UNIT 1 Meaning Making & Big Ideas Identity

UNIT 1 UNIT 2 Meaning Making & Big Ideas Visual Culture & Social Justice Conservation & Ecology Identity

21st Century Art Education Approaches UNIT 1 UNIT 2 Meaning Making & Big Ideas Visual Culture & Social Justice Conservation & Ecology Identity

21st Century Art Education Approaches UNIT 1 UNIT 2 UNIT 3 UNIT 4 Meaning Making & Big Ideas Visual Culture & Social Justice VTS & Holistic Integration Choice- Based & Learner- Directed Standards- Based Conservation & Ecology Structures & Systems Identity Vulnerability Play

Meaning Making & Big Ideas Conservation & Ecology Structures & Systems Identity Vulnerability Play

21st Century Art Education Approaches: VISUAL CULTURE and SOCIAL JUSTICE

Chris Jordan: on TED “Turning Powerful Stats into Art” Retrieved from: https://www.ted.com/talks/chris_jordan_pictures_some_shocking_stats#t-52211

For your consideration . . . With Jordan’s talk and Hurwitz and Day’s reading in mind, answer the following two questions on a piece of paper: What is VISUAL CULTURE? What is SOCIAL JUSTICE?

pair-share and report-out

What is Visual Culture? Visual culture includes VARIOUS TYPES OF VISUAL ARTIFACTS (Duncum, 2001). According to Freedman (2003), these visual artifacts consist of “the fine arts, tribal arts, advertising, popular film and video, folk art, television, and other performance, housing and apparel design, computer game and toy design, and other forms of visual production and communication” (p. 1). Visual culture art education aims to UNDERSTAND these visual artifacts within their GIVEN CONTEXTS in order to CONSTRUCT MEANING and CREATE NEW KNOWLEDGE.

What is Social Justice (in the field of art education)? SOCIAL JUSTICE in art education is often known as SOCIAL RECONSTRUCTION. According to Hurwitz and Day (2007), “The primary purpose of this approach is to educate children and young people according to a SOCIAL and POLITICAL AGENDA based on concepts such as DEMOCRACY, POWER, OPPRESSION, GLOBAL CAPITALISM, LIBERATION, and JUSTICE” (p. 285).

Using Paul Duncum’s Visual Culture in the Classroom to Inspire Meaningful Visual Art Instruction Ask interns to design nametag with colored pencils and Sharpies Ask interns to go around the room and introduce themselves In addition, briefly talk about student teaching experience and/or if you hope to teach elementary or secondary art Introduce what and where I teach a few slides later… Feel free to ask questions during the demonstration Duncum, P. (2003). Instructional resources: Visual culture in the classroom. Art Education, 56(2), 25-32.

Who is Paul Duncum? Selected Positions Held 2003 - present PROFESSOR OF ART EDUCATION School of Art and Design, University of Illinois at Urbana-Champaign 1998 - 2002 Lecturer in Visual Arts Curriculum Faculty of Education, University of Tasmania, Launceston 1991 - 1997 Senior Lecturer in Visual Arts Curriculum Faculty of Education, Central Queensland University 1986 - 1987 Lecturer in Visual Arts Curriculum Brisbane College of Advanced Education 1980 - 1983 HIGH SCHOOL ART AND DESIGN TEACHER 1973 - 1974 GRAPHIC DESIGNER Research POPULAR VISUAL CULTURE VISUAL CULTURE IN ART EDUCATION CRITICAL THEORY AND ART EDUCATION Images of Children Children’s Unsolicited Drawing Article: Instructional resources: Visual culture in the classroom Although interest in visual culture began in the 60’s and 70’s, Paul Duncum is one of the forefathers of VCAE, which has gained notoriety especially during this last decade. Selected Positions Held: Graphic Designer: 1 year High School Art Teacher: 3 years Lecturer in Australia: 11 years off and on Professor of Art Education at The University of Illinois at Urbana-Champaign: 7 years Research Interests: Recent Publications include: One book (others ?) – SHOW Numerous book chapters and NAEA Presentations Articles Journal of Research in Art and Education International Journal of Education Through Art Journal of Aesthetic Education Australian Art Education The International Journal of Art & Design Art Education – SHOW January 2010 article: “Seven principles for visual culture education”

Family Photographs Consumer Goods Tourist Souvenirs Teenagers’ Bedrooms Patterned after Duncum’s “Instructional resources: Visual culture in the classroom”, I divide the PPT into four sections: Family Photographs Consumer Goods Tourist Souvenirs Teenagers’ Bedrooms “Through the presentation, I hope to show you all how to take a scholar's suggestions and adapt them in order to accommodate a particular population.  In addition, I hope to make VCAE more accessible and user-friendly.”

Tourist Souvenirs Third section from Duncum’s article and PPT (p. 30)

Tourist Souvenirs: Duncum’s Suggested Activities Interview a souvenir shop proprietor and the shop’s tourists. Create a tourist souvenir reflective of where students live. Develop a tourist poster including stereotypical interpretations of national, state, or local character. Investigate historical European tourism.

Artwork by Jeff Carter & Susan Giles Security 2007 Viewfinder 1999 Corrected Postcard 2003 Wayang Kulit Turis (Tourist Puppets) 1999 JEFF CARTER: Jeff Carter lives and works in Chicago. He is Associate Professor in the Department of Art, Media and Design at DePaul University. Jeff earned his BFA at the University of Colorado, Boulder (1992) and his MFA at The School of the Art Institute of Chicago (1998). “What is authenticity?” “Travel vs. memory vs. object” “Residue from travel” SUSAN GILES: 1997-1998 Fulbright Grant to Indonesia, sponsored by the Museum Nasional in Jakarta and Sekolah Tinggi Seni Indonesia in Denpasar, U.S. Student Program, New York The works of Jeff Carter and Susan Giles explore the troubled vantage point of the contemporary tourist. Having traveled extensively in India, Sri Lanka, China and Indonesia since 1995, both artists bring this experience to bear in a body of witty, yet complex, sculptural and video works that make their own dislocated position as travelers central to their representations. Security 2007
carved mask, paint, plywood, aluminum, motor, custom
19" x 11" x 7” Jeff Carter Corrected Postcard 2003 Postcard, aluminum, hardware 7.5” H x 4.5” W x 3” D The Sydney Opera House and The Taj Mahal 2008
paper and glue Susan Giles Viewfinder 1999
Chipboard
Each platform 20" W x 30" L x 2" H. Installation dimensions variable Jeff Carter and Susan Giles Wayang Kulit Turis (Tourist Puppets) 1999
Leather, paint
Each approximately 20” H x 16” W The Sydney Opera House and The Taj Mahal 2008

Students will sculpt a souvenir inspired by a tourist destination within their hometown. After introducing and discussing artwork by Jeff Carter and Susan Giles, groups of three or four list local tourist sites. Following the brainstorm activity, students work independently by creating rough drafts and gathering materials. As Duncum (2003) suggests, students may want to “focus on the material used and what is typical versus what is unique to [the] area” (p. 30). Inspired by Duncum’s Tourist Souvenirs, I created a similar activity called Kansas City Souvenirs. Again, I modified this activity very little. Unique to KC: steak, Hallmark Cards, Roasterie Coffee, Christopher Elbow chocolates, Plaza lights, natural resources

By arranging their Evidence installations, I asked students to consider formalist principles, such as: Rhythm Movement Balance Emphasis Unity Contrast The SMSD is not unlike many school districts in the nation, and especially in the mid-West, in that they/we really value and embrace formalist ideals.

Wonderings . . . Did I recognize my own interests or personality when selecting materials for or constructing the Tourist Souvenir? If so, how? In what ways do the selected materials complement my souvenir? Are any of the souvenirs ironic? If so, how?

Teenagers’ Bedrooms Dispense NAEA Advisory article: “Teaching photography in the K-12 classroom setting”. Applicable to Family Photography (1st *) and Teenagers’ Bedrooms (2nd *) sections.

Teenagers’ Bedrooms: Duncum’s Suggested Activities Take photographs of bedroom. Discuss “cool” and “uncool” consumer items. Discuss technical photography. Then, retake bedroom photographs while emphasizing identity through consumer items. Develop a class collage using magazines that depict teenage culture. Create a two-sided bulletin board: “The Media Says” versus “I believe”. Compare and contrast paintings that portray identity through visual artifacts.

Modified Activity: Evidence Olivia Gude and Laura Hall Tesdah Gude (n.d.) encourages students to examine their visual culture through discarded daily evidence. She states: Cultures reveal much of WHAT THEY ARE and WHAT THEY VALUE through what is consumed and discarded each day. In this project, students COLLECT EVIDENCE OF THEIR LIVES each day for the duration of the unit. The things that are collected are used to create a series of small installations that PORTRAY A SINGLE MOMENT OF A LIFE OR MANY MOMENTS IN A LIFE. The installations change each day as students incorporate new evidence and learn new formal strategies of composition. (¶ 2) Inspired by Duncum’s Teenagers’ Bedrooms, I borrowed an activity from Art Education scholar, Olivia Gude, called Evidence. The students build a collage, but use actual and discarded items that “depict teenage culture”.

Evidence By arranging their Evidence installations, I asked students to consider formalist principles, such as: Rhythm Movement Balance Emphasis Unity Contrast The SMSD is not unlike many school districts in the nation, and especially in the mid-West, in that they/we really value and embrace formalist ideals.

Wonderings . . . How does my evidence reflect my culture? Why and how did I choose to include certain pieces of evidence and exclude others? What is the meaning or importance behind my evidence? How did I direct the viewer’s eye through the installation? How did I attempt to unify the installation?

Supplemental Video The Story of Stuff with Annie Leonard by Funders Workgroup for Sustainable Production and Consumption Retrieved from: http://www.youtube.com/watch?v=gLBE5QAYXp8 (21:18)

Visual culture art education aims to UNDERSTAND visual artifacts within their GIVEN CONTEXTS in order to CONSTRUCT MEANING and CREATE NEW KNOWLEDGE.

Dove

Axe

Dove + Axe = parent company, Unilever

Origins of visual culture

Published in 1972 Chapter 2 (pp. 36-43) Chapter 6 (pp. 114-127)

What is going on in Chapter 2? pair-share and report-out What is going on in Chapter 2?

What is going on in Chapter 6? pair-share and report-out What is going on in Chapter 6?

exploring CONSERVATION or ECOLOGY through VISUAL CULTURE and/or SOCIAL JUSTICE . . . With your table, create a VISUAL CHAPTER using the big idea of CONSERVATION or ECOLOGY—remember that you all are working within the contemporary approach of VISUAL CULTURE and/or SOCIAL JUSTICE. Consider the ways in which the chapter will address disciplines outside of visual art.

Materials Needed White construction paper (11”x17”) Scissors Magazines Glue sticks

How-to Send one student to the back of the room with paper and scissors for the construction demo: https://www.youtube.com/watch?v=21qi9ZcQVto (1:10) Agree on a big idea (CONSERVATION or ECOLOGY) and subject matter One student collects several magazines Three students cut out applicable images All students arrange the images in order before gluing What new messages emerge when juxtaposing images? Glue images into place Clean up

Gallery Walk