Teaching From Artists

Teaching From Artists

Teaching from artists is key in an art classroom. It teaches students how professionals act in the field, methods in which one might make art or engage with art objects and the significance of art in the world. The following is a quick blurb about several artists covered by Art21, which I highly recommend to help students understand various artists and their processes. 

IPTS 2: The competent teacher has in-depth understanding of content area knowledge that includes central concepts, methods of inquiry, structures of the disciplines, and content area literacy. The teacher creates meaningful learning experiences for each student based upon interactions among content area and pedagogical knowledge, and evidence-based practice. 

For me, investigating and continually searching for artists and studying their practices is a way of increasing my knowledge of in-depth content knowledge in the field of art. I also believe these artists present real life evidence of the effectiveness and various uses of elements and principles of art. 

Frieda Kahlo

Kahlo, Frida  (Painter). (1943). Self-Portrait Thorn Necklace and Bird [Painting], 

Retrieved October 9, 2014 from: http://www.galleryintell.com/wp-content/uploads

/2013/10/frida-kahlo_self-portrait-with-hummingbird1.jpg

In order to teach my class about Frieda Kahlo, my teaching partner and I put on a performance piece where I pretended to be Kahlo and she interviewed me. We thought this would be an engaging way to show what we knew about Frieda Kahlo that was interesting and unusual.

IPTS 5: The competent teacher differentiates instruction by using a variety of strategies that support critical and creative thinking, problem solving, and continuous growth and learning. This teacher understands that the classroom is a dynamic environment requiring ongoing modification of instruction to enhance learning for each student. 

For me, presenting this information via performance piece was far more engaging than the typical power points or videos that accompany the presentations of artists. It allowed for a different, more personal engagement with the material rather then being a receptacle for information. 

Here is a mock gallery brochure we created about her work: Brochure

Here is the script:

MOCK INTERVIEW SCRIPT: FRIDA KAHLO

1. What is your name?
Magdalena Carmen Frieda Kahlo y Calderón.

2. Tell me about your younger years. Where were you born?

I was born July 6, 1907 in Coyoacán (near Mexico City), Mexico in her parents’ house, “La Casa Azul”.

3. Tell me more about your heritage.

I am Mexican. My cultural affiliations were present in my work through vibrant colors and strong symbolism. I often used the monkey as a sign for guardian or protector.

4. What kind of work is typical for you?

I am an oil painter and I typically do realistic self-portraits. 

5. What inspired you to paint? What kinds of people influenced your work?

I became a painter making art initially because I was recovering from a car accident. I was not exposed to many people when I was a teenager. Then I married a painter, Diego Rivera, which was not a healthy relationship. I was bed-ridden for a large portion of my life and made over 200 pieces of art in that time (143 were paintings, and 55 of them were self-portraits).

6. Tell me more about Diego. What caught your eye?

I was heavily influenced by Diego Rivera. I admired his paintings before we met. I showed him my paintings and he began mentoring me. Soon after, an intimate relationship began and we married 2 years later.

7. What is the intent of your work? Any goals in making the portraits or are they simply images of yourself?

My intent is to show my pain through symbolism and Mexican culture. I painted because I was often immobile, so I could not go out to do things. I only held one exhibition in Mexico that I was ordered by my doctor not to attend because I was bed-ridden. Despite the doctor’s orders, I went anyway. I had an ambulance take me, still in bed, to the exhibition and had four men carry me inside to see my guests.

8.  Any political agendas stem from your works?

            No, mostly just personal inspection of my own experiences as a woman, though there are a few pieces that I painted that have a strong communist tone. I did paint myself alongside a portrait of Stalin.  Although I do support the Communist Party with my husband Diego. We recently attended a street demonstration in Mexico. When I got to the U.S. I really was empowered to be a stronger communist because of the corruption and climate there. Ugh, I could not stand the rich there; they swallow up so much money and resources for themselves. Though I have met with the American communists and their groups and I can say that I’ve learnt so much here and I’m more and more convinced it’s only through communism that we can become human.

9. Speaking of which, I’ve noticed that you do a lot of self-portraits. Do you consider them your most significant works?

            Yes actually. I paint myself because I must deal with and organize my experiences as a female artist and communist. Because I am so often alone.... because I am the subject I know best. I can look at myself and know myself better than anyone else, and I paint the selves I know on the canvas. The self that I am without shame. And it isn’t like I meant to be a painter. Like I said, I was studying to be a doctor before that accident. I painted to combat the boredom and pain. I felt I still had enough energy to do something other than studying to become a doctor. Without giving it any particular thought, I started painting.

10. Do you have any inspirations or significant events that influence your portraiture? Is it simply just a representation of you?

            Yeah I have quite a few. I am a good friend with Leonin Trotsky and I have such a strong allegiance to the communist party. I think my communist ideals come through my work. I also had a really horrendous accident several years ago that really what got my work rolling. A streetcar hit me and it pierced me through the belly. I still suffer the repercussions of that accident. Though I have always had poor health as you know. I don’t consider all of my health issues to be accidental, it has a purpose. I suffered two grave accidents in my life…One in which a streetcar knocked me down and the other was Diego. I suffer polio and other such diseases so this just adds to the heap of emotional trauma that takes a huge role in my paintings. Sometimes I paint dual portraits in surrealism. That surreal state sometimes is the best way to describe the pain that I feel. It is almost unreal.

            I also take after the rich Mexican culture that I grew up in. All of the religious iconography is an influence to my works. My mom was a Catholic and my dad was Jewish so it can be interesting to navigate both at once, though I myself am Atheist.

11. I also note that you never had children, is that right? I am referring to a rather startling painting you made of a birth gone wrong.

            Yes, because of my injuries and medical issues, I am actually am infertile. It is something that I deal with on occasion. A streetcar had taken my function as a woman in a woman’s body from me and I am never to have it again.

12. It seems like your artwork deals with a wide range of issues. What do you want your legacy to be? What kinds of messages do you want to give to other artists?

            I hope that my work influences true self expression. My work shows my personal beliefs about gender and the dichotomies that come with society’s views on genders. My work breaks down gender barries by my proud display of masculine features. I also deal with my issues of pain and suffering through the  accidents. I hope that I can shape how artists choose to view themselves and provide the groundwork for portraying onesself in a way that goes beyond making something pretty. Make something meaningful!

Works Cited

Biography of Frida Kahlo. (2014, January 1). Retrieved October 11, 2014, from http://www.fridakahlo.com

Frida Kahlo Biography. (2002, January 1). Retrieved October 16, 2014, from http://www.frida-kahlo-foundation.org/biography.html

Frida Kahlo: A timeline of her life. (2008, January 1). Retrieved October 5, 2014, from http://usatoday30.usatoday.com/life/movies/news/2002-10-21-frida-timeline_x.htm

Frida Kahlo. (n.d.). Retrieved October 5, 2014, from http://courses.washington.edu/femart/final_project/wordpress/frida-kahlo/

Garber, E. (1992). Art Critics on Frida Kahlo: A Comparison of Feminist and Non-Feminist Voices. Art Education, 35(2), 42-48.

Kershaw, T. (2013, January 5). The Religion and Political Views of Frida Kahlo. Retrieved October 9, 2014, from http://hollowverse.com/frida-kahlo/

The Revolutionary Artist: Frida Kahlo. (n.d.). Retrieved October 5, 2014, from http://courses.washington.edu/femart/final_project/wordpress/frida-kahlo/

Stechler, A., & Herrera, H. (2005, January 1). Life and Times of Frida Kahlo. Retrieved October 6, 2014, from http://www.pbs.org/weta/fridakahlo/today/herrera.html

Faith Ringgold

Source: http://a1.files.biography.com/image/upload/c_fill,dpr_1.0,g_face,h_300,q_80,w_
300/MTE4MDAzNDEwNjcyMTI1NDU0.jp

Faith Ringgold was a feminist and civil rights activist. She grew up with a supportive family who encouraged her to go into the arts and expected her to attend college. While in college she was told by her professor that she couldn't draw or be an artist, and she remained determined. In the art world she had to figure out how to transport her work in a cost effective way. She was inspired by Tibetan art that was framed in cloth, and loved how one could just roll up and store artwork, which is what inspired her to quilt. Through painting on and creating quilts she mixes her European training with her African cultural background by making utilitarian quilts beautiful. Her work deals with being an African American and a women in the world. 

Faith Ringgold Sunflower Quilting Bee 1991
Source: http://madamwalkerfamilyarchives.files.wordpress.com/2011/08/watermark-faith-ringgold-sunflower-quilting-bee-at-arles1.jpg

Adapted lesson plan: I would ask students to make a utilitarian object into artwork, something beautiful that touches not only on their background or culture but a social issue that is meaningful to them. By doing this, they are engaging with one method of creating art. They also can begin to understand deeper social implications of art beyond making an object that is aesthetically pleasing. I think this also will help me as a teacher understand my diverse group of students more, as they explain their cultural backgrounds and their social issues through their art pieces (IPTS 1: The competent teacher understands the diverse characteristics and abilities of each student and how individuals develop and learn within the context of their social, economic, cultural, linguistic, and academic experiences. The teacher uses these experiences to create instructional opportunities that maximize student learning).

To see more of Ringgold's work, click here: http://www.faithringgold.com

Art21: Faith Ringgold [Motion picture]. (n.d.). U.S.: PBS.

Raymond Pettibon

Source: http://www-tc.pbs.org/art21/files/images/pettibon-raymond.jpg

Raymond Pettibon has a broad interest range when making his images. He claims his process is similar to how an athlete might exercise their muscles. His works are very illustrative and present a sort of narrative. Much of his work is highly critical and makes commentaries against the powerful, decadent or elitist culture that exists in America. His goal in his works is not to demonize the figures he displays, but to set them on an even playing field. He is inspired by film noir, baseball, and locomotives among other things. His work often has a humorous quality, though he claims he doesn't want cheap laughs, but hopes to preserve the respect of certain situations that are out of someone's control. 

Source: http://www.thecitrusreport.com/wp-content/uploads/2011/07/rpitisavery.jpg

Adapted lesson plan: I would ask students to explore expressing movement and form using ink. I think seeing Pettibon's process and how often he makes works of art will inspire students to express their thoughts and interests in a similar manner. I would not ask them to merely copy his style, but I would ask them to work in a similar manner. For example, Pettibon is less concerned about making perfect lines or shapes, but rather he is using the ink and adjusting to each line and stroke he makes. I think for Middle School students this is especially important because they often think of realistic images as the only images that have worth in art. I would ask students to consider the power that comes with being more illustrative and to roll with the "mistakes" that happen with less forgiving mediums.

To see more of Pettibon's work, click here: http://www.raypettibon.com

Art21: Raymond Pettibon [Motion picture]. (2003). U.S.: PBS.

Kara Walker

Source: http://img.timeinc.net/time/time100/2007/images/kara_walker.jpg

Kara Walker produces iconic silhouettes of figures that reference the African American experience during the time of the Civil War. She was inspired by the film Gone with the Wind and describes it as epic, gross, and inspiring. She uses silhouettes to present the subject but in an indirect way, almost in avoidance. Her work mainly deals with exchanges of power such as stealing. She claims that her silhouettes are a didactic tool, used to teach about African experiences and the human experience. Exposing realities of exchanges of power without directly addressing the subjects. She stresses that her works should surround the viewer, because the viewer is what holds the tension among all the elements of the narrative that Kara presents. This method of surrounding her audience in the narrative allows viewers to be implicated by the narrative, becoming an active player in the story. Her style also is ironic in that it takes rather horrendous acts such as theft or abuse and displays them in the context of whimsical and playful silhouettes.

Kara Walker A Means to an End 1995
Source: http://upload.wikimedia.org/wikipedia/en/f/fc/Kara_Walker_-_'The_Means_to_an_End--A_Shadow_Drama_in_Five_Acts',_etching_and_aquatint,_5_panels,_1995,_HAA.JPG

Adapted lesson plan: Students would study Walker's work as a method of concealing and revealing a big idea. I think students could use her work with silhouettes as a baseboard to how one might use concealment in art to make a point about a greater social issue. This is especially important for the middle school age because students are concealing and revealing constantly in their social groups, pressured by the need to fit in with other students and groups. I think a lesson about the elements of narrative such as time, setting and character development could be taught based on Walker's work. Students can engage in various storytelling activities that use a multitude of artistic techniques such as puppetry, paper dolls, cartooning and other methods to explore how narrative and art can be bound together. 

To see more of Walker's art, click here: http://learn.walkerart.org/karawalker

Art21: Kara Walker [Motion picture]. (2003). U.S.: PBS.

Michael Ray Charles

Source: http://prod-images.exhibit-e.com/www_tonyshafrazigallery_com/c59f05c8.jpg

Michael Ray Charles deals with stereotypes of African Americans. He wants to make clear the differences between images the question stereotypes versus images that perpetuate a stereotype. He compares stereotypes across time periods such as juxtaposing blackface theater with the figure of Elvis from the later 1900's. By doing this, he is proving a point that these stereotypes were and still are strong and prevalent in today's society. He combines familiar pop culture images, historical images to illustrate various power shifts in a playful but startling way. 

Source: http://images.betterworldbooks.com/189/Michael-Ray-Charles-Charles-Michael-Ray-9781891475108.jpg

Adapted lesson plan: I would ask students to examine a social issue of their choice and find a way to visually demonstrate both its current status as an issue as well as draw on some of the historical events that formed these issues. I think Charles does a fantastic job of not merely perpetuating images and stereotypes, but juxtaposes various images to question that stereotype. I think this lesson would benefit as a collage, since many popular images are present in magazine and other social media. Additionally I would have students investigate and analyze images to see if they perpetuate or question stereotypes. I note that often middle level students will draw images of stereotypes, describing the conditions thinking that they are questioning them, but in fact they are perpetuating and upholding these stereotypes. In order to promote a more democratic classroom, they should be taught how to engage stereotypes and engage with them in a critical way. 

To see more of Charles' work, click here: http://www.artnet.com/artists/michael-ray-charles/

Art21: Michael Ray Charles [Motion picture]. (2001). U.S.: PBS.

Shahzia Sikander

Source: http://www.kentuckyschoolofart.org/wp-content/uploads/2013/01/Sikander_Photo.jpg

Shahzia Sikander paints in the traditional style similar to Islamic illumination often found in Qu'ran. She remembers as a child seeing the arabic letters in the Qu'ran but not being able to understand them. The letters became more of a form, something beautiful, than merely words to be read. The text becomes the image. Her artwork often deals with her own experience of being a Muslim woman. She often deals with progressive and modern developments in contrast to the very traditional lifestyle that Muslims take. She often deals with transparency, revealing and concealing that is involved with the practice of veiling.  Her artwork, especially the miniatures, requires a lot of time and patience. That meditative drawing and waiting is very important to Sikander's work.

Shahzia Sikander,  Nemesis, 2003
Source: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThobWol3-HGj1lDFm84uPno4StYC4Sa8gSm7EJs3pAZ4Gp9jHPXGRIS2OJC9hnfGInxBwbZ2d2gSt1wQO5Zm07i42IOSdSWYLeu0z8toNXpDuOeMcTJ3xOrMlpcruRdJJF8_ZGN-ghRy5/s1600/transformation-shahzia-sikander-nemesis.jpeg

Adapted lesson plan: This lesson could again explore cultural roots. I would ask students to consider how they might tie family or personal cultural traditions to contemporary issues. One might consider Sikander's work as one method of integrating traditional to the contemporary world. I would ask students to question old traditions by viewing them through a contemporary lens or vice versa. I also would ask students to consider how they might change text into an image. What blurs the line between text and image? What languages are harder to form into an image? What is easier? Why? Through this, students can not only learn more deeply about their own personal cultural heritages, but have deep engagement with other cultures and art forms.

To see more of Sikander's work, click here: http://www.shahziasikander.com/index.html

Art21: Shahzia Sikander [Motion picture]. (2001). U.S.: PBS.