NOTES 2/29

Growth! 

HAYSTACK! 

Research project--What do you want to know? 
What images do you think might provoke responses? 

Never ask a questions that is a yes or no answer. 
All questions should be accompanied by a statement. 

Setting up paper and talking to the kids, selecting artwork. 

6 STUDENTS OR 4 OR 5 to observe. 

What would you like to know about these paintings. 

How we engage with materials and what we have learned with materials as we have transformed them. 

Materials have new and different kinds of voices. 
Rooted in relationship in the world 

There is the need to be expressive. 

Early adolescent drawings. Drawing as part of a theme. 
Multiple views of space. 

The best drawing of a person from memory. 
Look very carefully at model and think very carefully about the kind of line you want to use to draw with. 

What's the same and what's different. 
(Right Memory, Observation Left) 

Body movement. 
Detail shifts. 


Liked the observation drawing more. 

Make as many different marks possible. 
Pick your favorite marks. 


EXPLORATORY IN DRAWING and MARKMAKING

How is a narrow strip of paper. THE PARTICULAR VOICE OF A MATERIALS. 
How can you draw with a strip of paper. 

NOTICE WHAT YOU'RE DOING IN YOUR OWN WORK. 

You can transform it in different ways but you can not take it apart. 

Pieces of wire to transform. Understanding different properties. Wire sculptures 

Ways to make wires and lines thicker. 

ALUMINUM SCULPTURE --- PLAY AND EXPERIMENTATION AND HOW IT AFFECTS DRAWINGS

WHEN YOU CAN'T BEAT THEM BRIBE THEM. 

More confident in line work, CONTINUITY OF THE WHOLE, pay attention to line. 

THE SELF FEELS INCONSECQUENTIAL. 

make the figure present NOT ON THE PIECE OF PAPER BUT IN THE PIECE OF PAPER

SIT ON PAPER, TRACE SELF, CONSTRUCT THEMSELVES ON GROUND PLAN OF WHAT THEY HAVE. 

Paintings on top of each other of sitting. Mural. 
Color MIXING Tonal VALUES Hue 

Think of Human figure as human figure, or as an element in a painting. Think about it different to be a part of something else. 
What is abstraction? WHAT AND WHY? 

CLAY
But no clay explorations. 
some drew on the clay 
Still stuck in drawing. 

NON LINEAR DEVLEOPMENT 
HOLISTIC
SET WHAT YOU DO IN LARGER CONTEXT OF ART WORLD. 
CONVERSATION WITH THE WORKDS OF MAJOR ARTISTS. 
RECREATE ORIGINAL REPERTOIRE 

YOU HAVE TO CHOOSE WHAT YOU CAN USE, REFLECT ON IT, WHAT'S THE PROBLEM AND MEANING. WE ARE NOT TELLING THEM ANYTHING. 

ARTISTIC DEVELOPMENT NOTES 2/22

DOODLES CARTOONS AND SKETCHBOOKS

The doodle continue throughout adolescent 
6th grade --> more complex
PARALLEL THREADS OF DEVELOPMENT

Book NOT a apart of work done in high school. 

A CONJOINING OF THINGS - FRAGMENTED, PATTERNED 

Looking at the world with a more critical eye. 

Themes: Telling stories. Social Commentary. IDIOSYNCRATIC. 

Lots and Pages of drawings 
HUGE INFLUENCE FROM MEDIA 

Complex DRAWING. INTERSECTING IMAGES. Doodling on New Technology. 

How could you tell the story of your day using lines and colors? 
THINKING BEYOND THE CONFINES OF AN IMAGE

SENSORY ENERGIES IN DOODLE LINES 

Kinds like to draw their shoes. 

Find the uniqueness of the self. AN INVESTMENT OF SELF.

DESIRE TO MAKE OWN MARK AGAIN. 
What you see externally and how to internalize it. 

Find own place in the world, understanding the dynamics already in place (culture, social sense, responding to and synthesizing). 

Curiosity in the adult world. 

The physical changes of adolescence. Where do I fit in? Who do I want to be? 

Young people ask the question: AM I REAL? IS THIS REAL? HOW DO I KNOW I'M REAL? DOES IT LOOK REAL? DOES IT FEEL REAL? 

Searching, making something look real. It doesn't always feel real.
Concern for the way things look. 

EXISTENTIAL QUESTION IN ART ROOM: HOW CAN I MAKE IT LOOK REAL? 

VISUAL REAL AND EXPERIENTIAL REAL.
Exploring new bodies in space. SPACE IS KEY. Issue for them experientially. 

Whole being in the world is physical. EARLIER FOR GIRLS than BOYS. 

Girls develop physically/sexually EARLIER than Boys. 

Bullying Problems. Acutely aware of others who are different. Bigger kids with leave little kids out. Kids that are different are left out. 

Physically, Socially ostracized from peer group for being different. 

What is identity:

A PRISM WITH MULTIPLE FACETS. 
In psychology, sociology, anthropology and philosophy, identity is the conception, qualities, beliefs, and expressions that make a person (self-identity) or group (such as national identity and cultural identity) different from others. 

WAYS OF BEING IN THE WORLD. FRAGMENTED. Adolescence --> BRINGING INTO COHESIVE WHOLE.

Sense of self is constructed in a sense of relationship and self. 

GIFTED AND TALENTED SOCIALLY CONSTRUCTED
(LIKE FASHION)

If kids don't have prior experiences coming into kindergarten, they come off looking unknowing. 

ARTS ALLOW KIDS TO BEGIN TO DIFFERENTIATE BETWEEN WHAT THEY SEE, HOW THEY SEE, AND WHAT THEY FEEL. 

We do not paint and draw objects in the world but we paint and draw our relationships with them.
WHATEVER WE MAKE IN ART, THE MEANING OF THE WORK EXISTS IN THE RELATIONSHIP BETWEEN THE MAKER AND THE OBJECT. 

IDENTITY IS VERY FLEXIBLE. 

BEING LOOKED AT. 

NOTES ON 2/8

When we make things we use ourselves. Who we are gets reflected, in some embodied sense within the art we make. 

There is an embodied self attached to it. 

WHERE DOES EVIDENCE COME FROM? 

• Historical Studies: UK, GERMANY, FRANCE, USA
• Observational Studies: Teachers, Family, Researchers (Helga Eng, studied her niece over entire life) 
• Qualitative Studies: Collection of case study materials, interviews descriptive texts
• Quantitative Studies: Collection and analysis of empirical evidence. 

Basic Assumptions about Artistic and Aesthetic Development

• Children make versions of adult art 
• Children express their feelings 
• Artistic development ends for most young people t the onset of adolescence 
• Development is the search for beauty 
• Development is problem solving (not the same as construction of meaning) 
• Development is shaped by the social cultural environment
• Development involves the construction of meaning
• Development engages feelings, thinking, sensory responses (cognition) and is sensitive to the social-cultural environment context.
• YOU CANT HAVE THINKING WITHOUT FEELING
• This is shaped by our culture and society in which we live (AL HUROWITZ)

ARTISTIC-AESTHETIC DEVELOPMENT AND LEARNING/TEACHING

• Development is spontaneous and unaffected by schooling
• Teachers should teach to psychological stages of development 
• Teachers should help children model learning on great works of art (They should learn how to be in dialogue) 
• Teachers should engage children with works of popular culture (Broadening children's minds) 
• Teachers should engage children in reflective dialogue drawing on the content of everyday life
• ITS ABOUT STAGES NOT PHASES THE LINES ARE BLURRED TOGETHER
• It's about external stimuli and external experiences that provide the impetus for development
• We have a natural urge to make sense of our experience, in a way to share it with the world 
• ITS THE DIALOGUE THAT IS IMPORTANT. HOW DOES A TEACHERS DIALOGUE WITH KIDS? HOW TO WE GET KIDS TO DIALOGUE WITH EACH OTHER? WHAT IMPACT DOES DIALOGUE HAVE? 

IT ALL BEGINS IN THE BODY AND STAYS IN THE BODY

• Our conception of engaging with material engages with the body
• Drawing: Arm is responding to the surface 
• We are not born knowing that paint doesn't go on the body 
• Infant takes note of what they are making. Hand eye coordination. 
• Conscious creativity, they have made something where there was nothing before. 
• Understanding how to make a line. Quickly, slowly, pressure, color, overlapping
• A line has the properties of continuity. 
• Lines can stop and start. Directionality of lines 
• Re-emerging in adolescence via DOODLES 
• Materials themselves invite actions. It adds repertoire. 
• Mushing colors. 
• Paint runs out, line stops. Thin and thick lines. 
• Conscious efforts to explore. How many splotches of paint can I make? 
• Stuff; the presence of something, everything is underpinned by something else
• The beginnings of kids becoming little explorers, a sense of organization. 
• Bang dots. 
• GROUPING AND CATEGORIZING
• YOU LEARN THAT PAINT CAN COVER A SURFACE. A SURFACE IS CONTINUOUS  
• An enclosure, the presence of a place where there wasn't a place before and you can put things inside and outside. 
• Learning about contiguous boundary between colors.

PRE-SYMBOLIC DEVELOPMENT 

• Sensory motor learning in materials 
• Materials as targets for action.
• Expressive concepts. 
• Exploring contiguous boundaries 
• Considerable repertoires. 

IT'S A PAINTING OF ......

Me and my bed on a day I was sick. 

PHYSIONOMIC PERCEPTION.

As teachers: TELL ME ABOUT IT...

The vehicle in which meaning is constructed. 

A LADY WITH A FRIENDLY SNAKE 'ROUND HER NECK 

PROTOSYMBOLS 

• naming after making 
• naming during making 
• naming before making 
• subject matter: affective, holistic, dynamic 
• learning
• connecting ideas materials/ experience 
• materials express ideas 
• ideas originate in experiences of the real world, fantasy, and imagination. 
• PERSON --> SELF --> RELATIONSHIPS (MOM DAD FRIENDS)
• PEOPLE AND HOUSES ARE IMPORTANT
• Verticality of image because paper is continuous. 
• Child has to have intuitive perspective of space.

EARLY IMAGES

• People 
• Houses 
• Vehicles 
• Creatures
• Learning:
• Basic CATEGORIES 
• Identity: I, me, and mine
• Function: Characteristics and action. 

OUR PERSPECTIVE OF WORLD ISN'T STATIC 

R E L A T I O N S H I P S 

S T O R Y  T E L L I N G (5YRS - 7/8YRS) 

THE IMPORTANCE OF A MAKER OF MEANING

INTERACTIVE EVENTS 

• With friends 
• With family 
• In neighborhood 
• Fantasy-imagination
• Learning
• Relationships among and between things
• Action-doing and happening
• Places and Spaces
• Objects and positions
• Materials re-present important personal experiences