#4 "The arts teach children that…circumstances and opportunity change…" Elliot Eisner

“The arts teach children that in complex forms of problem solving purposes are seldom fixed, but change with circumstances and opportunity. Learning in the arts requires the ability and willingness to surrender to the unanticipated possibilities of the work as it unfolds.”Elliot Eisner

What does this mean to me?

In my experience of producing art, the finished piece is never exactly my original intensions. Available, previously saved, found materials usually dictate the look of the piece. I always have to examine everything in my studio throughout my art making process. With a vision of what I want to make, I can better chose elements and objects that fit. Depending on what I find, my vision could be altered a bit. While it is necessary for me to add things of interest to my collection of found objects, going outside and finding something specific is rarely possible.*

Students are often disappointed when their project didn’t turn out the way they wanted. I think this is great; now they have a reason to do the same project again with changes for improvement. Trial and error is part of the creative process toward innovation.

Time, size, tools, materials, and my preconceived vision dictates the focus of the project. This is a guide that helps to keep me on track, but I realize I have to stay open to those “aha” moments that I could not anticipate ahead of time. Within certain constraints, I have the freedom to explore some options. If I make my own rules, I can easily break them. 

Artists are often self employed, and free to change course in the discovery of new ideas for growth. It is different from executing someones idea for production. The original designer already figured out what they wanted. In the case of a private commission, new sketches need approval from the decision makers. Students with assignments need to speak to the teacher to determine degrees of flexibility. JA 

*(I write from the perspective of collecting objects and elements for collage and assemblage. If I was drawing or painting, those things would be arranged for still life. For my camera, I would also be looking for objects and elements of interest; but not limited to what I can carry home to my studio.) JA 

Christkindl Market in Chicago, December 11, 2011

Faces, food, and fun;
hand made objects, ornaments and vessels
from mostly Germany, and also Ecuador, Israel, Peru, Poland, and Ukraine.
.
The holiday season celebrates the people, their culture,
and crafts from around the world. 

Christkindl Market Chicago website

#3 “The arts celebrate multiple perspectives.”by Elliot Eisner

“The arts celebrate multiple perspectives. One of their large lessons is that there are many ways to see and interpret the world.”(Elliot Eisner)

What does this mean to me? 

The arts has taught me much about myself. I have discovered shape, color, design, and material preference through making art. I have been able to create a visual representation of my thoughts and ideas from my experience and my environment. 

As a young student I learned a great deal from other artists and art teachers. In critiques of my student art work, I was given very helpful information that I used. After graduation, I felt so grateful to be on my own to do my own thing and not worry about pleasing my teachers. I respect my academic education in art, but I have enjoyed my freedom to explore the “what if I broke some of the rules I was taught?” I now make up my own rules and explore my freedom to break them if I wish. I love taking the time to risk the “what if I do this” moments. 

As a young jewelry and metalsmithing teacher I was very controlling. In the beginning my student’s projects all looked very much alike. They left without their projects at the end of the year and this disturbed me. I began “letting go” by teaching many smaller, technical projects in the first quarter; and then second quarter allowing more freedom for them to explore their own designs. I taught them about general design ideas, and showed examples of how the various techniques they learned could be combined in various ways. 

During this second quarter our relationship became more about negotiating, than requiring them to do what I asked. Some would take off like “gang-busters.” Others seemed to be lost as if they had never been given the opportunity to make decisions for themselves. 

“Letting go” was not easy for me, but I informed them about a safety net. I asked them to think about the evaluation differences between first and second quarter. In the beginning, I gave very strict assignments with precise goals. If they deviated from my requirements, I graded them down. After they understood the basics of soldering, sawing, polishing, etc; they then had the vocabulary to use them in paragraphs. These paragraphs became very interesting and complex pieces of jewelry. My evaluation would now be based on effort and completion; I could not evaluate their ideas. Their ideas are all good, based on individual “perspective” and “interpretation”. 

My students bought into what I wanted for them because they knew they were given something they could use for their own ideas. They and I were satisfied and happy. Our final critique was more about the exploration of their idea and other ways to express it next time; not about craftsmanship and technique. With practice, those will improve over time. 

We celebrated the differences and similarities between the projects. The students were excited to see the many solutions by their colleagues to the same assignment. And next semester, returning students wanted to continue to explore last semesters ideas with variations and improvements. “BINGO!” JA

#2 “The arts teach children that problems can have...”by Elliot Eisner

“The arts teach children that problems can have more than one solution and that questions can have more than one answer.”(Elliot Eisner)

What does this mean to me? 

As an artist I am highly suspect of any pronouncement of a single, simple solution to any problem. At the other extreme; over thinking the multitude of all the possibilities in solving just one problem could take a lifetime. The artist must narrow the scope and simplify the focus on smaller parts of the larger issues of art and life. Hence, the lifelong struggle of many artists to discover the true meaning of their own work. 

In my art, I start with a plan consisting of a list of issues or element I want to include. This could be color/shape dominance, variety of materials and techniques, a purpose or idea, and the presentation. I want the work to be complex, but you cannot include everything in one project; so simplification is necessary. Anything can be repeated in a series of projects showing variation, change, and growth toward one final goal. One problem is being solved through many different solutions one project at a time. JA

This is demonstrated by the following statements about an exhibition of African Ceramics at the Art Institute of Chicago: 

For Hearth and Alter African Ceramics from the Keith Achepohl Collection, Kathleen Bickford Berzock, at the Art Institute of Chicago.

“In the collection, the idea of endless variations on a theme emerges through the groupings of pots on display. Good examples are seen in the Nupe or Zulu pots (cat. 68-75, 122-25).” (Kathleen Bickford Berzock)

“It is wonderful to see that variations on a theme do reveal more information. Usually, in our research, we only see one example of a particular artist’s work. You don’t realize the artist may have made fifty drawings, paintings, or sculptures based on [one] idea.” “.....all of those objects are worth looking at, to find out how an idea bloomed from the small seed of an inception to something grand and wonderful only through lots of trial and error. By looking at many pieces, we start seeing the variations, and they become beautiful and [inform] us that variations in life are pretty amazing.” (Keith Achepohl)

  

#1 “The arts teach children to make good judgements...” by Elliot Eisner

“The arts teach children to make good judgements about qualitative relationships.” “Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it is judgement rather than rules that prevail.” Elliot Eisner

What does this mean to me?  Art teachers make “judgements” for students about rules in classroom management; and decisions about the focus defining limitations for an art project. The art teacher gives assignments with specific goals or parameters for students to work within certain materials, techniques, themes and ideas. From these starting points, students can be show what other artists chose to express based on there own decisions for what was meaningful or interesting to them. Success in the visual arts, or any endeavor, needs a total investment in pursuing something meaningful enough to want to spend time in the hope of some personal growth. 

Personal growth involves gaining knowledge about other subjects as well as learning the process of researching information. Knowledge about a variety of subjects enable one to relate various interests and provide meaningful themes and ideas for self expression in the arts. The arts express ideas about our culture, politics, religion, the environment, and etc. 

Qualifying connections between your personal interests expresses a personal creativity no one else can express. Monet spent six years creating his Giverny garden landscape for inspiration for his paintings. Images of elements from my garden landscape are expressed in my jewelry work with found objects. 

My definition of creativity involves my personal selection, arrangement, or organization of any chosen elements and materials already in existence. This is how I make something new that never before existed.  “Qualitative relationships” involve how things fit together. One senses or believes a particular juxtaposition of differing objects, materials or techniques take on new meaning compelling enough to raise new thoughts and questions about an old idea. JA

 Claude Monet's Paintings at Giverny

From “The Builders” by Henry Wadsworth Longfellow, Adaptation by John Anderson

All are student artists of commitment,

Working on their portfolio deadline;

Some with design element,

Some with narrative spine.

Anything useful is, or great;

Each thing in its place is best;

And what seems but idle decorate

Strengthens and supports the rest.

For the structure we create,

Time is with materials filled;

Our present and past fate

Are the blocks with which we build.

Correctly shape and fit these forms;

Leave no awkward gaps between;

Think not, because few will alarm,

Such things will remain unseen.

In the elder days of art,

Builders wrought with greatest care

Each minute and unseen part;

For the Gods see everywhere.

Let us do our work without moan,

Both the unseen and the seen;

Make the thing, where Gods eyes roam,

Beautiful, finished, and clean.

Else our lives are incomplete,

Arriving at our portfolio deadline,

Collapsed sculpture, where the feet

Fall off as they support the line.

Create to-day, then, strong and sure,

With a firm and ample base;

And timeless and secure

Shall to-morrow find its place.

Thus alone we can aspire

Toward balance and movement to please the eye

And see the world as one vast sphere,

And one boundless reach of sky.  

http://classiclit.about.com/library/bl-etexts/hwlongfellow/bl-hwl-builders.htm

Impressive and Sweet in the Art Class

In the previous posting “1st and 3rd Quarter Requirements Checklist” I spoke about dealing with inquiries about student progress and grades from parents.

The parents of your students should be viewed as your most important asset. I enjoyed great support from parents for my program and for the education of their child. This did not occur automatically in every case. Over the years, I continued working to maintain a reputation for being consistent and fair in my approach.

The art teachers role as a professional, is to be prepared each day with well thought out, appropriate to each level, assignments for students. The art room needs to be organized for their safe use; and for immediate access to them and materials. The art studio should be designed to teach. A “safe haven” is a comfortable environment, with high quality music, where students can experience some freedom to be themselves. Teachers order and protect tools and supplies within a budget. They provide for individual and group needs; and they have to continually rephrase, remind, and sell short term and long term goals for their students. The art teacher provides for student work during lunch, open periods, before and after school. Students sign in for extra credit. 

Students need to listen when someone addresses the class; use class time wisely; and get along with each other. They also must do their own work in class, appropriate to their level. Small jewelry projects are mounted on a uniform black matt board w/label (provided), for grading and display in the hall. Some students sign up for elective classes during their lunch hour. They should be able to leave class for food, water, or bathroom, for five minutes. It is difficult to limit this, so those abusing their freedom could be denied.

Many parents are involved with their child’s education which is what you want. You want them to support your program, like you and know what your plans are for students; and your teaching strategy for moving them forward. Parent and teacher focus is all about what is good for students. Communication with as many people as possible can provide much comfort to everyone and give you more time to accomplish your goals.

Even with all the above expectations in place, a teacher cannot always please everyone. You will sometimes receive complaints involving your professional duties; grades; conflicts with students; and student responsibilities.

In dealing with these legitimate concerns, the teacher should alway remain professional and interested in resolving issues to everyone’s satisfaction. Obviously, this is not always possible. Sometimes teachers get defensive when our policies are challenged by unreasonable people. Good record keeping and a conviction that you know how to motivate student improvement instills their confidence in you.

Weekly photo documentation of student’s progress on visual arts projects is essential to explaining to parents their child’s position in the process. Parents compare that with your written expectations posted in the class room.

Protect yourself with as much written information as possible about your requirements given to students. Repeat, remind, and review often. Students are involved in many other classes and activities, which makes remembering everything is a challenge. I always informed students that jewelry class was the most important class they will ever take; not only is it an opportunity to learn much about yourself, but it would be embarrassing  to do poorly in jewelry class. Many people believe art class is just easy and fun. I have had many students tell me my class was very difficult and challenging for them; at that always pleased me.

Empowering Students to Learn: My Confession

Josh Stumpenhorst wrote the article “I resign from teaching” for his blog (stumpteacher.blogspot.com). He has been chosen for the “Illinois Teacher of the Year” award; and he has inspired me to recall my own experiences in teaching high school art for 35 years. 

In his article, Mr. S is really not resigning from teaching, but refraining from “telling [students] what to do.” Students “might do well on the test, but cannot talk about what they learned.” “It is clear to me that the less I teach, the more my students are learning.”

At the start of my teaching career, I was a “control freak.” I was in charge and new my subject well. We spent much time designing, sawing, removing scratches, and polishing a metal jewelry project. They had to approach my level of excellence; and the students worked very hard to please me. 

Upon completion and after my critique of their work, I was very excited and pleased with their successes. The students left for the summer and I wished them well. Much to my surprise, they also left their projects on the table. I realized immediately they did not own the designs. They worked for me, produced my work and learned little about making choices.

I thought about this elective class and if they gave me another chance, I would change things next year. My new goal was for them to achieve their goals. A basic foundation achieved in a reasonable time was required for their independence; a series of simple projects or “chain” of events leading to a personally chosen final project. I spoke about the necessity of these building blocks of skills needed to express their own ideas. They bought it and raced through the main course to have their desert.

In jewelry class, there are many unfamiliar and challenging technical processes to learn. The most difficult is silver soldering. Even after a demonstration, each student needs to be lead through the many steps because the torch is scary, dangerous and complicated. It was impossible for me to do this by myself for 22 to 27 students in time. Luckily, 5 to 7 students were advanced and willing to help teach.

I learned much from teaching; and so did these advanced students. Not only did strangers become friends and mentors, but beginners left class on the first day of school with a soldered and polished ring on their finger. They were fired up. They showed their ring to friends in school; and guess what happened when asked by mom or dad “How was your first day of school?” JA

My Collage Art Part II Continued

The following is a collection of brooches involving bright colors with shiny, reflective found objects, which are the initial ideas to be inserted (but did not work) in the tetrahedrons (“Architectural Structure) for the Neckpieces and Vessels produced for my MFA show in January, 1997.

“Leaf and Blossom” (Sun light filtered through dense leaves casting complex shades of green) Brooch, 1996 (6 1/4in X 3 1/2in X 1 1/4in) by John Anderson; Mokume Gane/wood grain; natural broken branch; painted plastic rod; fold formed copper leaf.

“Sun and Shade” (Reflector shards found in the street, change patterns with movement; as cars transform their shapes, and the lives that drive them into each other) Brooch, 1996 (6 3/4in X 4in X 3/4in) by John Anderson; 

Mokume Gane/wood grain; natural broken branch; carved plexiglas (dark red shade/late evening Sun). The Sun shifts to a pencil, w/Hologram cover design, and moves from dark to light as the pencil writes.

“Sun and Shade” (Sunset falls on bird on branch in water) Brooch, 1996 

(5in X 4in X 1/2in) by John Anderson; 

Mokume Gane/wood grain; natural broken branch; carved plexiglas.

“Rock and Water” (Water wraps around branch tied to the traveling Sun, high to low.) Brooch, 1996 (5in X 4in X 3/4in) by John Anderson; 

Mokume Gane/wood grain; natural broken branch; carved plexiglas.

“Sun and Shade” (Floating, clinging, surrounding, piercing, shading, reflecting, absorbing, fogging, measuring, radiating, revealing; but not shining) Brooch, 1996 (5 5/8in X 2 1/4in X 1 1/2in) by John Anderson; painted wood triangle segment; found objects and plastic; purchased fishing float. 

My Collage Art Part II

     My next collection of collages involved bright colors with shiny, reflective objects influenced by the “Sun and Shade” Brooches, Neckpieces and Vessels produced for my MFA show in January, 1997. 

     The Genesis series of shadow boxes encompass the research for my show. 

They include copies of sketchbook designs used for wallpaper, found objects and hand made elements never used in my series for the show. 

     The five elements of the garden are mixed up abstractly in this series of twelve collages and assemblages produced during the mid to late 90’s and the year 2000.

     This is the first work to combine my love of collage and assemblage with my 

love of metalsmithing and jewelry. 

     I also seem to be the most productive around the turn of each decade. 

     More photos to follow shortly. JA 

“Genesis I”    1996

“Genesis II”    1996

“Genesis III”    1996

“Sun and Shade” Brooch, 1996 

“Rock and Water” Brooch, 1996

“Sun and Shade” Brooch, 1996

“Leaf and Blossom” Brooch, 1996

“Sun and Shade” Brooch, 1996

“Offal I” 1999

“Offal II” 1999

“Abfall I” 1999

“Abfall II” 1999 

“Genesis 1” 1996 (17in X 22in X 4in) by John Anderson; hydraulic press copper Hosta Leaf; fabricated triangle pendant model in nickel silver.

“Genesis II” 1996 (17in X 22in X 4in) by John Anderson; hydraulic press steel triangle; fabricated copper/brass tetrahedron frame model; natural Hosta leaf painted white.

“Genesis III” 1996 (17in X 22in X 4in) by John Anderson; natural Chestnut leaf; California Poppy flowers; and thorned Rose branches.

Geometric Form in My Art and Garden

Geometric designs play a strong roll in my jewelry and collage art. The triangle and tetrahedron are the architectural elements in my art and in our garden. This month I am building a hexagonal pyramid to cover and protect our fountain from the subzero winters. Our fountain is about four feet wide and five feet high. I hope you enjoy my photos of my angular musings in wood and our garden water feature. Yes, I still have to make the top section of my pyramid; in a few days.

Our winter view

Scale plans for hexagonal pyramid by John Anderson

Back yard fountain  

Treated plywood 43"h X 69"w.
Six panels each 11 1/4" top X 48"h X 36"base.
Hexagon angles are 120 degrees, connecting studs 60 degrees
by John Anderson

"Design for Retirement Home If I Want to Live Alone"
12" X 12" with chopstick like wood scraps by John Anderson

"Trellis for Clematis" approx. 4' X 6' by John Anderson 

MY COLLAGE ART PART I

http://www.cs.washington.edu/building/art/WendellBrazeau/

I first learned the art of collage in a basic design class in 1972 taught by Wendell Brazeau at the University of Washington in Seattle. (click link below ) The most interesting project was a series of art post cards altered by cutouts from magazines.

Circle Collage                    (9in X 9in)                           1972
by John Anderson
The thread tying the composition together are found (not cut)
 round shapes in everything. 

                   Hand Painted Color Study             (8in X 8in)           1972                  
by John Anderson
Color tints (addition of black or white) shown horizontally;
color intensity(analogous colors) shown diagonally.
Note the illusion of the two diagonal cylinders angling
forward from the brighter more intense colors.

My first series of collages in 1982 were 17.5” X 24.5” Collage drawings on paper. I had first collected hundreds of images from magazines and organized them in folders by color, shape, patterns, nature, man made, animals, plants, transportation, etc.; anything I thought was interesting.

"An Impulse To Soar"     (20.7in X 27.7in)                      1982
by John Anderson                    w/paper rocket, female divers,
and a man carrying many objects on his back.

I then laid out 8 sheets of Arches drawing paper and selected a different color scheme for each; primary, secondary, tertiary, etc. With a foundation of watercolor washes and pencil framing; I marked the surface of empty space to brake the fear of destroying the expensive paper. Cutouts from the categories were laid down on each and played with for much time.

I had no idea how they were going to be resolved to completion; but I did think about figure/ground relationships, interior and/or atmospheric space, and landscapes. The cutouts suggested which direction to go; and when I examined all eight together, it was clear which images went with which paper. Each page was a new category of images.

"THEN AND NOW-WOR"                 1982
(20.7in X27.7in)            by John Anderson
and a child dreaming about the circus.

In conclusion, after the compositions were set, I found appropriate titles from the “Quotable Quotes” section in “Reader’s Digest” Magazine. They all had touches of humor, philosophy, and mystery.

"Creatures of Habit"                          1982
(20.7in X 27.7in)         by John Anderson
w/ Fortune Cookie Quote: "We are all responsible…
we must stop looking for scapegoats."
And Cartoon "You are here…but no one else is"

I always think of collage art as fun. Collection, cutting and pasting paper is easy. However, creating a pleasing composition that works well visually, and holds the viewer’s interest with a compelling idea or theme is a tremendous challenge. Making images cut from different articles fit together with continuity and flow is paramount to a successful collage. JA            

"Begin Now"             (20.7in X 27.7in)                     1982
by John Anderson
With Fortune Cookie Quote: "In order to satisfy another,
you must first strive to satisfy yourself - begin now."
Included are images of depicting phone calls from mother,
and baked goods from my mother-in law.

               More about my professor Wendell Brazeau and the Seders Gallery photos of his work.

Scott Ziegler Ceramic Artist and teacher

http://www.scottzieglerceramics.com

Scott Ziegler Ceramic Artist/Instructor at the University of Saint Francis, Fort Wayne, Indiana

I would like to introduce Scott Ziegler. I am well acquainted with Scott; we taught together for 8 years and remain good friends. He is a committed family man, a driven artist, and a successful teacher. 

His ceramic sculptures are carefully hand carved with pain staking, dimensional detail, intricately painted imagery, and a combination of realism with animated characteristics. His figures are innovative inventions directly from his own thoughts and expressive of his own experience.

On his website he gives a statement about his work: 

“Through my art, I provide an introspective look into my past... As a child in a dysfunctional family, rooted in alcohol addiction, I experienced years of... abuse...”” I have to explore [my] past to break free from its constraints.”” Each piece is symbolic of the truth I discover and the healing it provides.”

Many of us have had some level of experience with difficulties throughout our lives by people we have loved or admired. It is especially difficult when they are in a position of power or control over us while young, vulnerable, and impressionable.

One of the biggest problems in our schools involve “bullying”. Scott’s statement points out what students may be suffering at home with adults or siblings; and at school with their peers. Scott has created his own remedy through his art; others have not been so fortunate.

Scott has demonstrated “risk-taking” in revealing a deeply personal issue in his life as an effort to help himself and others. There is no one panacea to any problem of this magnitude, but a multitude of right minded people performing small, significant gestures of good will in the aid of others. JA