As Promised, here is one of the amazing mini-animation videos constructed by youth during Tiny Circus Workshops in Minnesota, USA. We applaud both the idea and the execution!
I am like the… in this picture because…
As a continuation from 2012, we would like to share another handful examples of student metaphors formed through responses to others’ artworks over these next few weeks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Jean-Michel Basquiat’s “Max Roach,” 1984.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
As a continuation from 2012, we would like to share another handful examples of student metaphors formed through responses to others’ artworks over these next few weeks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Vincent Van Gogh’s “Twelve Sunflowers in a Vase,” 1889.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Richard Diebenkorn’s oil painting “Girl Looking at Landscape,” 1957. We thought this contemplative artwork especially apt for the last week of the year.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Andre Derain’s “Mountains at Collioure” 1905.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Meret Oppenheim’s fur covered cup, saucer and spoon entitled “Object,” 1936.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Joseph Cornell’s mixed media sculpture, “Untitled (Celestial Navigation)” [no date].
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present two student responses to Tom Wesselmann’s “Still Life #30,” 1963.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
Picture of the week: Rehauhetswe students hanging their work. This is VERY important as it gives them a sense of completion and accomplishment at the end of each art project!
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Henri Matisse’s paper collage “Woman with Amphora and Pomegranates,” 1953.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
I am like the… in this picture because…
For the rest of 2012, we will weekly share examples of student metaphors formed through responses to others’ artworks. We find they provide innovative insight into the lives of each student as they learn to reinterpret themselves and their context through artmaking. This week we present Edouard Manet’s L’Evasion de Rochefort 1880-1881.
* We credit Stacey Salazar from Maryland Institute College of Art for this lesson. Additionally, we thank our students for granting us permission to share their responses anonymously.
(Source: dramaticneed.org)
We wanted to share with you a few more photos from Bongani Ntshingila’s time with Dramatic Need over the past month. From warm-up games to discussion to performance, each class is crafted with care to enable community-building amongst students, to grow the students ideas by sharing multiple perspectives and empowering students to act out their untold stories.
(Source: dramaticneed.org)
El Anatsui, from Ghana**, has been featured on Art21’s series. As a fellow African working with found materials, our students have found his work incredibly relevant to talk about. His work with play in his process, his discussion on post-colonialism, and his use of the everyday have inspired some amazing discussion at Dramatic Need.
Working with wood, clay, metal, and the discarded metal caps of liquor bottles, El Anatsui breaks with sculpture’s traditional adherence to forms of fixed shape while visually referencing the history of abstraction in African and European art. Anatsui’s works trace a broader story of colonial and postcolonial economic and cultural exchange, told in the history of cast-off materials, while exploring ideas about the everyday function of objects and the role of language in deciphering visual symbols.
**UPDATE** Our apologies, El Anatsui is from Ghana originally [we previously said Nigeria] although he has practiced most of his artistic career in Nigeria, where he also taught at the University of Nigeria.
(Source: art21.org)
Under the leadership and guidance of one of DN’s first students, Seboko Nyora, students at DN are taking part in a Music Video Design course this term. It’s exciting! After talking the students through the crucial steps to composing a music video, today they began collaboratively writing their songs. All in all, two songs and two music videos will be produced in this class. The songs will be dealing with content from the theme “Loss & Desire.” Stay tuned for more as we progress!
(Source: dramaticneed.org)
Spiral Workshop, Chicago
A few weeks back, we had a chance to hear a presentation by the creator of the well-known Spiral Workshop from the University of Illinois Chicago. Her name: Olivia Gude. Her initials: OMG. She is not far off from the OMG acronym and is very much the guru of holistic art education practices in USA. Spiral Workshop, led by student teachers in art education, offers weekend classes every autumn to 100 teen artists from the Chicago area. Lesson plans from Spiral Workshop can be found here and here - we oh, so love that the aim of this exploratory model of art teaching is open to sharing their ideas in full on the www. PDFs and supporting worksheets are also available on these websites.
A bit more about Spiral:
Spiral Workshop is a place in which teen artists and emerging art teachers work together to envision and create new styles of art education—an education that is rooted in the stories and concerns of the students and their communities through connecting the practices of contemporary artmaking with the practices of contemporary pedagogy.
At Spiral Workshop we consider four components when designing a project. Each project should (1) deal with an issue of developmental importance to the students, (2) be based on a contemporary social theme, (3) include examples of past and recent artworks which have explored these themes, and (4) teach a method (conceptual and/or technical) for constructing works of art.
Spiral Workshop creates curriculum that encourages students to investigate questions relating visual and social phenomena. Many interesting art projects like much interesting contemporary art encourages the reconsideration of our notions of “the real,” “the natural,” and “the normal”—seeing how these are socially constructed through complex layerings of meanings and metaphors.
Image credits: https://naea.digication.com/Spiral/Bureau_of_Misdirection—WORKING
