Standard #4: Content Knowledge
Standard #5: Innovative Applications of Content
Standard #8: Instructional Strategies
Standard #9: Reflection and Continuous Growth
"The teacher understands the central concepts, tools of inquiry, and structures of the discipline(s) they teach and create learning experiences that make these aspects of the discipline accessible and meaningful for learners."
Grid drawing can appear to be a daunting task for some students. I provided students with scrap paper and sticky notes and instructed them in how to place the tools to block off individuals squares - explaining that this can break down the image into individual squares and make it easier to translate.
With my Painting 2 class, I was able to provide students with on-site feedback about their paintings. We had daily conversations about how students were feeling about their work and broke down what might not be working and how to fix it. I was able to employ my fine arts background and critique knowledge to create a "studio visit" environment while discussing their work. Along with this, I selected a youtube video daily that I thought would benefit different students. The example below is a video on color mixing for a student that was struggling to mix skin tones.
When presenting students with large projects that use new techniques and practices that they are not used to, I employ my contemporary artist knowledge and dig for examples of local artists and work that students will deem "feasible". When presenting these contemporary artists, I link and mention the artists website in order to get students thinking about how to pursue their art making practice outside of the classroom. Incentivising the printmaking process by presenting students with a new skill that could produce a monetary outcome definitely boosted engagement with this project.
Creating contemporary and historical connections to an art making practice also allows for students to understand where they could fit into the larger artistic realm. It is vital for an artist to understand how others are working with and using the medium in order to expand their own knowledge and understanding of the process.
"The teacher understands how to connect concepts and use differing perspectives to engage learners in critical/creative thinking and collaborative problem solving related to authentic local and global issues."
This weaving workshop was centered around sustainablility through the practice of weaving and textiles. We discussed numerous artists that utilize sustainable ways of crafting clothing and sculptures through textiles. Beth Williams specifically makes her own yarn using algea, making it biodegradable and entirely eco-friendly. Because the topic of sustainability was the focal point of this workshop, we collected second hand yarn, scrap materials, and leftover leather from local store Rough and Tumble so that participants could experiment with second hand materials in their weaving.
In this lesson, students were asked to think deeply about their own cultures and how to represent beloved foods through the style of pop art. Students discussed and brainstormed with each other to develop their ideas, and in the process learnt more about the rich diversity in their school community. I presented students with my own interpretation of the assignment and discussed with them why I chose a baked potato with beans and cheese and how it connect to my culture.
"The teacher understands and uses a variety of instructional strategies to encourage learners to develop deep understanding of content areas and their connections, and to build skills to access and appropriately apply information."
Students were asked to plan a first draft for their mixed media Pop Art Cultural foods project (as seen on the right). They were given the option to either: 1. draw out on a piece of paper what it will look like 2. plan it out like an architectural sketch, how will the 3D elements be constructed? 3. complete a 2D and 3D structure 4. make a 3D model of your idea. I had completed a drafted plan and 2D/3D model and found that both ways were much more useful to visualize the final product. Knowing that students may benefit from varying planning processes, the choice was left to them to decide what would be most useful.
We began the printmaking and bookbinding unit by doing a relay race-type game that began by students focusing on producing the best print transfers and eventually developed into students working together to create a narrative story that focused on clean transfers, composition, and aesthetics. This game introduced students to the basics of printmaking by using ink, a brayer, and stamping material - which is where I started in my audited printmaking course. I wanted them to practice these skills through play and without expectations.
For my activity for MAT 812, I constructed a written and visual step by step which is comprised of images of my process in making a saddle stitch bound book. By taking photographs of my process, it helps students visualize the written word and apply it to an action.
Similarly, I created a checklist using visual and written steps outlining expectations and processes based on my own artwork.
"The teacher is a reflective practitioner who uses evidence to continually evaluate their practice, particularly the effects of their choices and actions on others (students, families, and other professionals in the learning community), and adapts practice to meet the needs of each learner."
Through this study, I investigated whether checklists could be used as an effective tool to enhance students executive functioning and independent learning with the goal of students being able to initiate and revise work on their own. Adolesents are up against subcortical hijacking and the negative affects of social media use in order to perform executive functioning tasks that are necessary components of independent learning. I tested 3 different checklists over two projects and collected data - which was the number of questions asked per block. My findings suggested that checklists were incredibly efficient in supporting students independent learning and executive functioning. This research allowed me to reflect on where I might have employed these resources in the past and set goals to further this inquiry in my future classroom.
I had the privilege of participating in the MAEA spring conference. I believe it is always necessary for educators AND artists to constantly be learning about their practice. In the two workshops I attended I learnt new embroidery and watercolor techniques which will inspire lessons to come and had the opportunity to talk to other art educators about their different processesand skillsets.
This was a huge point of growth and reflection in my teaching practice. Kelsey Taylor, a mulitlingual professional at Westbrook Middle School gave me key insights into best supporting multilingual learners in the classroom. She emphasized having visuals and not providing crutches for students to rely on, immersing them in the English language to set them up for future success. Special education teacher Patti Belanger helped me evaluate how to push with behavioral struggles and learning disabilities in the classroom. She talked at length about the necessity of providing instructional resources to ALL students and differentiated instruction and scaffolding where necessary. Both specialists highlighted the essential requirement of providing students with equitable education - building trusting relationships.