ERIC ED466967: Collaboration in Art Education.

43 Pages·2000·1.7 MB·English

by  ERIC

DOCUMENT RESUME
ED 466 967
SO 033 878
McCoubrey, Sharon, Ed.
AUTHOR
TITLE
Collaboration in Art Education.
British Columbia Art Teachers' Association, Vancouver.
INSTITUTION
2000-00-00
PUB DATE
42p.; Photographs may not reproduce well.
NOTE
British Columbia Art Teachers' Association, 100-550 West
AVAILABLE FROM
Sixth Avenue, Vancouver, B.C. V5Z 4P2, Canada. Tel: 250 -762-
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Collected Works
Serials (022)
PUB TYPE
BCATA Journal for Art Teachers; v40 n2 Win 2000
JOURNAL CIT
EDRS Price MF01/PCO2 Plus Postage.
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*Art Activities; *Art Education; *Art Teachers; Elementary
DESCRIPTORS
Secondary Education; *Teacher Collaboration
ABSTRACT
Educators are familiar with working together to produce
curriculum packages, to team teach a unit, to host a parent event, to put on a
school-wide concert, or to plan a conference. Collaboration in art education
as presented in this publication is a team effort that is slightly different
and beyond ordinary collaboration. Collaborative art-making involves the
inclusion of many contributions to the creation of the final image. This theme
issue contains seven articles:
(1) "Editor's View" (Sharon McCoubrey);
(2)
"The Collaborative Process of Art Making" (Taylor Gutermute a.k.a. Patty
"Making Connections: The Integration of Art and Language
Taylor);
(3)
"The Spirit of Nature: The
Arts" (Virginia MacCarthy; Heather A. Pastro);
(4)
Grandview/?uuqinak'uuh Public Art Project" (Illene Pevec); "Making Mosaic
(5)
and Ceramic Murals: A Collaborative Challenge" (Lynda Faulks); "A Teaching
(6)
Jewel: Collaboration in Art" (Evelyn Vipond-Schmidt); and (7)
"Resources
Reviews" ("Beyond the School: Community and Institutional Partnerships in Art
Education" and "Step Outside: Community-Based Art Education").
(BT)
Reproductions supplied by EDRS are the best that can be made
from the original document.
Collaboration in Art Education.
Sharon McCoubrey, Editor
British Columbia Art Teachers' Association,
Vancouver.
00
00
O
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Office of Educational Research and Improvement
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° Points of view or opinions stated in this
TO THE EDUCATIONAL RESOURCES
document do not necessarily represent
INFORMATION CENTER (ERIC)
official OERI position or policy.
BRITISH
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Volume40
Number'?
Winter 2000
JOURNAL FOR ART
TEACHERS
EACHERS'
ASSOCIATION
.
411
41.
I
a
Collaboration in Art
ducation
The cover illustration is a collaboration art project,
NIMBY, coordinated by Taylor Gutermute.
All other visuals in the journal accompany specific
articles and are identified or explained within.
The Making
of NIMBY
Page 4
Lynda Faulks and
the Commonwealth Games mural
Page 25
BCATA Journal for Art Teachers is the official
Journal of the British Columbia Art Teachers' Association.
Editor:
Sharon McCoubrey
This Journal is published three times each year. It is submitted
to ERIC: ART and the articles appear in RIE - Resources in
Education, and are available on microfiche and hard copy
through EDRA ERIC Document Reproduction Service.
Manuscripts are welcome at all times and on any topic related
to art education, Please send manuscripts prepared in APA
style (American Psychological Association 1983).
of
Please send your submission as hard copy and on disk well
protected for mail delivery. Preferred software is WordPerfect
IBM.
Sharon McCoubrey, Journal Editor
B.C. Art Teachers' Association
Lake Country, B.C. V4V 1 P9
8090 Highway 97
250-766-4406 (home)
Tel:
250-762-5445, local 7306 (work)
Fax: [phone]
EMail: [email protected]
BRITISH
British Columbia Art Teachers' Association
MA
Volume 40, No 2, Winter 2000
Journal Editor: Sharon McCoubrey
BCATA, Provincial Specialist Association of the BCTF
100-550 West Sixth Avenue, Vancouver, BC V5Z 4P2
EACHERS'
ASSOCIATION
Collaboration in Art Education
Editor's View
Sharon McCoubrey
The Collaborative Process of Art Making
4
Taylor Gutermute aka Patty Taylor
Making Connections: The Integration of Art and Language Arts
11
. .
Virginia MacCarthy and Heather A. Pastro
The Spirit of Nature: The Grandview/?uuqinak'uuh Public Art Project
17
.
Illene Pevec
Making Mosaic and Ceramic Murals: A Collaborative Challenge
25
.
. . .
Lynda Faulks
A Teaching Jewel: Collaboration in Art
33
Evelyn Vipond-Schmidt
Resources Reviews:
38
Beyond the School: Community and Institutional Partnerships in Art Education
Editors: Rita L. Irwin and Anna M. Kindler
Step Outside: Community-Based Art Education
Peter London
The BCATA Journal for Art Teachers is an official publication of the British Columbia Art Teachers' Association.
The opinions expressed in the journal are those of the authors and do not necessarily reflect the views
of the editors or the association.
Ed°Tfors
)
Collaboration in Art Education
with other subject areas has been dealt with in
varying ways, the concern always being that art
may be compromised in the integration. The
potential for combining art and language
We have within education collaborated for a
through quilts and of quilts being a good art
long time and in many different ways. We are
form that can accommodate many collaborating
all familiar with working together in order to
artists, are made evident in this article. This
produce curriculum packages, to team teach a
project also provides a good example of collab-
unit, to host a parent event, to put on a school
oration between two instructors in a teacher
wide concert, or to plan a conference. The col-
education program.
laboration in art education as considered in
this Journal is a 'working together' that is
The collaborations in Illene Pevec's garden and
slightly different and beyond that 'regular' col-
public art project took place on several differ-
laboration. Art making has typically been a
ent levels: funding sources, coordinating a proj-
process conducted by the individual artist.
ect at a public facility, and working with differ-
Collaborative art making involves the inclusion
ent stakeholders such as artists, parents, stu-
of many contributions to the creation of the
dents, administrators. As Pevec describes this
final image. The process of collectively creat-
exciting project of bringing art and a garden to
ing art could involve considerations that would
a needy school, many significant themes are
not exist in individual art making, factors
discussed
the inequities within the same pub-
which would affect both the creating process
lic school system, First Nations' needs and con-
and the appearance of the final image.
tributions, and the value of an inviting environ-
ment. The profile of this project serves as an
The first profile of a collaboration is of just
encouragement to those who might think that
that approach, a group of people working
such a project is beyond their realm of possibil-
together to create a single artwork. Taylor
ity. For example, when funding needs may
Gutermute shares with us her expertise in coor-
seem to be excessive, it is in fact always possi-
dinating multiple contributions to create an art-
ble to find a way to access available funds,
work. Following her interesting discussion
especially when collaboration results in the
about the notion of the artist creating art inde-
funds being accessed from several different
pendently, as has been the most common
sources. After hearing about Pevec's wonderful
approach, Taylor prompts us to consider the
project, I thought about the tremendous oppor-
ways in which the contributions of many affect
tunities there are to create such projects in
the final image. Her many helpful suggestions,
schools all over the province.
guidelines, options and variations, learned
through her many experiences with coordinat-
A master of mural making, Lynda Faulks dis-
ing collaborative art making, will be beneficial
cusses the challenges involved in creating
to any art teacher venturing into this type of
murals when a range of logistical issues must
project.
be dealt with and when the collaborating artists
are high school students. Once again, what
MacCarthy and Pastro offer us another look at
becomes obvious when reading about a major
projects that integrate several disciplines, in
project such as the Commonwealth Games
this case, Art and English. Integrating the arts
mural that is profiled here, is that resourceful-
2
ness is essential for surpassing the logistical
single artwork in which the image is continual-
hurdles, whethet they be financial, or practical
ly evolving as additions are presented and alter-
problems related to transportation or installa-
ations made.. Another level of collaboration
tion. An important value shared by Faulks, a
involves multiple components in the overall
value that is essential to the success of her col-
project, each component having specific needs,
laborative art making projects, is her belief that
regulations, or unique contributions.
all students in her classes, not only those inter-
ested in art, are able to successfully create art.
It would seem obvious that collaborative art
making is indeed an example of synergy, that
A teacher education program is the setting for
the whole is greater than the sum the parts.
the collaborative projects shared by Evelyn
Taylor described collaborate art making as
Vipond-Schmidt and preservice teachers are the
"artwork that could not be attained through the
contributing artists. This exciting collaboration
efforts of a single individual." In addition to
brings together elementary students with pre-
providing some practical solutions to logistical
service teachers. In addition to the helpful
problems when undertaking major projects; to
description of how this project was realized,
listing books and articles that will give valuable
I
Vipond-Schmidt's discussion reveals the learn-
information about this topic; and to providing
ing potential for the preservice teachers, espe-
some examples of collaborative art making,
cially the learning that relates to their personal
we hope this Journal challenges and inspires
involvement with art - pride in creating an orig-
you to consider collaborations within your
irial image and feelings of confidence in creat-
art program.
ing art.
In considering these examples, it becomes
Journal Editor
obvious that collaboration can take place at
Sharon McCoubrey
several different levels. One approach may
involve many artists creating individual art
works which are then combined at the final
stage to create one larger artwork, such as the
murals and quilts. Another approach may -
involve many artists contribunrig\tO create a
oliab
s.
J
The Collaborative
Process of Art Making
By Taylor Gutermute a.k.a. Patty Taylor
Background
modified. Instead of making some-
vival, we tend to make a game,
thing special, combining the need
commodity, or spectator activity out
Information
for an object and the urge to create,
of it. High prices are attached' to it
and Reflections:
we buy art objects from an artist or
in order to support both the artists
artisan. This shift began during the
or specialists who make it or the
Collaborative art has existed since
Renaissance when art began to take
performer, and to support those
the beginning of human history
on a commodity base (i.e., portraits
who promote the work and create
when the arts took the form of com-
and decorative works) in addition to
the celebrity.
munal expression. In small-scale
a spiritual base. From then on art
societies, the "arts" were evidenced
objects became less useful and
In recent years, however, more
by the kinds of behavior or ways of
more void of a commonly held
artists have been exploring a collab-
doing things that embellish and
meaning. Art became more
orative and socially responsible and
enlarge life, offering all community
autonomous and, for marketing pur-
responsive working model. Some
members frequent opportunities to
poses, more permanent.
work with other artists, and some
be "artists," and to be a vehicle for
collaborate with the environment or
group meaning. Ananda K.
The artist as rugged individual
with the public. Suzi Gablik (artist,
Coomeraswamy says that in India
involved in self-expression gradual-
writer, and teacher) suggests that it
the view is that art is a living
ly became the model. As the artist
is imperative for artists to transform
process. "The artist is not a special
has become more of a celebrity,
their personal vision into social
kind of person, but every person is
elitism has been built into the sys-
responsibility.
a special kind of artist."
tem by increasing the price for the
artwork or performances. When we
In our society, the channels for
don't really need something for sur-
making art are few and more corn-
a
4
people working on a piece, but not
ing practice that brings people
Making art that connects directly
in the same place at the same time.
together to work collaboratively on
with the world has not been a cen-
It evolves through action built on
projects that address social issues
tral issue in recent history, but for
and build a sense of community.
reaction.
most of human history art has
Should we be involved in a social-
served as a connection among peo-
Lesson Objectives
ly and environmentally engaged
ple within a community. As men-
artistic practice? Those artists who
tioned earlier, in the evolution of
When doing a collaborative artwork
are called to this practice discover
"fine art" artists became specialized
with any aged group, I incorporate
the great potential to build commu-
and divorced from their initial pur-
nity through social interaction. By
the four components in the
pose of reflecting emotions and
California Department of Education
participating in this methodology,
ideas that are associated with the
Visual and Performing Arts
chief institutions of social life. The
one stands the chance of becoming
Framework for California Public
active and impassioned and con-
separation of fine art from the life
nected to the world. For me, direct-
Schools, Kindergarten Through
of the shared community has
Grade Twelve (1996) into the
ing collaborative art making experi-
changed art and changed the way
process or lesson. While there are
ences has combined my career in
art is taught.
other approaches, some very similar
art education, my career as an artist,
to this, I find the following compo-
and my need to express a concern
John Dewey wrote in 1934,
nents are part of what most artists
for the preservation of the environ-
"Students are not taught the process
consider their art making process:
ment through each person playing
of making art as an experience to
their part.
share as members of a community.
Historical and Cultural
Art teachers are most likely to teach
Context: Compare and categorize
the technical skills and the technical
Working Definitions
collaborative or artworks from the
qualities of art making and not
history of the arts and contempo-
communicate the original purpose
The work I do with students and
rary art.
of art--to reflect the shared experi-
community groups stems from the
ence of a community. Artists,
Artistic Perception: Survey a
following working definitions.
teachers, and students might do
series of collaboration works by
well to weave the arts back into our
Collaborative Art:
artists noting similarities and differ-
communities by actively linking
ences in the process, product and
An artistic product that results from
their own experiences, perspectives,
how the artists addressed formal
more than one person creating an
and individual vision to the com-
artwork/performance that could not
design issues.
munity and the world around
be attained through the efforts of a
them."
Creative Expression:
single individual.
Participate in a discussion and deci-
The news media and scientific stud-
Art Actions:
sion making session regarding con-
ies inform us that there is an envi-
tent, form, materials and technique
Art Actions, often political in inten-
ronmental crisis that is going to
then plan and create a collaborative
tion and subversive in their means,
require radical changes in public
are works in the arts that bring
artwork.
policy and in individual behavior.
artists into direct engagement with
Many artists are addressing the
Aesthetic Valuing: Debate the
audiences to deal with compelling
looming crisis of our times, brought
issue of ownership in regards to
issues and social questions of our
on by our desire for the material.
collaborative works of art. Consider
Artists are inviting other artists, as
time.
questions such as "What is art for?"
well as those who do not view
Art Interactions:
and "Should artists become more
themselves as artists, and students
engaged in work that addresses.
Work involving several or many
of all ages to engage in an art mak-
9
s
Elements of Format:
social issues?" Develop a rubric for
best to develop the work to accom-
plish the goal. The whole process
scoring the merits of the collabora-
tive work to be,completed and takes on an added dimension when
Participants
apply the rubric to the finished the piece reflects a social issue and
Location
work.
becomes a group artistic action to
Time
make a relevant statement.
Meaning/Theme/Content
Form
Collaborative Art
The steps used to complete the
Materials
Making in an
work include brainstorming, explor-
Technique
Educational Setting
ing, focusing, planning, initiating,
Style
revising, presenting, critiquing, and
Process
reflecting. We create the agreed
To prepare a group for working
upon piece collaboratively, make
These elements may be determined
together on a project, we first
adjustments to the plan as the piece
by the initiator, decided on in
explore the collaborative process of
evolves, critique the work and per-
advance by the group, or left to be
art making through a slide presenta-
haps make revisions, then reflect on
determined as the piece progresses.
tion and discussion. Slides range
our individual responses to and
Other considerations involve the
from cave paintings, to Renaissance
roles in the group process. These
way the communication occurs
works including a discussion of the
reflections can be related to our
among participants, the division of
apprentice and workshop model, to
individual inter- and intra-personal
labor, and allowance for revision of
contemporary artists such as those
skill.
the plan.
listed at the end of this article and
works I have done in various set-
Components to Consider in
tings with different groups of peo-
Sample Process Models:
Developing a Collaborative
ple. We reflect on the many ways
Artwork
people collaborate and discuss the
Planned by a large group, exe-
creative process as one completes a
cuted by a small group.
work of art individually verses in a
group activity.
The following components are a
Artistic director as the ultimate
Ein
sample of the considerations I have
decision maker.
As we plan a collaborative artwork
experienced in initiating collabora-
we determine the concept for and
tive artwork. The are leadership,
131 Each contributes individually
content of the piece, the time frame
elements of format, the process
adding to the work of the previous
and working process for its comple-
model, and motivators for the work.
contributors.
tion, and the criteria for the work.
Following are some reflections on
The group may prepare an assess-
each of these components.
M Contribute at will over a period
ment rubric or scoring guide to
of time.
apply to the finished work.
Leadership:
Mutual planning and execution
In recent years, I have been using
Focus on the experience vs. produc-
reused plastic bags for the material
The initiator of a collaborative art-
ing a product.
from which to create collaborative
work may be the leader or the
works. This material leads natural-
director, or can set up the situation
Parts contributed by individuals
ly to content issues regarding eco-
and let it unfold. This person can
then worked into a whole by one or
logical issues. However, whatever
be self selected or elected by a
more.
material is used the group will dis-
group.
cuss what they want the piece to
communicate to the viewer and how
10
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