Positive Self-Identity

Working to build a sense of self, especially in middle or high school, can be a very difficult process for students. Some seem to be born with a positive and healthy sense of self, while others can't seem to form an identity until well after graduation. I've written before about how difficult it can be for some students in high school, and how important it is for us as teachers to help students deal with the pressures of school life and hopefully come out better for the experience. In the case of creating a positive self-identity, even for those students who seem to have things together can still benefit from a teacher with a kind word or thoughtful ear.

I will admit, I am not the best person to be writing about this topic. My middle and high school experiences, while not spectacularly out of the ordinary, were also not particularly positive or life-affirming. Building a sense of self is indeed a life-long process. No matter how much we'd like to think that once we hit a good spot in our lives, that they will stay that way, life has a way of turning ups into downs and vice-versa. One of the best things we can do for our students is to help them to develop skills that will be helpful later on in dealing with life's turmoils. Adaptability to change is necessary in the world in general and at school in particular.

The best ideas that I have heard and that I believe in will vastly help in this capacity. Creating an open and accepting environment (both physically and emotionally) that our students feel safe in is very important, as are fostering a sense of trust, honesty and respect, between both yourself and your students, as well as within your whole classroom. Also, allowing for some flexibility and understanding in situations that warrant it (such as if a student is feeling ill or upset and honestly confides in you), you will let your students know that, while you aren't a pushover, that you do care for their well-being and are willing to make small adjustments if necessary.

In the end, while we may not be the model of a person with a perfectly positive sense of self, we can still do a lot to help our students to work towards their own goal of personal identity fulfillment. I firmly believe that a little trust, honesty and respect can go a long way towards creating good relations with others and help each of us to understand a little more about ourselves.

Collaborative Art Project

I have a difficult time thinking about this subject, as I guess I have always seen art as a personal act of expression and creativity. I have also, unfortunately, seen the results of projects or art pieces that I can only describe as "art by committee," in which there are so many contradictory ideas mashed together that they are perfectly unable to express anything at all. I do realize the importance of group work and cooperation, and I think there are ways to do it successfully, but I still struggle to come up with many interesting ideas.
One concept that I have seen work many times and have even participated in would be a sort of "jam" book or comic. In a way, it can function like a collection of short stories or poems, but instead of collecting stories, it is an (often bound) collection of artworks or illustrations by many different artists, usually based around a similar theme or concept. In this way, each artist (or student, in this case) could feel free to branch off of the central premise and create something that would connect to the works of their peers but not necessarily infringe on or be changed by their artistic ideas and styles.
A more collaborative project could be individually creating a large illustration, but making sure that each person's work is included and that there could be a sense of flow to the finished piece. This could be a mural, a class poster, or even a sculptural figure or diorama. No matter the form it would take, it would both include the students' different ideas and preferences, but also allow for them to work as a group to create a cohesive finished product that everyone had a chance to contribute to.
I know there are many other ideas I am either unaware of or simply can't come up with right now, but I do feel that a large class project would have a number of positive aspects that could help to unify and hopefully energize your students.

Arts Advocacy

This topic is somewhat complicated and one that, personally, I have been struggling with. It isn't difficult to understand, so much as it is rather difficult to come to terms with. The fact that, as an art educator, it won't be enough to be a good (or even great) teacher, to have an excellent and challenging program, or to be ready and able to do your best at your job of teaching students how to express themselves - you also have to work to prove that your life and work are important enough for a school system to include them. Frankly, I find it insulting and demeaning, not to mention horribly ignorant. I know the many reasons why it has become necessary to stand up for the arts in education, but the need to constantly push and pull and tug at every possible loose end and loophole in order to even include art in a school's curriculum is unfortunate, disrespectful and humiliating.
I work now in a number of ways to prove the value and necessity of art in the world - in fact, it feels like I have been trying to argue the case for years now. One of the biggest stumbling blocks I've encountered is when the value of the arts and that of sports & recreation come into opposition. The values of competitive sport are many, but they have become a money-making industry in and of themselves for many school systems, and I would wager that a number of school communities and school boards would rather drop history or geography from their curriculum than athletics, to say the least of the arts. This may come off as an unfair generalization, but I have encountered a number of individuals over the years whose beliefs back up this idea.
I think there are numerous risks involved in confronting these types of individuals and this sort of mindset, and I don't really know how one could confront / deal with the issues. It would be hard to "go with the flow" if you were at odds with the majority of the community or school establishment, but I would hope that there would be enough understanding and agreement on both sides that a form of consensus could be found.

Connecting Art and the Community

It is very important for us as art teachers to link our lessons, curriculum and classroom environments to the surrounding community. One of the simplest (read economical) reasons would be that it could help to bolster our art programs and make them harder for the school to cut from their budgets. By hosting events like art fairs or performances, having students create art for community contests or displays, or even making artworks for display somewhere in the community, it gets those outside of the schools interested in what you're doing in your art room. Art in general is flexible enough to connect with numerous other school activities (such as sporting events, band / choral concerts, school plays, etc.) that there should be no reason that you couldn't form many interdisciplinary connections and give your art program a higher profile, both in and out of the school building.
Art can also provide a good creative outlet for those students that would rather not be involved in other school programs,and by providing times for these students to create art projects and a safe space to do so will both help the students and let the adults in the community know that there are alternatives for students besides the common examples (sports, study or trouble-making).
Finally, by reaching out to the community, you may find a number of resources that you and your students would not otherwise have known about. This could be individuals with artistic talents that could benefit your program, a business that could provide materials for your class, or just a chance to look at familiar parts of your community in a different way. In addition, large cities may have independent art / community centers (such as the Waterloo Center for the Arts, Blackhawk Children's Theatre, Hearst Center, etc.) that could provide some extra support for your class. For example, if you aren't quite as adept at ceramics or photography, maybe there's an employee of such an institution that could come to your classroom and give a demonstration. Also, they may be willing to host a student art exhibition or child / parent art night. In any case, there are numerous examples of ways that you could connect your art program with the community and both sides could benefit from it.

Making a classroom accessible

I have had a chance to work with a number of individuals, both students and adults, who could be said to have disabilities. I have also discussed this issue in a number of my education classes, not the least of which makes it any less important to talk about. I don't have alot of in-depth experience working with physically handicapped indiviuals, though I did grow up with someone who has muscular dystrophy, and has long been confined to a wheelchair. I wrote a paper on my experiences with him for one of my methods classes, as well as the changes that our school needed to make to accomodate him and his electric wheelchair into as many classes as possible.

While I know that is the point of this article, I find it hard to write about it again. There are so many things that must be done to accomodate students into our classrooms physically, in regards to supply access, adequate room to maneuver, compensating for physical differences, etc. These are all important and should not be ignored, but I think a number of them could be addressed immediately as you prepare your artroom.

A much more important form of accomodation, in my opinion, is internal - how we view those with disabilities, how we see them as humans and students and not just disabled. I feel we also need to think about how we view all disabilities or important student issues - for example, we can tell if a student has a physical or mental disability, but can we as easily tell if they are suffering from an emotional or psycological problem? Again, I don't mean to ignore or short-change students with physical or mental impairments, but many other issues can be difficult for students to deal with and require some help or assistance as well.

In the end, I guess I hope to be the kind of teacher that can be open, approachable and welcoming to every student, no matter their differences. I hope to make my classoom not only easily accessible and maneuverable, but also an open and inviting atmosphere where every student can feel free to be themselves and be creative. That may be a rather cliche answer, but in this case, I feel one should try to be as positive and open as possible.

Alter(ed) Ego - Who I really am

~Hello all!
James Jaspers here, communicating with you all on this "weblog" for the first time. I've allowed my good friend and acquaintance to use my name, but feel it's about time I addressed you as myself. I too am an artist (better than my friend, I feel), and a student teacher, though that's just for now. As for later, well, let's see how well we get to know one another first.

On that note, I'd like to share a few things about myself. I like to be quite open, so feel free to avert your eyes if you're a tad squeamish:

Very little makes me feel guilty, and I'm only embarrassed by what I get caught at. My artwork is my life, and I am only truly saddened when the ignorance of the masses dismisses it. Similarly, I can be quite gregarious, but the human race and their desire to self-destruct is often what infuriates me the most. I love to laugh at life's ridiculousness and the self-importance of my fellow humans. My art and my success are all the comfort and worth I need, though the conventional, base human desires continue to thrill me at every turn. Sex, parties, (sex parties), nightlife, anything new or dangerous or shocking is where you'll find me, and damn the consequences.

I sport a number of features that set me apart from my fellow "man" - I'm quite fit and of slight build, with rather angular features that I'm quite accustomed to. I've been known to be playful and daring, sometimes mercurial and irreverent, and have even been accused of being arrogant and unethical. But, of course, who isn't? An outspoken idealist with a touch of exhibitionism, I revel in the hedonism afforded a man in my position and have no qualms about taking what I want when I want it.

Oh, you'd like to hear some more? Well, I am a male of extremely mixed heritage with relatives few and far between. Dietarily, I am a pescatarian with a penchant for good, crisp bacon on lettuce - after all, what good are rules if you can't break them? Politically, I am quite liberal and feel that religion has no place in any publicly-run institution, nor in most peoples' private matters. I adore all sorts of music and technology, but am quite choosy in what I consider to be art - of course, I have to judge all comers based upon my own lofty achievements. I create my own fashion and will rarely be seen in public unless I'm quite ready to be photographed. Beyond that, life is my education, the world is my classroom, and all of you miserable peasants out there are merely pawns on my checkerboard.

Now, I'm off to another all-nighter. Cheerio, little people!

A safe place for LGBT students

The purpose of this entry is to discuss our possible reactions to a student "coming out" to us and how we can make our art rooms a safe place for LGBT students.
I have some experience in this regard as I have had a small but varied group of friends, fellow students and co-workers come out to me over the years. I admit that I have always felt both honored and humbled by their willingness to open up to me and place that sort of trust in me, and I have always tried to reciprocate with respect, acceptance and support, as well as a certain amount of confidentiality if they were uncomfortable or unable to be more open about that part of their lives to others. Thus far, most of these people have become close friends and I feel they have given me a better understanding of the struggles they face every day.
I think that if we are able to create an environment within our classroom that makes students feel safe and comfortable and open to sharing learning experiences with one another, it will also become an environment where they feel comfortable sharing certain things with us that they may not be able to share with others. I don't think this is bad, but we do need to be careful about how we handle the situation. I feel that if a student who hadn't come out to anyone else (family or friends) shared that knowledge with us, we should respond in an open, honest, respectful and accepting way, but also be aware that the knowledge was shared with the (possibly) unspoken understanding that a certain amount of confidentiality on our part would be expected (ie. we won't share the knowledge with others without their consent, etc.). I feel a teacher in this situation should respond thoughtfully, asking some questions but not prying, and overall, letting them know that you accept and respect them for who they are and that your room is a safe environment should they ever need one.
I would also add that the idea of confidentiality should not exceed the limits of a professional basis, that is, it should not necessarily become a "personal secret" or anything that oversteps the bounds of the proper student / teacher relationship. Also, in the case of a students' coming out to you, confidentiality on your part should only extend so far as there are no extenuating circumstances. If the student is at risk or in some sort of danger, involved in an unhealthy relationship that is tied in with their sexuality, or if there is abuse involved, it is still our duty to extend the conversation and involve others who can help, including the school counselor, perhaps the principal or another LGBT-supportive teacher, and their parents / guardians if need be.
This is all somewhat hypothetical, as I have never had a student come out to me, but a number of these steps have been taken by me in regards to others who have come out to me. I believe that the best thing to do is just be supportive and understanding, and let the person know that you accept them for who they are and that you are there as an advocate for them if they should need one.

Discrimination

I am a white male, Christian, age 18-35, liberal, living in the United States of America in the middle of Iowa. Who the hell am I to say that I have ever been discriminated against?

I say this not merely to be provocative or confrontational, but because it's quite an odd question when one is first asked. I am not so ignorant as to disregard any and all reasons why I should not have any reason to complain. After all, I live in a country built on the blood and sweat of black slaves, and I am white. I live in a patriarchal society that objectifies women, and I am a male. I live in a world that still bears the scars of centuries of religious intolerance and oppression, and I am Catholic. Who am I indeed to complain about discrimination?

Our discussion in class today about the artwork of Chris Ofili really made me think about these questions. I began to question myself in response to my reaction to Ofili's work, in particular his "Virgin Mary" painting. I greatly disliked it, not so much for what it was but for the reasoning provided on its' behalf. Is it sacriligeous? My Catholic upbringing would say yes, but I usually have no problem playing "devil's advocate" (if you'll excuse the religious reference). Was it that his Mary was black? No, not even a little, and barely an issue for me. Was it the constant reference to vaginas and "tits and asses," as stated by Ofili in the text? Somewhat, though his crude phrasing did little to help the feeling. Was it the elephant dung? Maybe, but it's actual use was not what bothered me.
What really got to me was the fact that, from reading the chapter on Ofili, there were countless reasons, supports and background references given for his work that all but forbade a response in opposition to the artwork. Yes, Ofili was raised Catholic, so it is his right to question Catholic symbolism. Yes, Ofili is black, so why shouldn't he reference black popular culture? Yes, Ofili went to Africa and reconnected with his roots, so who are we to question the sanctity and beauty of elephant dung? Yes, Ofili is English, so why shouldn't he connect overtly sexual images into his work (as this seems to be much more common & accepted in Europe than in America)? Yes, Ofili deserves protection under the First Ammendment, so why should his work be censored or even questioned?
And yet, after all of these reasons and more are given, the chapter refers to two things that shed more light on Ofili's artistic influences. One is the influence of Francis Picabia, cubist and Dada artist who, for a short period, painted nude portraits that were sold to French brothels. These works were not entirely Picabia's stock in trade, but these, along with the anti-art movement that Dada was, may have been the defining things that inspired Ofili. The second and far more telling influence on Ofili's work is apparently modern rap / hip-hop music as well as 1970's "blaxploitation" movies. Far from being turned off by the overt sexism, discrimination and racism presented by these two genres, Ofili seems to embrace and celebrate them. This wouldn't be an issue if he weren't also expressing his intent to create a "1990's Madonna" who is to be seen as beautiful, streetwise and empowered. It very nearly resembles an attempt to show a tolerant and loving portrait of Jesus by clothing him in a Nazi uniform or KKK hood. By reappropriating the symbols of oppression, the oppressed can rid them of their negative connotations and regain their lost power, but simply celebrating the overt racism and sexism of blaxploitation cinema and the all-too common elements of racism, sexism and glorification of violence that exist in the world of rap & hip-hop, is Ofili really doing something positive or merely probagating the stereotypes that other races and cultures have placed on his own race and culture?

Beyond this, am I even allowed to dislike his work? One of the comments on Ofili's work in the YouTube video refers to his work and supporters as involved in intellectual masturbation, and I have a hard time disagreeing with it. If you wish to create a work to shock or to create controversy, by all means do it, but then why try so hard to stifle controversy by saying your work is rooted in your racial, religious and cultural background?

These questions are not easy and I welcome any and all comment. What does this have to do with discrimination? Well, as some of you read this, you may begin to think of me as a racist, a sexist, an elitist, a self-righteous artist or disgruntled member of the patriarchy. And who knows, I may be indeed, though I do not feel that I am actively driven or defined by any of those titles. You may simply see me as a whiny intellectual, driven to question what I cannot understand, which may be closer to the truth. Ofili stated that his work was both driven by and representative of confusion, and in that we both share a common driving factor. All things being equal in the end, I simply request that anyone with the patience to have read this far be kind enough to post a response, so that a dialogue may ensue and that we might all benefit from it in some way.

Artist Trading Cards

These are my first three artist trading cards (front & back of each). I was trying to play with the familiar layout of playing cards while adding to / building off of it with collaged images and text, neither of which I have worked with extensively. It was fun to try new techniques with them, but somewhat frustrating in that they did not turn out how I had wanted them too.
Also (Safety Tip) don't ever heat up a playing card in a frying pan if there is superglue on it - horrible, invisible gases will come at you and blind you momentarily. Trust me - I've learned my lesson.

Art for a Universal Audience

I have decided to create a lesson plan that connects with Scoping An Audience 1.c: Communicating to a Universal Audience. To do this, I plan to focus the lesson on (a) art history and what makes art last through the ages, (b) discussing with the students what factors make art endure and be relevant over time, and (c) asking the students to create an artwork that ties into these factors and that they feel could have lasting value and interest. As a student of Art History and world history in general, I think it is an important aspect of art and culture that can be overlooked at times. What makes something last? What factors help certain things (artwork, culture, language, etc.) endure, while others disappear and are forgotten? I would hope to at least begin a thinking process in my students that takes some of these ideas into account and also relates history, social studies and communication systems.
From this starting point and from the discussion that would (hopefully) follow, the lesso could then grow somewhat naturally in terms of form, technique and material usage. While some of the ideas listed in the workbook could work (mud/clay, weaving, the life cycle), other materials and processes could be used based on student ideas and sketches. This openness could lead to some problems or complications with material usage, good use of time and overall management, but I feel that its positive benefits would easily outweigh most of these issues.

Artistic Change and Self-Identification

My artwork has changed somewhat from when I was in high school. I still use primarily the same art media, but have learned numerous new techniques for using it effectively and more skillfully. My tastes in subject matter have grown and changed as I've learned and experienced more, and I am more open to trying new things and being more experimental with art in general. Above all, I can honestly say that my sense of what is art or what makes a good piece of artwork has radically expanded, and this has helped me to see the world in a whole new light.

As far as my self-identification, I will try to share what I can.

Personally, I have done a number of things that make me feel guilty, but for this exercise, I feel that the most fitting would be my inability to apply myself as much as I should. While I don't like to rely on others for my sense of worth, often a few kind words from someone I care about and/or respect do quite a lot to make me feel worthy. A lot of things make me laugh, I just don't always laugh out loud. My own mistakes and failures embarass me, sometimes tremendously. I try not to give in to my anger, but I can be infuriated by many things, most often by the ignorance, overconfidence and arrogance of others. Little things, however, can often thrill me - a clever riddle, a funny story, a new way to look at something from a direction I never considered. Comfort for me can come in many forms, sometimes by the kind words or acts of others, sometimes the simple act of letting my guard down and being alone - it all depends, really. A lot of things make me sad, that fact alone being enough to make me feel slightly sad. I suppose wasted talent is one thing that really bothers me, both in others and in myself.

In regards to my personality, I am somewhat at a loss. If I am difficult for others to understand, I am just as difficult for myself to pin down. I like to be artistically and professionally reflective, to an extreme degree at times, but when it comes to who I am inside, it's difficult to say. For the sake of the list given in our book, I'll choose idiosyncratic, insecure, pragmatic and quixotic as the words most closely relative to my personality at this point in time.

Otherwise, I am a caucasian U.S. citizen, male, with a rather large family and a few close friends I consider family. I am a lapsed Catholic, a child of the late 80's / early 90's with baby-boomer parents, low income with average overall health. My tastes range pretty far and wide in relation to music, food and entertainment, with a general focus on art and history. My tastes in art are very open and encompassing, as I can't readily say that I like or dislike something when I might just as easily change my mind later on.

That's who I am in a nutshell. For more information, feel free to ask.

In The Making: Entry 1

The artist I chose whose work most interested me is Eve Andree Laramee, whose work begins to blur the lines between fact and fiction in real life. The chapter focuses mainly on her 1997 exhibition at the Islip Art Museum in New York, entitled Secret History: Yves Fissiault, Artist of the Cold-War Era, in which she presented, as curator, a number of plausible but artificial documents belonging to a fictional scientist from the 1950's. In doing so, Laramee did not reveal the deception to the gallery audience, and continued to build upon the story of Fissiault in other works in the following years. Part of the enjoyment for the audience was getting to be "in on" the clever joke if they were knowledgeable enough to figure out what was real and what was fabricated. I found the descriptions of Laramee's work to be incredibly interesting and entertaining, as the idea of blurring the line between fact and fantasy has always interested me. Both Laramee and her work are compared in the workbook to the works of Rene Magritte, whose artworks were often more overt challenges to what is fact and what is fiction. Now, on to the questions:

6a. Defend (Rene) Magritte and laramee against the accusation that they are merely frustrating or deceiving viewers. How can obscuring and complicating experience, as opposed to simplifying and clarifying it, benefit viewers?

Personally, I don't feel the need to defend their works per se. I see no harm in creating images or stories that aren't factual but that may closely resemble real life. If we were to hold all such works to task, we would never be done defending them. What Laramee has done (and Magritte, to a lesser extent) is to create a realistic visual novel of fiction, that ties itself directly and indirectly to the history of the Cold War. In that way, it is hardly different from other fantastic creations, a prime example being the movie Forrest Gump. I think the fact that the story could be seen as "true" only to those who don't have the knowledge or interest to dispute it merely proves its worth as an accomplished work of artistry.

6b. Both Magritte and Laramee create meticulously detailed renditions of the unreliable truths they convey. Why do you think they expend this extraordinary effort?

To begin, the chapter does a good job of dissecting Laramee's creation of Fissiault as a pseudo-stand-in for her absent father, a colorful and enigmatic character whose real existence mirrors that or the fictional scientist. Beyond that, I think it relates to some aspects that many humans share, including telling stories, telling jokes and playing harmless tricks. The best stories are those that draw the reader / viewer in and transport them to a place that they can believe in, even if only for a moment, so why not tie a story to real history, tweak some of the details and use the real world to lend plausibility to your fiction? In some ways, it could be seen as a shortcut, but it is quite the opposite, since the task of incorporating a false world into the real world requires plenty of research, knowledge and creativity. The challenge to do so alone may be enough to get most people to invest their time in such an endeavor.

Entry 3: Being an artist / teacher

This entry is driven by questions regarding being a practising artist while also working as an art educator. The two are interconnected and, I feel, quite necessary in relation to one another. I will focus on my individual work as an artist and how it has and may affect my abilities as an art teacher.
Question: How do my art practices and abilities help in the classroom and with teaching?
- I have found my artistic abilities to be quite helpful in a number of educational situations. I have often found it handy to create a quick sketch or drawing to help illustrate my point or to clarify a piece of instruction. When and if I need to do this, I can usually do so fairly quickly and accurately, so as not to take up too much class time. I can also draw out a set of examples or simple instructions and then make copies of them, so I don't have to rely solely on pre-printed media. I have experience working with many different materials and processes, so I feel I can be flexible when necessary. Many types of media can lead diligent artists to develop quite a lot of patience, which is always helpful when working in sometimes stressful situations. Also, as I have worked with different materials, I have already encountered some pitfalls when using them, as well as discovering numerous tips for success, each helping to prepare me for potential problems my students may face. Finally, I believe that the more I try new things, experience new processes and work with new materials, the more I will be able to bring to the classroom through lessons and projects.

Question: How can I incorporate art making into teaching?
- I think that showing your students that you are a practicing artist demonstrates that you care about art and that you "practice what you preach". It shows students that art is a viable means of (self)expression and communication, as well as a source of entertainment and/or relaxation. It can also be helpful as a problem-solving tool, helping you to work out visually or concretely those issues which may be too ephemeral or complex to simply talk through.

Question: Why continue to create art?
- Well, why do I / we do it now? I think that some of the same reasons would still apply: for relaxation, self-expression, self-reflection, enjoyment, etc. As a teacher, it may (likely will) be difficult to find time to create art, but making the effort to do so will help us to be better art teachers, as well as keep us from stagnating or getting stuck in place as artists.

Question: How can I balance the technical skills of teaching art with personally meaningful and creative student artworks / interests?
- This is an important question and I think it should be seriously looked at by all educators, not just art teachers. In the case of teaching art, it is important to show students that acquiring new skills and proficiency with new media is necessary to advance in their means of expression. Also, what may be seen as too hard or complicated for some students may be a good challenge to either advanced students or skilled "problem" students.

Entry 2: Quality Art Curriculum

What makes a quality art curriculum? I feel there are a number of things that can contribute to the quality and usefulness of an art curriculum, all of which offer numerous variations and room to maneuver in between. The four main points given by the Spiral Workshop in Chapter 9 of our text (Real World Readings in Art Education) firmly and succintly set up a strong foundation to build upon, and they quite accurately reflect my feelings on the subject.
First and foremost, the immediate requirement for any project is to grasp the students' attention, much like a hook for a sales pitch. Of course, you cannot build an entire program or lesson on student interest, but if a student feels no connection whatsoever to a project, it will be difficult to further build upon that lesson.
Second, the project should be tied to an aspect of art history. Whether utilising an artist or artwork that is ancient, classical, modern or bleeding-edge new, the connection tells the student that what they are participating in is part of something bigger than a class project. It tells students that art is an important part of our world, and has been for most of human existence. While I do feel that it is important to expose students to the work of current, practising artists, it is just as important to present more historical works and then tie the past to the present. In this way, we can show that no single artistic form or style exists in a vacuum, and that all artwork can be seen as a part of a greater whole.
Tied in with these two points is using student interest and other artists' examples to then create a connection with a particular social or cultural issue. By choosing a topic that a student feels strongly about, you can then show examples of how other artists from the past and present have used their artwork to express their opinions, feelings and reactions to issues that affected them. This also helps to illustrate the impact that socially- or culturally-linked artwork can have on the artists' world.
Finally, the introduction of a new or advanced technique, method or art media should be included, for a number of reasons. Students need to encounter and try out many kinds of art media and materials, as the more they are familiar with, the more they will be able to draw on for later use. Different skills and approaches can be brought into their prefered methods of expression, but only if they are open to experiment with them and stretch beyond their comfort zones. Also, if you have already established socio-cultural, art historical and/or student interest connections with the lesson and the new method or technique is linked with those pre-existing connections, the majority of students should want to give it a try and express themselves in a similar manner.
Again, these are simply my ponderings on the approaches given in our text. In the actual classroom, some or all of these aspects may not be present, but they should all be relatively achievable in many cases.

High School Art Experiences

I will limit this post to my experiences with art in high school (the whole story would be far too long and frightful to remember). I didn't take a lot of art classes in high school as I wasn't a very good art student (this realization was recently confirmed by my former H.S. art teacher). I never cared for the projects and was reluctant to try new media and processes, doing so only if I had to. I only wanted to draw, and even then, only the subjects or images that I cared about. I drew constantly, filling the margins of my notebooks until they were black, and kept numerous sketchbooks at home that I'd work from cover to cover. My drawings were rarely about personal issues, but I constantly tried to improve my abilities and make my drawing style changed and evolved continuously.

What I do know of high school students comes largely from my remembrances of my own H.S. experiences, along with my ongoing interactions and student field work with teeneagers in & out of school. Teenagers, especially in high school, can be very mercurial, with numerous changes occuring rapidly and often randomly. These changes can be internal, external, fleeting, lasting, emotional, physical, mental, social, real, imagined, important, frivolous, depressing, exciting, confusing, life-affirming and uncategorical - any or all of the above and more. The teenage years can be all these things and are often astounding and confusing in their impact on students' lives. With such a potentially explosive melting pot of emotions and hormones and feelings, coupled with the effects of our national / global / consumer / popular culture as well as possible familial, religious and economic factors, this can be an unbelievably odd and frustrating time in a child's life.

All of these factors could be seen as fears on my or others' parts when it comes to working with high school students. I can't say that it frightens me (as I already experienced it firsthand) but I must always remember that it can be a difficult time in the lives of my students. We all need to be aware of what may be cause for concern or what needs to be addressed in order to help students to deal with and possibly move beyond their problems. I believe that teaching high school students can be very enjoyable and rewarding, but to always expect the unexpected, either for good or bad. That fact, in and of itself, is exciting to me, as is the chance to promote student artwork that is self-reflective and allows for self-expression. The fact that young children wish to talk about their art does not disappear when they reach puberty - they need an environment that they are comfortable enough in to share their thoughts and feelings about their work. I know that there is a lot to be learned from working with students of this age, far beyond any example I could give, but I definitely feel that art can be an incredibly important aspect of many students' lives and be a cornerstone in how they choose to express themselves.