#Sketchbook #Tuesday 4 #StudioArt360

“What difference does it make whether you’re looking at a photograph or looking at a still life in front of you? You still have to look.” – Chuck Close

Studio Art 360: Sketchbook Tuesday

How did you improve your ideas about art from last week’s work on LINE? N: Sketchbook weekly drawings – hand out on SHAPE.

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Charles Green Shaw – Spainerman Modern: http://spaniermanmodern.com/12-Charles-Green-Shaw/shaw110504cf.jpg

Challenges and struggles? Are you going to take it home and REFINE it? 

 

Painting: Encaustics CLEAR WAX is HERE!

 

what skills are you developing as you move forward?

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Jasper Johns! 8. https://alaintruong2014.files.wordpress.com/2014/10/913.jpg

What has been the most interesting part of the first bit of the encaustic ideas? Most difficult? 

Drawing: Collage and Drawing!

What ideas are you looking to use as the idea of collage, drawing, text, texture, and books are brought together?

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Paper collage! https://i.ytimg.com/vi/6n6BiZ4N6JM/maxresdefault.jpg

Have you improved your ART MAKING skills over the first artwork? 

 

AP Studio Art: Jim Dine and PLANTS!

How are you PERSONALLY moving forward with the ideas of  PLANT BASED drawing?

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Jim Dine Plants and Flowers: https://s-media-cache-ak0.pinimg.com/736x/e8/d1/2d/e8d12d7d9a90759beb48a282cf722153.jpg

How are you moving forward? 

 

#Computer #Tuesday in the #ArtStudio

“In not stating the goal to the students and wording them so they are understandable… it is like a family going on a trip with Dad in the driver’s seat and him not sharing what the destination is or how long the trip is going to take. Dad knows where he’s going, but the rest of the family has no clue.”

Painting and Advanced Painting: 2 Days

http://www.miccicohan.net/blog/wp-content/uploads/2014/08/Scully_at_Atelier.jpg

Goals: 

  • 3.1Ac: Engage in constructive critique with peers, then reflect on, re-engage, revise, and refine works of art and design in response to personal artistic vision.
  • Take a FEW MINUTES – NO PAINTING… Look at your painting. Really look at it. Sketchbook in hand, write out a 4 minute response to your work. on the FORMAL Rubric handed out just now. Then… GET TO PAINTING!  LAST 2 DAYS! Don’t forget to spend some time WRITING about your work on the GOOGLE DOC!
    • CRITIQUE a Work Of Art – DUE THURSDAY – HERE

Reflection / Evaluation: What did taking the 4 minutes do for you today? What do you think looking back at / reflecting on your efforts has done for you?

Studio Art 360: Collage and Texture – Romare Bearden

How has BEARDEN changed the composition? Golden MEAN? https://korbartwuhs.files.wordpress.com/2014/12/3b23d-6.jpg

Goals

  • 10.1P: Document the process of developing ideas from early stages to fully elaborated ideas.
  • What are you doing to SUCCESSFULLY create a REAL sense of SPACE in your COMPOSITION?

Reflection / Evaluation: How have you been able to think about your artwork being something that CAN affect how someone who looks at your work and their ideas about your social topic? If you DO NOT think your ideas can change  a persons ideas or clearly explain yours… what do you need to do?

AP Studio Art: Figure Drawing Critique – OPEN CANVAS CALENDAR!

Here is the AP Studio Art Portfolio Example Pages.

What do you see> What MIGHT she be saying with her work? What do you think it is about? Look at ALL the works from the David Zwirner Gallery and have that conversation… http://16fdn9ufhox41fwkc1azw8b1bio.wpengine.netdna-cdn.com/wp-content/uploads/2011/11/Alice-Neel_THE-DE-VEGH-TWINS-100-526×600.jpg

Goals:

  • NETS: Use digital media and environments to communicate and work collaboratively
  • What is the central idea behind your concentration?
    • One on One conversation with Mr. Korb about the ideas you are having. Where can you go from here?
    •  Alice Neel at the David Zimmer Gallery

Reflection / Evaluation: Share with your AP Classmates the work you have accomplished up to this point. Share your ideas like you have been.

Drawing: Google Slideshow

Ah Kandinsky! http://b.vimeocdn.com/ts/142/541/142541478_640.jpg

Goals:

  • 3.1Ac: Engage in constructive critique with peers, then reflect on, re-engage, revise, and refine works of art and design in response to personal artistic vision.
  • What are the BEST things you have  come up with in this artwork?NOTE – Continue to write and perfect the statement. Upload images and statements to the Google Presentation – This is DUE WEDNESDAY – TOMORROW!

Reflection / Evaluation: What did your FAVORITE part of this overall DEEP and difficult project?

  • Link To Mr. Korb’s Written Example – HERE
  • Link to the Google Folder of YOUR Images – HERE
  • Link to the Google Slideshow – HERE

Hello Janie and everyone at the ASCD conference!

69th Annual ASCD Conference Attendees (and Janie) – Welcome to my DAY to DAY Goals Website!

Take a tour, have a look, follow me, and see how I effectively use technology as a tool for interaction, content, resources, collaboration and communications tool in my classroom. If you would like to contact me – you can e-mail me at fjkorb@gmail.com. Enjoy!

GOALS:

  1. Know about how one teacher uses technology in the classroom as a tool for interaction, engagement, content, and a resource for students, parents, and the world!
  2. Know about the benefits and positive aspects GANAG and all its components have added to one teacher’s ability to be more effective instructor and planner for my students (and the world)!

Take a minute and discuss with your neighbors about any questions about the how I use technology in my classroom? How are you effectively using technology as a learning tool, interactive tool, tool of engagement in your classroom? What else might you try out? Did you get my e-mail address for questions you might have? How about my website address?

Relationships are the KEY to Life… and art.

“When you do nothing, you feel overwhelmed and powerless. But when you get involved, you feel the sense of hope and accomplishment that comes from knowing you are working to make things better.” Zig Ziglar

Art Foundations: Color Theory – Color Wheel – Color Schemes

What are the DOMINANT COLORS that were used in this magazine cover?

Goals:

  1. 1.4 Define color schemes using analysis (what are the colors that we, as painters / drawers use to make all the other colors?)

Review with your neighbors the relationships of the colors on the color wheel – what are the color schemes that we have discussed today?

Advanced Drawing: Gesture Drawing

Rembrandt used gesture drawings as preliminary idea drawings. How can you use them?

Lets begin with a drawing of the human form from MEMORY – 8 minutes… what do you remember a person looking like? GO!

Goals:

  1. 5.1 identify the rationale behind making gesture drawings
  2. 3.3 describe the creation of images and ideas and explain why they are of value

What was the most challenging way to draw? Why was this most difficult way to go? How OFF were you from the original that you drew from your memory? What is most important about drawing when it comes to observation?

AP Studio Art: What are you doing with Art and Fear? How goes the Website?

While Miley Cyrus is terrifying enough… this is really frightening. What make you fearful? Art?

Goals:

  1. 3.1 reflect on how your art differs and describe how it relates to the Breadth you have begun.
  2. 3.3 describe the creation of your images and ideas and how they work with your breadth work.

As we begin – stop and talk to your neighbors and discuss the Art and Fear Chapter – get FEEDBACK – and talk about the WEBSITE. How’s it going?

What did you accomplish today? What do you need to do tomorrow?  What are your challenges as we progess forward with the 

Back to Normal… Whatever That Is.

http://isucceesbook – What skills can you use that will help you conquer your mountain?

“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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Art Foundations: Resolve the mixed media self portrait / pattern. Self Evaluation!\

GOALS:

  1. 2.1 form criticism about artworks that work to accomplish 2.1.2 personal goals.
  2. 6.3 use the principles and techniques of art with those from other discipline

Regarding your background… what are you really happy with? What are the areas that need work? What would you do differently if you had the opportunity to rework some aspects of the work?

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Advanced Drawing: The critiques start today – Review Critique ideas – 3 page handout! Oral Crit HERE

http://escapingartist.com – What are you going to add to the crit? What are you going to take a way?

GOALS:

  1. (3.3) describe the creation of images and ideas and explain why they are of value Orally participate in the discussion of your classmates drawing.
  2. (4.3) compare relationships in visual art in terms of (4.3.2) aesthetics (1, 2, 3, 5)

hat did you take away from the critique today? Write down what you have taken from the crit.

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AP Studio Art: Crit! Oral Crit HERE

http://www.rovertfinchart.com – What will you bring to and take away from the crit?

GOALS:

  1. 2.2 evaluate the effectiveness of artworks.

  2. 5.3 describe meanings of artworks by analyzing 5.3.1 techniques. (1, 2, 3, 5)

What did you take away from the critique today? Write down what you have taken from the crit. ON YOUR PRINTED SELF-CRIT. (1, 3, 5).  What notes are you taking?

Continuous Line Concentrations and Getting Away with It… Art that is…

Welcome to what is the BEST ART CLASS in the WORLD!

“Unless you have a definite, precise, clearly set goals, you are not going to realize the maximum potential that lies within you.” — Zig Ziglar

Who do you recognize in this NATIONAL VIDEO?

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WELCOME PARENTS GUARDIANS and STUDENTS!

Welcome Letter – HERE

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Advanced Drawing – Continuous Line Drawings / Color / Value

What are you doing with the background, foreground, portrait?

GOALS

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

  2. 2.3 create artworks that solve visual challenges (value, composition, observation).

How difficult is it for you to use Continuous Line and come up with a satisfying composition?

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Art Foundations – PBIS Poster Design and Work, Sketchbook Introduction, Mr. Korb’s Artwork

What is Art?

GOALS

  1. Work on (1.3) creating PBIS posters that communicate ideas clearly.

How well were you able to work with your partners today? What skills do THEY have that YOU lack? What can you do to help the progress move FORWARD?

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AP Studio Art – Small Concentration, WORKTIME, Mr. Korb’s Art

AP Studio Art Course Page

Concentrations are about what interests YOU!

GOALS

  1. (1.2) Create art that demonstrates an understanding of how your ideas relate to the (1.2.2) techniques (how will you use this in your portfolio?) (D).
  2. (5.1) Identify the rationale behind making art (small concentration drawings) (P)

How do you see the work you are CURRENTLY making as COLLEGE FRESHMEN level? How do you see CHALLENGING yourself with such a limiting object? What can you do to make ME want to look at the drawing / artwork for more than 3 seconds?

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.

~~~

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.

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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