What skills do you have that you can use NOW to do your best?

Ok… I may not mountain climb, surf, hang glide, or scuba dive… but I DO love to use my skills on the stage! Who’d have thought I was funny?

“The question for each man is not what he would do if he had the means, time, influence and educational advantages, but what he will do with the things he has.”

— Frank Hamilton

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TONIGHT! Marty’s Banquet Hall – STUDENT WORK. Studio 107 – Mr, Korb’s Work! Bring your family and friends – take in a lot of art tonight!

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Art Foundations: Negative Space Drawing – let’s add color / value!

Positive and Negative space. Let’s do this with WATERCOLORS first… then Sharpie to finish the branches. LET THE PAINT DRY FIRST. 1.bp.blogspot.com

GOALS:

  1. 1.4 create, define, and solve visual challenges using 1.4.1 analysis (breaking up the artwork / subject matter to basic elements)

What about the use of space did you still have questions about. You and your classmate need to get together and review the first two sections of the chapter and come up with a CHALLENGING QUESTION from the text. I will collect the questions for future use…

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Advanced Drawing: Still life drawings – FOCUS ON THE TRANSPARENCY, LIGHT BENDING, and REFLECTION

http://www.thirstyreader.com – What is the transparent aspect to this painting? How did Janet Fish REALLY show the transparency and bending of the light?

GOALS

  1. 2.6 Work on creating multiple solutions to solve visual challenges.

What is it about the transparent glass that makes this a challenging or easy subject matter to work with? Share your preliminary work with your neighbor – write the thoughts down and THEN… let’s get together and talk about the discoveries you have made.

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AP Studio Art: Time to consider the idea of your Concentration.

  1. Link to examples HERE
  2. Link to Acorn Book HERE
  3. ANSWER THIS QUESTION: Clearly and simply state the central idea of your concentration .
Concentration time… Ok… maybe not this kind of concentration. We ARE going to get into the ideas of concentration however. http://www.pathways-to-peak-experience.com

GOALS:

  1. 1.4 create and define, visual challenges (your concentrations)  using 1.4.1 analysis (breaking up the artwork / subject matter to basic elements).

What have you narrowed some ideas down to? How have you discovered NEW ideas regarding what you MIGHT want to be dealing with in your concentration? What is the artistic stuff that you might be exploring (elements and principles? Mark making techniques? Media you might be exploring?) Share your thoughts about the 2 questions that we will be visiting and revisiting throughout the semester. 

June 13, 2013 – Thursday – How’s Summer?

Please follow me by entering your e-mail address (see the right of the screen) to get daily updates, ideas, and inspirations. Share, Retweet – however you can share me…

Welcome to Thursday! As the summer has entered the second half of its first week, I have set my summer goal to post on Monday’s and Thursday’s. Next week I will be presenting at the Interactiv Learning Conference in Whitewater, Wisconsin so… I may be posting a few more times than twice next week. Enjoy!
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What was your favorite aspect of this class? Please go into some explanation to allow for a fully developed thought and answer.

  • “Trying hard on my work and Mr. Korb recognizing the quality of my work even when I can’t.”– Art Foundations Artist 2013 – NVAS Goal 2.3, 2.4, and 4.5
  • “Your humor, your environment. The general fun in the class” – Art Foundations Artist 2013 – NVAS Goal 3.3
  • “Being able to choose things that relate to me.” – Art Foundations Artist 2013 – NVAS Goal 2.6 and 3.1

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AP Studio Artists Works - Kyle S.'s Mixed Media installation... I am curious as to where this work has ended up... Click on the image to visit the AP Google Presentation of their entire body of work from 2012 - 2013.
AP Studio Artists Works – Kyle S.’s Mixed Media installation… I am curious as to where this work has ended up… Click on the image to visit the AP Google Presentation of their entire body of work from 2012 – 2013.

May 25, 2013 – Saturday – NVAS: Standard 6

Visual Art GOALS and OBJECTIVES

National Visual Arts Standards – Standard 6
Making Connections Between the Visual Arts and Other Disciplines

Frank Korb

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Welcome to the last weekend of thinking about the 6 OVERARCHING GOALS that all students ought to work toward and focus on EVERY DAY during the year in all of their art classes. These Goals are unpacked from the National Standards for the Visual Arts so that they make more sense to the students and parents who are working with them through their art making and other art experiences. As I use goals in my classroom it OPENS THE FOLDER to learning.

The National Standards for the Visual Arts are now GOALS that are clear, measurable, observable, and understandable to the students, parents, and community. The use of goals is to keep the mind open to the idea of learning and focused on the act of learning, By combining both declarative (mind) and procedural (application) knowledge the intentional actions are focused on the combination of art theory and art making and art critiquing as well as the reflection on the close relationships.

This final objective, standard, is the one that I find easiest to see how it relates to the outside world but, when in the classroom, I find it hardest to put up as a daily goal for the kids to reflect upon. I am REALLY looking for your input and thoughts on this one so… if you have a career that you can help me relate the ideas to – please chime in.

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Standard #6: Making connections between visual arts and other disciplines

As an art student you will demonstrate the ability to:

  • 6.1 compare aspects of the visual arts with aspects of other disciplines

Where can we, the artists, relate to the outside the artist world? This is a question that kids (and parents alike) ask frequently. “You can draw, GREAT! But where is it going to get you in life?” I would guess, and an educated one at that, that there are no major corporations that do not invest a portion of their yearly budget to creativity. “How can we look at our product from a different point of view?” “What can we do to make the design of the (insert product here) so that it is flashier, sharper, more appealing, better overall to the consumer?” Technology, virtual reality, the machines we rely on day in and day out, the lifestyle we all lead, the fashion we wear, drive, live in and with, require the mind of a creative person. How can we advance with only the academics at the front of education? The answer is, has been (all the way back to the days of Socrates and more recently Leonardo da Vinci – of the 1400’s are more recent), and always will be… we can’t.

  • 6.2 compare characteristics of the visual arts and other disciplines from history or movements

I find the characteristics of art movements easy to speak about, but as someone who is not a history buff or particularly well versed in world history, I struggle to find those connections between what the visual arts have done and what the world was going through. This is, however, a great place to make those connections. We recently wrapped up a Fauvist Project in my Drawing 1 class where we looked at the works of the French Fauvists (1905) and saw how they abandon the Romantic Tradition of the portrait and landscape on favor of the color explosion of the “Wild Beasts.” We also looked at the current culture most of the kids in class (all but one had taken some sore of goofy cell phone photograph of themselves sticking out their tongue or looking cross-eyed at the camera and they created soft pastel portraits based on art history and their own current cultures and social behaviors. This was a great way for them to relate to the arts of the past and to get a bit of knowledge about the history of the time… more about French social time of the era but… next time.

  • 6.3 use the principles and techniques of art with those from other discipline

How can we use the ideas and practices that artists use and mix them with those from other disciplines? Math, Science, History, World Languages, Engineering, Design, Architecture, Dance, Theater… and the list goes on. One of the more important lessons I work to teach is that the visual arts the students learn in our classroom are NOT limited to the walls of that classroom. This seems silly, but when I often see collages and paintings done in classes outside of the arts, some of my very students forget the lessons in color theory, perspective, facial proportions, and even good composition and design and fall back to the days of the elementary artist. If it were intentionally, I could appreciate the effort to forget all the training that was done to make them stronger and more successful artists. That said, not a one of them has the deliberateness behind their marks as Pablo Picasso did as he said “When I was the age of these children, I could draw like Raphael: it took me many years to learn how to draw like these children.” Nope, they just made poor and rushed attempts. For a student to know that they can and should use all of the lessons about the elements and principles of design and art and put them to use in the academics and the rest of their life – truly lifelong learners they will be.

~~~

Lastly, once you open the door to learning  you also need to close it.  During the last couple of minutes of my classes, we take time to reflect, to GENERALIZE the relationship to the goals and the day’s work / lessons onto what the students know or think they know about the world / practice of the arts. This is the CLOSING THE FOLDER that allows the brain to settle down and pack away the learning, the experiences, until the following day.

You can find these ideas (and more of my thoughts and other individuals thoughts) in my Visual Arts Handbook HERE.

Thanks –

Frank

May 18, 2013 – Saturday – NVAS: Standard 5

*Note: This is a day early because I am curious as to the comparison of a late Friday post versus a Saturday post. Any feedback? Let  me know!

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Visual Art GOALS and OBJECTIVES

National Visual Arts Standards – Standard 5
Reflecting upon and assessing the characteristics and merits of the visual arts

Frank Korb

Click HERE for a look at the RUBRIC for EVALUATING WORK I have implemented in MOST of my art courses. This document follows the process of making art through a Formative and Summative, Self – Evaluation and COLLABORATIVE Critique.

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Welcome to another weekend of thinking about the 6 OVERARCHING GOALS that all students ought to work toward and focus on EVERY DAY during the year in all of their art classes. These Goals are unpacked from the National Standards for the Visual Arts so that they make more sense to the students and parents who are working with them through their art making and other art experiences. As I use goals in my classroom it OPENS THE FOLDER to learning.

The National Standards for the Visual Arts are now GOALS that are clear, measurable, observable, and understandable to the students, parents, and community. The use of goals is to keep the mind open to the idea of learning and focused on the act of learning, By combining both declarative (mind) and procedural (application) knowledge the intentional actions are focused on the combination of art theory and art making and art critiquing as well as the reflection on the close relationships.

~~~

Standard #5: Reflecting upon and assessing the characteristics and merits of the visual arts

As an art student you will demonstrate the ability to:

  • 5.1 identify the rationale behind making art

All too often the ideas behind the art is forgotten or never fully realized and the art is made because it was an assignment. Through this focus, the artists are asked to think about why they are making the art they are. Does it matter? The use of a reason in the process has helped the artists I have worked with stay focused on the work as well as taking pride in the work they are completing. It is more than just making art for art’s sake… it is for their sake and the sake of an artist’s job of communication.

  • 5.2 stand behind your criticism of art

Critiquing is SO important in the process of the art making procedure. This objective forces the artist to think about the choices they have made as well as the responses they verbalize (both in speech and in writing) and to be able to back it up with fact and experience. The novice, the uneducated, can easily throw off a “this work is terrible” or the opposite “this work is great!” The educated, the thoughtful artist / critic will have the words, facts, and personal experience to back up their thoughts. If they are critiquing others’ work, the facts and experiences are helpful… so long as the other artist is open for critique.

  • 5.3 describe meanings of artworks by analyzing
    •      5.3.1 techniques
    •      5.3.2 how they relate to history and culture

How is one using materials and techniques to make art? The Impressionists had a certain brush stroke that the German Expressionists didn’t have. A minimalist would approach a work with a very different intent and hand than a Romanticist or der Blaue Reiter. What is happening in the young artists society and culture that they can relate to the work they are creating? What are they able to pull from the annals of history that impacts their artwork? To look at and JUSTIFY the work, once again, gives the work a strngth and rationale that simply “completing an assignment” does not do.

  • 5.4 reflect on interpretations as a means for understanding and evaluating art

When a group sits down and has a conversation about the work in front of them, there are bound to be a variety of thoughts that are far different from the original intent of the artist. Is this a bad thing? When a young group of artists is able to listen to the variety of interpretations their classmates have about their work, the knowledge that their message may or may not have been communicated well can help them in the next work… or come to a realization that they need to go back and rework something in the current work in front of them.

  • 5.5 evaluate responses to works of art for communicating
    •      5.5.1 rationale
    •      5.5.2 ideas
    •      5.5.3 opinions

What was the artist trying to say? What was the impetus behind the work? Where are they deriving their ideas and thoughts from? Society, spirituality, politics… what do they hope to impress upon the viewer? As a professional, an artist should be thoughtful regarding the ideas they are trying to put out in the world. All that said, what do they think about how others are thinking about the works they are creating? One needs to put all of this is mind as they design, draw up, plan, create, and move forward with their works.

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Lastly, once you open the door to learning  you also need to close it.  During the last couple of minutes of my classes, we take time to reflect, to GENERALIZE the relationship to the goals and the day’s work / lessons onto what the students know or think they know about the world / practice of the arts.. This is the CLOSING THE FOLDER that allows the brain to settle down and pack away the learning, the experiences, until the following day.

You can find these (and more) in my Visual Arts Handbook HERE.

Thanks –

Frank

May 11, 2013 – Saturday – NVAS: Standard 4

Visual Art GOALS and OBJECTIVES

National Visual Arts Standards – Standard 4
Understanding the visual arts in relation to art history and cultures

Frank Korb

Welcome to another weekend of thinking about the 6 OVERARCHING GOALS that my  students work toward and focus on EVERY DAY during the year in all of my art classes. These standards (Goals) are modified from the National Standards for the Visual Arts so that they make more sense to the students and parents who are working with them through their art making and other art experiences. As I use GOALS in my classroom it OPENS THE FOLDER to learning.

This is the fourth in the series and the topic is how the visual arts relate to the history it took place in and the culture that surrounded it. Again, using the national standards in visual arts as the beginning, I “unpack” them so the standards know about (declarative knowledge) them and are able to demonstrate (procedural knowledge) their understanding of them. It is important to note that, when the goals are given to the students, they are restructured (a smidgen) so that they are meaningful and pertinent to the day’s activity AND make sense to the kids. This has been, and continues to be, something that is developed and worked on so that they are stronger and more meaningful to the kids.

The National Standards for the Visual Arts are now GOALS that are clear, measurable, observable, and understandable to the students, parents, and community. The use of goals is to keep the mind open to the idea of learning and focused on the act of learning, By combining both declarative (mind) and procedural (application) knowledge the intentionality is focused on the combination of art theory and art making as well as the investigating the close relationship between the two.

~~~

Standard #4: Understanding the visual arts in relation to art history and cultures

As an art student you will demonstrate the ability to:

  • 4.1 recognize differences in historical and cultural contexts of art

Art does not happen in a bubble. Art does not come from a vacuum. The arts are born out of the historical events and societal contexts that are around them at the time. Impressionism was a reaction to Romanticism. Dada, to be overly simplified,  art that was so because the artist deemed it to be and to test the tastes of what was and was not acceptable in the world of art. None of the movements in art history were all by themselves. All things happen because of where the artists are in the world and how they are able to respond and work with what they had. Rauschenberg studied at the Black Mountain College and would never have been able to make what he did (as he essentially discovered concrete in some of his earlier works created under the stairs between his classes) had he not been where he was in the world.

  • 4.2 describe the purpose and meaning of art objects within different cultures, times, and places

It is certainly one thing to make art in a classroom because the great and mighty art teacher told you to. Why, then, did so many artists make things that nobody told them to make? What was it that drove them to create and invent the things that they did? What was the reason, the rationale that drove Picasso, Braque, and Gris to invent Cubism? What was it that the ancient Greeks were hoping to accomplish as they defined and formed the perfect specimen of human kind in their sculptures? What did the Native Americans, the artists of Asia, Russia, New Zealand  the ancients in the Caves at Lascaux  France… what were they all hoping to accomplish in the works they made?>

  • 4.3 compare relationships in visual art in terms of
    • 4.3.1 history
    • 4.3.2 aesthetics
    • 4.3.3 and culture as it relates to your own art

There is SO much more to the art than how it matches the couch and curtains in the room it is displayed. That is, for the artist, the least of their concerns. What is the relationship of the art to the history it was born from? How was “beauty” defined in 500 B.C., 400 A.D., 1500 A.D. and today? What is happening in today’s world that affects the works of art that we are able to make and stand behind? Would we have camouflage if the Cubists hadn’t broken up the picture place and displaced the flat edge of a table? Would we have the abstract architecture of Frank Ghery if the recognizable surfaces of the canvas was not broken up and changed by Wassily Kandinsky? What about the art of today? Could we look at and appreciate the work of Bill Viola if the invention of the television and the idea of performance art had not been married? What about the kids? What does the art they make have to do with them at all? How can they begin tomake art that matters to them and not art that matters to someone that is NOT them?

  • 4.4 evaluate and interpret art for relationships in
    • 4.4.1 form
    • 4.4.2 context
    • 4.4.3 meanings showing understanding of the work of various art professionals*

The fundamentals of art – Principles and Elements – Form, Balance, Repetition, Line, Color, Shape and From… all of this matters, and matters a great deal. Why is it that I have 64 crayons in my box, but I should only use the colors that have red in them? If I am creating a work of art based on the news of poverty in inner city America… why should I not use magazine pages of starving children on Africa? How are the Clement Greenberg’s, the Frida Kahlo’s, the Kasmir Malevich’s of the 21st century talking about and making works that I can relate to and find deeper meaning in?

  • 4.5 look at the qualities of art from various times and cultures to (Critique – Prezi Presentation)
    • 4.5.1 describe
    • 4.5.2 analyze
    • 4.5.3 interpret
    • 4.5.4 and judge works of art

These four aspects behind taking a word of art apart and critiquing it are essential in the development of a young (and old) artist as they are learning the ropes and deciding for themselves what they like, understand, care about, do about in the world of the arts. If we do not SLOW ourselves down enough to smell the flowers, all the tulips in all of Holland do not matter. To really get at the ideas of what art is, why art is, and if it even matters, the audience needs to approach the work of art with an open mind and a lot of questions.

~~~

Lastly, once you open the door to learning  you also need to close it.  During the last couple of minutes of my classes, we take time to reflect, to GENERALIZE the relationship to the goals and the day’s work / lessons onto what the students know or think they know about the world / practice of the arts.. This is the CLOSING THE FOLDER that allows the brain to settle down and pack away the learning, the experiences, until the following day.

You can find these (and more) in my Visual Arts Handbook HERE.

Thanks –

Frank

May 4, 2013 – Saturday – NVAS: Standard 3

Visual Art GOALS and OBJECTIVES

National Visual Arts Standards – Standard 3
Choosing and evaluating a range of subject matter, symbols, and ideas

Frank Korb

As I have said in previous posts, there are 6 OVERARCHING GOALS that my  students work toward and focus on EVERY DAY during the year in all of my art classes. These standards are modified, but not “dumbed down,” from the National Standards for the Visual Arts so that they make more sense to the students and parents who are working with them through their art making and other art experiences. As I use GOALS in my classroom it OPENS THE FOLDER to learning.

This is the third in the series and the topic is choosing subject matter, symbols and ideas to create artwork about. We “unpack” so the standards are known about (declarative knowledge). It is important to note that, when the goals are given to the students, they are restructured (a smidgen) so that they are meaningful and pertinent to the day’s activity. Notice, they are not agenda items but rather bigger thinking topics.

The National Standards for the Visual Arts are now GOALS that are clear, measurable, observable, and understandable to the students, parents, and community. The use of goals is to keep the mind open to the idea of learning and focused on the act of learning, By combining both declarative (mind) and procedural (application) knowledge the intentionality is focused on the combination of art theory and art making as well as the investigating the close relationship between the two.

~~~

Standard #3: Choosing and evaluating a range of subject matter, symbols, and ideas

As an art student you will demonstrate the ability to:

  • 3.1 reflect on how art differs and describe how it relates to history and cultures

Throughout the course, I work to relate the ideas that the kids are being exposed to and how they can tie it into their own culture. In addition to the work they are creating, it is important that they are able to see how art was created in different cultures and times and how that art related to the times it was from. What was happening in 1905 France that caused Henri Matisse and Andre Derain to throw away the natural colors of the subject and use arbitrary colors and thus become “Wild Beasts  or “the Fauves?” How can this all relate to what the kids might be experiencing today and how can they use their own times to reflect that feeling?

  • 3.2 apply subjects, symbols, and ideas in art and use skill to solve visual challenges

How can we use these ideas to help develop the necessary skills to become stronger artists, more dedicated artists, better thinkers? When we look at art in the classroom, specific elements and principles are looked at and focused on to help them push and challenge the basic ideas the kids oftgen have in their head. It is always nice to challenge them with “how can I figure this “proportion” issue out?” “How can I use this idea / trick / technique in another field / class?”

  • 3.3 describe the creation of images and ideas and explain why they are of value

Process versus product. Who is the one concerned with the process and who is the one concerned with the product. We are the artists and we are the ones who’s job it should be to be concerned with the process… not the product. In the past many kids would ask me “Can I be done?” they were more concerned with the product. Nowadays, the act of making art is the focus and the kids are looking more to HOW we get things done, how the colors work together, how the paper is handled, how the problems are resolved. That is the learning… the artwork is the byproduct of them learning how to make art (and lots of it).

  • 3.4 evaluate and defend the validity of sources for ideas

It is always easy to copy something from the National Geographic, but how does one come up with their own idea for an artwork? What makes it a strong idea or a weak one? Where artists come up with the ideas is a long time concern for us all. Only we, the artist, really care about how we came up with the idea and how we got the work done. More often than not the audience is more concerned with the “final product.” So, what is it that makes for quality subject matter? What was the artist trying to say? Was it successful? Does it really matter? (Thanks Ted Orland and David Bayles of Art and Fear for that one… buy your copy today!)

  • 3.5 evaluate and defend how
    •      3.5.1 subject matter
    •      3.5.2 symbols are used in art

Oh the critique. The world of art is SO MUCH MORE than just the art hanging on the wall. Writing about, thinking about, conversing about, talking, having coffee over, mumbling, grumbling, complaining, and being frustrated about the art. Standing in front of their peers and discussing the good, the bad, and the ugly and how / why / why not things happened. Writing about the process the challenged the struggles… it all goes into the process. From the critiques and reflection is where the real learning happens. Check out my classroom RUBRIC to see what I am talking about and using for collaborative feedback and grading… I love this.

~~~

Keep in mind that once you open the door, you also need to close it.  During the last couple of minutes of my classes, we take time to reflect, to GENERALIZE the relationship to the goals and the day’s work. This is the CLOSING THE FOLDER that allows the neurons to settle down and pack away the learning, the experiences, until the following day.

You can find these (and more) in my Visual Arts Handbook HERE.

Thanks –

Frank

April 27, 2013 – Saturday – NVAS: Standard 2

Visual Art GOALS and OBJECTIVES

National Visual Arts Standards – Standard 2
Using knowledge of PRINCIPLES and FUNCTIONS

Frank Korb

As I have said in previous posts, there are 6 OVERARCHING GOALS that my  students work toward and focus on EVERY DAY during the year in all of my art classes. These standards are modified, but not “dumbed down,” from the National Standards for the Visual Arts so that they make more sense to the students and parents who are working with them through their art making and other art experiences.

AS I use GOALS in my classroom (in any classroom for that matter) the essential part of the process of the goal is that it fires up and activates the neurons in the brain and gets the artist (student, teacher, whomever) focused on the work that will be undertaken. This OPENS THE FOLDER to learning.

This is the second in the series that we will look at and “unpack” so the standards (or GOALS at this point) are known about (declarative knowledge). It is important to note that, when the goals are given to the students, they are restructured (a smidgen) so that they are meaningful and pertinent to the day’s activity. Notice, they are not agenda items but rather bigger thinking topics.

The National Standards for the Visual Arts are now GOALS that are clear, measurable, observable, and understandable to the students, parents, and community. The use of goals is to keep the mind open to the idea of learning and focused on the act of learning, By combining both declarative (mind) and procedural (application) knowledge the intentionality is focused on the combination of art theory and art making as well as the investigating the close relationship between the two.

~~~

Standard #2: Using knowledge of PRINCIPLES and FUNCTIONS

As an art student you will demonstrate the ability to:

  • 2.1 form criticism about artworks that work to accomplish
    •      2.1.1    commercial
    •      2.1.2    personal
    •      2.1.3    communal
    •      2.1.4    or other meanings

Critiquing is an essential part of the reflection process as we make our art and work towards the development of the skills we need to make successful art. The use of the critique allows artists to be self-reflective while also being able to be critical (constructively hopefully) to their fellow artists (in the classroom, around the coffee shop table, via the internet and collaborative discussions.

  • 2.2 evaluate the effectiveness of artworks

What is working and what is not. The thought about the use of materials, communication of messages, asking deeper questions about the successful and unsuccessful aspects – with deliberate and specific parts of the work in mind.

  • 2.3 create artworks that solve visual challenges

By the simple act of making marks, the challenges and struggles that MAKING art can allow for solutions to be dealt with.

  • 2.4 compare different points of view regarding composition and meaning in artwork

This is great to hear when one has a group of kids / artists. Getting more feedback (formative and summative) from more than one person is great. It is also a great thing for the kids to hear from their classmates and NOT JUST FROM THE TEACHER!

  • 2.5 defend personal evaluations

Being able to justify and stand behind the works through the use of ART VOCABULARY is a great way to help the artist learn to SPEAK ABOUT THEIR ART. I have heard MANY BAD discussions and I hope that my students walk out with the skills and confidence to be public speakers who can voice their opinions and back them up with evidence.

  • 2.6 create multiple solutions to visual challenges that show understanding in relationships between composition and meaning of artwork

Here is the place that making a lot of work is key. 10 sketches, 3 drawing, 7 sculptures, 100 bowls… all in the name of becoming stronger int he solution of the challenges that are at hand. Relationships, forms, balance… you name it and all of these will be realized (and more) as more and more art is made.

~~~

Keep in mind that once you open the door, you also need to close it.  During the last couple of minutes of my classes, we take time to reflect, to GENERALIZE the relationship to the goals and the day’s work. This is the CLOSING THE FOLDER that allows the neurons to settle down and pack away the learning, the experiences, until the following day.

You can find these (and more) in my Visual Arts Handbook HERE.

Thanks –

Frank

April 6, 2013 – Saturday – The ABC’s of Art 2013

The Newest ABC of the Arts: A – Z
By: Frank Korb

Frank Korb

Frank Korb

In 2002 and again in 2007, John Tusa of The Guardian wrote the ABC’s of what was facing the world of the arts and how to deal with them. Inspired by his ABC’s, these are my 26 thoughts on the importance of support of the arts in school systems and communities across the country / world.

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A is for Assessment – One’s self and the evaluation of others needs for evaluation and assessment of hard and dedicated work is essential in a well rounded and successful art education. With a focus on the learning of technique and terms as well as a space that allows for REAL exhibition – knowing that the work will earn a space on the white wall of the gallery – gives more credence to the learning and assessment of that learning.

B is for Business – The operations of what it takes to be an artist and to deal with a gallery (space) becomes a needed aspect of courses  taught and give the students an understanding (or at least exposure) to the marketing, hanging, organizing, business end of being a professional artist. When the first show is up, opened, appreciated and critiques, and finally taken down, the learning of the hard work of being an artist in the truest sense of the job, is finally understood.

C is for Collaboration – Working with individuals from the arts community, gaining ideas and insights from professionals, and developing ideas together are skills and tools that are often looked for in professionals entering the working world. the gallery space would give students, faculty, and the community these opportunities to work together to reinforce the importance of the Arts in our growing community and culture.

D is for Development – Art making, speaking, and critiquing skills are abilities that are important aspects of the student’s education that need to be honed and developed. Art in the schools and community, and a space to share those artworks and skills allow for skills to be developed and delivered in an honorable and respectable way, thus  allowing for artistic pride in one’s work to be reinforced.

E is for Education – The lessons and skills learned in the making of art are enhanced through the lessons and skills developed through the exhibition of art as the artist keeps the goals of presentation, conversation, and appreciation in mind as the work is created.

F is for Fine Art – The final product (but for the artist not the most important part of the art – that would be process) that the hard and dedicated work an artist strives to produce and be recognized for.

G is for Goals – It is all about setting them, working towards them, and then reflecting upon them as they are completed (or not completed). The presentation and conversation allows for the “wall” to be the Goal for the learning and a place for reflecting upon the ideas of whether or not those goals were accomplished in the process. What is it that we hope to learn from the process of making art? Is is only about the manipulation of a medium on a ground? Is it only about the plasticity of a clay or metal? Is it just the digital images put into the computer and reproduced through the printer? NO! The objectives are larger than the simple “art making” and revolve around History, Aesthetics, and Art Criticism.

H is for Holistic – It starts with concepts to practice, then practice to presentation, presentation to conversation, conversation to appreciation. The appreciation on a gallery wall is the final space that artists work long and hard to achieve recognition (one more step would be to the hands and walls of the arts patron – but that is another story).

I is for Importance – The importance of the visual arts is often overlooked, yet when walls need decorating, fliers need printing, shirts need designing, sets need painting, the visual artists are the ones that are called upon. Image the walls of a household, office, classroom without the visuals – how sterile and unimportant would that space be (think of a prison cell… maybe I have offered up too much information – Just Kidding.)?

J is for Juxtaposition – The side by side comparison of professional artists, the community artists, and the student artists is essential to the community of artists and learners. The professional, weekend warrior, and the student learning what it is to work in and be around art may not always be attained by those in the arts BUT it is essential to the arts. The Artist, the Critic, the Historian, the Consumer… Art does not get made in a vacuum and is essential to all those involved.

K is for Kindred Spirits – The closeness of a group of artists (professionals and students alike) who are making work, discovering skills and abilities, solving problems and coming up with new and inventive solutions, and then showing work together with a sense of pride… this is something desperately needed in our world – here is an opportunity to promote that spirit of unity. Start an art group with your friends and have pizza while talking about the art you make.

L is for Lifelong Learning – What does it take to be an artist? This is a question that many colleges and universities fail to provide a solid answer for. Opportunities abound as one learns what it is to juggle the time, management, resources, artworks, and all the other things that are part of a successful artist (professional and students alike).

M is for Mediums – So often students are afraid of the learn the basics of handling a medium, yet tend to be amazed at what a completed artwork in an unfamiliar (or all too familiar) medium is. Through the use of the visual arts, high quality and resolved ideas,  images, experiments, mediums, topics, sizes, colors… you name it… are experienced in a way that allows the risk of failure to be superseded by the potential of new success.

N is for New – New ideas and opportunities  that individuals come up with allow for a different approach for problem solving and discoveries of the self that other ways of thinking may not be able to provide.

O is for Opportunities – The arts offer the students so many opportunities to create and work their minds in different ways that other areas of academia do not. Studio spaces, drawing tables, sketchbooks, empty canvases, open minds, supportive communities and families offer that opportunity.

P is for Professionalism – As a high school teacher (and former high school student) it is one thing to move a pushpin display board around the cafeteria and pin artwork to it in hopes that it gets looked at and appreciated (and not touched and smeared up by other students). It is another thing altogether to give the work by our quality students a place to be appreciated in a space that allows the viewer to step back and see the hard fought efforts on display is a safe and protected space. Many people (students, myself as a high school student and even at the college level) are often too intimidated to even venture into an art gallery if they stumbled upon one. While a critique can often be a good destination for artwork, a gallery IS the destination for artwork (MoMA will be calling soon enough) while a pushpin display board is a destination for a mid-critique… maybe.

Q is for Quiet – Reflection is always a wonderful and necessary skill to develop as one thinks about the skills that have been mastered and the skills that need refining. The arts, and a place to properly view the visual arts, allow for that necessary practice of self-reflection and contemplation to occur. As artists work through the process of making art, the sense of reflection (and feedback from those involved and interested in the work) is essential to that process of making art.

R is for Reflection – See above (Quiet). If the above is not convincing enough, try Socrates out for size with”The unexamined life is not worth living.”

S is for Society – Art has defined, redefined, reflected, and changed society since the beginning of humankind. The arts challenge our perceptions and help us see the world in new and creative ways (Sixteen Trend: Their Profound Impact on Pur Future, p 170). From the cave paintings at Lascaux, where the artists painted their ceremony and day to day activities to the Renaissance artists where Leonardo Da Vinci and Michelangelo di Lodovico Buonarroti Simoni defined what it was to create perfection and question the status quo. Pablo Picasso and his , the visual representation of the horror, bloodshed, and devastation of the small Basque Country village of Guernica during the Spanish Civil War.  Society of the past would not be known without the arts and the society of today requires the same.

T is for Teamwork – By working together, students, faculty, community members can create exhibitions,  build collections, and develop relationships, “conceive of ideas, products, services, performances and pathways to peace and understanding. The arts can help us find common ground (170)”. They can build the skills to really understand what it’s like to work as a team and come up with extraordinary results.

U is for Unity – Artists (and the rest of us who may not be artists – me excluded as I am one… whatever that means) have a need for the a sense of belonging. While the sharing of a personal body of work is one way to create a sense of unity among the artworks, the gathering of artists, whether it be at a local coffee shop, gallery, or museum, (or family room over pizza and beverages once a month – Thanks Ted) is essential in the development of a strong body of work and connection.

V is for Variety – Artists offer so much more than what they tend to get credit for when it comes to the work they produce and the individuals they are. The diversity of works that the artists create is only outdone by the diversity of actual artists themselves that are out int he community. The use of UNITY (see above) is something that helps bring them all together to share their ideas and breakthroughs in the future of the arts.

W is for Wanting – There is something that everybody wants. Whether it be love, community, understanding, attention, conversation, or something else entirely. The visual arts offer these and more tho those who are interested enough in the investigation and risks that are involved. Go ahead… make a mistake, try something new, forge a path ahead that nobody else has had the courage to do as of yet. The visual arts DARE you!

X is for eXtraordinary – The use of eXtraordinary here is because the level of education that the visual arts offer to the community is just that, extraordinary. The images and thoughts that are offered, the levels of skill that are developed, the levels and expectations of visual understanding and thought set in front of the audience (and maker alike) are high. Hopefully just high enough that reaching for them is within the grasp of everyone. The end result is if those challenges are actually reached for and grasped by those that they are put in front of.

Y is for Youth – The kids are the future and we, the mature artists, are there for them. The youth of our community is challenged by what it is to make art, to appreciate art, and to learn from art. Why we, as artists, are all here is to help them know about the importance of the arts in their developmental opportunities toward acquiring the knowledge, skills and experiences to become successful and responsible adults.

Z is for Zackenstil – While this zig-zag style of art (created in the 13th-century) was used in sculpture, painting, stained glass and manuscript illumination (and is reputedly an offshoot of the angularly-draped clothing one sees on human figures in Byzantine art) helps to demonstrate the wide variety of approaches to making art. The arts elevate the ideas of learning and through the academics as well as lifelong learning of our community and world. The arts brings the rest of out existence to a new and higher level.

March 30 – Saturday – ABC’s of Art 2013

The Newest ABC of the Arts: X, Y and Z
By: Frank Korb

Frank Korb

Frank Korb

In 2002 and again in 2007, John Tusa of The Guardian wrote the ABC’s of what was facing the world of the arts and how to deal with them. Inspired by his ABC’s, these are my 26 thoughts on the importance of support of the arts in school systems and communities across the country / world.

~~~

W is for Wanting – There is something that everybody wants. Whether it be love, community, understanding, attention, conversation, or something else entirely. The visual arts offer these and more tho those who are interested enough in the investigation and risks that are involved. Go ahead… make a mistake, try something new, forge a path ahead that nobody else has had the courage to do as of yet. The visual arts DARE you!

X is for eXtraordinary – The use of eXtraordinary here is because the level of education that the visual arts offer to the community is just that, extraordinary. The images and thoughts that are offered, the levels of skill that are developed, the levels and expectations of visual understanding and thought set in front of the audience (and maker alike) are high. Hopefully just high enough that reaching for them is within the grasp of everyone. The end result is if those challenges are actually reached for and grasped by those that they are put in front of.

Y is for Youth – The kids are the future and we, the mature artists, are there for them. The youth of our community is challenged by what it is to make art, to appreciate art, and to learn from art. Why we, as artists, are all here is to help them know about the importance of the arts in their developmental opportunities toward acquiring the knowledge, skills and experiences to become successful and responsible adults.

Z is for Zackenstil – While this zig-zag style of art (created in the 13th-century) was used in sculpture, painting, stained glass and manuscript illumination (and is reputedly an offshoot of the angularly-draped clothing one sees on human figures in Byzantine art) helps to demonstrate the wide variety of approaches to making art. The arts elevate the ideas of learning and through the academics as well as lifelong learning of our community and world. The arts brings the rest of out existence to a new and higher level.

~~~

NEXT WEEK: A – Z One More Time!

Please follow me via e-mail, like me on Facebook, Follow me on Twitter, and share me around to the world! Thanks!

Frank

March 23, 2013 – Saturday – ABC’s Art 2013

The Newest ABC of the Arts: U and V
By: Frank Korb

Frank Korb

Frank Korb

In 2002 and again in 2007, John Tusa of The Guardian wrote the ABC’s of what was facing the world of the arts and how to deal with them. Inspired by his ABC’s, these are my 26 thoughts on the importance of support of the arts in school systems and communities across the country / world.

~~~

U is for Unity – Artists (and the rest of us who may not be artists – me excluded as I am one… whatever that means) have a need for the a sense of belonging. While the sharing of a personal body of work is one way to create a sense of unity among the artworks, the gathering of artists, whether it be at a local coffee shop, gallery, or museum, (or family room over pizza and beverages once a month – Thanks Ted) is essential in the development of a strong body of work and connection.

V is for Variety – Artists offer so much more than what they tend to get credit for when it comes to the work they produce and the individuals they are. The diversity of works that the artists create is only outdone by the diversity of actual artists themselves that are out int he community. The use of UNITY (see above) is something that helps bring them all together to share their ideas and breakthroughs in the future of the arts.

~~~

NEXT WEEK: W, X, Y, and Z

Please follow me via e-mail, like me on Facebook, Follow me on Twitter, and share me around to the world! Thanks!

Frank