Assemblage

"Assemblage" is the 3-D version of "collage”. "Found object fragments," "discards," or "throwaways" (artist's work to look at: Schwitters, Cornell, Rauschenberg, Bearden, etc.).


These things are organized by their specific elements. The resulting groups are then arranged into compositions of art.


Extending to many cultures of people living in family, religious, work, and various other groups; We could be viewed as a complex living version of "assemblage”(Webster 1. a group of persons or things gathered or collected).


We have “found” each other by chance; either by blood, common goals, or a certain chemistry. These connections help to formulate new ideas, innovations, and even new generations. John Anderson

Monday, November 21, 2011

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.

Tuesday, November 8, 2011

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

Friday, November 4, 2011

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. 


Wednesday, November 2, 2011

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.

Friday, October 28, 2011

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 

Wednesday, October 12, 2011

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.

Sunday, October 2, 2011

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