IAEA 2013 Conference Presentation by Olivia Gude

1. with thoughts on Common Core
and Next Generation Standards
a presentation by Olivia Gude

2. ↳ On
what
basis
do
we
make
decisions
about
what
to
include
and
what
to
leave
out
of
today’s
art
curriculum?
😳
↳ One
can’t
answer
this
question
any
longer
by
simply
saying,
“We
include
the
basics,
the
fundamentals.”
↳ Because......

3. ↳ Because......
↳ For
at
least
30
years
there
have
been
😳
many
knowledgeable
people
in
the
world
of
art
and
art
education
who
believe
that
focusing
on
elements
and
principles,
traditional
media
and
realist
drawing/
painting
is
not
a
sufficient
introduction
to
the
complexities
of
artistic
practice
in
today’s
global
societies.

4. ↳ The
field
of
art
education
must
change.
↳ Because......
😳
↳ There
is
no
guarantee
that
art
education
will
be
considered
an
important
aspect
of
contemporary
schooling
if
we
do
not
create
a
field
that
is
perceived
as
relevant
to
contemporary
cultural
and
educational
concerns.

5. People
gain
insights
into
the
meanings
of
artworks
by
analyzing
subject
matter,
formal
and
structural
characteristics,
contextual
information,
the
use
of
media
and
various
art
making
approaches.
😳
Draft:
Enduring Understanding––Next Generation Core Visual Art Standards

6. People
gain
insights
into
the
meanings
of
artworks
=y
analyzing
b TEXT
subject
matter
formal
and
structural
context
the
use
of
media
and
genres,
styles,
approaches.
😳

7. Structuring
understand
and
interpret
the art education curriculum on
TEXT art traditions
academic and modernist
does not give students
the range of knowledge and skills
NEEDED
tthe
goals
of
contemporary
education
Common
Core

8. The Common Core State Standards provide a consistent, clear
understanding of what students are expected to learn, so
teachers and parents know what they need to do to help them.
The standards are designed to be robust and relevant to the
real world, reflecting the knowledge and skills that our young
people need for success in college and careers.
.....

9. ....the Standards also lay out a vision of what it means to be a
literate person in the twenty-first century.
Indeed, the skills and understandings students are expected to
demonstrate have wide applicability outside the classroom or
workplace.

10. Students who meet the Standards readily undertake the close,
attentive reading that is at the heart of understanding and enjoying
complex works ....
They actively seek the wide, deep, and thoughtful engagement
with high-quality literary and informational texts that
builds knowledge, enlarges experience, and broadens worldviews.
They reflexively demonstrate the cogent reasoning and use of
evidence that is essential to both private deliberation and
responsible citizenship in a democratic republic.

11. Students who meet the Standards readily undertake the close,
attentive reading that is at the heart of understanding and enjoying
complex works ....
They actively seek the wide, deep, and thoughtful engagement
with high-quality artistic and informational texts that
literary
builds knowledge, enlarges experience, and broadens worldviews.
They reflexively demonstrate the cogent reasoning and use of
evidence that is essential to both private deliberation and
responsible citizenship in a democratic republic.

12. Common Core mandates
focus on results rather than means
an integrated model of literacy
research and media skills blended into standards as a whole
Shared responsibility for students’ literacy development

13. Shared Responsibility
includes all teachers

14. Shared Responsibility
includes art teachers
all

15. visual culture
visual literacy
an integrated model of literacy
research and media skills blended into standards as a whole
ART
DESIGN

16. Evocative
&
Provocative
Pedagogy:
to lead the child
to lead the community

17. Evocative
to call forth
to bring to mind

18. Evocative
&
Provocative
to arouse to feeling
to arouse to action

19. Evocative
&
Provocative
Pedagogy

20. ↳ Reach
students
“where
they
live.”
😳

22. What does this sign mean?
a) pedestrians ahead warning
b) pedestrians only–no vehicles
c) school advance warning
d) couples with boxes crossing

23. What does this sign mean?
a) flagger ahead
b) how to hold stinky things
c) start driving really fast NOW
d) pointing to doorway in the distance
xxthat leads to another dimension

33. Mapping Curriculum

34. On
what
basis
do
we
decide?↴
↱affective
evidence
emotions,
sensations,
inklings
↱cognitive
reasoning
intellectual
explanations

35. ↱affective
evidence
emotions,
sensations,
inklings

36. blindfolded kids

38. 😳

44. 😳

45. computer

47. affective:
spirit,
body
and
heart
justifications
↱cognitive
reasoning
intellectual
explanations

48. What
is
the
criteria
of
selection?
Ask
2
questions:

49. ↳ Does
this
curriculum
support
students
in
engaging
and
making
personally
satisfying
and
meaningful
works
of
art,
craft
and
design?
😳

50. ↳ Does
this
curriculum
adequately
represent
a
range
of
the
art,resources,
aesthetic
practices
and
cultural
concerns
in
this
society
at
this
time?
😳

51. ↱What
methods?
↱What
models?
↳What
projects?

52. ↳What
is
a
project?
↳What
does
a
project
“do”?

54. ↳ Criteria
for
quality
projects

55. ↳ Criteria
for
quality
projects
↳ Value
engaging
in
authentic
artistic
processes
over
making
facsimiles.
↳ Value
contemporary
practices
of
a
medium,
over
curriculum
that
merely
recapitulates
the
history
of
the
medium.
↳
Value
utilizing
skills,
forms,
and
vocabulary
in
actual
contexts
over
de-­‐contextualized
exercises
and
recipes.
↳
Value:
investigating
over
symbolizing.

56. ↳ What
does
a
good
project
do?
↳ Introduces
students
to
methods
of
making
😳
complexity
of
the
discipline
↳ Creates
opportunities
for
students
to
make
meaning
needs
of
students
and
communities

57. ↳ What
does
a
good
project
do?
↳ Introduces
students
to
methods
of
making
😳
complexity
of
the
discipline
↳ Creates
opportunities
for
students
to
make
meaning
needs
of
students
and
communities

58. projects=
vehicles
of
aesthetic
investigation
vehicles
of
artistic
investigation
😳
encode
methods
of
experiencing
of
engaging
of
exploring
of
making
of
generating
knowledge/insight
of
being
in
the
world

59. artistic
practices
vehicles
of
aesthetic
investigation
vehicles
of
artistic
investigation
😳
encode
methods
of
experiencing
of
engaging
of
exploring
of
making
of
generating
knowledge/insight
of
being
in
the
world

60. artistic
practice=an
artist’s
practice
What
do
we
mean
by
artistic
practice?
An
artist’s
practice
not
only
suggests
the
techniques
or
media
an
artist
uses
to
create
art,
but
also
fundamentally
the
artist’s
conceptual
approach
or
method
by
which
he
or
she
goes
about
making
art.
😳
the
warhol:
resources
and
lessons
teaching
across
the
arts
and
humanities

61. Olivia
Gude’s
collaborative
public
art
U.S.
street
art
movement–values
of
community
Mexican
muralists–wall
composition
community
arts–oral
history/storytelling
postmodern
text/image
art
collaborative,
socially
engaged
art
practices
traditional
mosaics
tesslelation–form
modernist
mosaics
tesselation–flatness
😳

62. OMG
omg
😳
Cannas
&
Corn:
a
Garden
Community,
2004
by
Olivia
Gude
&
community
residents

63. OMG
omg
😳

66. OMG
omg
😳

67. 😳

68. OMG
omg
😳

69. OMG
omg
😳

70. collaborative
art
practice
generates
a
space
that
others
can
enter,
not
just
as
viewers,
but
as
participants.
😳
The
artist
can
utilize
this
artistic
practice
with
others
to
identify
content,
investigate
and
make.
The
artist
puts
into
play
an
approach,
a
method
that
can
take
the
work
in
as
yet
unknown
directions.

71. project
=
borrowed
artistic
practice
generates
a
space
that
others
can
enter,
not
just
as
viewers,
but
as
participants.
😳
I
can
utilize
this
artistic
practice
with
others
to
identify
content,
investigate
and
make.
An
approach,
a
method,
is
put
into
play
that
can
take
the
work
in
as
yet
unknown
directions.

72. Art
teachers
(Artist/teachers)
develop
vehicles
of
artistic
investigation
=
projects.
😳
Paradoxically,
students
both
inhabit
these
projects,
these
capacities
for
experiencing
and
making,
and
they
internalize
these
capacities.

73. How
can
we
build
high
quality
vehicles
of
artistic
investigation
=
projects?
😳
What
is
relevant
to
this
project,
to
this
practice
of
experiencing
and
making?
conceptual
historical
cultural
aesthetic
technical
experiential
behavioral

74. Mapping Curriculum
On
what
basis
do
we
choose
projects
or
sequences
of
projects?
How
do
we
decide
which
vehicles
of
aesthetic
investigation
are
needed?
ANSWER
1

75. 😳
It
often
works
best
to
introduce
artistic
practices
through
sequences
of
projects
that
develop
sensibilities,
build
skills,
situate
within
historical
contexts
and
draw
out
cultural
implications.
Projects
are
not
mere
Exercises.
Projects
have
intrinsic
value.
Projects:
individual
or
collaborative
enterprise
planned
and
designed
to
achieve
an
aim.

76. Expressionist
Self-­‐Portrait
What
would
students
need
to
understand
and
be
able
to
do
in
order
to
make
an
expressionist
self-­‐portrait?

77. Find
Your
Mark!
(De)Generate
Painting
Spiral
Workshop
2009
😳

78. Wassily Kandinsky
Composition IV 1911

79. Franz Kline
Untitled
1952

80. MOVE THE PAINT!
Rapidly take responsibility for the entire surface.
Some of required activities in the painting exercises:
Paint with the brush in your non-dominant hand.
Paint standing as far away as possible from the easel .
Paint as if you have no joints in your arm.
Paint with your brush in a fist that is placed under your chin.

81. Abstract
Expressionism
(De)Generate
Painting
Spiral
Workshop
2009
😳

82. At a certain moment the canvas began to appear to one American painter
after another as an arena in which to act.
What was to go on the canvas was not a picture, but an event.
Harold Rosenburg, art critic

86. Jackson Pollock

88. Joan Mitchell
Untitled 1956

89. Free
Form
Color
Investigation
(De)Generate
Painting
Spiral
Workshop
2009
😳

95. Degenerating
Vegetable
Matter
(De)Generate
Painting
Spiral
Workshop
2009
😳

96. Max Beckman
Still Life with Helmet and Red Feather
1944

97. Gabrielle Munter
Madonna with Poinsettas
1911

98. Denice Rinks
Pears 1990

99. Giorgio de Chirico

107. Facial
Anatomy
Lesson
(De)Generate
Painting
Spiral
Workshop
2009
😳

110. Expressive
Faces
Lesson
(De)Generate
Painting
Spiral
Workshop
2009
😳

115. Chiaroscuro
Portraits
from
Life
(De)Generate
Painting
Spiral
Workshop
2009
😳

116. Chiaroscuro–strong darks and lights create form

120. The Blinding of Samson by Rembrandt van Rijn, 1636

121. The NIghtmare by Henry Fuseli, 1781

122. Film still from The Cabinet of Doctor Caligari, directed by Robert Wiene, 1920

123. Film Noir

124. Sin City comic by Frank Miller, 1991

125. Expressionist
Self-­‐Portrait
(De)Generate
Painting
Spiral
Workshop
2009
😳

126. Gilbert Stuart
Portrait of George Washington

127. John Singer Sargent
Vernon Lee

128. Egon Schiele
Self Portrait 1912

129. Gabrielle Munter
Meditation
1917

130. Victor Brauner
Self Portrait with Plucked Eye
1931

131. Max Beckman

132. Emil Nolde

133. Lucian Freud
Francis Bacon
1952

134. Frank Auerbach
Portrait of Juliet Yardley Mills II
1984

135. Francis Bacon
Self-Portrait 1971

136. Jean Michel Basquiat
Untitled 1981

137. Chris Mars
A Soother for Trudy
2007

138. Jenny Saville
Rosetta
2006

139. Expressionist Self-Portrait
(De)Generate Painting
S

145. Mapping Curriculum
On
what
basis
do
we
choose
projects
or
sequences
of
projects?
How
do
we
decide
which
vehicles
of
aesthetic
investigation
are
needed?
ANSWER
2

146. Neatness does not count.
It
is
not
possible
to
develop
21st
century
curriculum
in
matching
sets.
Each
unit
is
an
element
or
principle.
Each
unit
introduces
a
different
media.
Each
unit
is
based
on
a
period
in
art
history.

147. 😳
↱ needs
of
students
and
communities
↱ complexity
of
the
discipline

149. Principles
of
Possibility
playing
forming
self
investigating
community
themes
encountering
others
attentive
living
designing
life
empowered
experiencing
empowered
making
deconstructing
culture
reconstructing
social
spaces
elaborating
fantasies
not
knowing

150. 😳
↱ needs
of
students
and
communities
↱ complexity
of
the
discipline

151. Liminality
Complexity
Ambiguity
Hybridity
Fluidity
Uncertainty
Paradox

152. The
disciplinary
strength
of
such
a
frame
is
its
acknowledgment
of
the
complex,
contradictory,
ever-­‐evolving
nature
of
artistic
practices.
curriculum

153. comprehensive
curriculum

154. comprehensive
insurance

155. What if a tree fell on your car?
Will your insurance plan cover it?

156. What if a hail storm dents your car?
Will your insurance plan cover it?

157. What if a giant inflatable sculpture landed on your car?
Will your insurance plan cover it?

158. What if a giant inflatable sculpture of dog poo is in the news?
Will your aesthetic understanding plan cover it?

159. What if an important artist deliberately destroys ancient urns?
Will your aesthetic plan cover damage to your students’ belief in art?

160. Bricolage:
1.
a
construction
made
of
whatever
materials
are
at
hand;
something
created
from
a
variety
of
available
things.
😳
2.
a
piece
created
from
diverse
resources.

161. OMG
omg
😳
La Maison Picassiette, 1938-1964 by Raymonde Isadore

162. OMG
omg
😳

163. Bricolage
and
Bricoleur
has
a
long
history
in
theory,
including
in....
↳
Subculture:
the
Meaning
of
Style
by
Dick
Hebdige
(1979)
which
identifies
the
repurposing
of
existing
objects
by
punks
as
a
form
of
“semiotic
guerilla
warfare”
against
the
dominant
culture.
😳

164. Bricolage
and
Bricoleur
has
a
long
history
in
theory,
also
including
in....
↳
Handbook
of
Qualitative
Research
edited
by
Norman
Denzin
and
Yvonna
Lincoln
(2006)
to
“denote
a
multi-­‐methodological
form
of
research
that
uses
a
variety
of
research
methods
and
theoretical
constructs
to
examine
a
phenomenon.”
😳

165. Bricoleur:
the
(w0)man
who
works
with
any
tools
at
hand
😳
Bricoleur
Art
Teacher:
the
(w0)man
who
surveys
art
and
culture
and
chooses
those
tools
(cultural
theory
and
artistic
practices)
that
meets
the
needs
of
students
and
their
communities
by
providing
access
to
a
wide
range
of
interpretive
and
meaning
making
strategies.

166. free
form
color
investigation
FIR

167. “Seeing
Into”
Surrealist
Survey
Uncharted
Territories
of
the
Mind
😳
Bureau
of
Misdirection
Spiral
Workshop
Office
of
Aesthetic
Investigation,
2011

171. Sensory
Senseless
Mapping
Agency
of
Recollection
Spiral
Workshop
2009
😳

172. Guide to the
Psychogeography of Paris
Guy Debord
Situationist International

173. Vito Acconci
Following Piece
1969

174. Abramovic & Ulay
Relation in Time
1977
Marina Abramovic The Great Wall Walk
1988

175. Gabriel Orozco Yielding Stone 1992

176. Francis Alys
Sometimes Making Something Leads to Northing
2009

177. Richard Long A Line Made by Walking 1969

178. Richard Long Sixty Minute Circle Walk on Dartmoor
1984

179. Yukinori Yanagi Wandering Position 1996

184. Making
Faces
Liminality:
Alternative
Practices
Spiral
Workshop
2010
😳

185. Bruce Nauman
Self-Portrait as Fountain 1966-1967

186. Hannah Wilke
S.O.S. Curlers
1975

193. Social
Situations
Liminality:
Alternative
Practices
Spiral
Workshop
2010
😳

194. add artists
Cindy Sherman

195. add artists
Charlie White Cocktail Party
from the Understanding Joshua series
1991

196. Liminality - What is a social situation?
An event where you interact with one or more persons.
Check all the social situations you have been a part of:
Surprise Party
Graduation Party
School Dance/Prom
Baptism
Extended Family Party (Family Reunion, etc.)
Quinceañera
Bar/Bat Mitzvah
Birthday Party
Wedding
Name:
Slumber Party
Parent-Teacher/School Conference
Liminality - What is a social situation?
An event where you interact with one or more persons.
Pizza Party
Check all the social situations you have been a part of:
School Tournament (Debate Team, Sports, etc.)
Surprise Party
Family Vacation
Graduation Party
Classroom Party
School Dance/Prom
Funeral
Baptism
Sporting Event (Spectator or Participant)
Party etc.)
Extended Family Party (Family Reunion, w/ Parents
Quinceañera
Party w/o Parents
Bar/Bat Mitzvah
Birthday Party
What other types of social situations have you been a part of?
Wedding
Slumber Party
Parent-Teacher/School Conference
Pizza Party
School Tournament (Debate Team, Sports, etc.)
Family Vacation
Classroom Party
Funeral
Sporting Event (Spectator or Participant)
Party w/ Parents
Party w/o Parents

202. Mapping Curriculum
Bricolage Curriculum
↱ needs
of
students
and
communities
interrelated
with/supported
by
↱

203. complexity
of
the
discipline

209. Text

210. Bricolage
Curriculum:
curriculum
that
surveys
art
and
culture
and
chooses
those
tools
(cultural
theory
and
artistic
practices)
that
meets
the
needs
of
students
and
their
communities
by
providing
access
to
a
wide
range
of
aesthetic
practices,
a
wide
range
of
interpretive
and
meaning
making
strategies.
😳

211. Artists
and
designers
shape
artistic
investigations,
following
or
breaking
established
conventions,
in
pursuit
of
creative
art-­‐making
goals.
😳
Draft:
Enduring Understanding––Next Generation Core Visual Art Standards

212. Create
curriculum
😳
that
is
meaningful
to
students
and
includes
authentic
contemporary
artistic
practices.
Create
an
evocative
and
provocative
pedagogy.
Create
the
future
of
art
education.

213. A version of this presentation is posted online.
Google:
Olivia Gude NAEA ePortfolio
Many projects shown in this presentation are online.
Google:
Olivia Gude NAEA ePortfolio
Spiral Workshop NAEA ePortfolio
Spiral Art Education website
NAEA=(U.S.) National Art Education Association

214. Thanks
to the teen artist participants of Spiral Workshop.
😳
Their
intelligence,
openness
and
spirit
of
generosity
inspire
our
work.
Thanks
to the faculty of Spiral Workshop, emerging teachers who are
art education students at the University of Illinois Chicago.
Their
knowledge
of
contemporary
art,
hard
work
and
desire
to
become
teachers
who
make
a
difference
in
the
lives
of
youth
contribute
to
imagining
a
renewed
practice
of
art
education.

215. Let’s
discuss.
Turn
to
your
neighbor
on
your
left:
Question:
Given
all
that
is
happening-­‐-­‐
Common
Core,
21st
Century
Skills,
Next
Generations
Standards,
digital
technologies,
contemporary
art
practices,
and
so
much
more....
▷ In
what
way
will
you
evolve
your
curriculum?
▷

216. Let’s
discuss.
Turn
to
your
neighbor
on
your
right:
Question:
What
is
a
project?
▷ What
learning
do
you
encode
in
a
good
project?
▷