heart-sleeve teaching blog.

so much thinking, so little posting!

2010-04-18T20:31:00.000-07:00

i just had to pop by for a quick minute to let you know that:

a) i haven't forgotten about you, blog
b) i still totally care, a lot
c) i just attended 4 awesome days of the national art education association conference and have so many thoughts percolating in my brain (AND i met visual culture gurus/demi-gods kerry freedman and kevin tavin!)
d) i keep having to push those exciting thoughts to the back of my brain to tend to more pressing matters

i'll be back soon i swear (see above, re: so many things in the brain)! i'll leave you with this image and its multi-faceted implications as a piece of visual culture:

plus, it's funny.

postmodern principles and newspaper blackouts.

2010-02-11T12:11:00.001-08:00

appropriation. juxtaposition. recontextualization. layering. interaction of text & image. hybridity. gazing. representin'.

these are olivia gude's postmodern principles (read the full article here), which she proposes as a re-orientation of the goals for 21st century art education. rather than focusing on the modernist superlatives of formality: rhythm, balance, contrast, etc., gude investigates content-based principles, rather than the aesthetic ones that have propelled art education standards for so long.

convenient for me and the purposes of this blog, the giant field of visual culture addresses all of these in a remarkably direct way. perhaps because a) these principles are purposefully and thoughtfully designed to be accessible, thought-provoking, and broadly applicable to students/artists of all walks of life, and b) visual culture is a hugely inclusive and flexible term, these two fields collide in a messy and beautiful venn diagram that is ripe with potential for art-making and learning, thinking and doing.

particularly interesting and exciting to me at the moment is how a list of quotes on creativity, originality and authenticity by austin kleon (a self-proclaimed "writer who draws") folds into this mix. his work, constructing poetry by isolating words within newspaper articles, celebrates many of these principles (see below, "how it works" and "agoraphobia," via 20x200):

the list he published on his blog, cheekily titled "25 ways to steal like an artist" actually hosts some really interesting quotes from artists of all sorts that speak to many of olivia gude's principles, a great resource or starting place for classroom conversation. here is my favorite, from filmmaker (coffee & cigarettes, broken flowers) jim jarmusch:

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent.”

and this one, by musician (night falls over kortelada, oh you're so silent jens) jens lekman:

“The beauty of the collage technique is that you’re using sounds that have never met and were never supposed to meet. You introduce them to each other, at first they’re a bit shy, clumsy, staring at their shoes. But you can sense there’s something there. So you cut and paste a little bit and by the end of the song you can spot them in the corner, holding hands."

especially for students concerned with the validity of their ideas/intentions, there were so many salient bits of writing in that list to motivate and affirm. other more controversial/ opinionated quotes would make excellent starting points for dialogue about how we define and identify creativity.

it was hard to choose just a couple, and i highly recommend further investigation into gude's article, kleon's work, and the rest of these quotes, to see what additional connections emerge. gude's principles function as colored lenses through which to examine visual culture from various perspectives. WOW so exciting!

potential pitfalls of visual culture in the classroom: the oddly-specific reference

2010-01-03T21:16:00.000-08:00

story time!:

there was a student in my sequential art class who, during every critique without fail, would grind the conversation to a screeching halt by comparing someone's comic to some hyper-specific, highly obtuse cultural reference, usually to an 80's video game or d-list superhero that next to no one in the class was familiar with. while the comment was meaningful and likely illuminated the comic under discussion to those in the know, everyone else was instantly excluded and disconnected from further dialogue about the work at hand.

and there it is! visual culture pitfall number one, "the oddly specific reference."

so, how can we use visual culture in the classroom, when each and every student will have a different frame of reference?

1. level the playing field: bring in and share content with your class (so everyone is informed!) as it relates to your lessons.

2. show and tell: have students bring in and share their own ideas about content that relates to classwork. you can expand your own frame of reference this way, too, and challenge students to think differently about the way they engage with and consume media culture.

3. visual culture as content: further ask students to explore the role visual culture plays in their lives by having them make art about visual culture, rather than using it as a lens through which to examine other content. consider olivia gude's principles of possibility and postmodern principles, both of which directly address many of the themes and issues that surround visual culture and its role in our contemporary lives. more on that later, since i, ahem, love olivia gude.

are there other practical ways you see visual culture playing nice with the whole class and leading to inclusive, informed dialogue?

an awesome resource with an awesome (albeit not-so classroom-friendly) name:

2009-12-23T14:47:00.000-08:00

while probably not something that you could pull up in your classroom to share with your students directly, fuck yeah, advertising! is an incredible resource for advertising that showcases traditional art-making techniques in real-life contexts:

(ad for the new google chrome browser)

...that ilustrates the relationship between form, function, and idea:

(ad for hair loss program)

...that can act as an introduction to other big ideas/questions:

(ad for the american red cross)

...that opens discussion about where the line between life and culture is (if there is one) and how/if we control our relationship with consumerism:

(ad for hp photo paper - what's real, what's not?)

...and that can be used/taught in countless other ways. advertising is a rich and relevant (and often controversial) area of visual culture that is really accessible, often self-referential, and endlessly applicable in the classroom. also take a look at the slightly less profane but still worthwhile creative criminals - both blogs are excellent, frequently updated resources (that are really great about citing their sources and creative/art directors as well).

making art about material culture: obsessive consumption

2009-12-23T00:08:00.000-08:00

i recently purchased (hey, irony) a print from kate bingamin-burt, who maintains the blog "obsessive consumption," where she draws the things she buys on a daily basis. kate is another artist whose work directly addresses issues of our material-based culture:

while visual culture is a teaching tool that can be used to engage with countless big ideas, it can also be the very content being explored.

"why can't we be friends?" - traditional art and visual culture exemplars.

2009-11-25T18:41:00.000-08:00

i recently read julia marshall's essay in contemporary issues in art education titled "exploring culture and identity through artifacts" which examines how contemporary art practices can shape and inform art lessons, rather than relying on traditional art-making habits that may not reflect our modern ways of thinking, working, and living.

her investigation of contemporary art practices, which included art as research, art as cultural lens, and art as purposeful critical inquiry also highlighted the role of visual culture (or specifically, non-art visual culture, if such a clear line can be drawn) in modern artmaking processes and lessons surrounding these new practices. she further explored the idea that visual culture exemplars of in some cases have a stronger and more authentic conceptual relationship to art lessons around these ideas than the tried and true fine art exemplars. especially in examples of research-based artmaking exploration, the resources that students are inundated with are visual culture examples, which can include the work of fine artists, but shouldn't be limited to it.

couldn't both ingres' odalisque and contemporary magazine covers be used side by side to examine the standards of beauty at various point in history?

couldn't robert and shana parkeharrison's photographs coexist alongside "reality" television to flesh out the idea of constructed realities?

what other connections do you see between contemporary culture and fine artists' big ideas that could together support lesson plans more meaningful to students?

childish behavior.

2009-10-25T13:09:00.000-07:00

i recently read a short article by paul duncum regarding the nature of childhood in contemporary issues in art education, a collection of essays edited by yvonne gaudelius and peg speirs. in "children never were what they were: perspectives on childhood," duncum actually discusses the child almost not at all, instead focusing on the adult definition of childhood. this seemed like a peculiar angle to approach this topic from, and ultimately he ended up illuminating more about the nature of adults than of children.

an interesting question he did raise compared the imagery our culture creates (and propagates) of children and its multiple audiences. images of children created by children as compared to images of children created by adults (and furthermore, for a child audience or an adult audience) are vastly different. consider historically, the egyptian representation of children as tiny versions of adults with thin elongated limbs (because it was thought to be more beautiful, seen here in akhenaten and nefertiti):
alternatively, consider now how children are depicted in shows geared toward adults, versus how children are depicted in shows geared toward children, especially in interactions/situations with adults as well. when the lovely ms. jean marie blogged about modern family, a new abc sitcom examining various family formats and dynamics, my curiosity got the best of me and i watched the first few episodes. they do a fair job of staying true to contemporary child behavior, actually. they still have the prima donna teenage daughter, the misfit middle child, the dennis the menace younger brother, and even a "wise beyond his years" son, ever the voice of reason. the characters are reasonable, though, not over-simplified parodies of humanity: consider then in comparison, iCarly, a nickelodeon kids show about a 14 year-old girl who lives with her wacky older brother and runs a wildly popular web show from her house. here, the youth are essentially tiny adults. there are no parents in the picture (they are conveniently overseas somehow), carly is the creator and host of a web show, and the three friends have a weirdly casual relationship with the school principal. the show has many subtle ways of elevating the "children" (really teenagers) to an adult/independent status, to appeal to the child's sensibility of mimicking adult behavior (as christine marme thompson discussed in her article that i posted about a few weeks ago). this show is also aimed at an even younger audience (think 9-12 year olds) than the characters in it, furthering the disparity between child and adult behavior. duncum's point seemed to be that our adult definition of childhood is really a manifestation of our own need to assert our adulthood, and that the childhood innocence is virtually non-existent. based on the promotional strategies for toys, television shows, and products for children that are all about appearing/acting more grown-up, i'd say that this definition has to be only part of the equation. clearly the folks in the marketing departments have a pretty clear grasp on what children want out of childhood, for better or worse.

my inner nerd is showing.

2009-10-20T09:25:00.000-07:00

so i can't believe it took me this long to post work by the exceptional scott c here! he is an artist/illustrator-type whose claim to fame (aside from being tremendously prolific) is smart, witty work riddled with pop-culture references/tributes. see below two from his "the spidermans" series ("costume spidermans" and "open mike spidermans"), followed by two from his "E.T. fun times" series (first "logicking" with his star trek buddies followed by "jumping" with the dukes).

these are part of his "great showdowns" collection (and there are many more to be seen on his blog - can you identify the films he's selected?) below this is scott's poster design that 100% warrants a "click to enlarge" for an annual show in l.a. called "crazy 4 cult" that is entirely dedicated to art based on cult films. you should really click it - it gets huge and incredible.

all of these works were part of recent group/solo shows scott participated in at venues like gallery 1988, and gallery nucleus, AND he has exhibited across the country and abroad, AND has been published countless times. did i mention he also writes/illustrates a daily comic over at double fine action comics? so basically, he's amazing. and, he's highly respected as an artist, even though naysayers (BUT NOT ME NO WAY I LOVE HIM) might point out that his work is built on content/characters that are not his own and is narrowly aimed at the twelve-year old boy demographic. clearly, with all the positive acclaim he's getting, those naysayers are wrong. but he does occupy an interesting place in this art vs. visual culture fake-battle. where/how would you classify scott's work, other than AWESOME?

robin rhode and the age-old question.

2009-10-18T15:19:00.000-07:00

at the maryland art education association (maea) conference on friday, i was introduced to the work of robin rhode thanks to teresa roberts, who did a wonderful session on rhode's work as it can be applied to classroom art-making experiences involving flipbooks, stop motion animation, performance, and serial photography.

rhode's work frequently includes references to pop and material culture. the top image is part of a serial called "he got game," titled after the spike lee movie from 1998. the bottom, entitled "untitled, dream houses" (which you can click to enlarge!) shows rhode struggling to collect all manner of discarded physical belongings. he discusses his work as it relates to contemporary culture in the below video from the wexner art center:

coldplay's strawberry swing music video by the art collective shynola uses a similar technique and even touches on some similar themes, but music videos in and of themselves are often considered pieces of visual culture, rather than works of art:

NOTE: the "official" and higher-resolution version is infinitely more awesome, but has been blocked from being embedded. if you'd like to view that one, click here. this one'll get the point across, but man, the fancy version is unbelievable.

what makes one of these art versus culture? if visual culture is informing rhode's work, and rhode's artwork is (presumably) informing shynola's piece of visual culture, then... IT'S LIKE THE CHICKEN OR THE EGG.

transience, visual culture, and jim & pam.

2009-10-11T09:32:00.000-07:00

one aspect of visual culture that keeps popping in those who resist its incorporation into curriculum is its transience: the fact that, as we live visual culture, its difficult to discern at a given moment the crap from the classic, for lack of a more refined turn of phrase. what determines what snippets of culture become legendary icons and what becomes a weird hiccup in the collective conscience lasting until something new and shiny comes along?

take for example the "jk wedding entrance" video that swept the internet like wild fire over the summer, only to fade out of the public interest. this week it was revived and directly referenced in jim and pam's wedding on the most recent episode of "the office:"

this silly (and a little awesome) video, song, and moment will be forever immortalized as an icon of this time, even though it is so seemingly so inconsequential. it's always interesting to meet someone who knows about/shares enthusiasm for some oddly specific piece of pop culture trivia, like an instant connection between you is formed through common appreciation. that feeling of, "wait, you watch/read/listen to/know about/love this TOO?!" is inexplicably gratifying. and the office pulled together millions of viewers in that way with their inclusion of theat wedding dance.

pop-culture for everyone.

2009-10-11T08:51:00.000-07:00

in my internet-snooping, i found a few other organizations that i am jealous i don't work for:

americana: the journal of american pop culture is my new favorite thing. the present issue gives the academic treatment to csi and finding nemo, among others. i can't lie, i long to attend a large university perhaps only for the opportunity to enroll in classes like "philosophy and star trek" or "the simpsons: sitcom as political and social satire," so this journal had my loyalty almost immediately. it's only published semi-annually, but you can peruse their past issues on their site back ten-plus years, so there's plenty of material.

popmatters is a similar online pop culture journal, with more emphasis on the 'pop' and less on the 'culture.' they have features that hold their own against the more academic "americana" journal, but they exist alongside reviews, regular columns, and a section called "moving citations" that keeps an eye on relevant articles/links floating around on the internet as they are published.

the national association of comics art educators (who go by NACAE and pronounce it 'nay-say', apparently) are a group of, well, teachers that really dig teaching about making comics. there website requires some rooting around and a discerning eye, but there are quite a few solid ideas on their site that can be adjusted for use in a variety of contexts. i am wary of mentioning the available prompts, exercises, and lesson plans due to their propensity for misuse, but the site actually contains some interesting ideas to digest and incorporate in teaching practice (rather than simply regurgitating mindlessly). ultimately, a lot of the content boils down to strategies for teaching students to communicate in various visual/non-traditional ways.

THANKS KATIE.

2009-10-03T21:04:00.000-07:00

i was alerted (by the effervescent katie morris) to this article by christine marme thompson, collected in the book "when we were young: new perspectives on the art of the child" by jonathan fineberg. i found a .pdf online, you can read the full text by clicking the link below! that is neat.

in "the ket aesthetic: visual culture in childhood," thompson discusses the allure of visual culture for children being more about accessibility (visually stimulating content outside of reading/interpretation skills that young kids may not be equipped with) and more interestingly, about adopting a culture outside that of the adult world. thompson points out that "ket," originally a term for "an assortment of useless articles" and now a british slang term adopted by the nation's youth for small candies bought with weekly allowance, serves as a nice metaphor for children's culture that is separate but dependent on adult practice. the creation of this culture is appealing to youth because it is their own: the appeal of saccharine sweets or outlandish television shows can be traced to their independence from adult culture.

also interesting to me was the idea that adult resistance to visual culture content, particularly i schools where it is often deemed inappropriate or devoid of educational value may be from the simultaneous desire of children to establish their own reality outside the adult world and the adult effort to self-validate by seeing our children/students doing worthwhile, relevant things.

she goes on to discuss the value of toys/characters as a springboard for children to create/observe with hyper-specificity as they attempt to differentiate between multiple characters within a single universe (her example were the carefully noted minute differences in character design when children render the homogeneous teenage mutant ninja turtles). she also acknowledges, with a sort of "whether you like it or not" tone, that no matter how much the education world insists that visual culture is worthless, distracting, etc., etc., it is a HUGE force in the lives of children, and that by trying to ignore/marginalize its presence in schools is foolish.

i like this woman.

the one alarming statistic that she did throw into the mix was that 3/4 of all toys sold in the united states are "licensed" to a particular media character/program. it's a little strange to me that the appreciation and integration of visual culture excites me, but the thought of pedantic derivative toys (nothing handmade, nothing original, nothing imaginative) flooding the collective childhood of america makes me cringe. but man, does it.

visual culture superstar: song dong.

2009-09-27T20:37:00.000-07:00

song dong's recent installation at moma, "waste not" included a meticulous arrangement of every single object in his mother's home, collected over 50 years of obsessive hoarding. the evidence of a life so carefully preserved and carefully composed gives a visual representation to the material culture we live in and treasure. while song dong also artfully addresses additional themes of displacement and survival, the sheer volume of material is impossible to ignore as an indicator of our visual culture.

visual culture superstar: nicholas felton.

2009-09-27T20:18:00.000-07:00

nicholas felton is a designer slash quality human who has made some excellent work addressing the idea of visual culture. his collaboration with matt mason for "we tell stories: hard times" takes a beautiful look at how various aspects of our visual culture like technology, social networking, and more have shaped our expectations and behavior as a society.
he is perhaps most known for his series of "feltron annual reports," a graphic map of a year of his life that quantifies, compares, and analyzes his life and puts it on display, amplifying the significance of his daily minutiae. he has also developed a website called daytum that similarly allows users to select, collect, categorize, and visually organize anything from the number of flies exterminated to frequency and location of central park hot dogs consumed.

no turning back now.

2009-09-27T15:39:00.000-07:00

so i am terrible at making decisions. that said, i am putting in writing so i can never take it back the topic i wish to research from now until forever ad nauseum!

okay, it's visual/material/media culture, or whatever you want to call the by-products of our super-visual society.

it's a pretty all encompassing topic, but for whatever reason, the phrase 'visual culture' or the like causes instant polarization. semantics aside, i'm really interested in visual culture as this huge untapped resource for learning about... everything ever. this enormous part of everyone's collective existence, one near-universal frame of reference, has been marginalized and denounced as somehow less valid than 'not visual culture' (a tough thing to pinpoint, by the way). it's important! it's exciting!

a new friend for heart-sleeve studio.

2009-09-05T12:03:00.000-07:00

heart-sleeve studio (and its companion blog, heart-sleeve studio blog) have served as my online handle for what i lovingly refer to as my "illustration and other nice things" for quite some time now, mostly because my name is unreasonably difficult to spell. here we have a new friend to showcase all the other nice things that i didn't actually draw slash make myself, but instead want to share so other people can make or teach or learn them too. feel free to visit heart-sleeve studio to see where i'm coming from (and probably notice that the distance is not very far at all). in any case, welcome!