowers, E. (1983). Complete plain words: the classic desk companion for clear writing.(3rd ed.)

London: Penguin.

Smith, B. (2003). Proofreading, revising, & editing skills: success in 20 minutes a day. New York: Learning Express.

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Prelude to MUSES 2018

Q & A with OEIR, Ms Karleen Gardner

museum education symposium

25 January 2018

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Q&A with Karleen Gardner STAR is excited to host Ms Karleen Gardner, Director of Learning Innovation at the Minneapolis Institute of Art (Mia), as our Outstanding-Educator-in-Residence in January, 2018! During her 10-day stay, Karleen will deliver the keynote address for MUS.E.S 2018, conduct museumbased learning workshops, and exchange ideas with Art teachers and museum educators.

What is the best part about your job as the Director of Learning Innovation at Mia? As a lifelong learner, working in an encyclopedic art museum, feeds my curiosity and wonder. I thrive on the diversity and variety in my work— from collaborating on strategic and institutional decisions and vision, to teaching in the galleries, to collaborating on the development of exhibitions. Through my work, I am fortunate to meet and work with people of all ages and backgrounds, and to use art to make these connections. So, there is no one best part of my job, it’s that it is different every day and that I am constantly learning and growing.

What is an exciting project you are working on right now at Mia? I strongly believe that art museums can play a vital role in helping people understand each other in an increasingly connected yet fragmented world. Art museums, with their rich collections filled with stories of humanity from across the globe, are well poised to play a vital role in helping people understand each other.

We at Mia believe that fostering empathic skills is imperative in our world today and that the visual arts offer numerous opportunities to do so. Mia recently received funding to establish the first-ever Center for Empathy and the Visual Arts (CEVA) within an art museum. Taking a leading role, Mia will work with researchers, scholars, content experts, artists, thought leaders, and fellow museum colleagues to explore and research best practices for fostering empathy and related emotional skills through art. This ambitious initiative will span over four and a half years, providing art museums tremendous opportunities to purposefully build empathy into their learning practices as a strategy for impacting positive social change

Karleen and youth from Girls Design the World program in Nairobi, Kenya

What do you think is the role of the museum in fostering 21st century competencies?

I truly believe that museums have the resources and capacities to change the world, and that we play an important role in the 21st century learning landscape. Engagement with art sparks curiosity and creativity, connects people across cultural differences, and engages our individual and shared values. Recent studies show that students who participate regularly in the arts are more self-confident and better able to express their ideas, show increased attention, attendance, and intellectual risk taking, and develop social competencies like collaboration.

Karleen Teaching a Class with the International Institute Citizenship program

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With the current emphasis on standardized tests in the United States, the school curriculum has shifted to teaching to the test and educators are feeling the pressure of producing proficient test scores. This current trend leaves little time for activities that foster creative expression and selfdiscovery. As informal learning environments, museums have the opportunity to fill this gap by offering opportunities for learners of all ages to develop 21st century skills, including: global awareness, creative and critical thinking skills, communication skills, and the ability to collaborate. Through object-based engagement strategies and hands-on learning opportunities, museums inspire and foster 21st century global citizens—people who respect and appreciate different perspectives and ideas and think of multiple possibilities and innovative solutions.

When did you know you want to work in an art museum?

I have been always been interested in art and remember experiencing awe and wonder on my first visit to an art museum with grandmother when I was a child. Another pivotal experience for me was when I was a sophomore in college and taking an art history class. Sitting in a dark auditorium and viewing amazing images from the Renaissance, I had an “aha” moment and realized that art is a window to the world and that through objects, I could experience different times, places, and cultures. These moments led me to a graduate school internship in an art museum where I gave my first gallery tour. I felt the magic of connecting people with objects and one another. It was at this moment that I knew that I wanted to work in an art museum.

What are you most looking forward to on your inaugural trip to Singapore?

I am extremely curious and I relish new, exciting experiences like visiting places where I have never been. I look forward to visiting Singapore and connecting with people, especially museum educators and art teachers, and experiencing the culture and natural environment. I have heard from many people about what an amazing and beautiful place it is, so I am truly excited about experiencing your country.

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Karleen speaking at Museum Next in 2017, Rotterdam, Netherlands

STAR is excited to host Ms Karleen Gardner as one of our 2018 Outstanding-Educators-in-Residence.

Karleen has been the Director of Learning Innovation at the Minneapolis Institute of Art (Mia), USA, since 2012. She is also an Education Committee member in American Alliance of Museums, a non-profit association that aims to highlight the leadership, advocacy, collaboration and service of the museum community. She has given presentations and written articles about the role of museums in the 21st century.

During her 10-day stay in Singapore, Karleen will deliver the keynote address for MUS.E.S 2018, conduct museum-based learning workshops, and exchange ideas with Art teachers and museum educators.

Contact Us Ms Seow Ai Wee Deputy Director (Art)

Seow_Ai_Wee@moe.gov.sg 6664 1558

Mr Lim Kok Boon Master Teacher (Art)

Lim_Kok_Boon@moe.gov.sg 6664 1502

Mdm Victoria Loy Master Teacher (Art)

Victoria_Loy@moe.gov.sg 6664 1551

Mdm Fatimah Sawifi Senior Academy Officer (Art)

Fatimah_Sawifi@moe.gov.sg 6664 1547

Ms Dorathy Lye Senior Academy Officer (Art)

Dorathy_Lye@moe.gov.sg 6664 1546

Ms Low Sok Hui Senior Academy Officer (Art)

Low_Sok_Hui@moe.gov.sg 6664 1548

Mdm Pang Ming Ing Academy Officer (Art)

Pang_Ming_Ing@moe.gov.sg 6664 1550

Ms Tan Bee Ngoh Programme Executive

Tan_Bee_Ngoh@moe.gov.sg 6664 1549

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