CAEA Fall 2014 Collage

Collage

A Magazine for Colorado’s Art Educators

Fall 2014

CAEA Fall Conference Where Art Comes From

Oct 9-12, 2014 Beaver Run Resort in Breckenridge

www.caeaco.org

Call Forr Ent Entries triries ies REGISTRA REGISTRATION ATION T OPEN OPENS : September 15, 2014 ENTRIES DUE : January 9-10, 2015 EXHIBITION A AT T THE HISTOR HISTORY HIS Y COLORADO CENTER February 14-March 6, 2015 AT SHOWCASE OF SELECTED WORKS A T ART THE DENVER AR T MUSEUM March 12-April 2, 2015 wards is the longest-running, most The Scholastic Art & Writing A Awards w prestigious recognition program for creative teens in the U.S. and the nation’ nation’ss largest source of scholarships for creative young artists.

www.artandwriting.org www .artandwriting.org

coloradoartawards@gmail.com

The Scholastic Art Awards Colorado Region

Sharon Rouse would like to congratulate

Recipient of the 2014

Minoru Yasui Community Volunteer Award A Program of the Denver Foundation

In Every Issue 4 6 74 74 75

President’s Message by Elizabeth Mahler Licence From the Editor by Deborah Walden Ossi CAEA Executive Board and Regional Division Representatives Council Directory CAEA Task Force Chairs and Publications Directory Regional Representatives

In This Issue 8 11 14 16 20

24 27 31 34 38 45 50 62 66 70

Adventures in Urban Art 2014 by Barth Quenzer RedLine’s Educational Partnership Initative for the Creative (EPIC) Arts Program by Robin Gallite Inspiration for Educators: Dale Chihuly at the Denver Botanic Gardens

by Deborah Walden Ossi Postscript by Charles Parson Who Is Ellen Dissanayake?

(And Why is She a Keynote Speaker at the CAEA Fall Conference?)

by Anne Thulson The Art of Reading: Book Lists for Art Classrooms by Abi Paytoe Gbayee Colorado Scholastics Achievements All that Glitters at the Denver Art Museum by Deborah Walden Ossi Radical Art and Teaching by Mary K. McDonald Service Learning Through Art by Amy Marsh Sharing Your Work by Deborah Walden Ossi CAEA Award Recipients 2014 Keynote Speakers: Fall Conference 2014 Fall Conference 2014 Master Class Artist Biographies Fall Conference Day at a Glance

COLLAGE is published by the Colorado Art Education Association Elizabeth Licence – President Deborah Walden Ossi – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Todd & Elizabeth Licence – Layout Design & Production

Cover art by Esha Wicks. Esha created this work in Jill Day's art class at Wilder Elementary. This talented young artist was only in the second grade at the time. You can see the full work and find a link to Day's education blog on page 45

Please submit all materials to: COLLAGE Editor: Deborah Walden Ossi, caeacollage@gmail.com COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email all submissions to caeacollage@gmail.com. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Word documents. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Images should be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, include captions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, and format. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include lesson objectives, appropriate assessments, procedures, standards applications, and materials.

M e s s a g e P r e s i d e n t ’ s

by Elizabeth Mahler Licence

President’s Message

C

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alling All Art Educators: School is Officially Back in Session!

I hope all of you have had a wonderful summer; mine was certainly busy and it felt like it was almost over before it even started because I had so much planned already. As your President I spent the summer involved in many aspects of planning and leadership of the CAEA.

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In June, several CAEA Council members and I got together for our annual Fall Conference Scheduling meeting. This is where the majority of the work happens when scheduling all of the presenters, master classes, keynote speakers, conference events and such so that the fall conference attendees can have the best experience possible. It also helps to start early so that presenters and others can be notified as soon as possible if their proposal has been accepted and when/where it will be. After the schedule is set, many of the other areas for Fall Conference can get rolling.

Thanks to Vanessa Hayes-Quintana, Sophia King, Michael Cellan, Ben Quinn and Tara Pappas for all that you did that day.

Also in June, the Executive Council as well as Michael Cellan and Sophia King all met in Breckenridge for our 2nd annual Summer Planning Retreat. Beaver Run Resort was so very generous in providing lodging for all of us to meet for CAEA strategic

planning as well as our meeting with the Beaver Run staff for Fall Conference planning. Many Executive Council members also met with Jenn Cram, Manager of the Breckenridge Arts District and Public Art Program. We have built an exciting new relationship with the Town of Breckenridge and all of our Fall Conference Master Classes will be held at their newly remodeled Art District Campus located in new and rehabilitated historical structures just off of downtown. Our Thursday night keynote speaker Shannon Galpin will also be speaking at the Riverwalk Performing Arts Center so that the general public can purchase tickets to see her talk as well as our attendees. Both the Town of Breckenridge and the Executive Council are excited about this new partnership.

In July, I was happy to help Michael Cellan curate, hang and host the 25th Annual CAEA Art Exhibition at Kanon Collective, a cooperative gallery located in the heart of the Art District on Santa Fe in Denver. We had 34 members participate in this process-oriented exhibition of work that showcased to the Denver community that art educators are not only great teachers but wonderful professional artists as well.

The exhibition was very well received and will continue to move throughout the state of Colorado (including being at Breckenridge during our Fall Conference)

to educate and advocate for the importance and value of art educators.

Special thanks to Justine Sawyer, Vanessa Hayes-Quintana and Angie Willsea for all of the help you provided in putting up and taking down the show.

Also in July, Robin Wolfe (CAEA Past President) and I traveled to Santa Fe, New Mexico to attend the NAEA Summer Leadership Conference.

Every year the state leaders of each region of the NAEA get together for a summer conference to work on regional planning and business in relation to the NAEA. This year was different in that all of the state leaders as well as other leaders in art education met for a summer conference specifically focusing on art educators as leaders in the field of education.

It was very informative and helpful for me as your newly elected President to gain information and knowledge about different leadership styles, how to best utilize strengths in others, how to effectively guide a state-wide nonprofit organization such as ourselves. The speakers were inspiring and informative, especially Dr. William Baker, director the Bernard L. Schwartz Center for Media, Education, and Public Policy at Fordham University, where he is also Journalist-inResidence and a professor in the Graduate School of Education, distinguished professor at IESE Business School (ranked #1 globally by The Economist) and is President Emeritus of WNET, New York’s public media station and the premiere source of PBS programs nationwide. I have included photos of drawing that were done real time during Dr. Baker’s talk that illustrate some of the points he brought up about leadership in art education. It was amazing. The state leaders of the Pacific Region also got together for our regular meetings and I have found that being able to talk to leaders from other states about their organizations helps immensely in brainstorming new ideas for success as well as sharing the ups and downs of leading such important organizations. As educators, we are always learning ourselves.

These dots represent all of the conference attendees and what leadership style they possess. This dot is me.

All of a sudden it was August and I ran my first Representative Council Meeting as President on August 23rd. The majority of the meeting was talking about Fall Conference and getting all areas planning and executing the tasks needed to have a superb Fall Conference. Special thanks goes to Linda Schmale for hosting the August meeting at Gateway High School. I thought it was a great meeting to kick of the start of the 20142015 school year and I thank everyone who attended and participated.

I feel like we have an excellent team and can’t wait to see what we accomplish!

That was a mouthful. If you are still reading this address, thank you for taking the time; I know it is incredibly valuable. :) Pacific Region state leaders posing for a group photo

From The Editor

F r o m

t h e

E d i t o r

by Deborah Walden Ossi

H

ello New Friends,

taught knew more about Michelangelo or

I’m excited to meet you all through this

Picasso than they did about the artists in

issue of Collage. I contacted CAEA last year

their own city. This led me to start an arts

as a writer

about volunteer opportunities, and I feel

education section in a local magazine. Ed-

grateful to have found such a meaningful

iting this monthly feature allowed me to

introduced me to

way to serve the education community in

meet teachers and principals and to work

my new home state. (I moved to the Den-

with education nonprofits and govern-

ver area in 2013 from Nashville, TN.)

ment officials.

I’ve been an artist my whole life, and my

So, when I moved to Denver last year, I

passion for art has always directed my

knew I wanted to continue that type of

that many of the

path. I studied art and art history in col-

outreach, which is why I’m truly excited to

lege, where I also was an English major. I

be a part of your organization. My goal is

students whom I

received my MA in art history from Vander-

to inspire new conversations between

bilt University, and then spent eight years

teachers, students, artists, galleries, non-

working in the arts in Nashville. I worked

profits, local and state governments, and

for a year on a Kress Foundation grant

ultimately our communities at large.

My experiences

gallery owners and local artists, and I realized

taught knew more

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about Michelan-

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gelo or Picasso

archiving and researching a collection of rare photographs at Vanderbilt. I also

I recently graduated from the Colorado

than they did

taught art history and design history at

Business Committee for the Arts’ Leader-

Belmont University. Somewhere along the

ship Arts Program where I met represen-

about the artists

way, I began writing about art for local

tatives

in their own city.

magazines and newspapers (because of

nonprofits. They were all so excited to

the music industry, Nashville has a surpris-

learn about CAEA and the good work that

ingly large arts scene).

you do. I look forward to introducing you

from

numerous

Colorado

to some of these groups in future issues.

My experiences as a writer introduced me to gallery owners and local artists, and I re-

If you have ideas for new conversations

alized that many of the students whom I

about art that need to take place in our

7 schools and in our cities, please share them with me—or better yet, submit them to Collage! The deadline for the Winter issue is November 1, 2014. I would love to hear your voices! I’m also working on a YA fiction book with art themes, so if you’re a fellow writer and want to talk shop/get inspired/complain, send me an email!

Thanks for this wonderful opportunity,

My goal is to inspire new conversations between

-D eborah Walden Ossi

teachers, students, artists, galleries, nonprofits,

Email: D eborah@deborahossi.com

local and state governments, and ultimately our communities at large.

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Adventures in Urban Art 2014

By Barth Quenzer Brown Elementary Denver Public Schools

W

hat do you do with an idea?

If you’ve read Kobi Yamada’s illustrated children’s book (What Do You Do with an Idea?), you’ll know that you give your idea attention, and that you care for it, play with it, and share it with others. Do this and then one day, your idea goes from “being here to being everywhere....”

This past year, I have stopped referring to the art room at Brown Elementary as a classroom…it is now properly and enduringly referred to as a learning laboratory, a special environment where ideas are nurtured.

One idea at Brown has been in incubation since 2007. This idea grows every year and fills thousands of square feet. The idea has been entertained by hundreds of young artists, a handful of professional artists, and has reclaimed our school walls from vandalism.

Whenever I hear of another teacher taking on an urban art project, I empathetically feel the fearlessness and enthusiasm, a raw excitement that only public art brings. Murals are conceptually and technically challenging to create and, because they are public, everyone is invited to be a critic. Public art instigates a different kind of community dialogue that includes a variety of stakeholders. From the passersby to the property owners to the neighbors to the artists, it’s a one-of-a-kind journey…perhaps one akin to an urban art wonderland.

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My journey down the rabbit hole of urban art began when I visited West High School in 2007. I found an inspiring teacher, Maureen Hearty, running an after-school mural program for young graffiti artists. Realizing their craving to paint, this teacher empowered these young high school artists with three tools: time, materials, and a wall. I walked away from that short introduction to mural making with a new mission…to start a public art program at Brown.

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Many years later, I recognize the importance of that encounter at West High School. It planted a seed in my teaching and learning, but it also brought multiple partnerships that have woven a narrative that still brings me bewilderment and awe every time I tell the story. It is an exemplary idea worth sharing again and again.

The big aha came in 2012 when artist Ratha Sok, a young, self-proclaimed social-entrepreneur, spoke during a panel discussion on how he “made it in America.” Ratha spoke of perseverance and the pursuit of passion. He described how his career in art and business started at West High School with the student-organized mural club. I immediately realized that this young man was one of the visionary students whose school murals planted an idea in me many years ago. It seemed fated for Ratha to work with the students at Brown during a city-sponsored Urban Arts Fund project.

Soon afterwards, a new partnership was prompted with the very talented Bimmer Torres, another West High School alumni and mural clubber. Bimmer’s contribution during this year’s Urban Arts Fund at Brown has illuminated our oldest walls with renewed spirit, a beautifully woven tapestry of colors that weave in and out of our old murals and new walls.

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The murals at Brown are more than paintings; they are metaphors for personified ideas. The collaboration with Ratha and Bimmer is a synchronicity that could not have been planned. It happened because we gave our ideas attention and because we shared our ideas with others. It is a full-circle story, but certainly not the end of our story.

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So, what do you do with an idea? Take author Kobi Yamada’s advice, “You change the world.”

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RedLine’s Educational Partnership Initiative for the Creative (EPIC) Arts Program

I

By Robin Gallite

n response to the lack of emphasis on arts education in schools, many nonprofits are joining in the uphill battle to create greater access by providing support to educators and opportunities for students. Walk into any school in the Denver Metro area and you will find that the school framework is no longer just between the parents, students, and school staff, but a responsibility that reaches beyond the traditional group into the community. To educate our youth is a community effort and requires determined focus from all.

Located in Five Points, RedLine is a 501(c)(3) nonprofit and an innovative, mixed-use arts space that combines an artist residency program with project-based engagement in the arts. RedLine’s vision fosters an environment where youth education, community, and artists co-exist in collaboration. Our core value lies in the transformative power of art and the ability art has to instigate change. As a former math and art teacher and currently the Director of Education at RedLine, I believe art is in a unique position to begin necessary conversations and educate the public. Traditionally, art institutions create a cycle of exclusiveness and reach only a small group within the community. RedLine was envisioned by an artist and is about access for all, a philosophy that develops investment and high engagement, both on the individual and community level.

The “magic” of RedLine is having 300 attendees from students to families, artists and community members talking about art and social justice issues at an EPIC Arts exhibition opening. As our website states, “RedLine’s Educational Partnership Initiative for the Creative (EPIC) Arts program provides a platform for RedLine Resident Artists to work in collaboration with educators from Denver area K-12 schools....” EPIC Arts gives students a greater voice through the implementation of “an experiential curriculum that creates a body of artwork through a lens of contemporary social justice....The art-making process and resulting artwork becomes a medium through which young people can hone their critical thinking, communication and collaboration skills, and express their unique perspective and ideas about today’s world. http://redlineart.org/education/epic-arts.html EPIC Arts Spring 2014 Exhibition opening with 350 attendees.

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Students examine social justice issues such as bullying, gender roles, immigration, depression, homelessness, climate change, neighborhood violence, school rules, the economy, class, race, and teen pregnancy. Exploring difficult topics through art does not completely resolve an issue, but it does provide a way to have a conversation about it and can connect us and shift our thinking. For example, we know that art won’t change the fact that 6 out of 20 students in a particular high school in Denver are pregnant or have a child already. Their lives are forever altered and their path onward is an extremely challenging one. However, through art, students can discuss and share the issue, empowering themselves and providing a form of support for others. Through EPIC Arts, students have a unique art experience that can fundamentally shift their perspectives of themselves from passive receivers of knowledge to active participants in their education and leaders of their world.

EPIC Arts has engaged over 1,300 students and 20 schools and educators over the past four years. The numbers are great, but it is about the quality of the experience for the students, educators, and artists.

Program Highlights • • •

Experiential learning model to create greater student voice through art.

Exploration of social justice issues in students’ lives and the world around them.

New way of teaching and creating art for educators, artists, and students.

“We have a huge role in this world and have (the power) to positively impact these issues.” – EPIC Arts Middle School Student

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“Students were debating what art is, refining their own definition of who an artist is, and engaging in discussion around the role of public art. I found that students were leading conversations around the power of art, and pulling other students in. My role as teacher shifted throughout the project to give students ownership of the dialogue.”-EPIC Arts Art Teacher

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“Working with young children completely opened up my perspective as an artist. Translating my own work to them was eye-opening, and learning strategies to get them to be creative was so beneficial! My experience has made me look at my work through a different set of eyes—five-year-old eyes!

It's helped me remember that art making is supposed to be fun and how important playful interaction can be.” –EPIC Arts Artist “It’s always so valuable to check in with young minds and to be reminded that the range of creative possibilities is so wide…how limitless the possibilities are.” –EPIC Arts Artist

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An installation piece by 11th grade students at Bruce Randolph School in relation to barriers that block the happiness we all seek to attain.

Performance piece by 7/8th grade students at Odyssey School in response to the Palestinian and Israeli conflict.

“How to be a Superhero in 23 Days” in response to SOAR Charter School kindergarteners’ concerns about bullying.

Inspiration for Educators: Dale Chihuly at the Denver Botanic Gardens

By Deborah Walden Ossi Dale Chihuly’s brilliant, colorful glass sculptures have made quite an impact on the Mile High City. Visitors to the Denver Botanic Gardens have enjoyed them since their installation over the summer. If you haven’t planned your visit yet, time is running out. The show ends on November 30, 2014. Claudia Kiesenhofer, Children’s Program Manager at the Denver Botanic Gardens, has some tips for incorporating a visit to the Gardens into your art classes.

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Assignments for Students The many hues and textures of flowers in the Gardens are the perfect inspiration for young artists, but the addition of Chihuly’s sculptures makes an art class visit even more adventurous.

Kiesenhofer says that the glass sculptures are ideal subjects for photography students. She also has a great tip for drawing teachers who bring their students to the Gardens. “Ask them how the sculpture looks in the particular weather conditions of the day that they are there. Get them thinking about the placement of art. One idea is to sketch one of the glass sculptures and then draw a different setting from another part of the Gardens around it.” Since Chihuly placed the sculptures in their specific locations, this helps students get a better grasp on the way that art interacts with its surroundings.

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General advice for art students of almost any age can make a visit more engaging and educational. “One thing that is very interesting is that the art is in an outdoor setting, so look at patterns. Ask students to focus on why they think that Dale Chihuly wanted to have this exhibit in the Gardens. Look at color schemes, complementary colors, analogous colors, and different perspectives.” Kiesenhofer also recommends that students of all ages watch the Chihuly video in the lobby to learn more about the artist and his work.

For elementary artists, Kiesenhofer suggests getting interactive. “Ask them to tell you the story of the sculpture. What does the sculpture tell you? What kind of sculpture is it? How did it get here? Can you put your body in the shape of this sculpture (even

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as a group)? Get children to look at them from different angles or to look at them upside down.” You can also ask students how they think the sculptures are put together. Young artists might also enjoy giving individual sculptures a new name.

Planning Your Visit Kiesenhofer recommends visiting the Gardens’ website (www.botanicgardens.org) to find out which Chihuly-related programs for schools will be available this fall. Any school visit to the Gardens (self-guided or guided) needs to be scheduled through the Denver Botanic Gardens registrar at least three weeks in advance. Registration for the school year is now open.

Elementary students can take advantage of the Gardens’ Discovery Backpacks program. These backpacks come with activities for youngsters in small groups. Teachers should also check out Plant Discovery Days at the Gardens. The Gardens will be filled with activity stations that help kids learn about plants and engage. Some schools may want to make use of the Botanic Gardens’ Cultivation Cruiser Outreach, which brings the Botanic Gardens to your school. Although this tool is geared toward science classes, art teachers can probably get creative with ways to incorporate this program into their classrooms.

Contact the Denver Botanic Gardens at registrar@botanicgardens.org or by phone at 720-865-3580 to schedule a visit.

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Postscript T

By Charles Parson

his past spring I had the opportunity to be involved for eight days in the installation of 28 exterior sculptures on the grounds of the new sculpture lawn at the Arvada Center for the Arts. Curated by one of my artist-sons, Collin Parson, and the assistant curator, Kristen Bueb, it became a show that grew out of an idea and intention‌to then be put into actual form. It had a consistent visual language, early on, as specific works were selected and/or developed for the group placement. But it also became an exhibit of individuals’ diverse ideas, consistently conceived and placed throughout the acreage in front of this long-existing art exhibition reservoir.

The process of actual installation was almost magical. A blend, a synergy, developed as the days progressed and more and more works appeared, almost growing out of the wild grasses.

It was obvious that within this grouping, an ethos existed. All were practicing artists. It was a curatorial fact that all participating knew how to put their concepts into form. It also became very clear during the eight rigorous days of various installations that each artist also knew how to work within the realm of budget, time, equipment, tools, and weather conditions to consummate their vision of each work in its installed form. In this grouping of established creators there could subtly be seen three age groupings, 25-45 year olds, 45-70 year olds, and one wonderful emeritus 83-year-old. Some had taught, some had been students at one time or another of others in the exhibit, and some still teach (as I do).

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The learning and teaching by all, from hands-on experience, continued during this time.

This was enhanced with the excitement of installation that a group exhibition can promote if everyone is on the same wave length.

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The process of actual installation was almost magical. A blend, a synergy, developed as the days progressed and more and more works appeared, almost growing out of the wild grasses.

They each knew their allotted time to arrive and utilize the cranes and the provided equipment, as well as what adaptations were individually needed to transport their work to the site in a reasonable manner.

(Friendships and vehicles are always pushed to the limit at these junctures.) Most showed up much earlier than the assigned time and stayed late, sharing with one another the sense of shared creation. What the final works and the overall

17 show was to be revealed itself quickly in that week-long adventure. As reality kicked in, in the particular way that larger-scale sculptures can sometimes do, the work presented challenges. Traditions and innovations were all considered and valued. Distinct personalities in methods and end result were apparent.

The jazz-like playfulness

The dialogue about what was needed versus our original projecof experimentation is tions, variations, and the oft queried, “What do you think?” filled the air. possibly being structured All three age groups respected one another’s approaches, but when out of our formal questioned, the past experiences, stories of catastrophes (and/or suclearning climates. cesses) were balanced with new approaches and ideas, giving us real options. New technologies, as well as more effective equipment, and different perspectives were interlaced with older methods.

Merging from the singular studio into the group setting always presents this weaving of hands-on solutions as only the actual act of art installing provides. Then the joy of sharing emerges with each distinct work, when the work is finally physically up. Then the art takes over….The quiet, calm or verbose excitement of seeing it completed is shared in a group of compatriots who know and celebrate with the artists.

••• After presenting one of the keynote talks and a workshop at the Colorado Art Education Association’s Conference last fall, I was quite surprised by how many teacher/artists individually approached me with their responses. There seemed to be a consistent sense of concern imbedded in these responses. To put it in a nutshell, two thrusts appeared: It seems to be becoming harder and harder to make one’s own artwork. And work based directly in the classroom is being hindered by more and more reports, institutional minutia and academic I find the creative act, when administrative oversight of one’s program. Teaching by DOING, by being a practicing artist, seemed a remote reality in these conversations. As I spoke with several viewed in person, brings the teachers over the next couple of months (including at a recent summertime elementary school party), it seemed “talking” and “planning” about art and education magic back to both participant is becoming the thrust. Less “making” is occurring. This isn’t the influence of digital sensibilities; this is something else. Combined with this is the seeking of standards and viewer. Visits to the studio and rubrics, which can be so helpful on one level, but is, I think, at a teetering point of uniformity and sameness that can be deadening. The jazz-like playfulness of experimentation is possibly being structured out of our formal learning cli- or to classroom work sessions mates.

always bring a response of

Are we inadvertently becoming the bad version of “The Academy”? How can we re-engage our administrators, parents and, in particular, students in the important cycle of creativity and distinct different approaches to making art? I find the creative act, when viewed in person, brings the magic back to both participant and viewer. Visits to the studio or to classroom work sessions always bring a response of some sort, different from just seeing something completed and hanging on a wall. I think it is because the special sense of the place where a creative act occurs is being sensed by visitors.

some sort, different from just seeing something completed and hanging on a wall.

I come from a formal background that rolled practicing artists in with the role of teachers, where academic degrees were not the pedigree, but successes in one’s discipline as well as in the classroom were the basis. This affected me deeply. However, today’s em-

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As we seek to organize our curriculums, to develop consistent results, and maintain a professional performance as teachers, I ask that we reconsider, more aggressively, teaching by example, being hands-on artists. phasis on the degrees an art teacher has earned is the status quo. This, rather than what they have done artistically, makes this one of the major distinctions from my past that I now see in art education. To really date myself, I studied in the 1960s and early 1970s.

It was a different time, obviously, with different definitions of art and educational roles. But I am hopeful that certain values from that time can re-establish themselves, including this valuing of a practicing artist and teacher.

At the time of my formal education, to have teachers miss an occasional class because they were installing a work in Munich or Japan was normal. To read about an instructor in a major magazine review right before our student critique added weight to his/her comments. To have a teacher invite us to swing by his/her studio after school to see the new work in process before it left for a New York show; or to even have a teacher come in frustrated (or euphoric) when a weekend in the studio had not gone as expected was part of our experience. To speak with creative icons of my youth like Walt Disney or hear Robert Motherwell speak in multi-layered levels, even share cookie recipes with Adolf Gottleib….The magic was in their eyes when they shifted to speaking of their act of making art. My biggest influences were my early teachers, who taught me to be myself by thinking, feeling and doing. A sense of self in art speaks loudly.

Students, regardless of age, get that.

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•••

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Yet another road trip across the country this summer gave me another opportunity to take the main roads and at times the back roads. We passed several major colleges and universities but also saw a large number of unknown small colleges, community colleges and public schools spread throughout the back communities. On these less-traveled routes, we experienced different accents, foods, topography, architecture, customs, and mannerisms. I felt that this was indicative of the distinctions that studying in various schools in different parts of the country used to bring.

Chicago was different from San Francisco, New Orleans different from Milwaukee. It also reminded me that schools at all levels used to have a uniqueness based upon who taught there during what period of time. Programs had distinct personalities. This was much like the bands I played in over the years. They definitely had different renditions of standard songs, based upon who sat in on the instrumental roles.

How do you affect the instrumentation of your school?

Imagine if Warhol, as an artist, had also had been a public school teacher. Imagine that instead of portraits of collectors he did portraits of his administrators. And then Keith Herring, also on the staff, had all of his fourth-grade students do their individual portraits of the principal on the playground walls. And then Nick Cave, who also teaches art and Physical Ed, had all of the students design and make outfits that fit the principal’s various moods, presenting a hallway Fashion Show. What would that be like?

As we seek to organize our curriculums, to develop consistent results, and maintain a professional performance as teachers, I ask that we reconsider, more aggressively, teaching by example, being hands-on artists. I suggest we regularly invite, coerce or trick our administrators and political representatives into our actual classrooms to watch as we perform what we speak about. I ask that we each consider setting a deadline to develop an exhibit of our own art work, shown not only in a gallery, but possibly at a local library, restaurant, nursing home, school lunchroom, church, wherever, sharing with our administrators, fellow teachers, politicians and the community the joy of self-expression from our own independent sense of originality. And we could have a special evening opening just for our students, teaching by doing.

As I listened to others’ reactions from my talk last fall, as I savored the sharing between generations of sculptors this summer, and as I start to see the end of my teaching career, this postscript is a challenge to my community of art educators.

I suggest that we lean on each other, have confidence and pride in what we’ve done as artists and teachers…but also help to make our expectations tangibly real.

Upcoming Exhibitions of Charles Parson’s work: One-person show at "Z modern Gallery" in Denver. Opening September 26, 2014.

Authentic wearable artwork!

TINGA TINGA MASKS

Inspired by the painting style of Tanzanian artists, the Tinga Tinga style is characterized by intense colors, movement-descriptive figures and shapes, and lots of dots. In this project, students apply dots in an easy, non-drippy way to create authentic animal masks and scenery.

DickBlick.com/lesson-plans/ tinga-tinga-masks

One-person show (concurrent with a one-person show by Parson's son, Collin) at the Colorado Springs Fine Arts Center.

Opening October 25, 2014.

Two-person exhibit of new works by Charles and Collin Parson at "Mai Wyn Gallery" in Denver. Opening November 21, 2014.

One-person exhibit at "Denver International Airport Terminal Gallery." Opening late Spring 2015.

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800•447•8192 DickBlick.com

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Who Is Ellen Dissanayake?

(And Why Is She a Keynote Speaker at the CAEA Fall Conference?)

By Anne Thulson What artists do, in their specialized and often driven way, is an exaggeration of what ordinary people also do, naturally and with enjoyment – transform the ordinary into the extra-ordinary. (Dissanayake, 1991)

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In college, I drifted away from my provincial, mid-western home. The academic lectures, galleries, and performances were worlds away from my dad’s singing, my mother’s sewing, and my grandfather’s greenhouses. In my pursuit to be an intellectual, I kept “Art” in a sacred space, separate from these humble, everyday things. Eventually, this separation made me very sad. As an art teacher, the sadness continued. My art wasn’t part of what I did every day. It was something I did on summer vacation in my studio.

Deep down I knew this wasn’t right, so I started to look for other ways to think and be.

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In that search, I found Ellen Dissanayake’s writing. Her ideas helped me gather and cohere many scattered parts of myself: artist, teacher, student, mother, cook, celebrator, gardener, archivist, interior-decorator, etc. So when I heard that Ellen Dissanayake will be speaking at this October’s Colorado Art Education Association conference, I was very happy. As a way to entice you to come hear her, this is a short summary of an address she gave to the National Art Education Association in 1991.

Near the end of the last century, Ellen Dissanayake called for a fresh way to think about art. Fifteen years of living in nonWestern countries helped her come to this perspective. She reminds us that before the 1800s, art mingled seamlessly with religion, politics, and everyday life. Its purpose was dependent on these things.

But something changed. Around the 1800s in Europe and America, people thought art had a special power of its own, apart from its political, religious, and social contexts. Educated people were encouraged to have A special frame of mind for appreciating works of art. (Dissanayake, 1991)

21 For instance, when one looked at a painting of Jesus on the cross or Napoleon on a horse, one shouldn’t think too much about the subject or who commissioned it or the politics or theology behind it. Rather, the art should transport the viewer to a kind of pure ecstasy, an emotional and intellectual high. The viewer was instructed to appreciate the beauty and the power of the art without getting bogged down with the nitty-gritty details of its context. In fact, it was believed that the “nitty-gritty” only got in the way of this lofty state of being.

The work of art became a world-in-itself, made solely or primarily as an occasion for this kind of detached aesthetic experience, which was considered to be one of the highest forms of mentality. (Dissanayake, 1991) This meant that viewers could have a transcendent experience with any art object, even if it was from another culture or time period that they didn’t understand. Good art, they thought, speaks for itself and lifts the viewer to more profound feelings and thoughts. Picasso thought of African masks in this way. He wasn’t much interested in specific tribal purposes of the masks he collected or the political situation of Western Africa of the time. He just liked them because their raw and bold forms inspired his own self-expression. The context was his, not theirs.

As abstraction progressed in the 1900s, understanding and explaining art became the job of the art critics and museum curators. The elite art viewers appreciated modern art as they attended openings and read explanations from the art experts.

As those educated viewers became privy to the aesthetic experience of art, regular folks felt left out and, eventually, checked out. In that art world, people were either enlightened or they weren’t. The enlightened ones could and did say to the common public, “It’s an Art thing. You wouldn’t understand it.”

In this modern climate, our old friends, the Elements and Principles of Design were part of that elite language. This is a story we know well. The modern artists believed they didn’t need subject matter to get feelings or thoughts across. They just had to know how to successfully manipulate the elements and principles. They believed that abstract forms were a universal, poetic language that traveled straight from the artist’s unconscious to the viewer’s unconscious. Zowie! This put modern artists kind of on a pedestal. They were considered modern-day shamans, able to transfer the depth of the human soul through an abstract language to the viewer.

Imagine. All this could be done with the flick of a wrist and a splash of paint.

Shazaam!

Dissanayake challenges this modern concept of art because The arts themselves became practiced and appreciated by fewer and fewer members of western society.

(Dissanayake, 1991)

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As art became more and more an elite occupation, regular people abandoned the conversation. They also stopped thinking of themselves as makers-of-culture and concentrated instead on consuming mass-produced culture. Mystery, beauty, rich ideas, and meaning were not to be found in common life, but in rare, isolated art museums located between miles of ugly strip malls and endless parking lots. This dilemma led Dissanayake to offer another way to think about art. Rather than “Art for Art’s Sake,” she calls for an “Art for Life’s Sake.” (Dissanayake, 1991) She looks to pre-modern societies to model this approach. Here, art is embedded in all parts of life, made by many members of society. Life is made poetic and “special” though clothing, body adornment, dancing, hand-made objects, music, gardens, rituals, gift-giving, celebrations, spectacles, ceremonies, cooking, etc. You may be thinking, “Those things? Of course they’re important!” But what Dissanayake argues is that “those things” are not only important, but they are art. They bring mystery, meaning, and beauty to our lives. She asks us to envision art as a shared behavior by a whole community and not just specialized behavior of the “gifted and talented” geniuses. Dissanayake recognizes that as a human species, we notice certain parts of life that bring us meaning and joy and we all have the desire and ability to …deliberately set out to make something special. (Dissanayake, 1991) Critics of this view worry that standards and quality of art will be diluted. She responds to this by saying that “special” implies

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taking care and doing one’s best so as to produce a result that is to a greater or lesser extent – accessible, striking resonant and satisfying to those who take the time to appreciate it. (Dissanayke, 1991)

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This tells me that there are many ways to make and appreciate art and many legitimate worlds in which art exists.

Those worlds aren’t ranked as high and low. They just coexist. She also reminds us that the concept of art as a specialized, expensive object made by a few master geniuses is a 200-year-old idea. She asks us to consider much earlier definitions of art that have spanned every culture and era of the human species.

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How did all of this change my practice as an art teacher? I realized that my job wasn’t to just foster talent in a chosen few and drag everyone else along for the ride, but to see all students as makers-of-magic now, today, and always. Teaching art is to create citizens who create culture, rather than citizens who passively consume the culture made by the “experts.”These ideas also changed my identity as an artist. I realized that when I creatively collaborate with children every day, I am actually making art every day. The ordinary act of teaching is full of mystery, beauty, emotion, paradox, and meaning. I believe it is art.

So, I encourage you to come to the conference and hear this world-renowned enchanter of art education. She is extraordinary.

Ellen Dissanayake’s books and other resources can be found at: http://www.ellendissanayake.com Dissanayake, E., K. Carroll (Ed.), (1991). What is Art For? Keynote Addresses of the 1991 NAEA Convention, pp 15-26.

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The Art of Reading: Book Lists for Art Classrooms

By Abi Paytoe Gbayee Editor’s Note: Abi Paytoe Gbayee led a workshop called “The Art of Reading” at the CAEA fall conference in 2013. In it, she discussed new ways to incorporate illustrated books into art classes for multiple age groups. Paytoe Gbayee says the connection is obvious.

After all, illustrators are artists too. She also believes that using books in art classrooms benefits all involved. “It makes administrators happy, and we’re helping teach visual literacy. When you look at picture books, you are exposing kids to contemporary culture and art.”

Paytoe Gbayee shares with us her top eleven books (in no particular order) and explains why each book works so well in the art classroom. These books also appear on her expanded book list at the end of this article – check them out to find some literary inspiration for your teaching.

Paytoe Gbayee is an art educator in Cheyenne, Wyoming. She is also president-elect for the Wyoming Art Education Association.

For more of her ideas and favorite resources, check out her website https://sites.google.com/site/abisworkshops/ and her Pinterest page http://www.pinterest.com/abipg/

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Title: Calabash Cat and His Amazing Journey Author: James Rumford Illustrator: James Rumford Connections: Pattern, Color I like this book because it’s one that kids usually haven’t seen and it has a lot of patterns. It’s about a cat who goes on a journey to see if he can get to the edge of the world. It has some really beautiful African patterning in the animals. I’ve used it with K-6 kids, asking the kids to fill up animals with patterns. It also provides a really good cultural connection to other countries.

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Title: Title: Knuffle Bunny: A Cautionary Tale Author: Mo Willems Illustrator: Mo Willems Connections: Color, Contrast, Emphasis, Emotion The artist took pictures of New York to go along with the story.

The photos are in black and white. There are hand-drawn color characters on top of them. I use it for black and white versus color. I got my third graders to find background images. We xeroxed them so they were all in black and white, and then we hand drew characters to go with them. They had to write stories to go with the illustrations. In addition to a visual narrative, I expanded it to include a written one, which makes connections to other content areas. They were required to scale characters to make them fit in the background. It helped them see how to emphasize what’s important.

Title: You Be You Author: Linda Kranz Illustrator: Linda Kranz Connections: Unity, Variety, Pattern, Color It’s basically the story of a little fish going through the ocean.

This artist paints little fish on rocks, lots of them. She puts them on ocean backgrounds. I use this book with rock art to teach unity and variety. I have the kids design fish. We talk about how they are all unified because they are all fish, but how they are all different. There are many that are the same color and some that are a mix of colors. It’s a good example of how that works.

Title: Not a Box Author: Antoinette Portis Illustrator: Antoinette Portis Connections: Shape, Imagination It’s the story of a rabbit who has a huge imagination, so the book is a really big imagination builder. If you draw something on paper, what else can it be? It also deals with shape, line, and idea generation. In a classroom, it could culminate in giving students a box to make into an actual sculpture.

25 Title: Ish Author: Peter H. Reynolds Illustrator: Peter H. Reynolds Connections: Imagination, Work Ethic Ish is for kids who are perfectionists; I use it to tell them to get over it. It opens up a whole world. It teaches them how to get past making everything look exactly how it’s “supposed to look” – and accepting that it’s close enough if it’s recognizable.

It’s a good start-of-the-year book for older kids (e.g., fourth graders and up) who really want to be perfectionists.

Title: Beautiful Oops!

Author: Barney Saltzberg Illustrator: Barney Saltzberg Connections: Mistakes What do you do when something bad happens to your artwork? This is a very interactive book. It gives you different options of what to do with your mistakes. It’s a great start-of-the-year book (especially when combined with Ish). It saves materials because students learn to create something new with a work of art that has a mistake.

Title: Art Author: Patrick McDonnell Illustrator: Patrick McDonnell Connections: Abstract Art, Color, Line It’s about a little kid named Art who makes art. It’s an introduction to abstract art.

Title: One Author: Kathryn Otoshi Illustrator: Kathryn Otoshi Connections: Color, Bullying This one covers number counting and colors and bullying. It’s all about how one color is being bullied by other colors. It helps kids process how to stand up to their friends, and they still learn about color. It’s just a nice book about symbolism and color.

Title: Sky Color Author: Peter H. Reynolds Illustrator: Peter H. Reynolds Connections: Color Sky Color is the story of a girl whose teacher has assigned a collaborative mural. The main character is responsible for the sky, but the classroom runs out of blue paint. It’s about breaking the mold of what you think things should be--about overcoming assumptions and visual stereotypes and making things work with what you have.

Title: I Like Myself!

Author: Karen Beaumont Illustrator: David Catrow Connections: Self-Portrait David Catrow is my favorite illustrator ever. This book is great for a unit on self-portraits, and it’s a good self-esteem builder.

It helps students appreciate their own individuality. And it has some really fun ideas for changing viewpoints.

Title: A Little Bit of Oomph!

Author: Barney Saltzberg Illustrator: Barney Saltzberg Connections: Emphasis It’s a book on how to use emphasis in their artwork. Some kids get close, but they never take their art to the next level. It teaches them how to show what’s important to them.

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The Art of Reading: Expanded Book List

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Colorado Scholastics Achievements Editor’s Note: Isabelle Heiferling, a student at Cherokee Trail High School, took home the national American Vision Award and the prize for the Berger Collection Educational Trust in the Scholastic Art and Writing Awards. A student of Michael Chimento, Heiferling turned a classroom assignment into a tribute that has touched hearts around the country. She shares the story behind her photograph, Nancy Zeima Enquist, below.

Well, Mr. Chimento assigned us a project to take an environmental portrait of someone we knew. While I was thinking about who I should take a picture of, I tried to think about who was important to me and who made a big impact in my life.

My grandmother was the first person who came into my life because she is the closest embodiment of an angel I had ever met (with some twisted humor of course). As corny as that might sound, she has always been a woman who represented kindness and benevolence towards anyone she knew. She is always willing to lend a helping hand, even though she is very weak.

Although her body may be deteriorating, her soul and her thrive for life have only gotten stronger. I thought about her telling me "When you die, you can't take your possessions with you. You can't take your money, your house, or your car. You can only take the love you have in your heart and eventually, your family will catch up with you." I then thought about the one person she loved most of all- my grandfather. He was the epitome of what the perfect soldier, father, and grandfather would be. He had a warm heart, helping hands, wise words, and a clever mind. He died June 3, 2006 from cancer. My grandmother was a pillar of strength for our family during that time. But over the course of time that strength has weakened along with her mind and body. She has severe dementia. Sometimes she doesn't even know where she is or who her family is.

That is why that photograph is so important to me because although I cannot have her in my physical life forever, I captured a moment in time that will last longer than I will, and hopefully, it captured that legacy she and my grandfather made during their lives together.

And every time she looks at that picture, she smiles and mentions her "Boompa" (which we all lovingly called him) and reminds herself that she is beautiful.

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All that Glitters at the

Denver Art Museum

By Deborah Walden Ossi November 16, 2014 marks the opening of Brilliant: Cartier in the 20th Century at the Denver Art Museum (DAM). The exhibit will feature over 250 works, including jewelry, accessories, and other fine objects.

Educators will find a wealth of topics to discuss with their classes, including design, cultural statements, color theory, economic influence on the art world, and art objects as status symbols.

“The evolution of Cartier takes us on a journey through 20th century history, from the era of the last Czars in Russia to the Roaring ’20s in America to the onset of Hollywood glamour as we know it,” says Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “Focusing in on the creativity and pioneering vision of the Cartier brothers and their designers, visitors will walk away not only in awe of Cartier’s stunning works of art but also aware of the drastic cultural shifts that took place throughout the history of the Maison.”

On December 7, 2014, Glitterati: Portraits and Jewelry from Colonial Latin America will open to the public. This exhibit features paintings of Spanish aristocrats who demonstrated their wealth through portraiture. Themes from this show dovetail with many of the talking points from the Cartier exhibit, making the two shows a perfect double feature for young art students.

Teachers are encouraged to schedule group visits through the museum’s membership and guest services representatives at 720-913-0130. For a collection of online educational resources, including material relating to the Cartier exhibit, please visit the DAM’s Creativity Resource for Teachers. The site features over 600 lesson plans written by teachers in collaboration with the museum.

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Egyptian striking clock owned by Mrs. George Blumenthal.

Cartier Paris, 1927. Gold, silver gilt, mother-of-pearl, lapis lazuli, coral, emerald, cornelian, enamel; 24 x 15.7 x 12.7 cm.

Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

Necklace worn by Elizabeth Taylor. Cartier Paris, 1951, altered in 1953. Platinum, diamonds, rubies; Length 37.5 cm. Cartier Collection. Photo: Marian Gérard, Cartier Collection © Cartier.

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Tiger lorgnette owned by the Duchess of Windsor. Cartier Paris, special order, 1954. Gold, enamel, emeralds, glass; 8.5 x 2 cm. Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

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Desk set with clock. Cartier Paris for Cartier New York, 1931. Silver, gold, lacquer, nephrite, enamel; 24 x 12.5 cm. Cartier Collection.

Photo: Nick Welsh, Cartier Collection © Cartier.

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Necklace worn by Countess of Granard. Cartier London, special order, 1932. Platinum, diamonds, emerald; Height at center 8.8 cm. Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

Crocodile necklace made as a special order for María Félix. Cartier Paris, special order, 1975. Gold, diamonds, emeralds, rubies; Length 30 cm. and 27.3 cm. Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

Flamingo brooch worn by the Duchess of Windsor. Cartier Paris, special order, 1940. Platinum, diamonds, emeralds, rubies, sapphires, citrine; 9.65 x 9.59 cm. Cartier Collection. Photo: Nils Herrmann, Cartier Collection © Cartier.

Tutti Frutti strap bracelet worn by Mrs. Cole Porter. Cartier Paris, 1929.

Platinum, diamonds, sapphires, emeralds, rubies; 18 x 4.07 x 0.75 cm.

Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

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Radical Art and Teaching

By Mary K. McDonald

W

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e had 15 people total, a big brown van with a trailer behind, a jeep, and a CRV filled dangerously to the brim for this epic journey to the middle of a dried-up desert lake bed. We were bringing two yurts; a burn barrel for warmth; a hammock which included a stand made from a lead pipe; rope and 4x4s; an overweight homemade shower; a canopy; night/day costumes; a “monkey hut” (which is a tunnel-like shade structure built to withstand big gusts of wind); bicycles for every person; a couple of tents; and enough food and water for everyone for nine days. Within 20 minutes of departing, we had to stop and get rid of some weight because it was clear that the trailer was not going to survive the 18-hour drive from Denver to Black Rock City, Nevada. Instead of ditching the 300-pound burn barrel or the overweight homemade shower (that one person used), we poured out most of our water, which is the most important thing that you need in the desert. It stands to reason that we weren’t off to a great start to an amazing, difficult, eye-opening, joyous, transformative, and beautiful vacation.

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The choices we make, the inspirations that give us that glorious epiphany moment, and the thoughts that inhabit our minds shape our reality. Each phase in this journey of creating a reality has developed my own self-directed learning skills, both in regards to my own art making as well as in my role as an art educator. In every experience, I focus on how I can translate the transformation that takes place into positive learning and, by This last year was the extension, my teaching. This last year was the most transformative year that I’ve ever had. I believe that this change was caused by two main events: completing most transformative my first year of teaching and being able to attend Burning Man. Burning Man is an art festival in the desert of Nevada that happens every year and it is a tempoyear that I’ve ever rary community based on radical self-expression and self-reliance.

had. I believe that this change was caused by two main events: completing my first year of teaching and being able to attend Burning Man.

My life-long best friend attended “the burn” in 2011; she returned home a different person, an inspired person. I was perplexed by this, so she didn’t have to spend much time convincing me to participate in the regional Burning Man event, Apogaea, which takes place only a half an hour from my home (Bailey, Colorado).

When I first went to Apogaea in 2012, I was exposed to a society that was different from anything I’ve ever experienced. In college, I attended many shows and a few music festivals, which were disconnected and dirty. Apogaea is not a music festival. It is all about the art and you became a part of it; you are the art.

I fell in love with the freedom of expression and the willingness of the community to participate in interacting with the art works. Artists welcomed me into their creations and wished that I would fully interact. It is a week-long temporary world

35 full of self-sufficient, creative, giving, loving, amazing, and colorful people. Molly Steenson wrote in an essay about Burning Man that “You’re not the weirdest kid in the classroom – there’s always somebody there who’s thought up something you never even considered. You’re there to breathe art.”

At Burning Man events, much of the art that is constructed (then deconstructed, transported, constructed again to stay up for one week, then deconstructed for transport again) has a functional purpose along with a conceptual and an aesthetic one. The art is functional in the ways that it can be used, such as shelter from the harsh environment and lighting for an area at night.

The driving force of the community is a set of 10 principles that were laid down to ensure the ambience and harmony of the event. Many of these principles can be applied beyond the Burning Man ethos to further the goal of creating unique and meaningful art in the classroom! Some of these principles include: radical inclusion, gifting, radical self-reliance, radical self-expression, communal effort, and participation. Although all of the principles would be relevant to the classroom, the main principles that I will focus on here are radical inclusion, participation, and gifting.

Radical inclusion means that everyone is invited to be a part of this shared experience. It is created when the environment is comfortable for students. When it comes to

inclusion, there are differences and similarities between elementary, middle, and high school students. It is not a challenge to ask elementary-level students to be radically involved with anything that you are doing in the classroom, especially if it involves an element of play. When it comes to teaching middle or high school students, I personally find it to be more difficult to encourage this type of radical inclusion. There could be many different factors that pertain to this difficulty – one being confidence and another perhaps being interest. Radical inclusion is a hard thing to be able to teach, but it is so rewarding when you can experience a class where every student is fully participating in art. This is something that I feel I will always be working on.

The only way for a transformative change and learning experience to happen is from a medium of deeply personal participation. We can achieve being by doing! Burner events are set up for humans to create; the community depends on every single participant. You are there to build a new world; I feel that we do that every day with our students.

The gifting aspect is probably my favorite because I love the art of giving. The value of a gift is unconditional and it does not require a return or exchange for something of equal value. A gift doesn’t have to be restricted to material items; it can be an idea. Artist Trading Cards, Empty Bowls, and sharing ideas through discussions and critique are

http://www.burningman.com/whatisburningman/about_burningman/experience.html

Radical inclusion is a hard thing to be able to teach, but it is so rewarding when you can experience a class where every student is fully participating in art.

This is something that I feel I will always be working on.

Photos by: Carrie Dyes

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some ways that we are already practicing gifting.

I’m wondering if there are ideas circulating that involve a gifting atmosphere. How are gifts being exchanged in your classroom?

The main point of inspiration I have taken away from attending Burning events is to allow students to explore their own inspirations and creativity while also providing structure that can display student achievement. Observing and experiencing these have inspired me to learn how to teach various styles, techniques, embellishments, and design choices while allowing students to explore their own opinions and interests as well as integrate logical multi-functional purposes. Compiling all of these elements might help students to become resourceful and inventive, along with being excited and passionate about searching for a motive and inspiration.

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Important questions to consider: How do we construct a learning environment that provides inspiration, resources, and opportunities to build knowledge and meaning in the process of making art? How do we make an authentic experience? How can we teach resourcefulness? How do we create within students a feeling of importance and involvement in the community? We’ve taught Artist Trading Cards and Empty Bowls, how do we evolve from this idea to teaching the art of gifting? These questions continue to challenge me – I find myself forgetting them and then going back to them (usually when I have a little break from teaching).

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Burning Man is a week-long temporary world full of self-sufficient, creative, giving, loving, amazing, and colorful people.

As a group of novice “Burners,” our camp was ill prepared for a week or so in the desert. Luckily, the festival has preparations set up for people like us and the only things that are sold are ice, water, and coffee. On the positive side of things, we excelled in working together and participating in everything we could in the time that we had.

We use art and art education to explore, participate, and play in a world that we create together. Art is the driving force that creates our shared reality. The lesson that I’ve taken from this life opportunity is that this experience can be a launching off point for the careers of many amazing artists. And the biggest lesson and piece of advice that I took to heart in my first year of teaching is to be true to yourself and maintain your authenticity.

Unfortunately, Burning Man happens the last week of August. Because it’s back to school for many of us teachers, we may not be able to attend Burning Man. So, in October at the CAEA conference, let us radically participate, create, and express ourselves!

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Service Learning Through Art

By Amy Marsh

Isn’t it part of our jobs as artists and educators to shift and unravel perceptions? I submit that this ideal is an altruistic pursuit, with the goal of advancing the common good. Of course, in this pursuit, the lens and the delivery of the message are diverse.

In my years as an artist and educator, I have sought out opportunities for increased visibility of this artistic voice. I value the collaboration of service and the creation of art. I have found some of the most rewarding experiences have been integrating the objectives of arts education with service learning objectives. Service learning through art marries the creation of art with community needs and social justice issues. Artist Corps Tennessee, a training program for such a marriage, states, “Arts education and service learning are natural links, engaging students in experiential arts opportunities to make change within their own communities.”

In this article, I expand on the history and context of artistic methods of delivering messages for the common good. I share some of my experiences and reflections around this pursuit. I also provide resources and support so you may feel more comfortable introducing service-learning lessons into your arts classroom.

One of my recent experiences with service-learning lessons occurred in my middle-school enrichment class. I created a curriculum for an enrichment class called “Service Learning Through Art.” When I introduced service learning to my middle school students (sixth through eighth grade), I needed to do quite a bit of front loading about what service entails. I have included a portion of my lesson on service below.

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First Day Print out stories from the Giraffe Heroes Project (www.giraffe.org).

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• Write “philanthropy” on the board.

• Ask “What is philanthropy?” o Define philanthropy as “giving of one’s time, talent, or treasure for the sake of another, or for the common good.” Additional definitions include: “voluntary action for the public good; voluntary giving, voluntary service and voluntary association, primarily for the benefit of others; giving and serving; active effort to promote human welfare.” http://learningtogive.org/lessons/unit150/lesson1.html o Tell the students, “We will do this through art of different types!”

• Tell students to “find a person you know the least and interview them about their contribution to the common good.”

• Have students get into groups of four per table where they all share what they found out about their interviewees.

• Have students share with the whole class.

• Have students move into different groups of four and silently read the printout from the Giraffe Heroes Project and make notes.

• Collect papers and notes.

39 Second Day On this day, the students will deepen their understanding of service learning.

• Write “philanthropy/service learning” on the board.

• Use the worksheets in K-12 Service-Learning Project Planning Toolkit or the Learning to Give lesson plan to guide your planning: o https://www.ffa.org/documents/lts_servicelearningtoolkit.pdf o http://www.learningtogive.org/lessons/unit150/lesson1.html I then directed my young artists to come up with a work of “street” or “urban” art that would serve the common good by shifting perception about a social issue. First, they needed an understanding of what “street” art was.

I recently helped to write Visual Arts Curriculum for the State of Colorado. The subject was a 7th grade unit on street or urban art. In my Service Learning class, we created street art projects using this curriculum. The curriculum, as well as other sample units, is available at http://www.cde.state.co.us/standardsandinstruction/instructionalunits-visualarts. Our storyboard is below:

Middle School Visual Literacy Story Board

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Once the students conceived a project that fit the criteria, they were required to write and present a proposal for their project to our administration. Some were approved immediately. Others were asked to edit their proposals for various reasons. Once approved, they began creating their art. It was very rewarding to watch the projects be driven by student interest.

Once installed, I found that I really did need to provide information to my staff, parents and administration about all these “street” art projects that were popping up! My students and I received quite a bit of positive feedback.

A few examples of completed projects are described below. They are from Tristan, Peyton, and Safie.

Tristan decided to illustrate the inequity of world health care by creating a piece with a medicine cabinet. He painted the cabinet. He wrote “U.S.” on the mirror on the left door and “Africa” on the mirror on the right door. When you opened the “U.S.” side, it was filled with medicine bottles. When you opened the “Africa” side, it had only a few medicine bottles. He chose to display his work by the nurse’s office.

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Peyton and her friends decided to promote the message of peace with the gift of art. We built anticipation by having our assistant principal announce that peaceful gifts were coming and to watch for them. The students created dog tags with their own peaceful designs. They then quietly passed them out to our school community from ECE children to adults. The rule was that each recipient had to re-gift the dog tag and pass on the message before the end of the day.

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Safie’s piece was a comment on how our perception of someone changes based on how the person is dressed. Safie and I went to a thrift store and bought her some dressy business clothes and a contrasting oversized “slouchy” look. We took pictures of her in both outfits.

(Safie donated the clothes to a homeless shelter after her photo shoot.) A kind, local business owner printed life-sized prints for her. We cut them out and displayed them at our school entrance. We heard so many comments about this piece. One parent said it felt like she was in an edgy gallery. It was exciting to watch the creation and viewing of relevant art with a contemporary delivery. To the right is a picture of Safie’s project.

41 My students have also participated in the following projects among others: Fundred, Canstruction, Empty Bowls, and The Memory Project. I wrote an article about The Memory Project, a very special opportunity for service, in the Winter 2013 edition of Collage.

Here is a list, by no means comprehensive, of resources for ideas to incorporate service learning into your arts curriculum for any age student. http://artexiled.org/ http://www.fsu.edu/~flserve/resources/handbook/MyArtMyWorldFull.pdf http://www.tn.gov/arts/ae_stuff/act_guidebook.pdf www.thememoryproject.org http://www.milestonesproject.com/ http://www.onemillionbones.org/the-project/ www.earthforce.org http://learningtogive.org/papers/paper239.html www.emptybowls.net canstruction.org/ http://www.operationsockmonkey.com/ Try one or two of these projects or design one of your own. Start in a really small way – service to your classroom, service to the school, art flyers to post with a message, random acts of kind guerilla art! I began the Memory Project with three portraits and worked up to sixty. These types of projects possess an array of opportunities to observe, create, synthesize, and connect art to the heart. Good luck and I would love to hear about the rewards and heart tugs along your journeys.

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Resources for Middle School Visual Literacy Story Board

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Barry McGee & Margaret Kilgallen (ART21 Video) https://vimeo.com/6547737 Keith Haring Clean video on Keith Haring narrated by OBEY street artist Shepard Fairey https://vimeo.com/44277095 Superfast overview of images https://vimeo.com/6174529 Keith Haring explaining his subway art http://www.streetartutopia.com/?p=5982 Banksy Street art images https://vimeo.com/20320145 Lascaux http://blogs.scientificamerican.com/image-of-the-week/2011/08/22/cleaning-up-lascaux-paintings http://www.lascaux.culture.fr/?lng=en#/fr/00.xml (Interactive link) Ai Weiwei’s Coca-Cola Vase http://classconnection.s3.amazonaws.com/542/flashcards/406542/png/han_dynasty.png Yarn Bombing http://www.environmentalgraffiti.com/graffiti/news-yarn-bombing-not-just-your-grandmas-graffiti-0 Bull as Guerilla Art http://en.wikipedia.org/wiki/Charging_Bull Blu https://vimeo.com/993998 Christo and Jeanne-Claude http://www.christojeanneclaude.net/artworks/realized-projects

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Sharing Your Work

By Deborah Walden Ossi Editor of Collage

We thought it would be fun and informative to share some of the online work of educators around our state. We put out a call for blogs and websites over the summer and we were excited to receive so many submissions!

Below you will find a list of websites that link to classroom work and artwork by your fellow teachers. The list includes artist websites for those who practice what they teach and some amazing ideas for interactive projects on the education blogs. You will also find links to blogs by the Clyfford Still Museum and the Center for Visual Arts at Metropolitan State University of Denver.

Keep this page on hand for inspiration throughout the school year and, if you have a site you would like to share, please email me at deborah@deborahossi.com.

Education Blogs Jill Day Art Educator, Wilder Elementary http://wilderpaintsplatters.wordpress.com Justyna Butler Art Teacher, Lone Tree Elementary School http://heartlte.blogspot.com Barth Quenzer Visual Arts Teacher, Brown International Academy (Also check out Quenzer’s website under Artist Websites and his article “Adventures in Urban Art 2014” in this issue.) http://artivore.weebly.com Andrea Slusarski Art Teacher, Gateway High School.

(Check out the Awards section in this issue for more information about Slusarski who will be honored at the Fall Conference as CAEA’s 2014 Rookie Art Educator of the Year.) http://nerdyartteacher.weebly.com http://thenerdyartteacher.wordpress.com Student work from Jill Dayʼs blog

Boulder High School: Dave Blessing, Photography and Digital Media Kate Villarreal, Pottery and Sculpture Mary Jenson, Art History Virginia Schick, Drawing and Painting (Check out the Awards section in this issue for more information about Schick who will be honored at the Fall Conference as CAEA’s 2014 High School Art Educator of the Year.) http://www.boulderhighart.com/ Kate Bolintineanu Art Teacher, Los Lunas High School http://bolinart.weebly.com/ Elizabeth Buhr Visual Arts Educator, Normandy Elementary School (Also check out Buhr’s website under Artist Websites.) http://blog.elizabethbuhr.com/art_spirit http://blog.elizabethbuhr.com/practice_and_learning_

Artwork from Kate Bolintineanuʼs blog

Anne Thulson Assistant Professor of Art Education, Metropolitan State University of Denver (Also check out Thulson’s website under Artist Websites and her article on Keynote Speaker Ellen Dissanayake in this issue.) http://schoolofthepoeticcity.com Jamie Roeber Art Teacher, Hotchkiss High School https://www.facebook.com/Artwithroeber

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Artist Websites Tara Pappas K-6 Art Specialist, Linford Elementary School CAEA Secretary 2014-2016 http://www.tarapappasart.com/ http://artfulexplorationsinnature.com/paintingsand-drawings/

Rudi Monterroso Teacher, Downtown Aurora Visual Arts (DAVA) http://rudimonterroso.wordpress.com

46 Artwork from Elizabeth Buhrʼs blog

Barth Quenzer, Visual Arts Teacher, Brown International Academy (Also check out Quenzer’s school blog under Education Blogs and his article “Adventures in Urban Art 2014” in this issue.) http://www.bquenzer.com

Claudia Lewis Recent UNC graduate with MA in Art Education (currently seeking a teaching position) http://claudialewisarts.zenfolio.com

Rain Bodine Art Teacher, Gunnison Elementary Guest Lecturer/Content Area Specialist, Western State Colorado University.

(Check out the Awards section in this issue for more information about Bodine who will be honored at the Fall Conference as CAEA’s 2014 Elementary Art Educator of the Year.) http://www.silkillustrations.com Elizabeth Buhr Visual Arts Educator, Normandy Elementary School (Also check out Buhr’s website under Education Blogs.) http://www.elizabethbuhr.com/

Barth Quenzer

Anne Thulson Assistant Professor of Art Education, Metropolitan State University of Denver (Also check out Thulson’s website under Education Blogs and her article on Keynote Speaker Ellen Dissanayake in this issue.) http://www.annethulson.com Jamie Roeber Art Teacher, Hotchkiss High School (Also check out Roeber’s website under Education Blogs.) http://wiredtothewest.blogspot.com

Student work from Andrea Slusarskiʼs blog

Photo from Boulder High School始s blog

Community Resource Blogs Clyfford Still Museum https://clyffordstillmuseum.org/category/blog

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Center for Visual Art at Metropolitan State University of Denver http://cvayoungartiststudio.weebly.com

48 Artwork from Tara Pappas始 website

The Children's Art School in Denver The Children's Art School in Denver is a resource for interested and talented young artists who want more in-depth art instruction than is available in the traditional school setting. A limited number of full scholarships are available for students who could not otherwise take part in supplementary art programs.

For more information on the Children's Art School and its FABULOUS FALL ART programs. Please contact joduranceau@gmail.com or 303-369-7956

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Artwork from Rudi Monterrosoʼs website

Artwork from Claudia Lewisʼ website

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Colorado Art Education Association 2014 Award Recipients Colorado Art Educator of the Year Justine Sawyer In the twenty years since Justine Sawyer began her teaching career, her passion, dedication, and impeccable work ethic toward her profession and her students has established her as a well-respected, inspirational role model and advocate for art education in Colorado and beyond.

Justine’s educational career began in her home state of Iowa. Since then, her journeys have taken her to Colorado, Croatia, California, and back to Colorado. Although Justine has taught at all levels throughout the years, she now works for the East High School Art Department. Her career has given her a uniquely wide breadth of experience.

Justine realizes that to become a better teacher, one needs constant reflection, learning, and practice in the profession as both an art educator and as an artist. She overcomes challenging situations with tact and professionalism by putting her students first and working hard to make sure their accomplishments are recognized. In addition to being department coordinator at East High and teaching a full schedule of art classes (including IB classes), Justine took the initiative to become certified in order to establish a new AP program. The most important thing to her is that her students are successful and recognized for their achievements.

Nominator Jody Chapel reflects, “To talk about Justine Sawyer is to talk about what she does for others. Working with her as her student teacher, I learned many valuable lessons from her. The biggest one was that it’s all about the STUDENTS. No matter what you have to deal with outside of the classroom, it all comes back to the students.”

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Justine’s dedication to her profession, however, has not been limited to the walls of her school. Justine has always been highly involved with CAEA. Serving as the Metro rep, she held monthly social gatherings during the First Friday Art Walks on Santa Fe Drive. She wanted art teachers to have the opportunity for social interaction with each other and to enjoy art experiences. In many other ways she worked hard to make sure the art educators in the Metro area were involved in CAEA activities.

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Currently, she has resurrected Youth Art Month (YAM) in Colorado, including organizing a state-wide art contest in which winning artworks are displayed in the State Capitol Building; she requested and received a gubernatorial proclamation making March officially Youth Art Month in Colorado; and built a new presence for this important endeavor by creating a YAM website and promoting it at the CAEA conference and at every art-teacher gathering she has been involved with.

When the Scholastic Art and Writing competition was in dire need of volunteers to run parts of the program, Justine stepped up to the plate. In addition to a new job in a new district and taking on Youth Art Month, she also volunteered to coordinate the Denver Art Museum Scholastic exhibit and the teacher/student luncheon.

Lisa Lee Adams concludes, “Justine is a visible and integral part of the success of visual arts on a local and state level and yet, despite her artistic, educational, and leadership accolades, Justine remains humble. I believe it is time to bring Justine Sawyer to the front and honor her for her devotion to all aspects of our craft.”

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High School Art Educator of the Year Virginia Schick Plastered across the walls of Virginia Schick’s Boulder High School classroom and on the school's visual arts website is this quotation from musician/poet Bob Dylan: “The highest purpose of art is to inspire." Virginia has dedicated the art of her teaching to inspiring her students to succeed and be the best that they can be.

Virginia’s passion, impeccable work ethic, and dedication to our profession have not gone unnoticed. Among her many accolades are the Marie Walsh Sharpe Teacher as Artist Award, the Jared Polis Award, and the Impact on Education for Excellence Winner in teaching visual art.

In 2008, Virginia became nationally recognized as a Board Certified Teacher. Now serving as the Boulder Valley School District facilitator of National Board Certification, she assisted this past year in the National Certification of 23 other Boulder Valley teachers. Additionally, Virginia serves as her district’s Induction Coach for new art educators and is the Teacher Leader 612 for district art teachers.

Her students' awards are also impressive. Under her tutelage, her students have received multiple local, national, and international recognitions, including awards from the State Board of Education and selection for inclusion in the National Congressional Art Show in Washington, D.C. Many of her students are Gold and Silver Key winners in the Colorado and National Scholastic Art and Writing Awards.

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However, it is not the accolades that drive Virginia to teach, but her desire to inspire. According to Pamela Starck, Colorado Scholastics Art and Writing Coordinator, Virginia has the rare talent to create “magic” within the walls of her classroom, equipping her students with the skills, creativity, and personal voice needed to succeed as artists. Equally impressive to Pam is the way in which Virginia's students respond to her high standards. Virginia demands 120% of herself. She requests – and gets – that same level of commitment from her students.

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Schick’s passion is to inspire both serious and casual art students. Virginia established a Portfolio 101 class for all students within the Boulder Valley School District who were considering a future in the arts through higher education. After acquiring Advanced Placement (AP) training on her own initiative, she established AP Studio Art and Art History classes at Boulder High.

Additionally, every week after school, Virginia offers “open studio” hours to students who are either unable to fit visual art classes into their schedules or simply are desirous of more studio time after the regular school day has ended.

In her desire to inspire each and every student, Virginia uses art to reach out to struggling and at-risk students and to help them turn around their grades. Upon realizing the lack of diversity among registered visual art students at Boulder High, Virginia immediately sought a solution by translating all course offerings and connecting personally with diverse populations, sometimes even conducting home visits. The result of her efforts? A 20% increase in the enrollment of diverse student populations.

According to Boulder High Colleague, Michelle Carpenter, “Virginia regularly stretches the traditional boundaries of teaching, because she does not see the school walls as limiting factors. She truly makes our school and district a better place to live, work and develop into lifelong artists.”

Pam Starck concludes, “There are many proficient and dedicated teachers in education. There are also teachers who, because of their commitment to education and students are considered outstanding. Virginia is outstanding, and it is without hesitation I recommend her for High School Teacher of the year.”

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Middle School Art Educator of the Year Tyler Utesch As a young boy, future art educator Tyler Utesch struggled academically. The only place he felt any level of success at school was in the art room. Since deciding to pursue a career in education, his vow has always been to “pay it forward.” He has established an art curriculum that provides a wide variety of artistic opportunities that allow for the success of all his students through the use of sound pedagogical instruction and the establishment of a learning environment in which students feel safe, respected, and honored. In his more than fifteen-year tenure at Shadow Ridge Middle School in Adams County District 12, Tyler has more than accomplished his goal.

Tyler is adept at developing standards-based lessons that meet the needs of every artist who enters his class. When Tyler teaches a student to create art, he focuses not only on technique but also on what the student is passionate about, encouraging personal expression. He spends individual time with students, teaching them how to translate their ideas into images. When he looks at a child’s work, it is not with a critical eye. Rather, he expounds on the virtues of time and effort, as well as the individual progress made. In doing so, the students feel safe enough to experience emotions that are often unfamiliar to them: pride and self-esteem. Many people underestimate how delicate the psyche of middle school students can be, especially in areas with great poverty and adversity. Tyler does not. He nurtures young artists, providing gentle suggestions for improvement through differentiating and modeling. In doing so, Tyler’s students discover their own artistic process through which they may flourish.

Those who attend the annual district art show can see Tyler’s success – they are amazed by the quality and caliber of the work coming from Shadow Ridge’s students. Tyler’s students consistently win the highest accolades and his students have won the most awards in the Adams County District 12 annual student art show in 10 out of the last 11 years.

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The district's administrative offices are adorned with works purchased from Shadow Ridge students. For many atrisk students, having a piece of their artwork purchased can be the hallmark of their academic careers. This year, for example, one girl’s painting was purchased and teachers saw a rare sight – a grin peeking out from behind her hair that shone throughout the whole day.

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Shadow Ridge colleague Joseph Sanford concludes, “Tyler has a rare gift to reach and inspire others. He has had great success with high-risk students. It is my opinion and that of many of our staff that some of his students are alive and still in school today only because he cared enough to help guide them. He is an exceptional art teacher whose commitment to art, education and his students could not be higher. I don’t believe you could choose a better individual than Tyler to be selected Colorado Middle School Art Educator of the Year.”

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Tyler has also established himself as a leader among fellow art educators in District 12, always serving as a voice of advocacy when the call arises. For the annual art show, he has chaired the installation and striking of artworks for the middle school section. Tyler generously dedicates hours to organizing and hanging the show in such a manner that the students’ work is displayed most advantageously. Under Tyler’s tenure as chair, the show has been enhanced because all the middle-schools’ artworks are hung harmoniously – placed together according to media, instead of hung separately according to school.

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Elementary School Art Educator of the Year Rain Bodine Rain Bodine’s positive attitude, boundless energy, and infectious creativity make her an extraordinary art teacher. Rain is passionate about teaching art and her commitment to her students, colleagues, and community is obvious.

Rain currently teaches art to first- to fifth-grade students at Gunnison Elementary School in the Gunnison Watershed School District. But her range of experience spans from elementary to the university level. During the summer months , she actively shares her expertise by teaching art education courses at Western State Colorado University.

Principal Sally Hensley describes Mrs. Bodine’s classroom as “vibrant and active.” She notes, “There is an audible buzz of creativity and engagement. I have a hard time walking by without popping my head in. What I see are students working intently, animatedly discussing ideas, looking through books and magazines for inspiration, taking out and putting away supplies, commenting on each other’s work, or gathered around Rain in rapt attention as she demonstrates a new technique. Our hallways are showcases of rich and varied student pieces that make people stop and admire.”

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The level of commitment and energy Rain brings to her profession does not stop with her students and colleagues at Gunnison Elementary. She is dedicated to forging connections between her students and their community through artistic expression, collaborating with local businesses to display student artwork, and generously donating countless hours of artistic service to organizations such as Habitat for Humanity, Gunnison’s annual Cattlemen’s Days, and the USA Pro Challenge cycling race. Through her students’ inclusion in these projects, they are encouraged to think globally and to take pride in their philanthropy.

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Principal Hensley continues, “I have been very impressed with Rain’s willingness to think deeply about how she evaluates students and tracks their progress toward grade level expectations of the Colorado Academic Standards.

She has dissected, unpacked and repacked standards, developed rubrics evaluation and feedback forms. She uses portfolios to document student work and includes her students in every aspect of her evaluation process. She started ‘Portfolio Nights’ where students present their work to their parents and reflect on their progression as an artist. As a result, her students see themselves as artists with unique and valuable contributions.”

Her passion and expertise for creating authentic, individualized assessments drives Rain to willingly collaborate with other Watershed School District art teachers. She freely shares her expertise in creating authentic, standards-based assessments during professional development opportunities in order to ensure that the Colorado Visual Art Standards are being delivered to all Watershed students in a systematic, aligned manner.

Superintendent of Schools Doug Tredway concludes, “We are indeed lucky to have Rain Bodine as a teacher in the Gunnison Watershed School District. Rain is an exceptional teacher and has had a significant impact on the students in Gunnison. I have had the opportunity to observe her teaching, and her enthusiasm and passion for Art are evident.

She is extremely deserving of this award.”

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Higher Education Art Educator of the Year Martin Mendelsberg Dr. Martin Mendelsberg has served the higher education art education community in Colorado over the last three decades with an incredible amount of knowledge, energy, and spirit. Martin is an exceptional educator. Articulate, scrutinizing, and motivating, Martin is a rare gem who brings his years of international design experience to the classroom with one goal – to shape students into outstanding designers. Additionally, Martin’s command of subject goes well beyond the typical, employing a pedagogy that delves thoughtfully into the theory, critique, and cultural context of graphic design. In addition, Martin is known to speak from the heart with authority and relevance to which the students fully respond, both cognitively and creatively.

In addition to Mr. Mendelsberg's outstanding teaching in the college classroom, he is a world-class artist and designer. He has exhibited internationally in Russia, Australia, New Zealand, Germany, China, Israel and America. His work is represented in permanent collections at The Museum of New Zealand; Victoria University School of Architecture; Govett-Brewster Art Gallery; Yale University: Haas Arts Special Collections; The Florida Holocaust Museum; The Mizel Museum, Denver, Colorado; Greeley Holocaust Observance Committee; and The Center for the Study of Political Graphics in Los Angeles. Martin’s most recent large exhibition opened May 25, 2014 at the Holocaust Memorial Center Museum in Farmington Hills, Michigan.

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MSU colleague Lisa Abendroth concludes, “Martin Mendelsberg is a living manifestation of that which he teaches.

Martin is living a life of design. He manifests his passion for design and design education in a tangible way. This commitment to a discipline and a way of seeing the world (through the design lens) has significant bearing on his students and his colleagues alike. Because he presents himself as a student of design – a curious lifetime learner – he revels in the beauty of discovery that comes about as a result of a deep inquiry into practice. These qualities are unique to Martin Mendelsberg as a remarkable design educator. It would be an honor to have Martin recognized for his contribution to the design community of Denver, Colorado. He has given us so much and inspired so many. The award is well deserved.”

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Although Martin is no longer with RMCAD, it is obvious to Martin's current colleagues at Metropolitan State University of Denver (MSU) that he is having a profound impact on the way the students of MSU learn and relate to their chosen discipline.

Current students continue to vocalize their unfettered appreciation for his teaching style and personalized relationship to the discipline of design.

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Elizabeth reflects, “Martin Mendelsberg’s teaching, as well as his professional and personal work, has influenced people all over the world; he does not think small, he thinks globally. His impact on students’ lives and their learning can be seen in their respect for him as a designer and educator and their mutual dedication to impeccable design and life long learning.”

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Professor Mendelsberg’s affiliation with Denver’s Rocky Mountain College of Art and Design (RMCAD) began in 1988 and concluded in 2013. It was there that Elizabeth Mahler Licence had the pleasure of working with Martin for more than six years. Elizabeth recalls Martin’s energy, charismatic personality, and command of subject and pedagogy having a profound impact on both her life and life’s work, fondly viewing him as an iconic leader, mentor, and fiercely passionate colleague.

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Rookie Art Educator of the Year Andrea Slusarski Andrea Slusarksi is as an active member of the arts community where she displays both personal and student work, advocates for arts education, and presents staff development to seasoned and upcoming teachers. Affectionately known as Miss Slu to her students, Andrea has been an arts educator for only three short years; however, she has made a large impact with her students, in her schools, and to the profession at large.

Colleague Bryce Kennedy reflects, “In the two years I have known Andrea, I have seen that she has an incredible passion for teaching art and is interested in seeing all her students succeed and grow in her classroom. She has also had a major impact on the schools where she has worked and students she has taught.”

In her first position at Coal City Intermediate School in Illinois, Miss Slusarski served as art teacher, specials representative on the Teaching and Learning Committee, and sponsor of the art club. When making the transition to Colorado, Andrea came highly recommended by peers and supervisors.

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Andrea’s passion for mentoring youth drove her to take her talents to California during summer break where she worked with teenage students attending college classes at the University of California Santa Barbara. For ten weeks, she supervised, counseled, and accompanied students and acted as their role model.

Now part of the Gateway High School art staff, Andrea continues to excel. She is working on curriculum development and mentoring students within the IB programs. She presented and co-presented at the CAEA Fall Conference and will, once again, be co-presenting at the NAEA Spring Conference.

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Her second year of teaching brought her to Falcon Middle School where she taught drawing, painting, and 3-D classes to all middle-school grade levels. She helped to develop an innovative curriculum that included unit plans, common assessments, skills sheets, lessons, and project rubrics. She also served as the Building Apple Technical Coach. In addition, Miss Slusarski designed and printed the posters for and curated the Falcon Middle School Winter Art Show; worked to become Career and Technical Education certified with the state of Colorado; collaborated with the vertical visual arts teams on curriculum development; and attended and co-presented at the NAEA Spring Conference in Fort Worth, Texas.

Gateway High School teacher Melanie Rose concludes, “Andrea is full of energy, an inspiration and encouragement to all her students. I am constantly amazed at her organization, lesson plans, enthusiasm, passion, and great relationships with her students. I do not consider her a ‘rookie’ art teacher and am constantly learning new things from her and her classroom practices. She is a true leader and deserves this award.”

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Private School Art Educator of the Year Tiffany Holbrook Tiffany Holbrook teaches kindergarten through fourth grade art education at the third-oldest charter school in Colorado, the Pueblo School for the Arts and Sciences (PSAS). During her tenure at PSAS, Tiffany’s dedication and passion have been obvious in all that she undertakes and to everyone with whom she comes in contact. Tiffany’s down-to-earth personality and expertise always shine through – whether working one-onone with students or collaboratively with other educators, she allows their creativity to flow and helps them experience success.

Cynthia Ramu, a PSAS fifth- to eighth-grade art teacher, reflects, “Tiffany is an amazingly inspiring K-4 Art Teacher, and she knows how to keep those kids drawing, discovering and inventing each day of the year. It has been a special pleasure to be her partner teacher.”

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Nominator Jane Thomas of Cheyenne Mountain Junior High concludes, “Tiffany’s enthusiasm that first year at Conference drew me to her like a magnet. It is impossible to be around her and not get a little extra pep in your step. She does everything in her life without fear and with a little extra flair. She loves teaching and it shows. She is involved in the art community outside of school, and is an artist of exceptional ability. I proudly stand behind my nomination of Tiffany Holbrook as Private/Independent/Charter School Art Educator of the Year.”

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In addition to being a treasured and respected member of the PSAS learning team, Tiffany is passionate about contributing to the betterment of art education throughout the state through her involvement in CAEA. Tiffany first entered the CAEA arena in 2005 as a student with youthful enthusiasm and inexhaustible energy. Never one to tiptoe in timidly, Tiffany presented a workshop her first year attending the conference and has continued to do so every year since. When asked if anyone would be willing to put together and maintain the CAEA Facebook page, Tiffany did not hesitate, vigilantly keeping art teachers well informed with the latest CAEA information and events. Additionally, Tiffany has co-chaired both the Hospitality and Bash task forces for CAEA’s Fall Conference.

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Diana Gifford, Academic Dean of PSAS, concurs: “Through my own experiences in education over the past forty years, I have learned what real master teachers bring to the table. Strong teaming skills, good judgment, always focusing on what’s good for students, and the ability to see the ‘big picture’ are the qualities I look for when working with teachers. Ms. Holbrook works exceptionally well with our students, the humanities team, and all staff members at our school. I have observed her enthusiasm for her subject, her love for her students, and willingness to think out of the box, as well as encouraging creative risk taking amongst her students.”

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In addition to teaching art full time at the Joliet Learning Center in Aurora, Vanessa Hayes-Quintana has served tirelessly over the past eight years as the editor of CAEA’s art journal, Collage. During that time, Vanessa has proved herself to be an invaluable contributor to CAEA, having worked tirelessly toward improvement of Collage’s credibility, format, and style.

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Vanessa Hayes-Quintana

Vanessa first came to the position as editor more than eight years ago when Natalie Barnes, the beloved editor of Collage, placed an ad in Collage asking for help.

Vanessa jumped into the challenge feet first, not only taking over as editor from Natalie but also assuming many of the responsibilities of the advertising chair.

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Distinguished Service Within the Profession Award

It was during Vanessa’s tenure as editor that Collage made the transition from hard copy to today’s digital, online journal. Upon consensus from CAEA’s council to go digital, it was Vanessa who took it upon herself to make it happen, helping to usher CAEA into the 21st century and allowing CAEA members to receive Collage in full color for the first time.

As part of this process, the fall issue of Collage was transformed, combining all the features of a traditional issue with those of the Fall Conference program book. The new Collage format allowed CAEA members to share conference information in a timely manner with school administrators, which assisted art educators in encouraging administrators to fund their attendance at the Fall Conference.

While stretching the magazine in these new directions, Vanessa upheld the magazine’s quality content. Foremost among the interests she promoted as editor was building connections. She did so by publishing articles by educators in K-12 and higher education as well as by working professionals. She welcomed articles about finding inspiration for teaching art in places as diverse as museums, flea markets, and ballroom dancing.

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Similarly, she oversaw a well-rounded focus on professional development. Besides publishing articles to help teachers understand and incorporate the new visual arts standards, she published articles that encouraged teachers to continue their own art making and to participate in the art education community through events such as ArtSource, the Fall Conference, and CAEA’s exhibits.

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Rosemary Reinhart, copy editor of Collage, reflects upon Vanessa’s tenure, stating, “Vanessa brought a passion for art and art education as well as a big-picture perspective that created positive, catalytic change for Collage and CAEA. Vanessa was always enthusiastic and respectful in our collaboration. She impressed me with her openness, her generosity, and her commitment to bringing out discerning articles that would pass on the passion for art. She provided an exceptional service to CAEA through expanding the reach of Collage while continuing its tradition as a thought-provoking, insightful publication for art educators, students, and friends of art.”

CAEA Past President Robin Wolfe concludes, “Vanessa like many of us has a full life at home, with more challenges than most of us face. She is a wonderful teacher and works with patience and understanding at a school for challenged students. Yet she still goes above and beyond to find time for her profession and colleagues through her involvement in CAEA. I know that she deeply regrets having to leave her position as editor at this time as she transitions into her role as our organization’s President Elect, having loved her work with the magazine and the connection it created with our members. Receiving our Distinguished Service Within the Profession Award is a fitting tribute for all that she has done for our organization, as well as continues to do.”

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Distinguished Service Outside the Profession Award Garden Marantino Cesar Chavez Academy Denver (CCA) is a K-8, Title I public charter school in Northwest Denver. The school’s unique, pedagogical approach to curriculum development is founded in the intent to create an environment of rich diversity and differentiation of instruction. Its highly diverse population of students demands a challenging use of all learning modalities to assure continuous progress throughout the school year.

Garden Marantino is a highly respected and beloved member of the CCA teaching staff. Although his content area is language arts, Garden loves, respects, and appreciates a visual art education because it helps students access their full potential. This has made him a valued colleague and champion of CCA art teacher, Jesse Diaz.

Throughout his tenure at CCA, Garden has been instrumental in collaborating with others to make sure his middle-school students are set up for success. Armed with a deep understanding of the potential of the visual arts to profoundly impact student engagement, Garden effectively wields the power of the visual arts to motivate students high-contrast posters that portray various human-rights advocates from around the world. Each poster includes a quotation from the depicted individual that embodies the spirit of his or her purpose. In accordance with CCA tradition,

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and help them achieve comprehension and success. Each year he creates and covers the walls of his classroom with

the posters are thoroughly utilized and referred to throughout the year and then given to students to inspire them to

In addition to his inclusion of the visual arts to motivate student learning, Garden regularly extends himself ious art-based projects. In 2013, Garden’s idea revolved around the creation of a Cesar Chavez commemorative t-shirt.

The student-designed, silk-screened shirts were to be worn during the Annual Cesar Chavez March, celebrating the birth of the human-rights advocate for whom the academy is named. This year, Garden and Jesse’s collaborative efforts sembly to, once again, honor CCA’s namesake.

Jesse concludes, “Mr. Marantino’s passion for art in the education of his students is clearly visible in his teaching. In addition, Garden is always willing to help out with art in any capacity. I would like to take this opportunity to nominate Garden Marantino to receive CAEA’s 2014 Distinguished Service Outside the Profession Award. I believe that Mr. Marantino is, without reserve, the best candidate.”

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manifested themselves in the design and creation of silk-screened “Aquila” flags that were used in a school-wide as-

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beyond the boundaries of his content area, reaching out to CCA art teacher Jesse Diaz to collaborate with him on var-

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continued effort and success.

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Retired Distinguished Leadership Award Kathy Wernsman For more than 30 years, Kathy Wernsman has dedicated her life’s work to promoting art education in Colorado. Now retired, her dedication and passion is undiminished. Karen continues to serve our profession as an advocate, mentor, and inspiration, and continues to positively impact arts education in the state of Colorado.

As a teacher in the Fleming School District, Karen’s classes were without parallel. Karen continually sought innovative ways to bring fresh ideas and approaches to creatively challenge her students.

In addition, having had the rare opportunity to teach and track children from kindergarten to twelfth grade, Karen meticulously created individual portfolios for each student. The portfolios contained sample work from their first art-making experiences until the end of their high-school careers. These portfolios, upon being revealed during senior year, served as poignant testaments of each child’s personal artistic journey and growth.

Throughout her career, Kathy continually pursued knowledge in order to hone her craft by staying involved with her fellow artists and community and by reciprocating whenever possible. As an active member of both ArtSource Colorado and the Colorado Art Education Association (CAEA), she regularly attends CAEA’s fall conference where she has taught workshops. When administrators did not feel the fall conference was a good use of funds, Kathy even lobbied local districts to allow other art teachers to attend.

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Not content to rest upon her laurels after retirement, Kathy continues to advocate for the importance of art in her community. She has been instrumental in organizing and operating the Prairie Winds Art Center of Holyoke, Colorado. This recently-opened art center contains an art gallery and classroom area as well as a gift shop. Kathy arranges monthly exhibits and teaches classes and workshops. She continues to work with children, helping them develop a love of art. She also mentors young art instructors in the area.

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Additionally, Kathy currently serves as a board member of the Phillips County Arts Council. This nonprofit organization promotes musical performance and art expression in northeastern Colorado and southwestern Nebraska. She raises funds and helps organize an annual concert series and assists with the annual Phillips County Art Show. In 2013, Kathy served as judge of the student art show.

Teresa Mailander, secretary to the Phillips Arts Council, concludes, “During this time when budget issues have limited or ended art education in many rural schools, I am thankful for teachers like Kathy Wernsman who dedicated her career to instilling in her students a love for art. Kathy understands the role that art plays in the overall intellectual development of the individual. In her retirement she continues to share her knowledge with members of her community while finally having time to create her own art. For these many reasons, I am honored to nominate Kathy for CAEA’s Retired Art Educator of the Year.”

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Museum Art Educators of the Year Award Robin Gallite Robin Gallite is an educator and advocate who continues to actively contribute to the advancement of the field of art education in Colorado. As Director of Education at RedLine in the heart of Denver, Robin is responsible for coordinating RedLine’s Educational Partnership Initiative for the Creative (E.P.I.C.) Arts program. According to the E.P.I.C. Arts program website, the program "empowers young people to become active interpreters within their own unique art practice alongside a professional artist both in and outside of the classroom. The art-making process and resulting artwork becomes a medium through which young people can hone their critical thinking, communication and collaboration skills and express their unique perspective and ideas about today’s world."

RedLine partners resident artists with art educators and their students. Together they collaborate to create works of art using the media of the resident artist and looking through the lens of contemporary social justice. The E.P.I.C. Arts program experience culminates each semester in a student show at RedLine's Project Space.

Vanessa Hayes-Quintana's students were privileged to participate in the E.P.I.C. Arts program. According to Vanessa, “E.P.I.C. brings students’ school and life experiences full circle in a meaningful and authentic fashion. Robin always thoughtfully facilitates the partnerships between the artist and the school to create the most perfect match. She attends to the unique needs of the student population as the artist and school collaborate in the art making process. Robin supports students’ critical thinking and diverse outcomes through the partnerships, student visits to the gallery, tours and education opportunities, and accommodating the spectacular art work in the gallery shows.”

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Metropolitan State University of Denver (MSU) Professor Rachael Delaney says, “Robin Gallite has consistently demonstrated her commitment to the importance of the arts in the lives of all children. Recognizing the role of nontraditional educational spaces is critical to maintaining a thriving and robust arts education community in the State of Colorado. Every time Robin is able to bring the E.P.I.C. Arts program into a neighborhood school she is directly impacting and supporting this growth.”

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Similarly, MSU Professor Anne Thulson concludes, “Robin is the glue that makes all this happen. Her commitment to children, contemporary art and teachers is inspiring and has made artists more aware of art education and students more aware of the professional art world. It gives teachers the opportunity to shine and celebrate their often-invisible practice of the classroom. Robin has done and continues to do this work with a welcoming spirit and tenacious energy and is highly deserving of this prestigious honor.”

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The E.P.I.C. Arts program provides a bridge from nontraditional educational spaces to traditional neighborhood settings and is critical to maintaining a thriving and robust arts education community in Colorado. The contemporary and forward-thinking, student-centered pedagogy with which the E.P.I.C. Arts program is being implemented is a direct reflection of both RedLine’s and Robin’s cutting-edge leadership and expansive vision with regards to progressive art education and authentic art making. The E.P.I.C. Arts program inspires students to be practitioners who think beyond the expected and embrace their identity as artists who can contribute to positive change in the world. To that extent, we are all indebted to Robin.

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By Trenz Pruca

Keynote Speaker Fall Conference 2014

Keynote Speaker Fall Conference 2014

Ellen Dissanayake

Author and Lectur Lecturer ecturrer e Affiliate Professor, ofessor Af fffiliate Pr ssorr, School of Music University of Washington Washington a Honorary Doctorate of Humane Letters Maryland Institute College of Art, Baltimore Baltimor morre

Dissanayake’s Ellen Dissanayake’ s ideas about the psychobiological necessity of the arts have been influenced by her several lives as an undergraduate major,, the wife of a rresearch under graduate music major esearch professor, zoologist, the wife of a Sri Lankan pr ofessor, a non-Western rresident esident (for sixteen years) of several non-W estern from countries, and hours of rreading eading in libraries, fr om Oxford Congress Oxfor d to the Library of Congr ess to the Universities of Ibadan (Nigeria), Peradeniya (Sri Lanka) and Papua New Guinea. This background, Western unconventional backgr ound, outside W estern three more academia, has led to thr ee books, mor e than a hundred hundr ed scholarly and general articles, and nearly

international 150 talks to a variety of national and inter national audiences. See her website ellendissanayake.com.

Ellen’s

Ellen’ s first keynote, in 1991, was presented pr esented to two thousand art educators in a ballroom conference hotel ballr oom in Atlanta at an NAEA confer ence with the theme of the title of her rrecentlyecentlypublished first book, What Is Art For? Art educators gave Ellen her first public rrecognition ecognition and over the years they have shown her (better than any library) that her ideas about the universality and importance of art have rreal eal world learned as much from rrelevance. elevance. She has lear ned from art learned from her.. educators as they have lear ned from her

Keynote Speaker Fall Conference 2014

Art Advocacy Breakfast Anya Beebe Anya Beebe is a Licensed Professional Counselor and combines her background as an artist, art teacher, and art therapist to use art as catalyst for transforming emotional and physical distress into healing. After her own personal experiences in using art for healing, Anya sought to help advance the use of art therapy in the healthcare system and conducted one of the first clinically randomized trials using art therapy. Publishing these encouraging results has helped give validity and medical credibility to the uses of art therapy and has helped facilitate more art therapy positions in hospitals.

As a leader in the field, Anya has done numerous national and international presentations, TV and radio interviews along with published writings about her research including a chapter in the book, Art Therapy and Health Care, edited by Cathy Malchiodi.

Wanting to expand her ability to use the arts to help others, Anya founded the Whole HeARTs Family Center in Centennial, Colorado. Here, she and her team use the creative art therapies to help children and adults with chronic illness, ADHD, sensory issues, autism and parenting along with offering art classes and workshops to the community for personal growth. WholeHeartsFamilyCenter.com Anya will be talking about her personal experience using art for physical healing along with her published research in using art therapy with children with chronic illness. In addition, she will be sharing other studies and research on how we can use art to heal.

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Fall Conference 2014 Master Class Artist Biographies Michael Cellan Drawing the Naked Figure So, How long has it been since you've drawn from a naked figure? Come spend over 3 hours with Michael and his model and learn a new way to see the nude form.

Michael is a retired art teacher who has taught everything and all ages. My work is whatever I feel like doing at the time.

Tom Mazzullo The Secrets of Silverpoint Students will learn the old master technique of silverpoint drawing, practiced in the Renaissance, then lost for 500 years. Instructor will begin with a brief history and examples of work. Students will prepare their own materials for drawing, and open class time will be held afterward for drawing from the still-life.

Born in Williamsport, Pennsylvania in 1968, Tom Mazzullo earned a BFA from Tyler School of Art in Philadelphia in 1990, and an MFA from Syracuse University in 1993. He has drawings in museums, foundations, and private collections, including the Everson Museum of Art in Syracuse, New York, and the Telfair Museum of Art in Savannah, Georgia. He teaches at the University of Denver, is affiliated with Gildar Gallery and the Arts Students League in Denver, Colorado. His work is drawing in the medieval medium of silverpoint. He starts with simple subjects, like scraps of paper twisted into shapes, in order to make complex, beautiful drawings that scintillate under the effects of light and shade. His interest in drawing has become much more about grace, complexity, and concept in the past two years. The paleness and precision of silverpoint allows him to work slowly, spending time examining the subject then bringing it to life gradually, in subtle, exact tones.

Kim Putnam Paper Plate Lithography No Press Need Apply Indulge your curiosity and discover the art of lithography in Paper Plate Lithography - NO Press Need Apply. This low-tech printmaking process uses Xerox copies as plates and no printing press! All skill levels are welcome.

Kim Putnam is a Contemporary artist adjunct faculty member at Rocky Mountain College of Art and Design. As a faculty member of the Foundation department, Putnam teaches drawing and color theory. She has been teaching since 2009. Putnam works primarily in oil, however over the last year she has experimented in a wide range of mediums. Her work includes large-scale oil paintings, photography, printmaking, and installation pieces. She is represented by Kanon Gallery in Denver. Putnam has a Bachelors of Art degree in Communication from Purdue University, a Masters of Art degree in Art History from Ohio State University and is a Masters of Fine Art candidate with Massachusetts College of Art and Design.

Tadashi Hayakawa Large Abstract Organic Drawing Tadashi‘s workshop will explore a sensitive and ethereal approach to charcoal and pencil combined with non-traditional mediums. Students will work with canvas. Participants will work from life. Tadashi will share his techniques and will work in a large format. This is a perfect workshop for the person who loves drawing and painting.

Tadashi Hayakawa was born in Japan, to an artist loving family. At the age of 19 he immigrated to the US, and studied art in California. In 1969 he received an MFA from OTIS Art Institute. He became a successful graphic artist, owning the business. At the age of 50 Tadashi gave up the Bohemian lifestyle and decided to pursue his real passion, painting. He found himself in Denver and has since gained awe in the public eye. His paintings are spiritual, moving and introspective. Tadashi shows internationally in Los Angeles, New York, and Japan.

67 Connie Robbins-Brady Spirit Figures When you create a “spirit figure,” the idea is to be mindful, perhaps even prayerful, of your purpose. As you embellish your work with carefully chosen ribbon, fabric, and beads, you are imbuing it with vitality and strength for your intended mission.

Connie Robbins-Brady (MA, LPC) has the joy of holding two unique positions in Mesa County Valley schools.

Not only is she a school counselor providing classroom, small group, and individual art counseling at Loma Elementary (Loma, CO), she is also the visual arts coordinator for 26 elementary schools. She worked in private practice and was instrumental in developing a hospice bereavement program prior to her work in education.

Robbins-Brady believes creative art-making helps people of all ages communicate and work through difficulties toward healing.

Jennifer Ghormley Self Portrait Print Exchange Play with multiple artistic interests through the trace monotype print, a process that merges printmaking, drawing, and photography. Bring several 5x7 to 6x9 self-portraits to use as a matrix in the creation of unique and interesting prints to trade with others.

Jennifer Ghormley is a working artist who employs a variety of techniques in the translation of ideas into works of art. Recently, she had an installation piece in Paper Work, and exhibition at the MSU Center for Visual Art, Denver, CO. Jennifer actively shows her work through national juried exhibitions and invitational portfolios. She is a curator for the Aspen Chapel Gallery, and served as Program Coordinator for the Venice Printmaking Studio in Italy, 2012-2014. Currently, Jennifer teaches printmaking courses and artistic workshops at the Art Students League of Denver, throughout Colorado, and nationally. She enjoys visiting artist opportunities, giving lectures and demos, interacting with emerging artists and inspiring people through creative possibilities. To embrace all of her creative urges Jennifer creates artwork under her own name, as well as Jen G Studios. She received her MFA in printmaking at the University of Nebraska in Lincoln and a 2006 BFA in printmaking from Metropolitan State College of Denver, 2002.

Penney Bidwell Heads Up In this workshop participants will learn how to sculpt a small bust in ceramic clay. Basic anatomy will be discussed but students will be encouraged to build intuitively and let the subconscious guide them.

I came into the world on April Fools’ Day, 1968, and was born into the carnival. My mother had been an accomplished ballerina and later a showgirl on the travelling carnival. My father was a third generation carnie and ride owner. My great grandmother was the tattooed lady in the early 1930’s. The carnival is part of my history and ever present in my subconscious. I strive to capture the intimate and internal experience of the human condition in my artwork. My figures each stand alone, even when part of a group. Each character emerges from the clay directly from my subconscious--characters of imagination, past experiences, family stories, motherhood, fairy tales, and dreams. They are soulful beings, reflective of deep inner experiences: joy, sadness, pride, or embarrassment. Whatever the feeling, it is part of the experience of being human. My new work, "Holding On" explores the notion of holding onto things, people, and ideas. The figures are holding onto something either literally or figuratively. Technically, my sculptural pieces are hand-built from clay and combine slips, oxides, underglazes, and glazes. I strive to create harmonious surfaces that have an underlying complexity that engages the viewer. Each sculpture is multi-fired, anywhere from 3 to 7 times. My intent is not to control my inspirations, but to remain open and let the imagery inspire me as it develops. My subconscious guides my hands, and the story unfolds as I work. The mystery of not knowing where a piece will take me and what I will discover is part of the process that inspires me.

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Courtney Cotton Mixed Media Collage “When printed images are torn, when textures confront, when artifacts are assembled together, when ideas collide, there’s always something grandiose happening, the edification of a new world. It goes way beyond paper and ink, and I like it." Depelteau In one composition we will repurpose a painting by tearing it into pieces and using it in a new composition with pieces of metal, string or other bits and pieces that work well with the former painting. Please try to bring a painting on paper or canvas you never resolved to this workshop.

If time permits we can also explore sense of humor in collage by using print images. Materials will be provided but if there are certain catalogues, magazines, or images you like feel free to bring these to make your collage more personal.

Intuitive Watercolor Cotton will demonstrate the way she paints using acrylic paint and other water-soluble materials. We will make both a representational and non-representational painting that will invite the viewer to participate. Be prepared to paint looser, bolder, freer, lighter and more intuitively. Think experimental and fun.

Courtney Cotton is currently living and working in Denver, Colorado. She studied art and architecture at the University of South Carolina, Rhode Island School of Design, and Queens College.

An artist who is unafraid to express herself and her zest for people and life, she draws on the influences and inspirations from her travels and experiences putting them effortlessly into her art. It is no wonder she says, “I have more than one visual voice and some find it hard to define or categorize my style.” Sometimes her work is thematic, but just as often she has the impulse to create something without representing anything.

Some of her favorite pieces just came about from the act of playing with paint and paper, “I consciously react with the medium, the activity of creating is paramount, and therefore the results happen automatically with the unconscious influence of experiences and emotions.” Her latest accomplishment was winning a hotel card key design for Marriott’s SpringHill Suites. As more private collectors and businesses continue to support her art, Cotton is garnering the discipline and confidence it takes to become a prolific artist.

Mike Ariel Animation and Photoshop Mike Ariel is first and foremost a teacher…he has been adjunct photo faculty at the New Hampshire Institute of Art in Manchester for the past twenty years, and a full-time public school art teacher for the past 24 years in Salem, New Hampshire. He has taught at every level and to nearly every age. He is also an artist, photographer, film maker, musician, and father of two. He has a BFA in Photography from the Massachusetts College of Art and Design, and an MFA from Boston University. Back in 2000 Mike became the first teacher in the Bachelor-of-FineArts program at NHIA and a couple years later became the digital photo “guru”. He can also be found teaching the Art Educator’s summer Institute, the pre-college summer program and the Masters of Art in Art Education program. He has taught and lectured all over the United States and Canada, including the last 6 National Art Education Association Annual Conferences.

Learn how to incorporate animation into your curriculum through this informative and entertaining presentation. We will look at animation techniques, as well as adding video into your students portfolios using Adobe Photoshop.

Go to www.caeaco.org for Master Class schedule and additional information.

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Camouflage Wallpaper Nancy Deveno 10:00 -11:00 OP Art UnitPk-12 Kyla Witt 10:00-12:00

Reaching Special Needs Vanessa Quintana 3:30-4:30

What’s Holding You Down?

Rachael Delaney 1:00-3:00 Old Skool: Pixels to Mosaics Ryan Talbot 1:00-3:00 YogArte Shifting Consciousness Polly Hensel 1:00-3:00 3D Chalk Drawing Michael Rieger 1:00-3:00

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Human BRAIN Joan Meister 1:00-3:00

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ART PAKS: Formative Asses Tool Lauren Lehmann 1:00-3:00

GRAFITTI: Tags, Stencils, Express Andrea Sluarski 3:30-4:30 The Anatomy of Learning Barth Quenzer 3:30-4:30 Explore Abstraction & Color Cathy Moore 3:30-4:30 Blooms: Creativiy Matters Katie Fowler 3:30-4:30

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Ecosystem Totem Poles Jane Thomas 10:00-12:00

Drawing/ Soft Pencils/Art Erasers Sieger Hartgers 1:00-3:00

Base 9 Bar

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Not Typical Papier Mache Jean Hiza 10:00-12:00

Concepts of Ownership Abi Payote Gbayee 3:30-4:30

9:00 – 10:30 PM

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Artistic Tinkering Sara Magley 10:00-12:00

“I Insist… you can’t resist” Lisa Adams 1:00-3:00

Karaoke Party – Sing your ART out!

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Art Symbol on Silk Rain Bodine 10:00-12:00

DAVINCI: School of Creativity Roxie Mitchell 3:30-4:30

12:00 PM – 1:00 PM

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Evolving the Digital Sketchbook Jody Chapel 10:00-12:00

Toilet Paper Sculptures Dana Orton 3:30-4:30

Lunch On Your Own

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Open Studio Action Between Research Risk & Informs Sustaina Practice bility Elise Kevin Meier Slivka 1:00-2:00 2:00-3:00 Inquiry in the Art Classroom Staci Schmidt 1:00-3:00

Tantalizing Textures: Clay Stamps Gita & Kylle 10:00-12:00

Teach Photo in st 21 Cent.

Alexa Overby 3:30-4:30

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Comics for Visual Narrative Andrea Sluarski 8:30-9:30 Gelli Arts Monoprinting Without a Press Robin Wolfe 8:30-9:30 Concepts of Ownership Abi Payote Gbayee 8:30-9:30 Reaching Special Needs Vanessa Quintana 8:30-9:30 Living Art Patrick Fahey 8:30-9:30

The Instinctual Artist Mike Carroll 1:00-3:00

3:30 pm to 4:30 pm

7:00 PM – 8:30 PM

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Japanese Tea Ceremony Jenny Wise 10:00-12:00

1:00 pm to 3:00 pm

KEYNOTE – Shannon Galpin

Open Studio

12:00 pm to 1:00 pm

5:00 PM – 6:30 PM

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10:00 am to 12:00 pm

CAEA Welcome Reception & Vendor Hall Opening

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8:30 am to 9:30 am

7:00 am to 7:50 am Peak 6/7

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Miniature Mummification Carrie Mann 9:30-11:30

Engaging in Identity Laura Cronen 1:00 3:00

Encouraging Critical Thinking Jenny Gawronski 9:30-11:30

Clyfford Still Museum Victoria Eastburn 1:00-3:00 No Solder Cuff Casey McGovern 1:00-3:00 A Gorey Story Angie Willsea 1:00-3:00

Meaningful Rubrics Anne Thulson 3:30-4:30 Creative Programming Talya Dornbush 3:30-4:30

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Don’t Hand It In – Publish It! Andrea Slusarski 8:00-9:00 Got Gelli’s?

Cindy Migliaccio 8:00-11:00

Data is Not a Dirty Word Vanessa Quintana 1:00-3:00

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Living Art Patrick Fahey 9:30-*10:30*

Apprentice to Master ChoiceBased Art Room Dale Zalmstra 3:30-4:30 Design Thinking for the Classroom Angela Houdyshell 3:30-4:30 Self-Esteem Treasure Box Anya Beebe 3:30 to 4:30

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Arts in Motion Connie Stewart 8:00-9:00

From Ceramics to Glass Leslie Silverman 9:30-11:30

TAB Open Discussion Dale Zalmstra 1:00-3:00

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Human BRAIN Joan Meister 9:30-11:30

Observation Evaluation Guide Connie Stewart 3:30-4:30 Flipping Your Classroom Dana Orton 3:30-4:30

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The ADD/ADHD Artist Abi Payote Gbayee 8:00 – 9:00 Mosaics: Glass Art for All Ages Leslie Silverman 8:00-9:00

How Do I Fire My Electric Kiln?

Mike Lemke 1:00-3:00 Creative Texture & Dimension Keith Kern 1:00-3:00

8:00 PM – 10:00 PM

Majolica Renaissance Glaze Painting Diana Faris 9:30-11:30

Engaging the Community in Your Classroom Abi Payote Gbayee 3:30-4:30 Preparing Digital Scholastics Images Diane Lea 3:30-4:30

KEYNOTE

YAM it up!

Justine Sawyer 8:00-9:00

Mishima, Scraffito, and More Mike Lemke 9:30-11:30

Photography of Art Miranda Ziegler 1:00-3:00

Dream Works Anne Mechling 3:30-4:30

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Imaginative Weavings Barbara Jack 9:30-11:30

Spider Web of Low Brow Art Keziah Kelsey 3:30-4:30

6:30 PM – 8:00 PM

Arts Integration, CrossCurricular Connections Julie Slivka 8:00-9:00 Assignments From The Edge Kris Musto 8:00-9:00

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Art Auction Fund Raiser

Open Studio Mexican Folk Animal Sculpture Anne Mechling 1:00-3:00

3:30 pm to 4:30 pm

Ellen Dissanayake

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There Be Dragons Ingrid King 9:30-11:30

1:00 pm to 3:00 pm

KEYNOTE

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Clay Fairy Doors Christina Martinez 1:00-3:00

12:00 PM – 1:00 PM

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Coppertop 3

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Watercolor Monotype/Monopri nt Sieger Hartgers 9:30-11:30

11:30 AM – 12:00 PM

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7:00 AM – 7:50 AM

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Black Velvet Mystery Painting Julie Swanson Davis 8:00-9:00 Open Studio Hipstamatic Texture Photos- iPad Amanda Arlington 8:00-9:00 Basic Riveting Gail Siegel 8:00-9:00

Lunch On Your Own

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12:00pm to 1:00 pm

9:30 am to 11:30 am

Division Meetings & Regional Meetings

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Sunrise Yoga with Vickie Graber

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11:30 am to 12:00 pm

8:00 am to 9:00 am

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DOK: Shifting to Higher Level Thinking Liz Buhr 3:45-4:45 Artsonia Assessment Sheryl Miess 3:45-4:45

SOS! New ARTcology Teachers Kris Heinz Vanessa Nelson Quintana 2:30-3:30 1:15-2:15 Reclaiming Your Creative Soul Anya Beebe 1:15-4:15

Integrating Islamic Arts Deb Rosenbaum 1:15-2:15 Contemporar y Lesson Ideas Connie Stewart 1:15-2:15 Comics for Visual Narrative Andrea Sluarski 1:15-2:15 Us and the Other Sarah Grundemann 1:15-2:15

Crayon Batik Tamara Leberer 2:30-4:30 Scholastics Pam Starck 2:30-3:30

Boy Centered Multimedia Pamela Farris 2:30-3:30 Bedazzled Butterflies Ramona Lapsley 2:30-3:30

Camouflage Wallpaper Nancy Deveno 3:45-4:45

Coppertop 3

2 0 1 4

Process, Product, Learning Marie Gibbons 2:30-3:30 Teach Photo st in 21 Cent.

Alexa Overby 2:30-3:30

9:00 PM – Midnight

F a l l

Ecosystem Totem Poles Jane Thomas 2:30-4:30

Peak 17

C O L L A G E

DAM: Art Interpretation Kate Wheeler 1:15-2:15

The ADD/ADHD Artist Abi Payote Gbayee 2:30-3:30

BLACK & WHITE MASQUERADE

Meaningful Rubrics Anne Thulson 1:15-2:15 Digital Portfolios Kelly Beach 1:15-2:15

Concept Driven Contemporar y Lessons Robin Gallite 2:30-4:30

6:30 PM – 8:30 PM

Deep Structure of the Arts Ellen Dissanayake 10:15-12:15

Open Studio Art of Spain Jean Hiza 1:15-2:15

3:45 pm to 4:45 pm

CAEA Awards Banquet

Toilet Paper Sculptures Dana Orton 9:00-10:00

A New Twist on the Old Godseye Joshua Rau 1:15-2:15

2:30 pm to 4:30 pm

Vendor Hall

Old Skool: Pixels to Mosaics Ryan Talbot 10:15-12:15

2:30 pm to 3:30 pm

4:30 PM – 5:30 PM

Arts Overcoming Violence Laura Svigel 9:00-10:00

1:15 pm to 2:15 pm

Lauren Lehmann

Coptop 3

Peak 17

Coptop 2

Coppertop 2

72

Peak 17

Creative Drawing/ Soft Quill Pens Pencils/Art Julie Erasers Swanson Sieger Davis Hartgers 9:00-10:00 10:15-12:15 Open Studio Clsrm to Where Does LearnerMY Art Come Direct.

From?

Studio Linda Tharp Christina Arnn Reeves 10:15-12:15 9:00-10:00 Making Art a A New Start to Career Your Day Travis Lisa Adams Ogden 10:15-12:15 9:00-10:00 Engaging Art Symbol on Community Silk In Clsrm Rain Bodine Abi Payote 10:15-12:15 Gbayee 9:00-10:00 Observation OP Art UnitEvaluation Pk-12 Guide Kyla Witt Connie 10:15-12:15 Stewart 9:00-10:00 Reaching Evolving the Specl Needs Digital Vanessa Sketchbook Quintana Jody Chapel 9:00-10:00 10:15-12:15 Post-it Note Linear Family Writing Tech Tree Sculpt.

Alexa Justine Overby Sawyer 9:00-10:00 10:15-12:15 Representati Electronic on by Design Origami Kris Heinz Beverly Ball Nelson 10:15-12:15 9:00-10:00 Art Source Poetry Slam with Ken Arkind 9:00-12:00

12:15 pm to 1:15 pm

12:15 PM – 1:15 PM

Peak 16

7:00 AM – 7:50 AM

Peak 15

8:00 AM – 9:00 AM

Peak 14

10:15 am to 12:15 pm

Lunch On Your Own

Peak 12

Arts Advocacy Breakfast

Peak 11

9:00 am to 10:00 am

ART MART

Peak 10

Sunrise Yoga with Vickie Graber

S a t u r d a y

a t

a

7:00 am to 9:00 am

KARAOKE pARTy at Fall Conference

Thursday

9:00-10:30 PM

Base 9 Bar - Beaver Run Resort

Come Sing Your ART Out!

CAEA Art Auction at Fall Conference Friday 8:00 - 10:00pm in Copper Top 3 Join us for an evening of fun with friends and fund raising. CAEA will provide food and cocktails while you peruse the donated art works from our fellow educators, that will be up for auction to raise funds for our teacher and student teacher scholarships.

ART MART at Fall Conference Saturday 4:30 - 5:30pm in Copper Top 2 Think community yard sale & craft show. Sell art supplies, books, media, crafts, artwork, jewelry, art objects, seconds, costumes, reproductions, interesting miscellaneous materials, fabric, tools, containers, organizers, decorative pieces, flea market finds, & unique items art teachers want!

CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES Title

Name

Email

President 2014-16

Elizabeth Mahler Licence

caeapresident@gmail.com

President Elect 2012-14

Vanessa Hayes-Quintana

sayhayes@mac.com

Vice President 2012-14

Ben Quinn

bennyquinn@hotmail.com

Treasurer 2012-14

Lloyd Bourdon

lrabourdon@gmail.com

Secretary 2012-14

Tara Pappas

taranpappas@yahoo.com

Past President 2012-14

Robin Wolfe

caearobin@gmail.com

Elementary 2013-15

Amy Marsh

abeth127@yahoo.com

Elementary 2014-16

Cathy Moore

cmooreart@msn.com

Middle School 2014-16

Cindy Miggliaccio

chmigliaccio@gmail.com

Middle School 2013-15

Sarah Magley

saramagley@yahoo.com

High School 2014-16

Alexandra Overby

alexandra_overby@dpsk12.org

High School 2013-15

Mary Kate McDonald

mkmcdonald22@gmail.com

Private/Ind/Charter 2014-16

open

Private/Ind/Charter 2013-15

Jesse Diaz

jdiaz6@me.com

Commercial 2013-15 Museum/Gallery

Sophia King Robin Gallite, Keziah Kelsey

robin.redlineart@gmail.com kezzzke@me.com

Supervision 2013-15

Elizabeth Buhr

contact@elizabethbuhr.com

Higher Education 2014-16

Donna Goodwin

donnajgoodwin@yahoo.com

Higher Education 2013-15

Teresa Clowes

tclowes@rmcad.edu

Retired 2012-14

open

Student Rep 2012-14

open

Executive Board

Division Representatives

sophia@stoneleafpottery.com

CAEA TASK FORCE CHAIRS & PUBLICATIONS Deborah Walden Ossi Collage Editor 2014-2016 deborah@deborahossi.com

Timothy Gianulis Advocacy 2014-2016 timothy_gianulis@dpsk12.org

Rosemary Reinhart and Elisabeth Reinhart Collage Copy Editors 2014-2016 rsrhart@gmail.com

Pam Starck Scholastics 2014-2016 TPLBStarck@aol.com

Todd and Elizabeth Licence Collage Design/Layout 2014-2016 elicence@comcast.net

Jody Chapel Arts Liaison jchapel@ecentral.com

Justine Sawyer Youth Art Month 2014-2016 caeayam@gmail.com

Leisa Austin Arts Liaison lcaustin@jeffco.k12.co.us

Linda Schmale Spring conference 2012-2014 lgschmale@msn.com Lisa Adams Spring Conference 2012-2014 ladams7@cherrycreekschools.org Dana Orton and Christina Martinez Social Media 2014-2016 www.facebook.com/CAEAColoado

Robin Wolfe and Michael Cellan Web Master 2014-2016 medcellan@mac.com caearobin@gmail.com

75 20

CAEA REGIONAL REPRESENTATIVES North West:

open

North Central: Sharon Jacobson-Speedy Frisco, CO 2014-2016 speedywheat@aol.com North East:

Christina Martinez Holyoke, CO 2013-2015

martinezch@hcosd.org

Metro:

open

Metro:

Mike Carroll Denver, CO 2013-2015

East Central:

Jane Thomas Colorado Springs, CO 2013-2015 jthomas@cmsd12.org

South East:

Gidget Burbacher Trinidad, CO 2013-2015

mcarroll@jeffco.k12.co.us

gbrubacher3@gmail.com

South Central: Jenny Gawronski Alamosa, CO 2014-2016

jennygawronski@adams.edu

South West:

Dawn Alexander Ignacio, CO 2013-2015

scarlettdawn66@gmail.com

West Central:

Rain Bodine Gunnison, CO 2014-2016

rainjbo@gmail.com

West Central:

Abbie Mahlin Norwood, CO 2014-2016

amahlincaea@gmail.com

Fall Conference Vendor Line-Up Stone Leaf Pottery Colorado PERA Jack Richeson & Co. AMACO New Hampshire Institute of Art Square 1 Art Denver Art Museum Davis Publications Regis University The Naja Tool & Supply, Inc. Minneapolis College of Art and Design Mayco Savannah College of Art and Design Blick Art Materials School Specialty Continental Clay Meininger Art Supply Sargent Art Productive Office & School Environments

From: The Colorado Art Education Association www.caeaco.org Collage Deborah Walden Ossi 16041 Bluebonnet Drive Parker, CO 80134