I was in a deep state of fluctuation with my identity in high school. I was wrestling with who I was and who I wanted to be. I battled with such low self-esteem throughout middle school and a bit through out high school. I think that is one of the reasons I fell into some the traps that I did. I was in this awkward state of frailness and craving to be noticed. At the same time I believed all my ideas were flawless and I loudly voiced my opinions. Especially to my parents because they usually listened. I started realizing that things in the world aren't as they seem. I constantly wondered why everyone else could live with some of the harsh realities of the world. In middle school and high school I was emerging out of a sugar coated world and into reality.
I think my identity really began to develop much further once I was out of my parents house, living on my own, and starting to forging my own way through the world. Maybe our identities are in a constant state of development. Now, I know I look at things and see myself differently than I did when I first went to college and was getting my B.A.
I think my artwork is always changing in some aspect or another. It has definitely evolved from my work in high school. I am happy that I can still look back on a few of my high school works and appreciate them for what they are and what I was as an artist at that point of time in my life. When I was younger, I think my focus was on learning how to use different mediums instead of the messages that I wanted to send my viewers. I was more concerned with acquiring skills so I could later manipulate and alter them in some way.
Sunday, January 31, 2010
Wednesday, January 27, 2010
Blog # 5: Experience at High School (1/26)
I feel that my overall experience at the high school went well. There seemed to be a positive atmosphere throughout the room. Two students from our group were absent that day so I think we could only go so far with our brainstorming in order to grant the absent students some room for their opinions and ideas. One student was a bit out of it, however, I think he perceived that the cake project might provoke some interesting happenings in the future. I am very curious to see this project progress and the actions and reactions that will occur as we cross the barriers that exist within the clay world and gravity. I am pretty sure the students have decided to go with the banana spilt/sundae idea. I like the idea. Who disagrees with ice cream? I also googled a blurb about the origins of the ice cream sundae. Historians actually have three different opinions - one version comes from Illinois! Maybe they could make some historical/social connections. I have printed off several close-up and detailed photographs of ice cream for the students. They might come in handy in the future when they are focusing on the textural details of the ice cream. I hope we can encourage a bit more activity from the students during our next visit (dive into the project with a bit more energy and accomplish some more of their sketching).
Blog # 4: Summary & Response - Fires in the Bathroom & From Ordinary to Extraordinary
Fires in the Bathroom
Chapter 2 mainly focused on ways that teachers can interact with their students while showing respect for their students. It boils down to respect instead of "liking". Students are very aware of the intentional and unintentional messages that teachers send. I found the two lists titled The Bargain We Make with Teachers and Some Things We Want to Know on the First Day interesting.
From Ordinary to Extraordinary
I really enjoy Vieth's perspectives on creating art projects. The most reoccurring concept throughout chapter 2 focuses on inspiring students to look at all the subjects that they work with in different ways (Ex: popcorn, soda cans, pencils, slides, food, tools/keys, etc.). Once students experience art this way, they will forever take these lessons and ideas with them throughout their lives. I found so much potential in each of the projects that were mentioned. Vieth approaches art with a phenomenal sense of being able to balance expectations and focus along with allowing students freedom to make important choices that will guide the outcome of their projects. Another very valuable attribute that exists within all these projects is that the results are all DIFFERENT and unique. It's important for students to see the individuality in their work and find comfort or pride in their individuality. Vieth also mentions that he always displays the students' work right after they have finished. He also attempts to get "non-art students" involved in his creative-thought provoking projects. During the brain-storming process of the doorknob activity, Vieth placed some doorknobs and a sign in a display case near the art room in hopes of sparking interest. Ultimately, he was successful and several students completed the project.
Chapter 2 mainly focused on ways that teachers can interact with their students while showing respect for their students. It boils down to respect instead of "liking". Students are very aware of the intentional and unintentional messages that teachers send. I found the two lists titled The Bargain We Make with Teachers and Some Things We Want to Know on the First Day interesting.
From Ordinary to Extraordinary
I really enjoy Vieth's perspectives on creating art projects. The most reoccurring concept throughout chapter 2 focuses on inspiring students to look at all the subjects that they work with in different ways (Ex: popcorn, soda cans, pencils, slides, food, tools/keys, etc.). Once students experience art this way, they will forever take these lessons and ideas with them throughout their lives. I found so much potential in each of the projects that were mentioned. Vieth approaches art with a phenomenal sense of being able to balance expectations and focus along with allowing students freedom to make important choices that will guide the outcome of their projects. Another very valuable attribute that exists within all these projects is that the results are all DIFFERENT and unique. It's important for students to see the individuality in their work and find comfort or pride in their individuality. Vieth also mentions that he always displays the students' work right after they have finished. He also attempts to get "non-art students" involved in his creative-thought provoking projects. During the brain-storming process of the doorknob activity, Vieth placed some doorknobs and a sign in a display case near the art room in hopes of sparking interest. Ultimately, he was successful and several students completed the project.
Sunday, January 24, 2010
Blog # 3: Scoping an Audience (7A & 7B)
Claes Oldenburg & Coosje van BruggenTypewriter Eraser, Scale X
Washington, D.C.
1999
Claes Oldenburg & Coosje van Bruggen
Dropped Cone
Neumarkt area of Cologne, Germany.
2001
7A
Claes Oldenburg work thrives in a public setting, just like Charles Ray's Firetruck. I can connect his work with the still life masters mentioned in the sense that they both illustrate realistic portrayals of everyday objects. The melted part of the ice cream in The Dropped Cone really appears as if it has dropped from the sky and been left to melt in the sun, stuck on the corner of a downtown building. The Typewriter Eraser illustrates a sense of movement, just like his dust pan piece at the Denver Art Museum.
Claes Oldenburg work thrives in a public setting, just like Charles Ray's Firetruck. I can connect his work with the still life masters mentioned in the sense that they both illustrate realistic portrayals of everyday objects. The melted part of the ice cream in The Dropped Cone really appears as if it has dropped from the sky and been left to melt in the sun, stuck on the corner of a downtown building. The Typewriter Eraser illustrates a sense of movement, just like his dust pan piece at the Denver Art Museum.
Raphaelle PealeVenus Rising from the Sea - A Deception (After Bath)
1822
1822
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Fall '91
1992
7B
I choose to compare Charles Ray's Fall '91 and Raphaelle Peale's Venus Rising from the Sea - A Deception (After Bath). One similarity between these two artists and these particular pieces is that they both toyed with their viewers' expectations. When a viewer approaches Ray's Fall '91 they are expecting a life-sized woman mannequin figure. The closer viewers get, the larger her proportions get. Peale's piece is misleading through the title and plays on the idea of what was tolerable in mainstream American society during the early 1800's. By viewing the title, Venus Rising from the Sea, one would expect a figurative piece of a nude female. Instead the viewer experiences an incredibly realistic depiction of a cloth hanging from two pins on a clothes line. It intentionally blocks the viewer from the female figure in the background. Peale reveals a hint of a foot and an outreached arm that are barely visible from outside the cloth. This cloth is of course much less offensive to viewers as opposed to a nude figure during this time period in American society.
Besides Peale's spin on the title, he depicts his true ability to create a trompe l'oeil effect with the draped cloth/towel. Peale operates within a 2 dimensional setting. Ray deceives the viewer by utilizing a 3D space. He analyzed how and what a viewer would visually perceive from a distance. The manipulation of space exists with in the viewer's space in relation to their physical location of Fall '91.
I choose to compare Charles Ray's Fall '91 and Raphaelle Peale's Venus Rising from the Sea - A Deception (After Bath). One similarity between these two artists and these particular pieces is that they both toyed with their viewers' expectations. When a viewer approaches Ray's Fall '91 they are expecting a life-sized woman mannequin figure. The closer viewers get, the larger her proportions get. Peale's piece is misleading through the title and plays on the idea of what was tolerable in mainstream American society during the early 1800's. By viewing the title, Venus Rising from the Sea, one would expect a figurative piece of a nude female. Instead the viewer experiences an incredibly realistic depiction of a cloth hanging from two pins on a clothes line. It intentionally blocks the viewer from the female figure in the background. Peale reveals a hint of a foot and an outreached arm that are barely visible from outside the cloth. This cloth is of course much less offensive to viewers as opposed to a nude figure during this time period in American society.
Besides Peale's spin on the title, he depicts his true ability to create a trompe l'oeil effect with the draped cloth/towel. Peale operates within a 2 dimensional setting. Ray deceives the viewer by utilizing a 3D space. He analyzed how and what a viewer would visually perceive from a distance. The manipulation of space exists with in the viewer's space in relation to their physical location of Fall '91.
Blog # 2: From Artist to Teacher
My style and the nature of my art has gifted me with much patience and persistence. When ever I explore new outlets of creating or manipulating a material, I want to try dozens of ways to do it. Sometimes I strive to create a whole series out of a new method. I believe you have to make a lot of art in order to evolve. Certain steps will inevitably lead you somewhere you have never explored before and inspire artistic growth. I feel my ability to exercise my patience and persistence with my art will be an attribute that I aim to share with my students. Most of us are capable of doing so many things way beyond what we could ever imagine ourselves doing. I think secondary students especially, thirst for external support from their peers and especially an experienced adult/teacher. Since my secondary school years, I have held interest in many artistic fields such as music, writing, sculpture, photography, and the studio arts (painting, mixed media, etc.). I hope my versatility will aid my ability to teach students who seek to incorporate a multitudes of different interests.
Artists are open to new perspectives and they are continually diversifying to new unknown grounds. They are explorers who crave to share their findings with the world and inspire others to take a second look or question something they never questioned. Students are an audience, they are a future. If an artist has an undying passion for their work and their quest for expression is dynamic, these features can lean themselves towards a successful teacher.
Not having time to make art when I become a teacher is one of my biggest fears. I have met so many people who put their art on hold and then pick it back up as a hobby after they retire. I can't ever imagine myself doing that. Creating art is part of my overall health. I expect to battle between prepping and time to make art during my first few years of teaching, but I must continue making art, especially if I am an art teacher.
Over the course of my experience at the Museum, I have found that making samples of the next project to show my students is a great way to keep me doing something very regularly. It challenges me to work with new materials. I noticed that Veith also mentioned this idea in Chapter 1. I have also found it beneficial to work with the exact same material that you are making your students work with. Some papers will react differently to different mediums and paints have various levels of viscosity. You will also be better prepared to educate you students about the more technical procedures that they need to be aware of. Successful and well-rounded art education incorporates both the technical elements of art as well as creative essences. I think allowing students time to experiment and acquire experience with a material is necessary in order for them to exercise their full potential in the realm of creativity.
Artists are open to new perspectives and they are continually diversifying to new unknown grounds. They are explorers who crave to share their findings with the world and inspire others to take a second look or question something they never questioned. Students are an audience, they are a future. If an artist has an undying passion for their work and their quest for expression is dynamic, these features can lean themselves towards a successful teacher.
Not having time to make art when I become a teacher is one of my biggest fears. I have met so many people who put their art on hold and then pick it back up as a hobby after they retire. I can't ever imagine myself doing that. Creating art is part of my overall health. I expect to battle between prepping and time to make art during my first few years of teaching, but I must continue making art, especially if I am an art teacher.
Over the course of my experience at the Museum, I have found that making samples of the next project to show my students is a great way to keep me doing something very regularly. It challenges me to work with new materials. I noticed that Veith also mentioned this idea in Chapter 1. I have also found it beneficial to work with the exact same material that you are making your students work with. Some papers will react differently to different mediums and paints have various levels of viscosity. You will also be better prepared to educate you students about the more technical procedures that they need to be aware of. Successful and well-rounded art education incorporates both the technical elements of art as well as creative essences. I think allowing students time to experiment and acquire experience with a material is necessary in order for them to exercise their full potential in the realm of creativity.
Wednesday, January 20, 2010
Blog # 1: Remembering High School and Facing Fears
Art class and creative writing class saved me when I was in high school. My father's job moved my family around quite a bit when I was a kid/teenager. I was always on the lookout to make new friends considering I always had to leave my old ones behind. As a teenager, I thought it was the cruelest thing my parents could have done. Now, I thank them for supplying me with a myriad of life experiences and exposure to different cultures and ways of life. During my high school years, I lived in the art classroom. I had a wonderful art teacher who always supplied me with inspiration and never criticized my wild endeavors. For many students, the art classroom was a class where they could exercise their disruptive behaviors and seek out creative ways to misuse art materials. It irritated me as a student because I would constantly walk back to my workspace area and find puddles of paint left upon the counter tops and wads of clay miscellaneously thrown about. In high school I took art so seriously. It was such a vivid attribute to my life. I found it difficult to imagine how some individuals weren't really interested in it. It will be these kinds of students who will continually challenge my teaching abilities. No matter who you are, there is some way, some how that you can find something relevant in art or something worth expressing. I believe in art and I believe everyone needs exposure to art, whether they know it or not. This is what I am excited about. Helping students find something inside themselves that they didn't even know existed and showing them outlets to expand their capabilities to artistically express themselves. Introducing new perspectives and interpretations and hearing about their own perspectives and interpretations. That's exciting!
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