Day 2 21st Century Art Imperative

st 21

Century Art Imperative y p Presenter

Theo Mandziy

An exploration into innovative Visual Arts classroom practices in the PYP framework ….and beyond.

• Education Education is changing, and the is changing and the importance of art education is increasing exponentially As such the increasing exponentially. As such the value placed in art education at elementary, primary and secondary l d d school levels should not be underestimated.

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Bobby Coles – American Arts Educationalist

How is the teaching of Art Changing?

How is the teaching of Art Changing?

• Until recent decades, K‐12 art education focused on development of studio or technical skills and on the development of studio or technical skills and on the psychological development of children through art‐ making (Efland, 1990). Since the 1960s, educators making (Efland, 1990). Since the 1960s, educators such as Bruner have called for curricular and pedagogical shifts (Dom, 1994, pp. 4‐7) pedagogical shifts (Dom, 1994, pp. 4 7)

We need to look at art education We need to look at art education not as a isolated single subject area but as a component of the whole learning of the student learning of the student.

Call to embed Arts in all curriculum areas • As Australia moves towards the implementation of a national curriculum in the Arts a new review of research released by ACER curriculum in the Arts a new review of research, released by ACER in January, calls for the Arts to be embedded in all academic disciplines and fields as a way of cultivating creativity and imagination.

• Australian Education Review 58, The Arts and Australian Education: Realising potential by University of Sydney academic Professor Robyn Ewing stresses that the Arts (dance, drama, literature, media arts music and visual arts) must not be seen as servants to other arts, music and visual arts) must not be seen as servants to other curriculum areas.

• The review aims to demonstrate that the Arts offer both a lens into historical and contemporary social issues, as well as simultaneously historical and contemporary social issues, as well as simultaneously challenging them. It argues that arts processes can provide the potential to reshape the way learning is conceived and organised in schools and other educational contexts.

The IBO framework provide Primary Years Visual The IBO framework provide Primary Years Visual Arts educators with a vehicle to broaden understandings of what were traditional single understandings of, what were traditional, single subject boundaries.

Inquiry based pedagogy Inquiry based pedagogy Providing students with the opportunity to….

• ..not just learning ABOUT art…

• but through ART…making CONNECTIONS by using A Art as meaning making. i ki

How does this look in practice?

How does this look in practice?

Connection

connection to • Learning

art as process, creating, representing, reflecting on learning

• Knowledge as an avenue for deeper understanding (links to UOIs) • Community – world – citizenship art in society, art as a tool for meaning making and connection to students world tool for meaning making and connection to students world •

belonging place time beliefs culture events

• Self art as expression and representation of self • 21st Century

access to media access to experts, access to Artilier – avenue / studio / place of learning

An example within a Primary school framework p y

• Connecting to Classroom Units of Inquiry •

Year 3 UOI “How the world works”

• •

Central Idea: We are part of a complex universe that we continue to explore and wonder We are part of a complex universe that we continue to explore and wonder about

• •

Concepts: Perspective

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Use Google Earth examples – influenced by artist Artist Yann Arthus-Bertrand (photographer / artist) p of Google g Earth ((See Layers y section – Global Awareness – Earth from whose work is also a component above). More information about the artist can be found at: http://www.youtube.com/watch?v=s8Isx02m7-Y http://www.youtube.com/watch?v=3ccs5pzBbWI&NR=1 Influence by artist Alex MacLean’s photography – see newspaper clipping.

Used Google

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Connecting to • Events Local •

Stand Alone UOI Stand Alone UOI

• •

Central idea: Mural / Graffiti Art is a Mural / Graffiti Art is a public representation and element of Art in society.

• •

Concepts: Form, perspective

• Insert Completed wall image Insert Completed wall image

• Connect to events: • • • • •

Global (conflict) Connected to UOI “Sharing the Planet” Central Idea: Finding peaceful solutions to conflict can lead to a better quality of human life Concept: Causation, Perspective Visual Arts inquiry: Many artworks are a critique of society. In such q y y q y artworks artists often express strong feelings a out events or social injustices.

Goya

Banksy

George Gittoes

Colin Powell

Picasso painting Guernica

• Culture C lt •

Connecting to g

Aboriginal Art and Design / Symbolism

Wukun Wanambi from Arnhemland talking to Year 4 students – sang intro

• Inquiry also leads to extending units.

Inquiry also leads to extending units • Symbolism extension using contemporary media contemporary media

• Belief and culture •

“Who we are”

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Central Idea:

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All humans have beliefs that All h h b li f h influence the way they live and relate to others.

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Concept: Connection

Visual Arts connection started as a holiday Homework project Front Loading Central Idea

• Chinese Ink Painting • •

Cultural specific medium S d Al Stand Alone UOI UOI

• •

Central Idea: Landscape ink painting is an Asian artistic tradition used to represent environment and place.

Implemented within context of student real world Congruency of media (landscape ink painting) and incongruency of theme (rigid man made environment as opposed to natural organic landscape)

• • •

Connecting to Connecting to • Community Co u ty •

“Who We Are”

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Central Idea: Central Idea: Our understanding of how we belong evolves and is influenced by many factors.

• •

Concept: Perspective

• •

This was our Yr Thi Y 5 exhibition Unit 5 hibiti U it We looked at this unit as an opportunity to inquire as to identity and how it is an important theme in the works of many artists.

We also chose to use a medium that was representative of the students personal world.

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Belonging to school

Belonging to friends

Belonging to family

Belonging to nationality

• Yukimaro Ii 5W • Sushi • Photography/Digital manipulation • • I selected this image as a representation of belonging because it is a photo of me at my house, in my cultural clothes. I am also eating sushi h which h h is a traditional d l Japanese food…incidentally f d d ll my favourite f food. I feel a strong sense of belonging to my background and culture. This image identifies me with my Japanese heritage. I hope th audience the di will ill be b able bl to t interpret, i t t through th h my composition, iti such connections.

Connecting to Connecting to • Self

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Central idea: I can express and represent myself through Art in unique and unusual ways Concepts: Form, perspective

• • •

Xray – alternative representation of human form. alternative representation of human form.

Baselits – alternative representation (right brain / left brain) Munch – expressionism (appropriation and introduction to text in artwork)

• •

• Baselits •

Alternative representation of self

Connecting to • Place • • •

Central Idea: Artists can influence the way we experience a place.

Concepts: Perspective, connection

Connecting to • Gender d • • •

Central Idea: Contemporary Artists often explore the idea of identity and place in Contemporary Artists often explore the idea of identity and place in unexpected ways.

Concepts: Form, Perspective

Connecting to art Connecting to art • Traditions of artist practice Traditions of artist practice Still life Still life • What influences artists – Arkley • Contemporary Art frameworks – (higher order artistic concepts just like Rosalie assemblage work) (higher order artistic concepts just like Rosalie assemblage work)

– Appropriation – repurpose – recontextualize – are all post modern concepts – Installation Art – Installation Art – Christo

• Process ‐Pollock

Still life Central Idea: C t l Id Still Life is an art and design that incorporates both the arrangement and depiction of objects Concepts: Form, Perspective

What influences artists • • •

Central Idea: Central Idea: Artists are often influenced by familiar and domestic environments. p , Concept: Causation, connection

http://www.ngv.vic.gov.au/arkley/education/ed_interactive.html

Contemporary Artist frameworks

Concepts: Forms, Connection

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C t l Id Central Idea:

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Appropriation in Art is the borrowing and altering of iconic images to create a new art piece. t i

• Installations

Central Idea: Installation Art is a contemporary Art medium used to invoke audience thought in respect to a used to invoke audience thought in respect to a theme, concept, idea or belief and it is site specific.

Concepts: Form, perspective

Celebration of process • •

Central Idea: The process involved in art making can be as important as the artwork that is created.

http://www.jacksonpollock.org • Picasso website grab Picasso website grab

21st century medium century medium • Computers as art medium / tool Computers as art medium / tool • Research – finding examples of artists / work / p presenting g

• Categorize artists with similar medium, g theme, message.

• Digital camera • Phones Phones • Software (e.g. Photoshop CS4 image manipulation) yp Pollock ‐ Arkleyy artist study process emulation –

For these connections to occur there must be access to:

• Collaborative planning (show examples) time allocated to planning and collaboration

• Atilier (where art gathers) – celebration of process • Literature * art based attributes • Newsclippings *access to materials • Space dedicated to creating and responding

• Expert(s) * teacher / facilitator * artist in residence * visiting artists

• Art in society *galleries * exhibitions • Authentic Reflection processes Authentic Reflection processes

Collaborative Planning

Access to Atilier

• Th The atelier, l or studio, d serves as a laboratory l b for f inquiry, investigation, and creative expression.

•

In the Spirit of the Studio: Learning from the Atelier of Reggio Amelia (Gandini, Hill, Cadwell, & Schwall, eds.).

An Art studio…Art room…Art space…is an important component in the deliver of an authentic Visual Arts programme.

R fl i Reflective In Visual Arts, students reflect In Visual Arts, students reflect on their own skills and techniques in application of media. They reflect on their artwork and the works of other artists and peers ti t d Brett Whiteley (Australian) – Studio painting showing self reflection (detail)

Wellll Balanced W Bl d Students are exposed to a whole range of techniques, h l f h i media and art forms. They learn to appreciate that Visual learn to appreciate that Visual Art comes in many forms for many purposes and audiences. yp p Ng Eng Teng (Singapore) – Balance – Sculpture Fort Canning Singapore

O Mi d d OpenMinded In Visual Arts, students are In Visual Arts students are exposed to a wide range of activities and work to the best of their ability even if they perceive h i bili if h i it as something they may not like.

They will also be open minded in their understanding of individual / cultural / racial and historical differences in the type of Visual differences in the type of Visual Art experiences and body of works they encounter.

Pablo Picasso (Spain) – Dora Maar Painting – Cubist period

Pi i l d Principled Students participate in Students participate in activities where they have to share equipment and tools with their peers and with with their peers and with other classes. They look after classroom resources and keep the art room clean They the art room clean. They respect classmates and their work and realise that artworks are open to t k t individual interpretations.

Eugene Delacroix (France) – Liberty leading the people Painting

Ri kT k RiskTaker Students are willing to try a new skill, technique, media and art style even when and art style even when they are not confident.

Jackson Pollock (America) – Action Painting

Thi k Thinker Students think of ways to best work as individuals and in a group to solve various problems. They are always thinking about always thinking about visual art techniques, media use / application and composition of work. d f k

Roddin (France) – The Thinker (Sculpture)

Reflection • The learning cycle must incorporate reflection The learning cycle must incorporate reflection to embed??? Long distance learning…..??? Idea from Ardy as to better quote….

Reflection of process of art making: Reflection of process of art making: Oral…discussion Text P Peer assessment t S lf A Self Assessment t Presentation Anecdotal Records Gallery walk Student led conference Compare / Contrast

tensions •

Well and good for you…but you don’t know my school……some great ideas but difficult to implement with my situation

• • •

Paradigm shifts do not happen in an instance.

There are many tensions to consider.

Curriculum expectations / indicators / outcomes to teach to….

•

who wrote them? Why set in stone? Get involved.

• • •

Current timetable allocation Meeting schedule – collaboration with classroom teachers and Single Subject teachers.

Meeting schedule collaboration with classroom teachers and Single Subject teachers Expectations of classroom teachers of the arts programme – your discipline is not in the school to decorate their homerooms..but an important part of student learning.

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Budgets / Resources– dollars and cents devoted to arts programme within school

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Access to experts

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Change in the implementation of your Primary Visual Arts programme (that is specific to your school) can only occur and integrate authentically with small steps and successes steps and successes……

For example: Try integrating with one UOI per year group per year.

Instigate stand alone Visual Arts INQUIRY based UOI..that incorporates reflection in the Instigate stand alone Visual Arts INQUIRY based UOI.. incorporates reflection in the

• • •

learning cycle

• Our Our students are growing up in exciting, students are growing up in exciting, technological, hectic exponentially fast paced world of change.

• Creativity is quickly becoming an important C i i i i kl b i i individual characteristic and valuable commodity • Our role as arts educators and facilitators is to Our role as arts educators and facilitators is to ensure that we provide these students with the skills, understanding and insight to ensure their creativity connects them to their world. ti it t th t th i ld • As such a contemporary and current Visual Arts framework is a vital component of their 21st framework is a vital component of their 21 century learning.

• Let us afford them this opportunity

Where to from here….

•

I have provided you with just a small insight into backward by design, inquiry based pedagogy within a Primary Visual Arts framework.

• As art teachers, PYP coordinators, Principals…. And other… Go forth and begin to implement valuable connections to your students learning. learning • Re‐look at your PYP frameworks and documentation • Make time to collaborate with classroom teachers to connect authentically with students learning authentically with students learning • Make your Artilier (studio) a place of creating and responding to Art and Art in society • Incorporate and invite experts to impart valuable creative Incorporate and invite experts to impart valuable creative knowledge and skills • Up‐skill your Arts teachers (apply and attend PYP workshops such as Arts in the PYP, Inquiry as a pedagogy, teaching and learning etc..)

• Inspire …remember why you became and art teacher….

• Reaquant yourself with your Passion….you will find it is…

• infectious

Questions

Thank You Thank You