Observations Concerning the Studio/Classroom

Inform Investigate Execute Assess

The first step in teaching is one of informing and inspiring the student with various methods of artistic practice concentrating particularly upon the conceptual themes of artists. In the studio/classroom professional artists are examined from both contemporary and historical idioms. These presentations may range from the murals of Diego Rivera, the public persona of Andy Warhol, the earth works of Anna Mendieta, conceptual drawing of Sol Lewit, the recycling actions of Merell Ukeles, the light projections of Krzysztof Wodiczko, the psychological scenerios of Eric Fischl, the performance work of Tehching Hsieh, installations of David Hammons and the native activism of Charlene Teters. This examination of the artists’ notions are best done through video-taped artist interviews. These videos profile the artist’s ideas and work in their own words. I have collected a library of contemporary artist video interviews and exhibition catalogues, each including over seventy artists. Using this video resource I can introduce new artistic concerns and follow up the video program with an in-depth, thoughtful class discussion.

After beginning the creative process with an informative foundation I move forward to an investigative mode. This investigation is one that takes place within the students’ psyche. The student is asked to mine one’s own values, histories and concerns as artistic resources. An example of a student project may be to create work from the viewpoint of dualities; i.e. good/ bad, speak/ listen, rich/ poor, empty/ full, life/ death or happy/ sad. To include both realistic emotions from each end of the human spectrum can place the students art in a personally adventurous stage where true and meaningful development can occur. From this charged point the student can discover and bring forth important individual expressions.

As a third step aligned with the emotional investigation the student is also aided in the execution of the idea with appropriate artistic techniques and materials. The method of physical manifestation of the work will be the selection of the student, whether it be drawing, painting, sculpture, installation, sound work or performance. The student shall be assisted in gaining the required skills to utilize necessary 2-D, 3-D or intermedia forms that will articulate the students vision. Certain limitations in theme and form may be suggested in order to focus upon artworks that can be achieved with moderate to high levels of success. The execution of the work is of utmost importance. The pairing of concept to plastic manifestation shall facilitate the artistic transmission and act of communication.

As a final step in the process of a student artwork a group assessment shall be made.

For the student/ artist the act of verbally communicating with artistic observations is a key skill which will be developed. The progress of the artwork will be evaluated as to the prescribed intent, emotion, technique, manner and meaning which is represented within the work of art and it’s interaction with the viewer.

To encourage this four-part process I intend to foster a classroom artistic community. The students can profit greatly by exchanging suggestions and viewpoints. A solid attendance policy will be in place to support the form of a weekly artist community. Each day that the class is scheduled to meet I plan to speak individually with each student. These one on one consultations will serve to update their progress and explore any questions. This method of teaching will also offer me a clearer vision of the students needs.

In an effort to excite the students and familiarize them with the art field, I also plan to hold informal seminars dealing with very current art world activities in which I happen to be participating. These efforts can serve to de-mystify the professional art practice and encourage the students to engage in similar creative venues whether local, regional or national.