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ERIC ED466967: Collaboration in Art Education. PDF

43 Pages·2000·1.7 MB·English
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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- 5445; Fax: 250-470-6084. Collected Works Serials (022) PUB TYPE BCATA Journal for Art Teachers; v40 n2 Win 2000 JOURNAL CIT EDRS Price MF01/PCO2 Plus Postage. EDRS PRICE *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 U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement 33.011 COIFT AVAIIIIABLE PERMISSION TO REPRODUCE AND EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) BEEN GRANTED BY le...This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. 2 ° 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 li, )1b lj .1\ 0,y! 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: 250-470-6084 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 '4 4:* 41i 6

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