CAEA Winter Collage 2016

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Collage Winter 2016

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In Every Issue

5. Letter from the Editor by Vanessa Hayes-Quintana

41. CAEA Executive Board and Regional Division Representatives Council Directory

41. CAEA Task Force Chairs and Publications Directory

42. Regional Representatives

In This Issue

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COLLAGE is published by theColorado Art Education AssociationElizabeth Licence – PresidentVanessa Hayes-Quintana – EditorAlexandra Overby – EditorRosemary Reinhart & Elisabeth Reinhart – Copy EditorsJanet McCauley – Layout Design & Production

Please submit all materials to: COLLAGE Editor:Alexandra Overby, [email protected]

COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email allsubmissions to [email protected]. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Worddocuments. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Imagesshould be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, includecaptions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, andformat. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include lessonobjectives, appropriate assessments, procedures, standards applications, and materials.

Cover Photo: Full Page Image: Students at Cherry Creak Arts Festival. Inset Image: Student working in Staci Schmidt’s classroom

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Page 8. Janus Student ArtBuying Program

Page 35.Inquiry in the

Art Room

Page 13.Reflections on the Colorado 2015 YAM Winner’s Tour of New York City

6. Cherry Creek Arts Festival Empowers Student Artists by Thad McCauley

8. Janus Student Art Buying Program by Tara Brickell

13. Reflections on the Colorado 2015 YAM Winner’s Tour aaaa of New York City by Robin Wolfe

18. YAM (Youth Art Month), The Power of Art

20. Transcript of Opening the Gates - Creativity, Courage, aaaa Joy, and Fear by Hellen Eberhardie Dunn

22. Drawing on Your Imagination: Art Literacy Circles-aaaa Terri Orlovsky Interview by Amy Marsh

24. Thoughts on a Tragedy by Christina Martinez

25. Imaginative Weavings by Barbara Jack

35. Inquiry in the Art Room by Staci Schmidt

39. ArtSource Summer Institute 2016 by Melody Epperson

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Collage Winter 2016 5.

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I call myself a teacher. However, I feel more like a life-long student. Someone might ask, “What do you do?” I might answer, “I’m a student.” It doesn’t sound professional. It sounds as if I haven’t figured anything out. Or that I’m not yet sure of what I’ll do with my life. The picture of the “professional student” may come to mind. A picture of a student perpetually enrolled one semester after another attempting to avoid the inevitable entry into the “real world.”

As a teacher, however, I know, as you all know, the passion of anticipating new discoveries around the corner in every interaction with students – in planning and executing lessons, in asking questions, in exploring possibilities, in developing as a professional. The act of teaching our students how to be learners embodies the essence of being learners ourselves. Reflecting on our learning and on our experiences paves the path of continual growth. Cyclical loveliness lies in how our teaching informs our learning, which then informs our planning, which then informs our making art and our making meaning and making a life, which turns back into informing our teaching once again.

Allowing myself to view myself as a student more than a teacher feels more authentic to both my professional practice and my personal life. It paints a clearer perspective because that’s what I’m actually doing. Seeking new avenues for inquiry, formulating better ways of interacting and communicating with others, bettering myself for the sake of bettering the world around me. Being a life-long learner is my enrichment for a purposeful life.

I’m grateful for the experience of being the editor for Collage. I am most grateful for what I have learned. The experience has been loaded with lessons about people, education, research, and community. I could go on and on. Just as teaching seems to leave me with more lessons than the students, editing Collage seems to have left me more enriched than if I had just read and utilized information in the articles.

When I am asked “What do you do?”, I answer, “I teach art.” But I’m actually a “student of whatever the world has to show me.” I’m eagerly anticipating the next show!

The spring holds new beginnings. Alexa Overby begins this spring as the new editor of Collage. I wish for her all of the enrichment that the position has brought me. Please feel free to contact her about any ideas and articles you have for Collage. Collage is a journal of and for our CAEA members. Without our members’ submissions, we have no Collage! Thank you to everyone who makes that jump to share! It’s a rewarding experience, and a learning experience! •

Letter From the Editor

by Vanessa Hayes-Quintana

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Cherry Creek arts festivalempowers student artists!

by Thad J. McCauley


you know those times that you happen upon an experience that is so well put together and beneficial to your school’s art program that you instantly have to tell all your art teacher friends about it? Let’s be honest, they don’t happen all that often. I had one of those experiences ten years ago with the Cherry Creek Arts Festival Student Art Buying Program. Ten years later, Cherry Arts continues to deliver top-notch educational outreach opportunities. In addition to the kid’s creation area, which is an entire block of kid-friendly, make-and-take art activities, the Cherry Creek Arts Festival has also partnered with Cherry Creek North resident Janus Capital Group on the Student Art Buying Program and with the Scientific and Cultural Facilities District (SCFD). The partnership resulted in two Mobile Art Galleries.

If you have never heard of the Festival’s Student Art Buying Program or have never taken the time to apply, I want to encourage you to change that this year. After the application process, twenty-plus schools are chosen to come to the festival. Each school is given $500 to buy piece(s) of art for the school’s permanent collection. It’s pretty spectacular to see a small group of your art students interacting and talking with the festival’s artists as they go through the shopping process in order to find the perfect piece of art for their school.

As a kick-off to this year’s art festival, one of my seventh graders and I were invited to speak at the Gala event. It was pretty awesome to see one of my strongest and most passionate art students speak to a room full of adults about how the Cherry Creek Arts Festival’s Education Outreach programs have fostered and strengthened her love of the arts. I reminded those who are cowardly about supporting what might seem edgy in the arts that there is nothing negative about being an advocate for the arts, and told them “Art Will Not Hurt You!” Over $17,000 was raised that night to continue and expand the work of the Festival’s Education Outreach programs. I was glad to be able to advocate for Cherry Arts because they have given my school and my students artists so much. It was a proud art teacher moment all around!

The final piece that brings the festival outreach full circle is their Mobile Art Galleries. These two galleries each have around 20 different pieces of art that were selected by different school groups over the past 15 years. The mobile galleries include everything from large-scale paintings to interactive kinetic sculpture to photography and ceramics. The best part is that you can bring these galleries into your school and have all of your student body learn about and enjoy the artwork. The Cherry Arts team trains a select group of students to become gallery docents who

can give guided tours about the collection during the time the gallery resides at your school. I would align the gallery’s time at my school with one of our big music performance nights so that our families could tour the mobile gallery before and after the show.

Head on over to the http://cherryarts.org website and see how your school can partner with the Cherry Creek Arts Festival to empower your student artists! •

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Janus Student Art Buying Program at the Cherry Creek Arts Festival (CCAF) is The Cherry Creek Arts Festival annual educational opportunity for schools to buy permanent art for their schools. Janus, a global investment management company based in Denver, Colorado, continues to support the exceptional Colo-rado community of artists and learners through this one-of-a-kind experiential art education program. During it’s first fifteen years, 644 pieces of art have been purchased by students for Colorado schools to enjoy as permanent installations in schools.

Janus has invested $220,000 on artwork that is now permanently installed at over 150 schools in Colo-rado. Teachers can apply for an opportunity to receive funds from Janus to purchase art for your school at www.CherryArts.org.

“The opportunities it provides our students are invaluable. From providing a top-notch real world art experience for the team that attends, to exposing our entire student body to real original art and introducing them to the idea of collecting art as individuals or an institution. We love this program!” (Quotation from a 2014 participating school)

About the Janus Student Art Buying Program:

Students explore the world of art in a classroom module that culminates in a hands-on art buy-ing experience at the world renowned Cherry Creek Arts Festival. Through the program, students learn and practice valuable skills such as teamwork, negotiation, art appreciation, art-buying, public speaking, and more.

Who Can Apply:

· Whether you are new to the program or have applied or participated in the past – we encourage any Colorado school to submit an application.

· Anyone can complete and submit the application on behalf of a school: teachers, school administrators, parents, volunteers or other interested adults.

· While it is geared toward students from 5th to 9th grade, students outside of these grade levels will also be considered.

Janus Student ArtBuying Program

by Tara BrickellCherryArts

(Colorado Art Events & Education)


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The CCAF is a 501(c)(3) not-for-profit art services organization whose mission is to provide access to a broad array of arts experiences and support arts education in Colorado. Along with the arts festival itself, CCAF fulfills its year-round art education and outreach mission through programs including the Mobile Art Gallery, Artist-in-Residence programs and the Janus Student Art Buying Program.

CCAF has produced its signature cultural event for Colorado annually during the 4th of July weekend since 1991. The arts festival weekend is a world-class and award-winning celebration of the visual, culi-nary and performing arts, and enjoys an attendance of 350,000 visitors over the three-day event. CCAF gives patrons the free, rare and special opportunity to meet and talk with international visual artists, sample fine cuisine, visit special exhibits, and entertain their families with interactive “Artivities” and exciting performing arts.


Artist Dolan Geiman is a Cherry Creek Arts Fes-tival participant. Students participating in the Ja-nus Art Buying Program have purchased Geiman’s work. Geiman says:

“I believe that the future of great artists lies not only in the hands of the teachers but in the hands of the students. Classes like yours and other groups participating in the Janus program are taking the right steps to ensure the future of art making is preserved and used to inspire many lives. There’s nothing like real handmade art to inspire every student, and it’s been proven that students who engage in creative art activities have greater chances of sucess once they are out of school. So here’s a huge thank you to all of the students involved, and I hope all of you continue to keep making and loving art. Remem-ber, no matter how young or old you are, you can always make a little piece of art every day whether it’s a little drawing or a small clay sculpture, so you will never be without something beautiful in your life.”

Geiman’s story and gallery can be found at http://dolangeiman.com. See excerpt in the sidebar.A participating art buying teacher says, “ALL of my students have had wonderful experiences at the Festival. I could ask any one of them to list the

ways the Janus experience has changed their lives in looking at art. One student, Brittany Taylor, was so moved by choosing a professional piece of art that she wrote an essay about her Janus experience for her admittance application to high school! She was in 6th grade when she went with me, and three years later she still thought it was one of the best experiences she had ever had. Her mom sent me a copy of the essay. I will try and find it and send it to you. If you would like, I can ask others to write something about their experience. My son Max still talks about creating the large chalk painting with the professional chalk artists. He thinks it was funny how we couldn’t fit the wet painting in our car at the end of the day and had to exchange cars for a larger one to get it to Graland! That wonder-ful painting hangs in the Commons area at Graland and people comment on it all the time.”

Learn more: Follow us at www.CherryArts.org, www.Facebook.com/CherryArts, and www.Twitter.com/CherryArts. Share art experiences using the hashtag #CherryArts.

Teachers can apply to participate in the Janus Art Buying Program under the Education tab at www.cherrycreekarts.org. •

Festival Participant: Artist Dolan Geiman“I grew up on a farm, caught crickets and bailed hay, painted with mud, dug up civil war relics, listened to midnight mockingbirds. These are the ingredients of life that have stuck with me and have built the foundation for the artwork I set forth into the world.”

Dolan Geiman (b. 1977, Hermitage, VA) is a mixed-media artist specializing in the reuse of found materials (reclaimed wood, salvaged metal, vintage papers) to create highly textured and intricately detailed original art pieces. Previously employed as an Interpretive Natural-ist for the USDA Forest Service, Geiman seeks to combine his interests in art-making with his studies of biology and American history. Inspired by his longstanding fascination with the flora and fauna of his native Shenandoah Valley, country-western iconography, and folk and agrarian traditions, Geiman’s expansive portfolio includes large-scale faux-taxidermy wall sculptures, elaborate paper collage portraits of classic American icons and Animalia, as well as a plethora of mixed media works.

Multilayered and rich in narrative, Dolan Geiman artwork weaves tales of foregone eras and untamed wilderness in an attempt to reignite our sense of adventure and wonder for the rugged American landscape. http://dolangeiman.com/pages/story

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Reflections on the Colorado 2015 YAM Winner’s Tour of New York City

by Robin Wolfe

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CAEA’s initiative to recognize art making in Colorado through the Youth Art Month (YAM) celebra-tion brings opportunities to our students, ones that the majority of my students rarely get to experi-ence. Living in a remote town in Southern Colorado, many of my students have rarely, if ever, left the San Luis Valley or been to a major art museum. When I originally proposed the YAM poster contest, I wanted to support the new program and was enticed by the opportunity for a few of my students to have their artwork displayed at the State Capitol. My top prize winners were invited to the capitol show and I offered them a trip to the Denver Art Museum. I also used this opportunity to promote my art program, recognizing the winning students at a school assembly and through local newspapers.

Aeneas Gomez was one of the students chosen to send his work to the capitol. He was amazed when his work was chosen as the winner for Colorado. His prize was a fully sponsored trip to New York by Sargent Art. Aeneas had never traveled out of Colorado or taken a plane trip. He was both excit-ed and apprehensive about winning this prize.

Our first trip to the capitol proved to be an adventure for him, so I


knew the trip to New York was going to be overwhelming for him and his mom. I believe Aeneas, not wanting to insult our hosts, was the best-dressed attendee. He was wide eyed and took in every moment from the moment we left home.

The first evening in New York, we were treated to a dinner honoring the winners and given the agenda for our stay. The next morning marked the beginning of an amazing overview of New York City. We toured the Strawberry Fields in Central Park, spent the morning at the Metropolitan Museum of Art followed by lunch and a trip to the Top of the Rock, and then spent the afternoon at the Museum of Modern Art (MoMA). We ate dinner at a notorious Italian Restaurant, visited Times Square, and attended the Broadway performance of Aladdin.

The next morning, we started out with a ferry ride to view the Statue of Liberty and Ellis Is-land, returned for a tour of the Wall Street area and the 9/11 Memorial site. For my student, this was what he had been most looking forward to and what impacted him the most.

Our tour guides were amazing throughout the trip, giving history and information about all the parts of New York City that we traveled through. Our guide shared a personal story about his experience on 9/11, which made our experience that day even more meaningful.

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Sargent Art truly goes out of its way to make sure that everyone enjoys the trip and feels personally taken care of. I believe this trip will change my student’s view of life from a limited small-town view to an appreciation of all that the world has to offer. I hope it will encour-age him to stretch himself to explore more in the world.

I would highly encourage ev-eryone to participate in our state YAM competition and capitol show this year. I wish you all luck because one of you and one of your lucky students are in for a treat.

Collage Winter 2016 17.•

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2016 Colorado State Capitol Flag Exhibition and Reception March 1-11: Colorado State Capitol Flag Exhibit “The Power of Art” (all juried works and winning flag)

View the works during regular visiting hours at the state capitol in Denver. March 11: Colorado State Capitol Flag Exhibit Closing Reception 3:30-5:00 (4:15 artist recognition)

Colorado State Capitol Building, 200 E Colfax Ave, Denver, Colorado 80203, HOURS: 7:30-5:00 Monday through Friday.

View the 2016 Winning Flags and Statewide Submissions Visit www.caeayamflags.weebly.com to see images of the all of the flag designs submitted this year.

Overall State Flag Winning Artwork Artist: Ella Johnson, 8th grade Teacher: Cindy Migliaccio, West Middle School, Cherry Creek School District, Greenwood Village

Elementary Level Winning Artwork Artist: Jimena Nunez, 5th grade Teacher: Christina Martinez, Holyoke Elementary, Holyoke School District, Holyoke

Middle School Level Winning Artwork Artist: Aiyana Rubio, 7th grade Teacher: Angela Wendlowsky, Hulstrom K-8, Adams 12 School District, Northglenn

High School Level Winning Artwork Artist: Jarod Warren, 12th grade Teacher: Elizabeth Stanbro, Community Prep Charter School, Colorado Springs


Thank you!

Thank you to all of the educators who submitted work to the flag competition and congratulations to the overall and level winners! The CAEA executive council had a difficult time making their selections due to the high quality and wide variety of all of the artwork.

How to get involved in Colorado’s Youth Art Month 2016 Suggestions:

• Consider doing an art show or activity correlating to the current year YAM theme. The goal of participating in this activity is to advocate for the arts, so if your project can involve people outside the art education field, that is great! See the resource pages at www.caeaco.org

• Include “C.A.E.A. presents YOUTH ART MONTH 2016” (or something similar) on all advertising such as flyers, posters, & invitations.

• YAM is nationally celebrated in March. Strive to have your exhibit in March. However, if that is not possible, it can be held at any other time throughout the year.

• Remember to invite local dignitaries to your celebration & reception. Request a YAM Mayoral/Dignitary Proclamation/School Board Resolution: Contact your local congressman, mayor, school board or school district officials/ principals, superintendents, artists, businesses etc. Suggest they make a proclamation declaring March as Youth Art Month (sample form available at www.caeaco.org under the YAM tab). Contact State Youth Art Month chairperson: Justine Sawyer at [email protected] or visit the CAEA website

www.caeaco.org and go to the Youth Art Month tab for details, ideas, and forms.

Youth Art Month Sponsors:

Sargent Art sponsored prizes for our winners. The winning flag designer and teacher won a paid trip to New York! First place prizes in elementary, middle school, and high school, (students and teachers) were awarded

supplies from Sargent Art. Be sure to submit a design next year to be eligible for these amazing prizes!

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Transcript of Opening the Gates C reativity, C ourage, Joy, and Fear

by Hellen Eberhardie Dunn

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Artist statement: “I put myself in awkward, uncomfortable situations because I have found that reaching beyond my con-ditioning reveals a doorway to connection. Sometimes it works. Sometimes it is just plain scary! I approach material as an entrance to the sensory gates of my body/mind knowing that there is joy in not knowing, letting the experience of making conjure reverence and awe.” – Hellen Eberhardie Dunn

In general, we live in a society where being out there, beyond the boundaries, inspired, homeless, ecstatic, is consid-ered unhealthy, even dangerous. Yet who has not experienced the beauty, complexity, and creativity of these far out folks? What does it mean to us – to our children – to be creatively gifted and/or synesthetic?

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He to whom the emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead.” – Albert Einstein

Creativity: Biological Roots of Creativity?

This theory is proposed by Dr. V.S. Ramachandran, a neurologist who has been studying the phenomenon of syn-esthesia for more than 20 years....

“Researchers make the distinction between ‘lower’ synesthesia – where the synesthetic response is produced by an item’s vi-sual appearance alone – and ‘higher’ synesthesia, where multi-sensory associations are formed from abstract concepts such as numerical sequences or quantities. Because abstract concepts like numbers are laid out in anatomical regions or ‘brain maps’ inside our heads, it is this cross-activation between such regions which is so intriguing to scientists studying the pos-sible biological roots of creativity.” – Daniel Tammet, Embracing the Wide Sky: A Tour across the Horizons of the Mind

Daniel Tammet (Embracing the Wide Sky) says this of Dr. Ramachandran’s theory: “The professor’s theory proposes that such associations [such as artists and poets, etc. make] are facilitated by higher synesthesia in the artist’s brain, allowing him to make novel connections between normally unconnected concepts much more easily and fluidly.”

Tammet explains, in his book, that autistic thought is an extreme variation of a kind that we all do, from daydream-ing to the use of puns and metaphors. Daniel Tammet’s astonishing capacities in memory, math, and language are neither due to a cerebral supercomputer nor any genetic quirk, but are rather the results of a highly rich and com-plex associative form of thinking and imagination.

“There are things known and things unknown, and in between are the doors of perception.” – Aldous Huxley Sensory Gating

In Plant Intelligence and the Imaginal Realm: Beyond the Doors of Perception into the Dreaming of Earth, Stephen Buhner explores the nature of the mind. In order to think differently, we must perceive differently. Sensory gating is essentially how our minds filter information, the cocktail party effect.

Learning Goal - scaled Sensory Gates - Creative Intelligence Workshop.

2 Recall Sensory gates - filters which can be open or shut allowing access to information to the brain

Art activity tailored to open sensory gates

3 Comprehension Understanding why positive mindset, brain gates /creative thinking are key to creativity. Insight into personal creative process. Using stillness to open sensory gates.

4 Application / Lesson 3 Understanding why positive mindset, brain gates /creative thinking are key to creativity. Insight into personal creative process. Using stillness to open sensory gates and integrate growth mind set into personal life and or classes.


Courage, Fear, and Joy

“In youth, before I lost any of my senses, I can remember that I was all alive, and inhabited my body with inexpressible satisfaction.” – H. D. Thoreau

My personal story, why am I excited....

When I was young, so many things seemed more real, more exciting, I could smell colors, feel sounds. I knew, I felt with invincible certainty, that every single thing is connected. Sunlight was golden honey on my skin, melting into me. The dark hole of the toilet bowl contained hidden entities. I might suddenly dissolve into atoms at a sound. My pen could write poetry while I watched. People’s thoughts invaded my own, crawling under my skin like a disease. Once I was caught under the electric pylon – frozen by invisible powers....

“I’ve been absolutely terrified every moment of my life and I’ve never let it keep me from doing a single thing that I wanted to do.” – Georgia O’Keeffe

MindSet

Carol Dweck’s Mindset: The New Psychology of Success discusses how we can relate a fixed mind set with narrow sen-sory gating – narrow mindedness. Correspondingly, open-mindedness, or a growth mindset, implies open sensory gates. Fear can close the gates of experience. Courage can open them.

Learning Goal - scaled Sensory Gates - Creative Intelligence Workshop.

2 Recall Sensory gates - filters which can be open or shut allowing access to information to the brain

Art activity tailored to open sensory gates

3 Comprehension Understanding why positive mindset, brain gates /creative thinking are key to creativity. Insight into personal creative process. Using stillness to open sensory gates.

4 Application / Lesson 3 Understanding why positive mindset, brain gates /creative thinking are key to creativity. Insight into personal creative process. Using stillness to open sensory gates and integrate growth mind set into personal life and or classes.

New experiences create neural pathways…. The brain changes and grows in response to new ideas.

Conclusion

What skills have we learned about that can help us open the gates of experience?

• Cultivating a growth mindset

• Becoming still and aware of the stillness

• Creating a safe inner space which allows you to open your sensory gates without fear.

What can happen if you choose to believe in yourself?

“If you take a flower in your hand and really look at it, it’s your world for a moment.” – Georgia O’Keeffe •

22.

Passersby stop and peer, pause to hear what is so engaging to the students, and wonder at the sophisticated insights and vocabulary our young artists are using. These are Art Literacy Circles! I have employed these art explorations in my cur-riculum after I witnessed a passionate introduction by Terri Orlovsky. She introduced this vehicle for accessing student thinking at our Regional Elementary Art Educators meeting in the Cherry Creek School District. She had me at “Your students will be Art Detectives.” I sat down with Terri to interview her about uncovering this process. Terri’s background, research, application, and reflections on Art Literacy Circles are impressive.

1. Can you tell me a little about your background?I received my elementary education degree at University of Colorado in Boulder. I obtained a double degree with a Bachelor’s of Fine Arts as well. I have taught for 26 years in public and private schools. Always following my passion, I taught art, mostly to elementary aged students. After earning my undergraduate degrees, I attended a four-year pro-gram at Regis to get my Master’s in Teaching and Learning. I have been recognized as one of Cherry Creek Schools Distinguished Teachers and am a member of CAEA. I am currently teaching at Mission Viejo Elementary.

2. Tell me about your interest and development of Art Literacy Circles in your art program.I researched and wrote my Master’s thesis on the subject of “Inference in the Elementary Art Classroom.” This re-search prompted me to generate the use of the Art Literacy Circles in my classroom. In many respects, art is a univer-sal language that breaks down barriers. Artistic expression contributes to the development of a child and fosters skills of communication, creativity, and cognition. Art Literacy Circles are established to conduct conversations regarding artwork. The theme of using artwork as text convinced me that I needed to implement time to read artwork in my curriculum. Within this literacy circle, the change that would occur is that students acquiring deep-level thinking skills would increase their ability to construct meaning and articulate their thinking.

Drawing on Your Imagination:Art L iteracy Circles -Terri Orlovsky Interview

by Amy Marsh


3. How do you promote success for all your young artists in your Art Literacy Circles?In order to promote success, it is advisable to have a “dedicated space” to deem the Art Literacy Circles sacred and offer a change of environment. I would suggest five days each of a time set aside during a two-week introduction for 25 minutes a day. Group norms are established. Some of the inclusive norms include: observing carefully, point to the features and characteristics (show me), speaking loudly and clearly (tell me), and be a good listener and consider the views of others. Students are given manipulatives (pointers, magnifying glasses, and mattes) to isolate their references. The students will develop the skills of inference, opinion, observation, analysis, personal connection, interpretation and evaluation. This scaffolding allows the viewers to focus on their thinking. When viewing works of art (provided visual references or their own artwork), students use the elements and principles or expressive features and character-istics to anchor their thoughts. They are encouraged to use prepositions and critique sentence stems.

4. Can you elaborate on the literacy connections?As artists, we use art as a form of text. It’s a visual text. The experience you get by looking at art is very rich. Art Lit-eracy Circles reach the whole child and the school community. I have worked to observe the common language and vocabulary to access students’ schema, inference, and analysis. I have observed that it helps students access informa-tion in a differentiated way. I have also noted that is especially impactful for English language learners. The discus-sions are very inclusive with every child having a voice.

5. How has the benefit of Art Literacy Circles been manifested and what are the rewards?Reflection and critical response are so important to the process of art making. Art Literacy Circles round out the young artists’ experience and provide relevance and connection to their learning. Consequently, I saw how eager students were to engage in Art Literacy Circles as soon as I pulled out the art masterpieces for viewing. The fact that students are responsible for their own thinking has a great influence on their learning.

“Successive portions of reflective thought grow out of one another and support one an-other.” – John Dewey

I have personally witnessed my students’ enthusiasm and eagerness to participate, and the growth in their thinking. I have likened it to karaoke. At first, you are a reluctant participant. Once you see how you can express yourself, you are vying for the micro-phone! I have seen this same awakening in my students. Thank you, Terri, for your diligence in your research and implementa-tion of Art Literacy Circles. Most of all, thank you for your generosity with your knowledge so that my students and students in other schools may be active members of Art Literacy Circles. These thinkers and creators will now carry these sensibilities into our global communities. •

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This school year, Holyoke School District lost a student due to a car accident. Cassidy Faith Hale was struck by a car as she was on a walk with a friend and died instantly. This was a tragic loss for the community and the school of Holyoke. It was a sudden and devastating blow to the students and staff of our small school district.

I was on my way to FCA (Fellowship of Christian Athletes), where I help as a coach, when I was stopped by another coach and told of the news. I was a wreck, unable to believe what was happening, but now left with the responsibility to tell the students gathered what had happened to their classmate. This was a time of grief for our whole community, but it was also a time of reflection for me.

I began to think about Cassidy, the person she was and the large impact she had in her short life. I began to think of teachers and how they can impact thousands and thousands of lives by the time they retire and beyond. This really got me thinking about my interactions with Cassidy. She was my student in fifth and sixth grade. Fresh out of college, I thought I knew every-thing and was excited to start spreading my art knowledge on to these students. Well, long story short, I made a lot of mistakes and continue to make mistakes as a teacher. I can’t help but think about my interactions with Cassidy. Did I ever get frustrated and raise my voice? Did I ever say a discouraging word? Was I the type of teacher who loved my students even when they were

difficult? I suppose we all have heard the saying from Theodore Roos-evelt that “People don't care how much you know until they know how much you care.” Am I this kind of teacher?

What you do in your classroom could be the best part of a student's day. We all have standards, deadlines, art shows, and fundraisers. I encourage you to not lose sight of why you chose to become a teacher in the first place. For me, it was for my love of art and the enjoyment I get when I teach others, but it has turned into something so much more. Loving students and being there for them when no one else seems to care, being that friendly face they see every morning. Just remember what a value you all are! I think about Cassidy often and have made a pledge to not to lose sight of the love for teaching and for the students. After all, we didn’t enter this profession for the money, fame or glory. We entered it to impact students like Cassidy Faith Hale.

I only wish I could have known you better!

Love, Miss Martinez •

Thoughts on a Tragedyby Christina Martinez

Rosemary Reinhart Elisabeth Reinhart

www.editorialpathways.com

Helping you reach your writing goals


Imaginative Weavings CAEA 2015 Fall Conference

by Barbara Jack

Lesson Objective and IntroductionStudents create weavings that express their sense of imaginative and innovative creativity through vast choices of materials and formats.

Weaving is tactile, visual, allegorical, historical, dimensional, imaginative, logical. It is a multisensory journey which transforms random materials woven together to become an inspired work of art. It is a primitive, diverse art and continues to be important in all world cultures, both creatively and practically.

Throughout history, weaving has been the essential way to create cloth. As an art form, it has been the source of imaginative expression, cultural significance and validation. This medium encompasses everything from clothing, purses, backpacks, jewelry, tapestries, and rugs to large installations in communities or tiny weavings made by accomplished master weavers and elementary students and every possible endeavor in between.

World-wide, this medium continues to excite, invigorate, stimulate, and inspire as a means through which we can express our inner selves to others. We can learn much from each other about world cultures and beliefs, symbols, and imaginative creativity through our woven art. Since weaving is everywhere and uses an ever-increasing list of materials, what one can accomplish is literally limitless.

Enjoy the process and see what you can create!

21st Century Skills (suggested, many others are possible) Critical Thinking and Reasoning: Thinking deeply, differently; creative problem solvingInformation Literacy: Historical and cultural research through media/technology Collaboration: Discussing, brainstorming, communicating Self-Direction: Creating independently, achieving productivity, decision making Invention and Discovery: Creative thinking, exploring creative process, finding solutions

Bloom’s Taxonomy for ArtRemembering, Understanding, Applying, Analyzing, Evaluating, Creating

Cross-Curricular ConnectionsThis lesson easily implements art and other subjects in many possible ways, such as PBL (Project Based Learning) units or re-search projects or other in-depth learning ventures.

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Note: Due to the sculptural nature of this project, this is a highly rich textural experience for everyone. Additionally, the con-cepts of repetition, patterning, and design are very successful with students who have additional needs of any kind.

Visual Art: Color theory, art elements, design principles, 2-D and 3-D conceptualization, imaginative creativity and discovery; applying design theory, connecting design, pattern, symbology - modern or ancient - for validation, self-expression and aware-ness, sequential processing and planning.

Art History and History, Social Studies/World Cultures: History and origins of weaving in world cultures, historic and cur-rent styles, methods, materials, and symbols used to express cultural practices and beliefs. Who? What? Why? How? Where? When?

Numeracy: Calculating sizes, patterns, and design of the weaving; counting, using proportional measurement, and figuring sizes from sketches to actual loom and woven designs (2-D to 3-D transferal).

Literacy: Any writing that can be incorporated into the weaving itself or the loom, including self-expressive prose; poetry; quotations to live by; single words of inspiration, historical research, and significance, etc.

The Sciences: For example, natural dyes and materials; optical illusion and perception; use of natural woven fabrics.Civics/Current Events: Installations, modern tapestries, etc.; social awareness and significance, politics, etc.

Music: Comparison of vocabulary, rhythm, unity, patterning, movement, etc.; similarities of words and the connection between art and music. Any specific aspects of the implemented academics listed above may be included.

Colorado Academic Standards for Visual Arts This lesson is for all ages and abilities, K through 12, and can go in any direction you wish to take it. Many or all of the grade-level expectations are applicable to all grades.

1. Observe and Learn to Comprehend2. Envision and Critique to Reflect3. Invent and Discover to Create4. Relate and Connect to Transfer

Project Lesson and Suggested Process (variable for grade levels)1. Students learn terms and learn about the process of creating tapestry weavings and incorporating elements of inspiration from many different ancient or modern cultures.

2. Collaboratively and/or individually, students research in reference books and materials, explore samples, and find inspiration on the internet. Students brainstorm about what styles, designs, patterns, and colors influence and interest them.

3. As a result of discussion and research, students create planning drawings that reflect their patterns, colors, and designs of interest.

4. Students choose their favorite design to use as a guide and decide what kind of loom they want to use. Making choices: Stu-dents may build a loom (wood, ceramic, other) or use any kind of frame, circular hoop, bike wheel, etc., which will remain part of the final weaving. Or students may use a pre-made loom and remove the weaving when complete, to be mounted on wood, ceramic, or other form. (This is dependent upon resources, materials, and approach to the lesson.) 5. Students learn how to weave-the repeated pattern of under, over, under, over until the end of the row. Each row begins op-posite to the last “stitch.” For example, if a row ends with going under, the next row begins going over. It is a building block method of opposites, much like the way bricks are laid for a wall.

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6. Students decide upon what kind of loom they will create or use and choose materials, colors, etc. that they will use for the weft and warp of the loom.

7. Students build the loom structure or use a pre-made or cardboard loom and create the warp with sturdy material. If creating a circular loom, students must have an odd number of warp lines generated from the middle section in order to weave the weft properly. This is easily achieved by tying an extra warp string from the middle to the round edge. If there are an even number of warps, as the student weaves rows, the over/under will always be the same and not “opposite,” therefore it will not be a properly woven weft. 8. Using tapestry needles or the equivalent, students begin weaving.

9. When weavings are complete, students neatly weave any ends that are not hidden into the weaving.

10. Students may embellish looms with choices of materials: paint, printings, collage materials, beads, tooling metals, foils, etc. If the weaving is on a pre-made or cardboard loom, the student removes the weaving and mounts it to a structure on which the weaving will hang, such as a natural-wood, ceramic, or other sturdy structure.

11. Students complete weavings by adding more embellishments, as desired.

VocabularyWeaving, tapestry, loom, warp, weft, tapestry needle, beat and beater, sequence, measurement, opposite, two- and three-dimen-sion, symbols/symbology, design.

Art Elements/Design Principles: Color, texture, pattern, line, shape, unity, rhythm, symmetry, balance, harmony, value, contrast.

Note: This is a very simplified form of tapestry weaving and, therefore, it is a simple list of terms. There are many methods, techniques and styles of weaving and many terms. Numerous websites containing glossaries and methods can be found on the internet.

Material Ideas (The list is not exclusive – use what you have. Anything is possible!)

Looms: Any of following: pre-made wood picture frames; canvas stretchers (used to stretch canvas paintings); ceramic frames or hangers created for this project; heavy paper plates; canvas paper; radial structures such as embroidery hoops. If you want a re-ally large format, use old bike wheels, car tire rims, old hula hoops. You can use any variety of pre-made looms for weavings that will be removed and mounted to other forms, such as natural large sticks or milled woods, ceramics, or other sturdy material.

Weavings:Warp: Strong yarn or string. It is the “backbone” of the weaving and must be strong. Some form of thin wood or metal also works as a strong warp. When using lightweight materials, any paper works —even heavy watercolor paper (painted!).

Weft: Yarns and strings: colorful, fancy, frilly, metallic, threads, natural fibers, nylon, cotton, etc. Paper/canvas: Any kind: watercolor (painted), construction, cardstock, painted canvas…. Sticks: Any found sticks, natural curly willow, kiwi sticks, salt cedar, bamboo, reeds, stalks, dowels, old pencils, straws.Chenille wire, colorful metal wire, phone or electrical wire.Fibers: Old t-shirts, fabrics, felting materials, plastic or old cloth bags…

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Miscellaneous Materials to incorporate onto looms or into weavings: Various tapes: Washi, duct, masking, clear/colored, etc.Feathers Tooling metals and foils, old artworks, colored plastic bags, found objects, leaves, vines. collage materials: photos, specialty papers, personal prints, stamps and ink to print and adhere or use on ceramic frame or hanger, favorite tokens/symbols, poetry/favorite quotes… Beads: Glass, ceramic, wood, metal, plasticCollage materials to cut: Photos, magazines, specialty papers… Student-created or commercial print block to print on loom/papers to weave or collageInk and brayers or stamp padsAnything you can think of to incorporate into a weaving to express who you are….

Additional Materials Hammers, nails, thumbtacks, upholstery tacksPliers, pruners Scissors RulersBrushesStaplerPaper for preliminary drawings and design idea roughsPaint: Watercolors, acrylics, temperas, dyesPencils and pens: Colored pencils, pens, and markersGlue and glue sticks

Reference and Resource Ideas Internet search: Tapestry weaving, creating looms, information about weaving from any culture, historical, or modern move-ment, styles of weaving, tapestries or weavings at museum sites, jewelry weaving, stick- and-finger-weaving, basket-weaving techniques.

Some suggested technique sites:http://www.marlamallett.com/loom.htmwww.finniwig.com/stkweavinst.htm http://www.youtube.com/watch?v=31Bc_c8tH4c

Books:

There are many weaving books on the market. These two are especially excellent:

Weaving Without a Loom by Sarita R. Rainey ©2007 Davis Publishing

Tapestry Weaving by Kirsten Glasbrook ©2002 Search Press

Numerous articles from School Arts Magazine or the many sculpture or fiber magazines.

Bloom’s Taxonomy for Art Teachers: http://www.incredibleart.org/files/blooms2.htm

NAEA Bloom’s Taxonomy for Fine Art: http://www.arteducators.org/learning/blooms-taxonomy 21st Century Skills (one of many sources): http://www.imls.gov/about/21st_century_skills_list.aspx

Evaluation and AssessmentFinal artwork, rubric, Q/A, reflection

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Imaginative Weavings Rubric by Barbara Jack CAEA 2015 Fall ConferenceAchievement Level Accomplished Proficient Partially Proficient Emerging

Understanding and Application

Completion of creative weaving applying all of the concepts stressed for this project. All relevant elements and principles present.

Completion of cre-ative weaving, applying most of the concepts stressed. Relevant elements and principles present.

Completion of creative weaving, ap-plying few of the concepts stressed. Some relevant elements and principles may be present.

Creative weaving may be incomplete. Little or no application of the concepts stressed (may be pre-emergent). Relevant elements and principles may not be present.

Creativity and Originality

Student shows care-fully planned work with multiple cre-ative ideas; exploration of several choices; resource study.Imagination and originality of ideas. Demonstrates understanding of problem solving and usage of other21st Century Skills.

Student shows planned work. May have several creative ideas, acceptable resource study.Imagination and originality of ideas. Demonstrates an ac-ceptable or emerging understanding of problem solvingand 21st C Skills.

Student createswork. May have looked at resources or had multiple ideas. Some imagination and originality of ideas. May demonstrate limited/emerging understanding of problem solving and 21st C skills.

Student shows poorly planned work, few generated ideas, little or no use of resources, creativity, or originality.May demonstrate little or no (pre-emergent) understanding of problem solving and 21st C skills.

Attitude/Participation/ Effort

Student participates enthusiastically, uses time wisely, shows great amount of effort and commitment to lesson.

Student participates, maintains positive attitude, mostly uses time wisely, shows moderate to high effort and commitment to lesson.

Student participates, good attitude, average time spent wisely, shows moderate effort, may or may not show commitment to lesson.

Student may or may not participate, may not maintain positive attitude or use time wisely, may show poor effort or pre-emergent understanding of effort. May not be the best ability of student.

WorkmanshipSkill/Material Usage

Student is consis-tently careful and mindful of work.High quality, excel-lent workmanship in completed work.Exemplary and appropriate use of materials.

Student is mind-ful of work. Good to very good qual-ity workmanship in completed work. Very good and appropriate use of materials.

Student shows aver-age to good mindful-ness to workman-ship.Material usage is ap-propriate to the best of ability.

Student is careless and not mindful of work, low-quality workman-ship, or may not be the best of student’s ability.May or may not use materials wisely. May have pre-emergent understanding of work-manship.

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“Hey, it’s making…it’s making my mom’s favorite color!”

“Blue?”“No, purple! It’s making purple!” “PURPLE?! You’ve got to be kidding me, I hate purple!”

In preparation for a class I was to teach at the annual art educators’ conference, I was recording a first-grade class as we learned color mixing using Ellen Stoll Walsh’s book Mouse Paint. As each mouse “mixed and stirred and stirred and mixed” (Stoll Walsh, 1995), we paused between pages to mix and stir too, using our own little mixing palettes and prima-ry-colored tempera cakes. And while Avery might have hated purple, he was not hating the lesson, as evidenced by his excitement a few minutes later when he proclaimed,

“It’s a rainbow! We made a RAINBOW!”My first graders were discovering secondary colors through structured inquiry. I first became familiar with the term inquiry-based teaching when my district switched me to a school that was trying to become (and cur-rently now is) an authorized International Baccalaureate World School (IB). Inquiry-based learning is a fundamental practice in the IB’s conceptual-based learning model and has since become a regular practice for me in both of my classrooms (including the non-IB school).

The foundation for inquiry is questioning and requires the enlistment of curiosity, a very innate part of being human and particularly of being a child.

“Children are such curious creatures. They explore, question, and wonder, and by do-ing so, learn. From the moment of birth, likely even before, humans are drawn to new things. When we are curious about something new, we want to explore it. And while exploring we discover” (Perry, 2015).

Curious kids are engaged kids and engaged kids retain the information they are discovering (Perry, 2015).

by Staci SchmidtElementary Art Teacher

Thompson School District

Inquiry in theArt Room

•

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“Purple!? You’ve got to be kidding me, I hate PURPLE!”While Avery may have hated purple, he was engaged in learning how to make it and will likely hold onto that experience beyond the lesson. Any way you teach it, color mixing tends to be fun because it is a hands-on, experimental task. But when you intentionally leave out the answers to foster curiosity and wonder, you help ensure retention and understanding through better engagement (Cell Press, 2014).

When I first started teaching, I would read Mouse Paint and have the students fill out a color wheel, using primary paints to copy the actions of the color-mixing mice. Early in my teaching, I may have continued reading one page further to finish the storyline and find out what color each mouse had made, before having the kids try to replicate what the mice were doing. Now, we act out Mouse Paint and we discover the secondary colors with the mice in the story. This type of inquiry, known as structured inquiry is one of three general types of inquiry: structured, guided and open inquiry. (I like to think of inquiry as a spectrum, with structured at one end, open at the other, and guided at the center.)

The best analogy I have found to understand the three basic styles of inquiry came from an article titled “An Inquiry Primer” by Alan Colburn. In this article, Colburn likens the inquiry types to cooking. He explains that structured inquiry is like having a recipe and

following it without knowing what you are making; you have all the equipment, ingredients and procedures pro-vided, but the outcome of your task remains a mystery until the procedure is complete. In defining structured inquiry Colburn states, “The teacher provides students with a hands-on problem to investigate, as well as the procedures, and materials, but does not inform them of expected outcomes” (Colburn, 2000).

If we travel down the spectrum towards a more guided inquiry with our cooking analogy, you have the same ingredients and equipment, but you take away the procedure. Students are given the additional challenge of figuring out not only what is going to happen, but how they are going to make it happen. “The teacher provides only the materials and problem to investigate. Students devise their own procedure to solve the problem” (Col-burn, 2000).

My Mouse Paint example is a very structured inquiry, with the storybook laying out the procedure for us, which seemed appropriate for first graders who were just becoming familiar with the tools and media we were using. I use a more guided variation with my fourth graders, however, who, by fourth grade, have had much more experience with the tools and media. Most fourth graders should have already had some color-mixing experience.


As an introduction to a unit that connects to their classroom I.B. unit How We Organize Ourselves, which is one of the six trans-disciplinary units outlined by the IB Pri-mary Years Programme (PYP), I give my fourth-grade students a 12-color wheel, with only “RED” labeled at the top, and a set of primary colors. Our overall art class goal is to connect to their classroom unit’s con-cept of “organizational systems” by exploring color theory and how it helps artists organize and understand color relationships. This color-wheel activity is my provocation for our unit.

The wheel they are giv-en has circles for the

primary colors, triangles for the secondary colors and squares for the tertiary colors. I tell them, “Using these three colors, your group should create 9 additional colors and organize them on the wheel in a way that shows their relationships to each other. Your group should be able to explain why each color goes in the spot you choose for it.” They are given the tools and some guidance towards a general expected outcome, but they have to determine the procedure and the specific color outcomes using experimentation and rationalization.

I find structured and guided inquiry types to be easier and a bit more practical in my particular classrooms. They tend to use fewer resources and fit more neatly into a very structured time slot. Open inquiry is a bit trickier for most teachers because it requires much more flexibility in its use of time and classroom resources.

In true open inquiries, students devise the problems they want to solve, and decide what resources and procedures will help them solve it (Colburn, 2000). So, back to our cooking analogy, envision a full pantry of ingredients and cooking gadgets. Open inquiry is like giving students access to the pantry and saying, “What would you like to learn how to make?”

As a teacher with limited budget, time and resources, who has grading deadlines to meet and specific objectives to teach, open inquiry terrifies me a bit. However, going back to thinking of the three styles of inquiry as a spectrum, if you inch a wee bit backwards to-wards guided inquiry, you open up a list of inquires that are more manageable within these constraints of time and budget. As an elementary art teacher, another of my favorite books is Ish by Peter H. Reynolds. The protagonist in Ish, Ramon, loves to draw “Anytime. Anything. Anywhere.” Drawing is his passion. However, after having his drawing of a flower vase criticized by his older brother, he loses his motivation and his passion fizzles. Then, he discovers that his little sister has been collecting all his drawings and she thinks he is a fantastic artist. Long story short (well, really, short story shorter), the book resolves in the understanding that you don’t have to draw to some unattainable standard of perfection to be a successful artist and that his drawing looked “vase-ish” and that was good enough for his admiring sister.

With that in mind, you can let go of feeling like you have to meet an unattainable standard of perfection when using inquiry practic-es in your classroom. In order to check off that box on your effectiveness evaluation rubric, recognize that anywhere on the spectrum of inquiry is still using inquiry. However, in case you’d like to try going further towards the more open end of the inquiry spectrum, here are some open-ish inquiry ideas.

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Open-ish Art Inquiry Units:An inquiry into…

• how color shows mood…challenge students to create palette of colors that reflect a chosen mood and to create an artwork using that palette of colors

• how people connect to color…challenge students to investigate people’s opinions and feelings about colors and to devise a project that presents their findings

• ways sculptors use clay…invite students to investigate sculptural methods and choose one to practice

• musical instruments made from clay…challenge students to research clay instruments and attempt to design and make a functioning clay instrument of atheir own

“think outside of the project”

Inquiry provides an opportunity to think outside of the project and lets the students have more freedom for personal expression and discovery. Instead of planning your next classroom project, plan a list of questions you want students to investigate…How many different colors can you make using the three primaries? How many different kinds of lines do you see? What types of lines feel calm/scary/angry? How does form relate to function? Is art a product or a process?...and see where the inquiry takes you!

Email: [email protected]

References:

Cell Press. “How Curiosity Changes the Brain to Enhance Learning.” ScienceDaily. ScienceDaily, Oct. 2014. Web. 04 Jan. 2016.

Colburn, Alan. “An Inquiry Primer.” Science Scope (2000): 42-44. Web. 3 Jan. 2015.

Perry, Bruce D., PhD. “Curiosity - The Fuel of Development.” Scholastic Teachers. Early Childhood Today, Mar. 2001. Web. 03 Jan. 2016.

Reynolds, Peter. Ish. Cambridge, MA: Candlewick, 2004. Print.

Walsh, Ellen Stoll. Mouse Paint. San Diego: Harcourt Brace Jovanovich, 1989. Print. •


ArtSource Summer Institute

2016by Melody Epperson

I wanted professional development that challenged me and was relevant to my subject area. This is exactly what I got, and more.

Some people jokingly call ArtSource Summer Institute “art camp for teachers. I agree that going to the Summer Institute is fun and relaxing and a great opportunity to lavish on yourself the time to make art; I would also say that the summer institute is an intense place of professional growth. Every year, I bring back new educa-tional ideas as well as artistic ones to my classroom and my life. I can honestly say that I am a better, more vibrant, and happier teacher because of my summers with ArtSource.

For me, when I first decided to attend the summer institute, what I mostly craved was connection with other art teachers. I felt alone in my building and I missed a place to share frustrations as well as successes. I also wanted a place where I could grow. I wanted professional development that challenged me and was relevant to my subject area. This is exactly what I got, and more.

ArtSource also encouraged me to be TALL. That is Teacher, Art-ist, Leader and Learner. I knew I was a teacher, a learner, and an artist, but I had not considered myself a leader. We are all leaders in some way; it may be in our buildings, in the community, or in the state. When I look around at the people who have attended the summer institute, I see a group of leaders.

This summer will provide this same opportunity for a new group of educators to be TALL. The past few summers, we have been thinking about voice. Your personal voice, the Voice of the Rock-ies, and now we will explore how the artist’s voice brings about change in our world. One exciting piece of the week that will help us explore our theme will be looking at the ancient and con-temporary practice of Cantastoria, the use of visual art, perfor-mance, and “story-singing.” (Don’t worry, no singing experience is necessary; this can be done in narrative form as well.)

One exciting piece of the week that will help us explore our theme will be looking at the ancient and contemporary practice of Cantastoria,

the use of visual art, performance, and “story-singing.”

40.

ArtSource also encouraged me to be TALL. That is Teacher, Artist, Leader and Learner. I knew I was a teacher, a learner, and

an artist, but I had not considered myself a leader. We are all leaders in some way.

TEACHERS and ARTISTS

DESIGN YOUR OWN MASTER OF ARTS DEGREE AT REGIS UNIVERSITY

PAINTING & DRAWING T ART HISTORY ART EDUCATION T AND MORE

Work in your own studio – Meet with faculty for critiques

Flexible schedules and multiple start datesREGIS.EDU/SHSS | 800.944.7667

“The Real Purple One with an Olive”Media: Acrylic on CanvasSize: 16” x 20”2013

Cantastoria is from the Italian word for “story-singer.” This art form is a theatrical form where a story is told or sung while the performer gestures to a series of images that have been painted, drawn, or printed. It is also con-nected to Asian art forms where puppets or shadows are used.

This summer, we will have the inspiring and knowledgeable guest Anne Thulson as well as other artists and speakers who will guide us into ancient and contemporary art. With our guests, we will explore how the visual arts combine with the-ater, puppetry, and social jus-tice to influence people and tell a story.

I am anticipating another ex-citing summer of making art, exploring contemporary topics in art education, and being in-spired by colleagues and guests. It is a great week for making lasting connections to others in our discipline and to our craft of making and teaching. I hope you will consider joining us for this special week of making art in the Rockies.

The summer institute will be held at Highlands Presbyterian Retreat Center in lovely Al-lenspark, Colorado. The dates for the Summer Institute are June 19 – 24, 2016.

To attend, please contact Paula Rowinski at [email protected]. Or fill out an appli-cation at http://www.myteach-erpages.com/webpages/acolo-rado/ •


Vanessa Hayes-QuintanaCollage Editor [email protected]

Janet McCauleyCollage Design/Layout [email protected]

Rosemary Reinhart and Elisabeth ReinhartCollage Copy Editors [email protected]@editorialpathways.com

Timothy GianulisAdvocacy [email protected]

Pam StarckScholastics [email protected]

Robin Wolfe and Michael CellanWeb Master [email protected]@gmail.com

Linda SchmaleSpring conference [email protected]

Justine SawyerYouth Art Month [email protected]

CAEA TASK FORCE CHAIRS & PUBLICATIONS

CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES

Title Name EmailExecutive BoardPresident 2014 -16 Elizabeth Mahler Licence [email protected] Elect 2012-15 Vanessa Hayes-Quintana [email protected] President 2012-15 Ben Quinn [email protected] Intern-Interim Alexis QuintanaSecretary 2012-15 Tara Pappas [email protected] President 2012-14 Robin Wolfe [email protected] RepresentativesElementary 2013-15 Amy Marsh [email protected] 2014-16 Cathy Moore [email protected] School 2013-15 Cindy Miggliaccio [email protected] School 2013-15 Sarah Magley [email protected] School 2014-16 Alexandra Overby [email protected]/Ind/Charter 2014-16 openPrivate/Ind/Charter 2013-15 Jesse Diaz [email protected] 2013-15 Sophia King [email protected]/Gallery Robin Gallite [email protected] 2013-15 Cindy Miggliaccio [email protected] Education 2014-16 Donna Goodwin [email protected] Education 2013-15 Teresa Clowes [email protected] 2012-14 openStudent Rep 2012-14 open

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CAEA REGIONAL REPRESENTATIVES

North West: openNorth Central: Sharon Jacobson-Speedy, Frisco, CO 2014-2016 [email protected] East: Christina Martinez, Holyoke, CO 2013-2015 [email protected]: DJ OsmackMetro: Mike Carroll, Denver, CO 2013-2015 [email protected] Central: Lisa Cross [email protected] West: Kari Pepper [email protected] Central: Abbie Mahlin [email protected]

From:

The Colorado Art Education Association

www.caeaco.org

Collage

Vanessa Hayes-Quintana

16041 Bluebonnet Drive

Parker, CO 80134

Documents

CAEA Winter Collage 2016