Part 4: Narrative Description & Reflection (Final)

How did you incorporate contemporary art as public pedagogy as you implemented your plan?
I was able to incorporate many contemporary art concepts into my art-making lesson plan by reinterpreting historical images of power. The pedagogy was made public through the publishing and tagging of a hybrid image. It provided an area to challenge established ideas regarding gender positionality.

I began to start working through my lesson plan shortly after I posted my blog two weeks ago (as evidenced by last week’s post). I wanted to focus on the art-making aspect of the lesson plan and pay particular attention to which tools I used. Most of my digital imaging knowledge comes from independent study studio courses—I was usually given a textbook for guidance and rarely had a teacher that could offer personal instruction.

What happened? What worked? What, if anything, didn’t work?

Jan Van Eyck's Arnolfini Portrait

Since I wanted to create a final image that contradicted messages inherent in an original historical piece, I started researching portraiture through Google Image and Flickr. My search terms included “portrait,” “historical portrait,” and “male portrait.” I was particularly interested in finding a piece that showed traditional images of male power. When I saw Jan van Eyck’s Arnolfini Portrait, I knew I hit the proverbial jackpot.

A quick visual scan of the work reveals a wealthy male in a position of power over a wealthy female. Her position closer to the bed (as well as potentially pregnant) contrasts his assertive pose and direct eye contact with the viewer. There are many interesting resources discussing the Arnolfini Portrait and potential symbolism, however I hesitate to delve into this area at the cost of further explaining my own experiences with this lesson plan. If you are interested in learning more, here are some interesting resources:

• http://en.wikipedia.org/wiki/Arnolfini_Portrait#Interpretation_and_symbolism
• http://www.loschermo.it/articoli/view/25082
• http://www.themasterpiececards.com/famous-paintings-reviewed/bid/27677/Famous-Paintings-The-Arnolfini-Portrait 

I began my piece by photographing my face in the same position as the male figure’s face. Using Photoshop tools such as color enhancers, masking, clone tools, healing spots, blurring, and burning/dodging I integrated my face into the image.

Hybrid image with my face added

The power dynamic of having a female face pasted onto a male’s had unintended consequences. I realized that I had not made an artistic decision regarding the female portrait. Options for her “edit” included pasting my face onto her body as well (which could be a reflection on the duality of personal gender characteristics). I also thought about leaving her the same as the original, but it found that option lacking. Finally I asked my boyfriend to pose in her stead and grafted his image onto her body. While he enjoyed the resulting creation (and the message it sent) he was fully against having this hybrid (with his image) posted in public. I will share it below, but ask that it not be reproduced outside of our class.

Hybrid image with both faces added

Because of his concern, I did not to post this image on Facebook or Flickr, and instead uploaded the hybrid that only included my face on the male’s body. In the three days since its posting (under a request to comment on reactions) I have only received two feedback messages. One from a friend that thought it was interesting to see the power shift inherent with switching genders and commented on same-sex attraction, and another that said this type of work would be a great gift for a wedding. I asked the first commenter to further explain her reaction to my piece, but have yet to receive a response.

I believed that posting this image on Facebook and Flickr (and tagging it so it will become a search result for the original image) would challenge public notions of patriarchy and gender stereotyping. However, privacy concerns and lack of feedback has stifled my ability to see its effects. I do find it extremely interesting that my boyfriend would not allow this image to be seen in public, as it could potentially be a target for anti-masculine attacks. When asked what in particular made him uncomfortable, he replied that he “didn’t want that picture to be the first impression someone would make of him.” After more prodding, he revealed further insight into his distress:

Because it makes me appear to be less masculine.  It puts you, as the man, in the dominant role.  The woman doesn't even get to look up, instead having to slyly look at the man hoping for his approval to look. And while yes, I am very happy with allowing these roles in our relationship and I’m fine with my current friends seeing something like this, I don't want to start new friendships with those assumptions.

His response to my questioning if it would be OK to post the hybrid image if my face was on the woman’s and his on the man’s:


I seem so arrogant. You’ve backed me into a wall and I see that I’m a hypocrite. Yes, it would be OK to post that image because I’m male and you’re female. 

What challenges did you face? How did you handle challenges?
Beyond posting difficulties, I had a major software challenge. Photoshop began crashing on me every time I opened the image, and I couldn’t figure out what was wrong. Fortunately I was able to find a free online program ( http://pixlr.com/ ) that allowed me to finish the piece.

What changes (curriculum or pedagogy) are you interested in making if you were to teach it again? Why make these changes?
I would make a few changes to this plan if I could start from the beginning. First, I would make sure that my software worked well, and that other people I used felt comfortable publicly posting the resulting image online. I would also find a better studio space for taking the picture of the new faces to be added. It was extremely difficult to manipulate the shadows and color levels to match the original image.

Reflecting on the entire process, what stands out or is significant to you now?
The most significant learning experience of this project was realizing the sheer amount of time necessary to create a successful art lesson. It was extremely valuable to learn the ins-and-outs of course preparation and all of the variables that go into creating lessons that value contemporary art concepts and public pedagogy. On a personal level, I appreciated the dialogue this lesson facilitated with my boyfriend and its ability to challenge his views of gender positioning in imagery.

Blog 9 process entry: Implementation

Right now I'm working on part of my lesson--making a digitally manipulated photo. I have one half done, but I'm not satisfied with leaving the other face the same as the original. I'm trying a couple of options (putting my face on the female, transferring the male's face onto the female, etc.) and thinking things over.

Original Image:
http://en.wikipedia.org/wiki/File:Van_Eyck_-_Arnolfini_Portrait.jpg
Arnolfini Portrait, Jan van Eyke, 1434

Working Draft Image:

Blog 9: Planning Individual Lesson (Part 2)

General overview (part 1)

Unit Title: Uniquely You

Enduring Idea/Theme: Each of us can find unique and special ways in which we interact with and experience the world. Even though some of us are underrepresented in art history or our current visual culture does not mean that we cannot all find unique and special ways in which we interact with and experience the world.

Lesson Number: 2

Lesson Title: Me In A Masterpiece

Grade/Class: Middle School (7th and 8th graders)

Time Allotment: 4 ninety minute class periods.

1: Introduction, examples, start art historical research and discussion on image sizing/copyright issues

2. Go over art historical selections, create rough sketch, begin lesson demonstration

3. Continue demonstrations, begin student work time, essay due

4. Student work time

5. Student work time, printing

6. Critique, reflection

Lesson Summary:

1. Research art historical pieces (portraits) and find digital images of people you respect and hope to be like in the future, create a list of at least 5 potential options that include all relevant art historical information (Artist, Title, Date, Media, Size, etc.). (Sketchbook assignment 1.)

2. After a quick discussion with me, do a rough sketch of yourself in the place of person illustrated. A short accompanying essay should be written about who this person is, why they were chosen, and what qualities/accomplishments they have that you would like to emulate, and what is similar/different between the person pictured and you. (Sketchbook assignment 2.)

3. Take your self-portrait in the position of the artwork previously discussed using computer camera (can use iSight on Macs)

4. Graft your face onto the digital image of the masterpiece using Photoshop techniques (copy/paste, masking, texturizing, opacity changes).

5. Make a 5” x 7” print of your hybrid digital image (to be used in Lesson 3)

6. Write a reflection on your work, making sure to include how your new image looks different than the original, your favorite part of this lesson, and what you would change if you could do the whole thing over again. (Sketchbook assignment 3.)

Artworks, Artists and/or Artifacts (i.e., motivation, inspiration): http://www.dailymail.co.uk/tvshowbiz/article-532280/Hollywood-canvas-Worlds-famous-paintings-given-celebrity-faces.html

Regender Translator: http://regender.com/index.html

Key Concepts Addressed in this lesson: Students will learn historical research along with digital manipulation techniques through applying concepts of culture, subjectivity, context, allegory, forming self, appropriation, recontectualization and layering.

Essential Questions Addressed in this lesson: Is there something about yourself that you are particularly proud of?  How does your background influence the choices you make and the future you plan for yourself? Who are your role models? What makes them different from you? What will you have to do in your immediate- and far- future to achieve your goals? Are there images of people you wish to be?  Do they look different than you?

Standards: http://www.paea.org/images/stories/resources/standards/pa_arts_standards.pdf

9.1.8  Production, Performance and Exhibition of Dance, Music, Theatre and Visual Art
A, C, E, F, G, H, J, K

9.2.8 Historical and Cultural Context
A, B, C, D, E, F, G, I, J, L

9.3.8 Critical  Response
A, C, D, E, F

9.4.8 Aesthetic Response
A, B, C, D

Interdisciplinary Connections: Interdisciplinary connections can be made between this lesson and art history, general history, and social science, which can aid in our understandings of the current visual environment.

Lesson Objectives:

Knowledge: Students will learn historical facts about the artists and figures they are manipulating for sketchbook/essay responses. They will also learn digital vocabulary terms and procedures such as masking, cloning, and layering.

Skills: Students will be able to demonstrate the digital manipulation process. They will understand the amount of time it takes to make a composite image seamless.

Dispositions: Students will recognize that the images they see in visual culture are not necessarily representations of the truth. On the other hand, they will potentially recognize that they can break through culturally-established roles.

Assessment:

Students will be assessed according to conceptual development, the work produced (does it meet the objectives stated above), and class participation/attendance and critique. Students and I will know if they have learned the intended lessons if they successfully create a digitally manipulated piece and provide meaningful reflection essays. They will be expected to turn in a digital print as well as sketchbook assignments/essays on time (using vocabulary and context discussed in class) as evidence of their learning. These will be measured against a rubric. If possible, the rubric should be created by both students and myself before the projects begin. Instruction will consist of demonstration of basic techniques as well as cooperative and inquiry-based learning.  Students will be frequently monitored through sketchbook assignments and during worktime.

Preparation

1. Teacher Research and Preparation:

a. Find/provide list of art historical resources
b. Go over copyright infringement information
c. Create basic visual showing digital manipulation process that students can refer to after demonstration (PowerPoint)

2. Teaching Resources:

a. A computer hooked up to a display (projector) visible to all students

3. Student Supplies:

a. Sketchbook

b. Personal art historical resources

c. Computers installed with Photoshop

d. Printers and printer paper

e. Digital drawing pen/tablet (if available)

9: Contemporary Art as Public Pedagogy Curricula (Part 1)

Part 1: Unit Overview
Unit Title: Uniquely You (Middle School)
Enduring Idea: Each of us can find unique and special ways in which we interact with and experience the world. Even though some of us are underrepresented in art history or our current visual culture does not mean that we cannot all find unique and special ways in which we interact with and experience the world.

Key Concepts about the Enduring Idea: If we share our differences we can learn to respect ourselves, learn from each other, and experience a richer learning environment.

The images of people we see (and respect) in the media, fine arts, and other visual culture forms do not necessarily look like us--but that doesn’t mean that we are condemned to fulfill different  roles already established for us based on our personal attributes. (Interdisciplinary connections can be made between this lesson and art history, general history, and social science, which can aid in our understandings of the current visual environment.)

Key Concepts about Contemporary Art as Public Pedagogy:
From A Ed 813 Glossary: Culture, Intertextuality, Subjectivity, Autobiography, Contextual, Allegory, Forming Self
From Principles of Possibility, Gude: Encountering Differences, Empowered Experiencing/Making, Deconstructing Culture
From Postmodern Principles, Gude: Appropriation, Juxtaposition, Recontextualization, Layering, Representin’

Essential Questions: Is there something about yourself that you are particularly proud of?  How does your background influence the choices you make and the future you plan for yourself? Who are your role models? What makes them different from you? What will you have to do in your immediate- and far- future to achieve your goals? Are there images of people you wish to be?  Do they look different than you?

Rationale: The art classroom is one of the few spaces in public school where students are allowed (and even encouraged) to create unique and differentiated work. We should take advantage of this situation by guiding learners to find out what makes their creative voice different and worthy of respect.

Schools are now recognizing the harm inherent in bullying. Celebrating our differences and learning from each other will undoubtedly help relieve the tension of our current educational process and hopefully pave the way for future respect among adult members of our society.

Unit Objectives: I hope that students will understand that our current visual culture as well as the attitudes amongst their peers and wider community do not control their future. They can become agents of change.

Standards: Could anyone point me in the right direction to find standards? Google search brings up a 1994 NAEA document and PAEA documents, but I’m unsure as to how to proceed with creating a lesson plan that follows these standards. http://www.arteducators.org/store/NAEA_Natl_Visual_Standards1.pdf
http://www.paea.org/images/stories/resources/standards/pa_arts_standards.pdf

End of Unit Assessment:
A. Students will have at least 3 sketchbook drafts of each assignment which they will share with me before starting their final work
B. 3 final projects will be submitted by their due dates
C. Self-evaluation sheets will be filled out and provide more details on conceptual development

RUBRIC/LEVELS and CRITERIA: I like this rubric found online: http://www.princetonol.com/groups/iad/lessons/middle/rubric.htm. I’d love to get my classmate’s feedback on how to create rubrics--especially something that has student input in assessment.

Overview of Lessons (Part 2 Preview, will be more developed by next week's blog): 
Lesson 1: Silhouette collages
(Lesson plan adopted from http://www.princetonol.com/groups/iad/lessons/elem/selfport.htm#collage)
Inspiration: Alison Shriver, http://www.alisonshriver.com/
1. Create lists of your background and personal attributes (heritage, likes/dislikes, things you are proud of, Sketchbook assignment 1) and goals for the future (careers, family, living place, vacations, pets, kids, etc, Sketchbook assignment 2) in your sketchbook and write down types of imagery that could communicate these concepts.

2. Find imagery via magazines, newspapers, or computer printouts and collage onto paper, followed by pasting a coversheet on top to enhance the silhouette shape. *Please note that the original lesson plan class for visual imagery that describes the current thoughts of students, but I am looking to push students into finding images that represent their future goals as well as their background.

3. Write reflection on finding imagery that fit their desires in sketchbook. (Sketchbook assignment 3.)

Students will learn to consider how they incorporate images of the world into their own self-identity. They will also see how people with their future goals are portrayed and potentially find similarities and differences between themselves currently and those images. This art project facilitates this exploration though culture, forming self, juxtaposition, recontextualization, layering, representin’, deconstructing culture

Lesson 2: Me In A Masterpiece
Inspiration: http://www.dailymail.co.uk/tvshowbiz/article-532280/Hollywood-canvas-Worlds-famous-paintings-given-celebrity-faces.html
Regender Translator: http://regender.com/index.html
1. Research art historical pieces (portraits) and find digital images of people you respect and hope to be like in the future, create a list of at least 5 potential options that include all relevant art historical information (Artist, Title, Date, Media, Size, etc.). (Sketchbook assignment 1.)

2. After a quick discussion with me, do a rough sketch of yourself in the place of person illustrated. A short accompanying essay should be written about who this person is, why they were chosen, and what qualities/accomplishments they have that you would like to emulate, and what is similar/different between the person pictured and you. (Sketchbook assignment 2.)

3. Take your self-portrait in the position of the artwork previously discussed using computer camera (can use iSight on Macs)

4. Graft your face onto the digital image of the masterpiece using Photoshop techniques (copy/paste, masking, texturizing, opacity changes).

5. Make a 5” x 7” print of your hybrid digital image (to be used in Lesson 3).

6. Write a reflection on your work, making sure to include how your new image looks different than the original, your favorite part of this lesson, and what you would change if you could do the whole thing over again. (Sketchbook assignment 3.)

Students will learn historical research along with digital manipulation techniques through applying concepts of culture, subjectivity, context, allegory, forming self, appropriation, recontectualization and layering.

Lesson 3: Nicho/Shadowbox Shrine
Inspiration: http://en.wikipedia.org/wiki/Shrine
http://lanic.utexas.edu/project/etext/llilas/outreach/fulbright06/williams.pdf
Discuss shrines, their purposes in different cultures, ask what people in students’ families do to remember important people and events (monuments, certain festivals, imagery that goes with it).


1. Consider what will have to happen in your life to reach the goals discussed in Lessons 1 and 2. Write out steps in sketchbook. Think of a form that best represents the goals you are trying to reach or, alternatively, a form that best compliments your image from Lesson 2. Sketch out ideas on how to create this 3D form and create small models using newsprint. (Sketchbook assignment 1.)

2. Create basic shrine/nicho shape using thick cardstock or other sturdy materials.

3. Sketch out an environment for your Lesson 2 image to live in that is represented within the shrine. One idea (using symbolism) is to make the front frame represent where you are now, and the sides/back represent your background and heritage. The inside could also represent what needs to happen for you to reach your goals (i.e. graduation, finding a job, living in a particular city, etc.) (Sketchbook assignment 2.)

4. Using paints, drawing materials, paper tiles, baubles, etc., create your nicho, and place your image from Lesson 2 in the place of honor--an homage to your future self!

5. Write a reflection on your final piece including remarks on the choices you made (why and where you created specific things), your favorite parts of your work, and what you would do differently if you could start again. (Sketchbook assignment 3.)

Students will learn about how cultures (including their own) memorialize significant achievements and use this imagery to convey their own significant goals. This project is the culmination of the entire unit and utilizes concepts developed in previous lessons: culture, intertextuality, subjectivity, autobiography, context, allegory, forming self, encountering differences, empowered experiencing/making, deconstructing culture, appropriation, juxtaposition, recontextualization, layering, and representin’.

More details will come with the rest of Part II but I wanted to show what I was thinking of creating as lessons in this first post.

8: Performance Art & Performed Networks of Relations

RD: http://rdraughn.blogspot.com/2011/03/7-making-visible.html
I really like how RD's narrative story creates map-like visuals that are disrupted by a seemingly ordinary event. Perhaps a mapping assignment could capture this structure. Students could create maps of their everyday lives. These could be literal (using technology like Google Maps) or more figural (maps from the Middle Ages could be used as references). What's important is that students identify all of the important environments they move in and out of every day. After this is established, certain sections of their maps could be examined for further study. Sites like Geologic City could provide inspiration for viewing routine environments in a new way.

Stephanie: http://defineartabroad.blogspot.com/2011/03/7-making-visible.html
The prank played on Stephanie certainly got her to re-imagine her living space! Like the mapping activity described above, I think students would find it interesting to become their own interior decorators. Bedrooms provide such an important space for childhood expression. One activity could start with mapping out bedroom spaces on graphing paper (using measurements from home). Afterwords, the student could design an entirely new bedroom based on the same birds-eye/interior decorating view, or move to another method of virtual decorating. The limitations of currently available bedroom furniture should be thrown out the window and learners should use their imaginations to come up with creative sleeping, studying, and playing areas. Andrea Zittel's work could be considered, along with other artists and industrial designers that work with pushing boundaries of functional spaces.

Steve: http://www.personal.psu.edu/swi100/blogs/s_izzos_aed_813_blog/2011/03/blog-entry-7-making-visible.html
Steve's story provides multiple interpretations of the same site. I think this would translate nicely into a digital-photo based assignment focused on different experiences of the same environment. First, students would have to consider the physical properties of shooting a site many times (the differences and emotional values inherent in worms-eye-view vs. birds-eye-view, shadows, etc). Then Photoshop manipulation could filter different colors and/or change focus. Learners would have to "step into someone else's shoes" in order to feel how different people (or other beings) experience a place and try to visually represent those emotions.

Blog 7: Making Visible (Story, Part 2)

Years ago, before efficiency, deadlines, and economic booms and busts were discussed as frequently as the weather, the afternoon heat shut construction down for a few hours. Just enough time to have lunch and rest—the only physical activity viable in these humid and scorching hours.

But it is different now. My supervisor says that this pier must be completed before next year’s tourist season starts. Yachts and over-priced sandwich shops will soon replace the rocky beaches and local cantina. Will I still be allowed to sit at the counter and order a drink in my work clothes and boots?

I turn and stare at a gringa sitting in public ferry terminal putting her digital camera back into a large black bag. What is she doing here, and why does she want a picture of me? Shouldn’t she be back in her luxury hotel, ordering coconuts and lying on the beach? This is my territory. Even if it doesn’t last for much longer, she doesn’t belong here yet.

Yet.

See Blog 7: Making Visible (Background, Part 1)

Blog 7: Making Visible (Background, Part 1)

My skin is the color of “cosmic latte.” I found this out after browsing Wikipedia’s list of colors. On one hand, it’s sad to think that my outside reflects a universal nothingness. But perhaps I can take comfort knowing that I’m a visible connection to the cosmos. After all, every human has a teaspoon of the particles from the Big Bang inside our bodies. (I found this out when I went to the Natural History Museum in NYC last week.)

If I try to stay still long enough while sitting in the sun, my skin turns into an alarming shade of pink reminiscent of creamy tomato bisque. It’s for this reason that I constantly slather on sunscreen if I begin to think there’s a chance of sun exposure. That, and I am terribly afraid of following in the footsteps of so many fair-skinned comrades and developing skin cancer.

But all of this is beside the point. Last week during spring break I visited Puerto Rico. As a very fair skinned (and redheaded) continental American, I could almost physically feel that I was expected to act in specific ways, think of specific things and desire specific wants. I was a gringa on vacation.

I noticed the look of surprise on the faces of fellow bus travelers when I chose to take the 75-cent public transportation into the town center instead of a private taxi. When waiters asked for my orders in English, I would continue to respond in my own version of broken Spanish.

I ordered local dishes like Mofongo and Mallorca rolls, not cheeseburgers and cereal. Why would I travel to a (somewhat) foreign destination and be satisfied with the same experiences and food that I could find at home?

As the week went by, I wondered how the prompt in our class (see below) connected with my current experiences. The picture above was taken from a public ferry dock looking out towards a construction area near San Juan. I would never have accessed this public area if I had stuck to taxis and private tours. Yet it represents an authentic Puerto Rico to me: a run-of-the-mill scene set in a beautiful paradise. As I saw this image unfold, I realized that it visually portrayed the emotions I was trying to reflect upon. On one side of a man-made fence, local construction workers go about their quotidian activity. I, however, am left watching from the other side. I'll create a story about this in my next post. (See Blog 7: Making Visible (Story, Part 2))

Why is it intrusive for a visitor to ignore prescribed tourist routes? I was not loud or bothersome, but I felt as if I was expected to become so. It is a sad state of affairs when the mere existence of a polite, self-contained, cosmic-latte-skinned woman becomes visible by challenging the status quo.

Assignment: Find something that invites the public into a different route or routine, i.e., a pause in their typical everyday way of seeing and moving through space and time. Take a photo, sketch it, or make it visible in your blog post. Create a story that contextualizes the everyday routine way of knowing and how the something that you found (or placed/did) in that everyday environment disrupts, challenges, or changes public action and knowledge.