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Project 1: CONCEPTS for Multimodal Gallery Conversations

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Overlap: Life Tapestries encounter (5 points)
Judy Chicago Dialogue Portal (5 points)
360-degree video due Dec. 4 (15 points)
Tech presentation on Dec. 6 (5 points)

TOTAL: 30% of course grade, i.e., 30 points

ASSIGNMENT:

CONCEPTS for Multimodal Gallery Conversations

Review the artists who will be in the Overlap: Life Tapestries exhibition at the HUB-Robeson Gallery.

To teach ways to engage with contemporary art, select a concept that you want to learn about and you believe is important for others to learn about too. Research and plan an approach to teach visitors to the Overlap exhibition to engage with the concept through encounters with art.

By Tuesday, 8/28, list 3 concepts on this canvas that interest you, and create your own Lino canvas with resources and initial explorations of your selected concepts.

Learn about Participatory Art Pedagogy abd respond to one question in the Judy Chicago Dialogue Portal Part 2, "Difference in Studio Art Teaching: Applying Judy Chicago's Pedagogical Principles" by 8/30. We will discuss on 8/30 and 9/4.

To do for 9/13: Work on a curricular encounter with a specific artwork or several or all the atworks in the Overlap: Life Tapestries exhibition. Post draft by 9/13 (midnight) as a pdf linked in your blog to include: title, main concept, process, and materials needed. Note if for a particular age group or number of people.

THREE TEACHING APPROACHES

  1. Gallery 360-degree filming: Lead the class in different ways to learn about and engage with the concept (on September 25).
  2. Data Visualization for 360-degree film: Map position and power of concept in tropes, products, ideologies, and practices (due October 30).
  3. Documentation, Reflection, Technologies presentation about your selected concept (December 6). By the end of the semester you should have used a minimum of 10 different technologies to engage in the concept with 5 that you were unfamiliar with its potentials. Document in your blog the 10 technologies used, why you selected them, what you believe are their potentials, and what you found challenging. Present about one technology in class in teaching about your selected concept. (due December 6)

LEARNING PARTICIPATORY ART PEDAGOGY

Begin discussion in class on 8/30, continue on 9/4: Studio art faculty, art educators, art professionals, artists, art and art education students, and others are invited to participate in the Judy Chicago Dialogue Portal Part 2, "Difference in Studio Art Teaching: Applying Judy Chicago's Pedagogical Principles". In a 2002 interview, Chicago described her methodology as “a model where the teacher helps to first make each student feel valued. Listening to what students have to say communicates that their experience is worthy of examination and that it offers potential content for art making. If you can turn your experience into art making, then it validates your experience.” View the video resources on applying Judy Chicago's teaching methodology on the portal site at http://judychicago.arted.psu.edu/dialogue/studio/.

Select a minimum of one question and add a thoughtful response in the dialogue portal in a way that situates your concept in art education discourse. Login to join the conversation at http://judychicago.arted.psu.edu/dialogue/join-the-dialogue/
Judy Chicago and others are reading the responses.

1. DIVERSITY AWARENESS: In her book, Institutional Time, Judy Chicago has called for a dialogue aimed at transforming art curriculum so that it becomes more reflective of the changes in consciousness, concerning gender, race, and other identities, that have taken place over the course of the last thirty years. What are the challenges and opportunities for doing this?

2. SOCIALLY-RESPONSIVE CURRICULUM: What questions can guide content-based art toward meaningful art that can lead to personal and social transformation?

3. ACTIVISM: Can art help transform existing oppressive structures and if so, how can such art be encouraged in the classroom?

4. POSITIONALITY: Feminist inquiry is concerned with the politics of location (i.e., positionality) and politics of knowledge production. What are the challenges, opportunities, and strategies for bringing such inquiry into art education?

5. POWER: It is not possible to shed power imbalances in the teacher/student relationship no matter the intent. Judy Chicago acknowledges that students often position the teacher as authority and she recognizes the difficulties of opening students to discovery through research, dialogue, experimentation, and reflection. Chicago’s pedagogy begins with research, dialogue, and self-presentations. From the self-presentations and shared readings emerge topics that a skilled facilitator identifies through active listening and questioning as underlying issues and then challenges students into confronting their greatest concerns, first by asking students to search for their content in art by others and in other forms of discourse on the topic. What are some strategies or teaching and learning experiences that can prepare teachers to be such facilitators? How does a facilitator/teacher guide without directing students?

6. CIRCLE: Chicago’s teaching begins with participants sitting in a circle, all facing each other, without tables that would hide their nonverbal body language. Such exposure encourages active listening. Chicago also expects each member to contribute to the discussion by taking turns in responding to important questions under group consideration. Chicago informs participants that they can pass their turn in the circle and then the facilitator can circle back to ask those who passed to contribute when ready. However, everyone is expected to participate. For those who have tried this approach either as learners or teachers, what advice do you offer? For those who have not tried this approach, what are the challenges or reasons you have not.