I define art as any form of creative expression that communicates an idea, emotion, or experience. It helps us understand the world and ourselves in a deeper way.
What are your criteria for what makes a “good” or “great” work of art?
A good or great work of art makes me feel something or think in a new way. It shows clear intention from the artist and uses materials in a way that supports the idea behind the piece.
What are the characteristics you’ve seen in teachers who you consider good or great art teachers? What about a great teacher of any subject? How are they similar or different?
Good art teachers are patient, open minded, and excited about trying new ideas with their students. They help students explore materials and find their own voice instead of pushing one right answer.
A great teacher in any subject listens well, cares about their students as people, and creates a classroom where everyone feels supported and able to learn.
They are similar because both types of teachers care about their students and create a supportive space for learning. They are different because art teachers also guide students through creative risk taking and help them express personal ideas through materials.
Why do you think art is important to the public? To artists? To yourself?
Art is important to the public because it helps people connect, reflect, and understand different experiences.
It is important to artists because it gives them a way to express ideas and emotions that might be hard to put into words.
It is important to me because it helps me make sense of my own thoughts and lets me communicate in a creative and personal way.
Give examples of what you consider “artworks.”
I consider any creative act that communicates a message or intention to be an artwork. It does not have to look polished or traditionally beautiful to count. It just needs to express something meaningful.
What do you think the functions of art are?
I think the functions of art include expressing ideas, telling stories, preserving culture, and sparking emotions or conversations. Art can also challenge the way we see the world and help people connect with each other through shared experiences.
Why do you think teaching art is important?
Teaching art is important because it helps students develop creativity, problem solving, and self expression. It also encourages critical thinking and gives students a way to explore their emotions and ideas safely.
What do you want your students to learn from your classes?
I want my students to learn how to express themselves through art and feel confident exploring their own ideas. I also want them to develop creative thinking skills and an appreciation for different perspectives and artistic approaches.
What are some of the “best” learning experiences you’ve had in an art room (or in a class-related activity outside of the art room)? Describe it/them, and why you think the experience(s) was/were so good.
One of the best learning experiences I’ve had in an art room was a project where we had to create an abstract piece based on personal experiences. It was great because it pushed me to think deeply about my own ideas and see how others interpreted theirs.
Another one of my favorite learning experiences was an art class where we had to make animal replicas out of basketry reed and paper mache. Our professor gave us the freedom to choose any animal and how large we wanted to make them and was in full support when I said I wanted to make a Swordfish larger than myself. I think that art teachers should do anything, with limits obviously, to support their student's ideas and help them succeed.
What do you wish they were teaching or had taught you in your art classes?
I wish they had taught more about connecting art to real world issues and careers in art. I also wish we had explored more unconventional materials and contemporary art practices. It would have been helpful to spend more time learning how to give and receive thoughtful critiques.
What is one/some of your worst learning experiences in an art class?
One of my worst learning experiences in an art class was when the teacher only cared about the final product and not the creative process. It made me feel like my ideas did not matter. Another bad experience was when I did not have enough creative freedom or support from the professor on my ideas, which made it hard to fully explore my work.
I want to learn how to support students in developing their own creative voices while also teaching technical skills. I also want to learn effective ways to give constructive feedback and create an inclusive classroom where all students feel confident expressing themselves.
Imagine the best art teacher in the world. Describe this teacher’s characteristics/ qualities, behaviors, attitudes, expectations, etc.
The best art teacher in the world is patient, encouraging, and genuinely excited about their students’ ideas. They listen carefully, give constructive feedback, and challenge students to take creative risks. They set high but fair expectations, celebrate individual expression, and create a classroom where everyone feels safe to explore and make mistakes.
What does fairness mean in the context of the classroom? How can a teacher make things more fair for students?
Fairness in the classroom means giving all students equal opportunities to learn, participate, and succeed. A teacher can make things more fair by recognizing different learning styles, offering support when needed, and grading or giving feedback based on effort and growth rather than just the final product.
Content is important but rules and procedures are critical in delivering it. What do you think are the most important rules for a classroom?
The most important rules for a classroom are respecting others, staying focused on the lesson, and taking care of materials and the space. It is also important that students feel safe to share ideas and make mistakes without judgment.
Teachers need to be nurturing and caring but also maintain boundaries and project authority. Where (and how) is that balance struck? Or, if it is inherently in imbalance, which side of things is it better to fall on? Or to put it in Machiavellian terms, is it better to be loved or feared? (Machiavelli said if you can only be one, be feared but his name became pejorative for a reason)
I think the balance is struck by being approachable and supportive while clearly communicating expectations and consequences. It is better to be respected rather than feared because students learn best when they feel safe and supported, but they also need to understand boundaries to take the class seriously.
For nearly all public facing organizations, it’s known (and deeply researched and scrutinized through market research) who their core consumer is.
Everyone from retail stores and restaurants to non profits and government agencies tend to have a customer in mind to target and cater their goods and services to address the needs or wants of. In your opinion, who is the customer for public education? And what are the products or services it provides?
In my opinion, the primary customers for public education are the students, since the system exists to help them learn and grow. The products and services include knowledge, skills, critical thinking, social development, and opportunities to explore interests and prepare for future careers or life paths.
Freedom of Expression is a core tenant of American democracy and the impetus for much of the arts. In art education we encourage and grant students the skills to express themselves but are also expected to maintain the decorum and content expectations of the classroom and school system. How do we achieve these potentially opposed goals?
We achieve these goals by setting clear guidelines for behavior and respectful communication while giving students room to explore ideas and express themselves creatively. Encouraging discussion about choices in content and guiding students to make responsible decisions helps balance freedom with classroom expectations.
I would approach teaching ephemeral art by making sure students still understand intention, process, and context, even if the work isn't permanent. One way to do this is through collaborations, like working with the band director to create temporary backdrops for concert
I will keep learning by staying curious, exploring new art techniques, following trends in education and the art world, and reflecting on my teaching practices. I also plan to attend workshops, connect with other educators, and seek out opportunities to grow both creatively and professionally.
What is your understanding of what TAB is? What questions do you have about it?
My understanding is that TAB, or Teaching for Artistic Behavior, is an approach where students are treated as independent artists in the classroom. They have choice and voice in what they create, while the teacher acts as a guide and mentor rather than giving step-by-step instructions.
Some questions I have are: How do teachers balance giving freedom with meeting curriculum standards? What strategies work best for managing a classroom where every student is working on different projects?
How do you plan on creating a balance between copying to learn while still leaving room for creativity.
I think a good way to balance copying for learning with creativity is to treate copying as a practice activity rather than the final goal. For example, students could start with a warm up assignment where they copy a technique or example to build thier skills. This wouldn't be their final piece, but instead a formative exercise to help them understand the process. Then, they would apply what they learned in a final project that allows for more creativity, guided by a general theme rather than strict instructions. In this way, copying supports skill development, while the final project emphasizes original thinking and creation.
What do you consider a good demonstration?
A good demonstration clearly explains techniques and materials while maintaining a pace that ensures all students can follow alomg and understand expectations. It should also emphasize safety and show multiple approaches so students recognize there isn't only one correct way to work. For example, In a painting class here at Western, the instructor demonstrated different mixing and application techniques while encouraging experimentation and making mistakes, which supported both learning and creativity.
When making things there are tools and skills. Which do you think is more important: the quality of the tools or the skills of the creator who wields them? Why?
I believe that skills of the students are more important than the quality of the tools, because skill is what allows someone to use material effectively and make meaningful work. However, tools still matter, since limited or lower quality materials can eventually restrict what an artist is able to do. As artists develop their skills, access to better or different tools can help them expand thier abilities, experiment with new techniques, and continue to grow creatively.
How to limit removing all of the contect from an art piece when bringing it up in a classroom setting?
One way to avoid strippling an artwork of its context in the classroom is to introduce it with its cultural and artistic background, helping students understand where it comes from and why it was creates. It can also be helpful to show the work in use or in its intended setting, such as videos of wearble art being worn or walkthroughs of site specific art pieces. Providing this sense of place and purpose help students engage with artwork more fully and understand its original meaning.
In what ways do you feel art education and art history help perpetuate hierarchical systems that prioritize white heternormative male perspectives? In what ways can we as art educators overcome these factors to foster equity and broader perspectives in our classrooms.
I think art education and art history can rienforce these systems when teachers keep focusing on the same few well known white male artists and don't really go beyond that. It can make it seem like those ate the only artists who matter, while a lot of others get ignored or erased.
As art educators, we can work against this by staying infromed on current artists and bringing a wider range of voices from different cuktures and backgrounds. We should be showing students that there isn't just one standard for what "good" art is, and that different perspectives, styles, and experiences all have value.
Classroom management is often framed as "Picking your battles." What battles are worth picking? Or should we not even think of them as battles to begin with? How do you see it and how do you set your priorities for discipline/classroom management?
I think there are certain "battles" that are always worth adressing, especially when it comes to student saftey and respect. Hateful speech, slurs, or insensitive language should never be ignored, and it's important to set clear expectations about this at the beginning of the year and consistently uphold them. Creating a enviornment for all students should always be top priority.
At the same time, I don't think these situations should feel like fights. They should be approached as opportunities to educate, since there is usually a reason a student thinks their behavior is acceptable. Even if it doesn't always work, it's important to try, both to help that student grow and to show others that the classroom is a dsafe and supportive space.
Overall, I think classroom management should focus on whether something is imacting the safety and learning of others. Teaching students how to communicate with empathy, use respectful language, and have productive conversations is just as important as addressing negative behavior when it happens.
How would you plan on balancing teaching and self discovery in the class room?
I think a good balance between teaching and self discovery comes from introducing new materials and then giving students space to lead their own learning with them. From there, I would gradually step in to name techniwurs and support problem solving as needed, rather than controlling every step.
I also think it is important to really get to know students, because not everyone needs the same level of guidence or structure. Building a repertoire of trust so students feel comfortable asking for help allows them to explore independently while still having support when needed.
A lot of artists struggle with "Churn and Burn" how do you handle burnout within yourself? How do would you help students struggling with burnout?
I think handling burnout starts with having a good work life balance and making sure you're not constantly pushing yourself without rest. It's also important to talk to professionals when needed and habe supportive relationships outside of school or work so your identity idn't only tied to being artist or teacher. Taking care of practical things like finances and long term planning can also reduce stress that contributes to burnout.
For students, I would try to model those same habits and help them recognize when they're over working themselves. Giving them structured breaks, flexible deadlines when appropriate, and encouraging reflection on their process rather than just the final product can help reduce pressure. I think the goal is to create an environment where rest, balance, and growth are all seen as part of the creative process, not separate from it.
How would you approach teaching ephemeral art in the classroom without losing all of its context.
I would approach teaching ephemeral art by making sure students understand intention, process, and context, even if the work isn't permanent. One way to do this is through collaborations, like working with the band director to create temporary backdrops for concerts or marching band preformances, or designing posters, banners, or installations that only exist for a set amount of time in the school.
I would also include ideas like field trips, land art projects outside the school, or works like ice sculptured that naturally change or dissapear over time. The key would be documenting the process through photos or video so students can reflect on what they made and why it mattered, even after the physical piece is gone. This helps preserve meaning while still honoring the temporary nature of the work.