July 31

July 31  Rader pp. 200-210 (Chapter 9); Lampert pp. 263-68 (Chapter 25)
             And Kate Lyman: The Trial (pp. 140-143)

Wow--the Summer II is almost over. I am so very happy that I got to read these marginal histories of artists galvanizing for social and cultural changes. I will be looking at your sites this weekend. I'm at the gallery all day today again and tomorrow evening is First Friday. I will try to take some pics and post them on here--How's that?

Some reactions to your posts: Lynn asked about the Tejas Native Sculpture. I will reply below so everyone can have a say as well. Blair's comment about AIDS is interesting. New AIDS cases are rising the most in young gay men. Here in Lubbock, STIs are very high per capita. Andrea posted about how it seems all of Lyman's lessons go smoothly. What I would like to remind all of us is that her essays document all of the cautions and precautions she did as a teacher, and what incidents/reactions she choses to write about. What I get from her essays are that teaching about anything "real" is almost exhaustingly painstakingly  difficult to create and manage. Often, she wonders if she is a good teacher. And is even doing the right things--when from my perspective she is courageous, visionary and how I should be as a teacher. Lyman always considers what to tell administration. She is never given support--she builds, develops and maintains it--so when she does run into trouble, she has created community allies--that makes administration back down at times. And Lynn, thanks for the Sherman Alexie quote--was that his grandmother? Great quote. 

July 30

July 30  Rader pp. 191-200 (Chapter 7); Lampert pp. 252-62 (Chapter 24) 
             And Kate Lyman: AIDS: You Can Die From It (pp. 149-153)

Wow!!!! What a joy/pleasure/honor to read your posts from yesterday. Mostly because of your nuanced and engaged responses. So, let me get to a few. First off, I became inspired to write a paper on creating change in curriculum by simply making artists we teach reflect the demographics of a school and then what that can mean for teachers, students and learning. It's how I am going to teach students in Art 3360, our introductory class, about engaging students and learning--make the curriculum reflect their lives.

Blair posts that she was embarrassed about some previous judgments and posted that we weren't taught that much (or the latter may be my thought on that). $60 is a deal for anything Native-made. Some of the art/jewelry at the Governor's Palace where Natives-only sell, go for hundred and thousands. It's one way locals can make livings by selling art. And much of that art traces back to Natives relearning crafts to sustain their communities. When I was referring to the HOWE statue, I was intending how we all have seen similar examples somewhere in our lives--that that particular one--sorry if that was confusing. Lynn posted "How do we help preserve culture[s] respectfully?" Great question. Daniels' memory of playing with a slot machine with Indian-motif. Lynn posting again "How do we keep from homogeneity--from losing identity?" I might add that many of us don't even know much about our identities. 

I am glad many of you find Kate Lyman's pedagogical courage and strategies impactful. 

July 29

July 29  Rader pp. 183-90 (Chapter 9); Lampert pp. 242-51 (Chapter 23)
             And Kate Lyman: From Snarling Dogs to Bloody Sunday (pp. 119-125)

Good morning. 9.15 am. As I am posting, it is slowly raining outside--simply delightful. Also delightful, believe it or not, was the Rader reading for today--183-190--about public art. I am going to lead with that post. A few comments about yesterday's posts:

Sarah's post of her idea of creating a mural of deployed parents is very cool in my opinion. Blair posted about when is art finished? was interesting to me. When I taught elementary art in the 80s (don't laugh), I bought a four-part filmstrip series (where there is a beep to tell you to turn to next image) that was called Shoe-view of Art through History, something like that. You looked through the history of arts/mostly paintings looking at shoes that were represented. What I remember was the narrator said that in the very famous Arnolfini Wedding portrait (google it) the artist left the man's shoes unfinished--that there is evidence the artist did not know how to finish the shoes. When is something finished? Could it be that it never is and that everything is temporary? From my perspective as an old man, nothing hangs around or sticks for very long--records, music, buildings, people, rivers--everything seems to be in states of constant flux--that really goes against how I was taught about everything.

Sarah posted she was surprised at subject matter at 2/3 grade age--that's why we are reading Lyman. I was always interested in important things as a kid and teen. Adults seemed to hedge away from anything that was important to me. Lyman is an example of how to begin to bridge those important ideas of students and bring or allow them into the classroom. My WARNING is that all of your colleagues will think you are crazy and inappropriate. That is usually the first, second, third and fifty-eight response. LOL

Andrea's post got me to thinning about in the early 90s when I was a grad TA and teaching an art class for non-art majors (people who were going to be elementary classroom teachers, not art teachers). One female student had her husband assume poses that females do in magazines--like lying on his back with a leg in the air; and she photographed him. Sadly, even in my view, he looked ridiculous--and the bigger question ofr me was why did women not look ridiculous assuming those poses? That's what the Rader article is all about today, what happens when we become immune to what we see and how we see it? Do I see the misogyny? The racisims? Etc. And, it's never comfortable realizing that I participate in cultural racisms, sexisms, etc., especially when I remain silent. 

July 28

July 28  Rader pp. 141-50 (End of Chapter 6/Beg. of Chapter 7); Lampert pp. 235-41 (Chapter 22)
             And Kate Lyman: Girls, Worms, and Body Image (pp. 107-111)

Hope you all had a good weekend. I'm thinking of two posts by Blair that many commented on. One was that she has Indians from India in her school. India has over 1.1 billion people, imagine all of the contemporary and historic artists it has as well. Also, I like the idea posted that Blair gives students choices and input. As Rethinking Our Classrooms says, the best discipline is a good curriculum--and the best curriculum invites the lives and expertises and interests of students. 

I have also noticed that no one is commenting on the Rader book questions. So, for tomorrow, let's skip ahead in it and start Chapter 9, reading pages 183-190. The last two chapters take it back to art. I sense literary analysis is not that interesting to everybody. I would encourage you to check our a Sherman Alexie Film--Smoke Signals--it's a totally different pace and theme than Hollywood films. Or any one of the other ones mentioned if available. 

So--reading change for tomorrow--Rader 183-190--don't forget. 

Also, if I haven't mentioned it yet, if you have never heard of or seen or read The Guerrilla Girls, google www.guerrillagirls.com

July 25

July 25  Rader pp. 131-40 (Chapter 6); Lampert pp. 224-234 (Chapter 21)

A few updates. You all should have received invites to Dropbox for the Kate Lyman articles. I thought we would read one each day next week. They illustrate how an elementary teacher has taken some of the issues we have read about and turned them into pedagogy/teachable moments. I think you will enjoy them.

I hope these literary chapters from Rader haven't alienated you a reader, but this is how literary criticism is written about in academe. And he is quite accessible. I am hoping that if poetry wasn't that interesting to you, that the movies will be. But poetry is a method or medium that is like reading for art's sake--and all of the poetry examined here is all about historic and contemporary identity and place. 

Keep in mind that museums don't sell work, they store it. Galleries sell work. When I asked about positive portrayals of Native Americans in media or cultures it reminds me that especially in movies, white people often see Indians as one group--not their differences; many whites are not interested in the lives or histories of Natives, much less how things are represented. Many whites seem to be very interested though in their own interests--if that makes sense, from what we have read.

Rader repeats, over and over, the privileges of being white in this culture; and having access to money--being middle and upper classes. 

Keep in mind, that by this upcoming Monday, I asked you to send us addresses, so we can peek at your blog or site under construction. On Monday, I am asking that you leave feedback to each other--there is space for comments. 

I hope you are enjoying most of the reads; I am learning a lot about the histories of art and artists.  

July 24

July 24  Rader pp. 121-30 (End of Chapter 5/Beg. of Chapter 6); Lampert pp. 211-223 (Chapter 21)

We only have nine class days remaining. Where does the time go?

First off--just a reminder that by Monday, can everybody give us their addresses to look at ideas or the beginning of your project? It's a work in progress and will probably end that way--no need to completely finish something. There isn't the time. I hope that helps a few of you who may be perfectionists. Sarah asked if you have to use blogger--no. Use another online site. I just thought we are using blogger and it is free. I understand how blogger isn't working with a few iPads. I don't know if that is a platform issue--does Chrome work better with iPads? I don't know.

About our readings. I am noticing that fewer and fewer are commenting on the Rader book. Don't let literary criticism and analysis scare you off. Especially as we are reading about poetry. I just plod along and read it, ask questions, and underline. I try to ask more open-ended questions, but please respond to those as well. He gets back to films with more pics shortly. 

I am noticing how nuanced the writings are--whose side/s do I/we take? And how understanding and siding may have to do with similar issues we have experienced in our lives. That's the beauty of a democracy. Finding many reactions and feelings in one story. Cheech MArin's book, Chicano Visions (2002), is a great little find. And cheap now--on Amazon for .89--though there is $3.99 shipping. It's only about painters, but a great resource book.

I was intrigued with Lynn's ratio of what to include based on contemporary stats. What might an art curriculum or museum show listing look like if it better represented current demographic stats? Lynn posted that she "almost" named a poet in an artist list. Let's think about that for a moment: Do categories and the ways we have been trained restrict us from telling our truths and/or even being creative? (I would venture to say yes). 

July 23

July 23  Rader pp. 111-20 (End of 4/Chapter 5); Lampert pp. 199-210 (Chapter 19)

Thanks for yesterday's posts. Lots of histories and stories embedded in posts. melanie posted about the "disconnects people make to do certain things." And/Or what knowledge is not known that allows people to jump to certain judgments and actions? Sarah posts about how dark many of our histories are. It got me to thinking about the updated version of the movie Hairspray with John Travolta and Queen Latifah. One of the main characters yells out "Everyday should be Negro day!" I often quote that now to the "shock" of friends and colleagues. We should be more shocked at what we don't know about our histories. 

I use an introductory exercise from a book edited by Susan Cahan and Zoya Kocur called: Contemporary Art and Multicultural America (1996). Under Part 4: Integrating Curriculum and Experience, Chapter 7: American Identity; Lesson 1: Immigration and the United States: Who Are We? is a suggested activity:

1. Divide class into pair(with teacher included as part of a pair if needed).
2. Have students take turns conducting interviews with each other working from the following list of questions or similar questions they develop through class discussion:
A. What is your name? Do you know the meaning of your name?
B. Where ar your parents from?
C. Where are you from?
D. Do you know or use any languages besides English?
E. Do you have relatives in other countries?
F. How long has your family lived in the United States?
G. Why did you family originally come to the United States?
H. What did they encounter when they arrived?

Many students know very little about their own backgrounds. We discuss what surprising things we learned of each other. If it helped us better understand classmates. If we were interested in knowing more about our backgrounds. What we might learn about interviewing a parent or close relative. Similarities we have in common. 

Other ideas in the lesson are to brainstorm and have class build reasons people come, voluntarily or not, to the US. And also consider: have reasons changed for emigrating to US; what are some specific circumstances; what similarities exist no matter what the ethnicity; what differences; how does economic and historical circumstances of different countries make immigration experiences to US unique for different peoples; were earlier migrations of Europeans to US motivated by different sets of circumstances?

It also goes into John Ogbu's distinctions between groups who came to the US voluntarily and groups forced to come here. Artists highlighted/used are: David Avalos, Juan Sanchez, and Yolanda Lopez (pp. 234-236) 

Using interviews to collect data to then think about art projects was key. 

I continue to use this in face-to-face classes to set the tone for the often difficult topics that occur when I teach. It gives us all an avenue to wonder about our pasts. Who am I? Where did I come from? What did my relatives experience? How does that connect to other's experiences? Etc. 

July 22

July 22  Rader pp. 101-10 (Chapter 4); Lampert pp. 188-98 (Chapter 18)

Thanks for your posts. Keep in mind on Thursday I will invite you to DropBox to access one of the Lyman articles that we will read. They are very quick reads and demonstrate one way to integrate what we have been reading into a classroom format. Lyman describes all of the issues she had to deal with. Very interesting stuff.

Lynn, thanks for posting your semester blog address. I encourage everybody to follow what gets posted for semester projects. May give you ideas and encourage you on yours. Daniel posted about graphic novels and Persepolis. Great connection. And a great idea--someone could pursue/develop a short graphic novel for a semester project. Sarah posted about documenting immigrant stories--can never have enough of those. Another great semester project idea. (And now I will stop about ideas.) Blair posted about what Okubo was really thinking. COuld it be that she never felt safe to ever say what she was thinking. She may have witnessed many things that frightened her. We have been reading what US citizens have done over the years. One would have to have a lot of courage to do the things many of these people did because there seem to be lots of negative reactions and violence that followed. 

Keep this in mind about the questions that I pose. Thank you for your willingness and openness to respond to questions that I try to develop. You may always propose others for us to respond to. 

July 21

July 21  Rader pp. 91-100 (Chapter 4); Lampert pp. 176087 (Chapter 17)

Comments about Friday's posts. Lynn posts about her project and how to document it. You can take photos of the installation as far as it gets. You can focus on one aspect of the installation--dolls. You can post conversations had during making dolls, focusing more on one aspect of a larger event. It doesn't have to be the whole thing. Does that help?

Blair's example on dallasgraffitiobservations.blogspot.com are spot on. She is giving us a journey through a journal with her thoughts. One nice way to begin to document. Photos are grand. 

Lisa posted about road repairs and water taking priority over art, for ex. My opinion, just mine, is that each community has it's own histories with the arts as to whether or not they are important and on or at what level/s. As Lubbock grows its arts districts, different people will have different opinions as to what is or is not successful. Wealthy people depend on artists and artisans to this day--just look at their homes. What they think about artists--hippies or weird, that's more about them than the artists. Places I have visited recently, San Diego, New Orleans, Ottawa, Canada, Chicago, NYC, Wash DC, Seattle--all sport incredible visual and architectural scenes--whether they are considered important or not by locals. And, everywhere there are stratifications of the arts--who is in--who is out--who makes decisions--everything we have been reading about. Museums do it differently than local galleries who do it differently than schools--all have vested and different interests. It is often hippies vs. academics vs. local artists vs. formally-trained vs. self-trained vs. outsider artists vs. museum quality artists, etc. As Andrea posted, white artists still tend to be out of touch with anything having to do with others other than themselves and their own art--and making art is very difficult on its own. Students will tell us that their parents will not pay for them to go to college to learn about art--that that is a dead end. Galleries are another way, but Lubbock is not that much different from NYC in terms of galleries--where it costs a lot to be a part of that culture. Private galleries are businesses--they are in business to make money selling art first and foremost--no matter what anybody says--most decisions are profit decisions. What sells, sells. Sometimes the history book authors disagree.

Project ideas look great. Keep they low-key and personal and it should work out well. We only have two chapters today. Starting Friday and all of next week, I will be adding one essay to ground us pedagogically. You will be invited to Drop Box. We are almost half-way through. 

July 18

July 18  Rader pp. 81-90 ((Chapter 3); Lampert pp. 156-75 (Chapters 15 & 16)

*Consider creating your blog with initial ideas for project starting this weekend or upcoming week. I'd like for us to share those no later than July 28th--meaning we are all going to take a look at each of our blogs--so plenty of time for initial thoughts/ideas/plans--that could change from what you end up with.

Also, not, that starting next week, we read one chapter from Lampert and continue ten pages from Rader. Starting next Friday on the 25th and the following week, we will be reading one essay from Kate Lyman a day. Her essays are accessible and interesting and quick reads. 

A few comments from your posts: Sarah you posted about mapping Native Americans--thinking about artists, writers, community people, others? Just wondering. Daniel, you posted about being surprised about the freedom to choose a topic. As an FYI, I base part of my pedagogy on AS Neill and Summerhill School, which promotes love and freedom and democratic principles. I love being surprised by student's connections to passion and learning; having them make decisions as part of learning and loving to learn. I've tired of controlling and directing teaching. (And this online class is quite controlled and directed.) Melanie posted about reading the violences against people. I'm noticing that too--that there is lots of day-to-day violence in our histories--and that's excluding wars we were/are in. Agitprop is defined as beginning with Communist issues, but since then, feminisms, AIDS, all kinds of writers and visual artists use it as one method to focus their passions and art. ACT-UP (AIDS Coalition to Unleash Power) is mostly agitprop. And Lynn, have you tried using a different platform? I find Safari and Chrome work, but sometimes on other computers they don't. 

And one comment about us reading literary analysis these past few days in Rader. What you are reading--10 pages a day--as he deconstructs Native writings against the Eurocentric canon, this is the kind of reading I had all of the time in grad school--sometimes 100 pages of it a week. Very dense and you almost have to be an insider because everything is self-framed and self-referented. As Rader mentions Foucault, Beth Brandt and others, he is flexing his academic muscle telling us as readers that he has read all  of these writers and theorists. But also keep this in mind. As he writes about his ten books, he is literally giving us his Cliff Notes version of all of the novels.

July 17

July 17  Rader pp. 71-80 (End of Chapter 2/Beg. Chapter 3); Lampert pp. 135-55 (Chapters 13 & 14)

I apologize for posting so late today, but we had another MAE defense in Junction in the morning and then had to settle up some paperwork.

Some reactions to questions about semester projects. Andrea, you can use your current blog and create a sidebar for semester project. Daniel, your topic is not straying at all--there is no way to stray--it's all about what you are interested in. You project can be about one person or one historic idea or event. 

When I asked about the idea of "ladylike," I was thinking in terms of how I/we treat others: men, women, trans, etc. Do I do anything differently around men than I would around women or trans persons? Would I open a door for a woman but not a man? Just regular genders stuff. Would I kiss my grandmother but not my grandfather? 

Starting later next week when we are only reading one chapter from each book, I am going to send you an invitation to read one of Kate Lyman's essays from Rethinking Our Classrooms, Volume 2; well one each day--she had six in that essay ranging from a variety of topics. Here's the kicker--she is a 2nd/3rd grade combination classroom teacher. And she tackled issues brought up by students about AIDS, LGBTQ, Civil Rights, Homelessness, Death, and gender issues. We will be using her as our pedagogical guru and guide into what is possible and how the possible evens begins. You will find the essays refreshing, thoughtful and engaging. I will notify you when we will be reading those--from DropBox--you ill be invited.

How's your weeks going? Hopefully well. Sorry again for posting so late in the day. 

July 16

July 16  Rader pp. 61-70 (Chapter 2); Lampert pp. 110-34 (Chapters 11 & 12)

Andrea posted a question as to why so many of our toys are white. If you haven't seen a toy aisle in awhile, head to a local toy department and look at army and cowboy and Indian toys. Quite awful the state of toys. I am hoping that everybody is googling the sites people offer. Did anyone get a chance to google the Edgar Heap of Birds Indian suggestion?

I am also struck by what everybody is noticing about the readings as opposed to what I notice; probably a generational thing--but I look forward to your viewpoints.

July 15

July 15  Rader pp. 51-60 (Chapter 2); Lampert pp. 86-109 (Chapters 9 & 10)

Great insights on posts. Daniel, sorry about the name thing. Don't know why I did that. As for project ideas--all great--even if you don't know. (I know I would be clueless at this point.) And remember, your project can be a work-in-progress. DO something that interests you--not just for the class. What are you really interested in doing?

Lynn, great idea. Even though the event happens after the class, show us your planning on the blog; give us histories and context; why you are doing it; why it's important to you; so we can check on the results--even if it's months away; a good idea is a good idea. Andrea, simply interviewing your Grandmother or photos--may be used at a later date--so you end up with historic and archival interviews and photos--a great start to something in the future. Melanie, following the graffiti artists on themes of abduction and abuse sounds intriguing. You can begin to lay all of that out and why you are interested on a blog. Daniel, radio broadcasting is a great idea. Love all of the ideas. Only do them if you are truly interested in them. 

Andrea posted about reading the histories of common folk. In many ways it is so refreshing knowing that regular people stood up for many important issues and against abuses. 

July 14

Rader pp. 41-50 (End of Chapter 1/Beg. Chapter 2); Lampert pp. 60-85 (Chapters 7 & 8)

Thanks for that first great week again. I am glad you are enjoying the stories. More to come.

Her are some comments on Friday's posts. Lynn, I was referring to President Andrew Johnson about being white supremacist. But thanks for the connection to LBJ--also involved with important civil rights legislation. Melanie, you asked if letters can be art. In my opinion, word press is art. Google Dirk Fowler, one of our communication design faculty--he makes posters with word press--very big. Also, google www.woodtype.org  That's the Hamilton Wood Type Museum site that is in Two Rivers, WI--the sister city of Manitowoc on the shores of Lake Michigan. Andrea posted about lies/misinformation. Below is an online excerpt from James Loewen's book Lies My Teacher Told Me:

Americans have lost touch with their history, and in this thought-provoking book, Professor James Loewen shows why. After surveying twelve leading high school American history texts, he has concluded that not one does a decent job of making history interesting or memorable. Marred by an embarrassing combination of blind patriotism, mindless optimism, sheer misinformation, and outright lies, these books omit almost all the ambiguity, passion, conflict, and drama from our past. In ten powerful chapters, Loewen reveals that:

The United States dropped three times as many tons of explosives in Vietman as it dropped in all theaters of World War II, including Hiroshima and Nagasaki

Ponce de Leon went to Florida mainly to capture Native Americans as slaves for Hispaniola, not to find the mythical fountain of youth

Woodrow Wilson, known as a progressive leader, was in fact a white supremacist who personally vetoed a clause on racial equality in the Covenant of the League of Nations

The first colony to legalize slavery was not Virginia but Massachusetts

From the truth about Columbus's historic voyages to an honest evaluation of our national leaders, Loewen revives our history, restoring to it the vitality and relevance it truly possesses.

Also google Howard Zinn's The People's History of The United States--it's a really great read as is The Young People's History of The United States. 

Lynn posted how intent matters. Tyler posted about not ever learning/hearing about the Alcatraz event in school. The two films I was talking about are Smoke Signals and The Business of Fancydancing. I noticed I  am making typos. Sorry about that. I will try to watch that more carefully. 

July 11

July 11  Rader pp. 31-40 (Chapter 1); Lampert pp. 39-59 (Chapters 5 & 6)

Thanks for your responses yesterday. We are developing a rhythm of posts. And that's how the class works--"I" language and posting observations, questions, comments, etc. 

A few notes about yesterday's posts. Lisa posted about the truth in photography. I always assumed a photo couldn't lie. Everything about a photo seems to be more about the taker than the taken. Melanie, thanks for the extended alphabet. Wow-creating an alphabet could be an example of a personal or professional semester project. (I will always be tossing out project ideas in the first two weeks.) I will say one thing about the histories I've read so far--they really come alive. I am interested as I read. History is made dull for so many people but these two writers have ways of engaging me. If you go back to yesterday's blog, you will see "Post marker" endings to sections. That's for me just in case someone posts make up posts not in the current day--I can quickly located them. Melanie referred to gangs. can country clubs be considered gang like? Andrea questioned about administrators with Turkish backgrounds. Lots of art history in Turkey--architecture, murals, mosques, churches, ruins…lots of cultural tourism. Maybe an art unit on contemporary Turkey? Historic Turkey? Andrea, yes I visited the Uprising Museum for an entire afternoon. I also got to see the remnant of the Warsaw Ghetto Wall and other surprising things. My hotel was ten feet from the Presidential Palace. Space is different in Europe. Poland is emerging as a country and still trying to find itself. Culturally and religiously it is very conservative. 

A reminder about the readings. Next week our pattern continues--ten pages from radar's book and two chapters from Lampert's. But the following week it's just ten pages from Rader's book and one chapter from Lampert. That should give you plenty of time to think about a blogger project. By blogger I mean you will upload your project to blogger. All of us will be reading each other's projects (unless your project is extremely personal and you only want me to view it--otherwise, we will all look at each other's and comment on them as part of the final. 

Warsaw Uprising Example

When we visited in 2009, the P/W image above the men, in Polish stands for the Warsaw Uprising, were all over the city. From August 1 to October 2, 1944 resistance fighters and others battled German occupiers for 63 days. Russian troops were in Warsaw on the other/east side of the Vistula River in a section of Warsaw called Praga. (See Warsawuprising.com) Over the course of 63 days, the resistance was crushed. Ten of thousands are dead. The Germans execute an additional 100,000 Warsaw citizens. All the rest had to vacate Warsaw as Hitler decided to level the city. All the time the Russians watched. Those P/W markers and monuments are all over Warsaw where people died or were summarily executed. Google Warsaw Uprising Museum. Using terminology from our books, Warsaw memorializes, teaches, and makes places for their dead/ghosts/memories and the struggles for freedom under Nazi occupation. It was quite traumatizing to see all of the memorials to their dead--and my dead as I am Polish-American. It was quite sobering and sad to learn about those histories. We visited the Uprising Museum and all of the artifacts and stories--we cried. It is a very large museum and gets the impact of war/death/suffering/annihilation across quite effectively. Was simply horrific viewing that history. (The photo was taken off web--a 68th anniversary reenactment.)

July 10

July 10  Rader pp. 21-30 (Chapter 1); Lampert pp. 22-38 (Chapters 3 & 4)

First off, thanks for your wonderful introductions. I made a mistake yesterday and only covered pages 1-10 in the Rader book. Sorry about that. I will cover 11-20 and 21-30 in todays comments. Please keep in mind that I expect a minimum of four responses each day. That means if there are four questions you can respond one or more times to each; or you can respond twice to two questions. 

Here are some comments on yesterday's posts. andrea stated how important the power of story-telling is, especially in many of our family settings. And yet, it really doesn't garner much support as a legitimate way to construct and "keep" histories. One thought I had was what can we take away as art teachers or museum educators from these readings in terms of how we could better democratize "classroom management" issues? Rather than one teacher disciplining, for example, what if there were others in the class that took part--I am thinking more of self-regulation/self-control, etc. Melanie brought up a great question Why didn't they teach us all of the facts? Sort of related to visual art never getting stories correct. Tyler posted about my question alluding to fear. My fear and learning question was questioning possibly what happens when new information calls into question core beliefs, ways I have been taught are facts? White ways of knowing and knowledge, for example. The histories presented are very appealing to me and I am glad many of you are feeling the same. We are currently reading two chapters from the Lampert book. That will change in a week to only one to give you time to think about a semester project. And plan. That project can be a thinning one--an idea or ideation or a plan for something. We really don't have time to create, though if you do, for example, put together a series of watercolors or collages that help you think further through some of these issues, that can work. The project is wide open to allow you incorporate your strengths and interests, however tied to the material--you will determine that. 

And remember, any late posts, just post in our current day--and let us know they are for the previous day/s. Thanks. 

July 9

Rader pp. 1-20 (Prologue and begin Chapter 1); Lampert pp. 1-21 (Chapters 1 & 2)

Welcome to our two books. Though both books are academic in nature, so far, the People's Art History book is reading fairly easily for me; whereas the Rader book is reading fairly academically--but both have incredible insights in histories normally ignored. I will be posting four questions each day. Remember that you need to post a minimum of four times a day. Also keep in mind that as we are reading these alternative activist histories, be thinking about our relationship to this new material--what you learned about these groups or issues, and now the possibilities (or our responsibilities) for us as educators/artists/curators to do something with this newer information. What are our concerns, limits, dangers, etc?

July 8: Introductions

Introductions

This is where we will make our first posts. It is not necessary to post four times in this first posting day, but feel free to respond to other person's posts.

On July 8, we are all about introductions and an intro to visual arts and pedagogies. Introductions are about who we are and where we come from. Keep in mind, the diversity of folks in this class. Some may be in our MAE (Master in Art Education) program. Others may be in other programs. Some of you may know each other, and others may be brand new to Visual Studies, the MAE Program or online graduate courses.

How about each of us introducing ourselves on this first day blog post. Tell us a few things about yourself--where you're originally from, where you went to school, where and what you teach, if you don't teach, what you currently do, if you make art, have a family, where you are in the MAE, or in other programs, and anything else you'd like to share. I've sent an invitation from Blogspot.com to your gmail address and your ttu email address (so check your junk email).

It will be under July 9 where you will find the reading assignments for next day. Our reading assignments will be identical to the syllabus. We are following it. If you fall behind, always post late posts in the current day (where you catch up). Just remind us.

My initial intro post is unusually long and I do not expect you to draft one as long. You tell us what you would like to share.

Syllabus

Syllabus

Texas Tech University

School of Art

ART 5360 Seminar

Topic: Visual Arts As Pedagogical Possibilities

Summer II 2014

Meeting Times: Online

Instructor: Ed Check                  Phone: 806-742-3825, x254

Office Hours: by appointment                Email: ed.check@ttu.edu

Catalog Description Topics vary per course from faculty research to publication processes, ecology, technology, interpretation, and issues of power, privilege, and ideology. May be repeated for credit.

Overview of Course

This course culls from two books and diverse ways to rethink histories and historic players resulting in alternative pedagogical approaches to the arts: 250 years of activist art and artists who have worked in social justice movements in the United States and contemporary Native American artists working across visual arts, literature and film. Nicholas Lambert’s (2013) A People’s Art History of the United States revises and restores visual arts social histories within the real-lived politics and struggles and the fights for economic, social and environmental justice. We will be making connections to contemporary pedagogies and possibilities. Dean Rader’s (2011) blend of art, literature and film adds to exciting analyses and contemporary social media used to examine social dilemmas in the visual and performing arts. He represents multiple artists developing/utilizing different methods to create arts. We will read these two texts simultaneously gleaning pedagogical possibilities/changes/illuminations.

One task as a student will be to identify an issue/s that you can further connect to and explore as a summer semester multi-disciplinary/trans-disciplinary/cross-disciplinary project via a contemporary medium: bio art, performance art, digital, installation, public, social practice, design—all contemporary methods of making research/art (visual/performing arts, music, dance, theater, museum, English, sociology, etc.). Your project will be your lens to look personally or professionally beyond the traditional ways we have been taught to think about the arts/knowledge as research and history; what the arts are, what and who counts and what and who doesn’t. We will be perusing/utilizing sustainable approaches/methods that artists have developed; looking at contemporary methods of making: digital, performance, social practice, etc. Lambert’s stories restore the untold/unknown/forgotten/underused realities of agency and activisms that all classes of people attended to throughout histories in the US (we will be much more global in our conversations).

Much of this course is spent on reading, posting on our blog, and responding to ideas and possibilities in our own research/lived lives; or at the very least begin to think about areas that interest us; places to begin and to develop a project. This course is tailored toward investigating and practicing autobiographical skills in relation to broader cultures necessary for completing arts-based research tasks. That essentially means that we will rely heavily and begin with our own stories/autobiographies as a means to begin to reflect about who I am, what I am interested in, what I am doing, and what I am trying to accomplish in my research and/or writing.

I am hoping Lambert’s and Rader’s texts will prod us to rethink/review/restore what we value, make, teach, etc. Is it possible to look at her/histories as pedagogical moments of illumination and change? Where are we in all of this? Using alternative histories as models, what will I do? Connections will be made to pedagogy/teaching, arts-making, and self/agency.

I am hoping these texts will create excitement for us; a willingness to look beyond the traditional ways we have been taught to think about art as research; what art is, what counts and what doesn’t. We will be perusing sustainable approaches/methods that artists have developed; looking at contemporary methods of making art: digital, performance, social practice, etc. Much of the books are compendia describing the practices of contemporary practicing artists. 

Course Outcomes/Assessments

1. Explore issues of research and methods in relation to making art, teaching and school lives. Assessment: Students will create online blog responses to books and each other’s comments demonstrating mastery of content and reflection of core issues.

2. Students will be able to identify, articulate, and reflect critically on issues related to research in personal, professional, and/or civic life from their own perspective as well as that of others. Assessment: Students will create auto-reflective essay defining an exhibition or project topic in relation to personal/professional research.

Course Texts

Lambert, N. (2013). A people’s art history of the United States: 250 years of activist art and artists working in social justice movements. New York, NY: The New Press.

Rader, D. (2011). Engaged resistance: American Indian art, literature, and film: From Alcatraz to the NMAI. Austin, TX: University of Texas Press.

Attendance Policy Attendance and punctuality are not only requested but are required. Attendance is mandatory. All of the content of this class occurs online. Part of your responsibility in this class is to share/post your thoughts, views and perspectives on issues, and readings, no matter how rough or refined -- with your blogmates. You can’t do that if you are not present in class and do not post. Excused/Unexcused absences will have a decided impact on your final grade. After THREE absences, every absence will lower your final grade one letter grade. If you need to be excused from class for religious reasons or due to TTU sponsored activities, TTU policy asks that you provide a written note prior to the absence and make-up the work.

*When absent, it is the responsibility of the student to contact other students for material updates and information concerning absence and other assigned work. Do not ask the instructor if “we did anything in class yesterday?” You are responsible for any missed readings.

Grading Course grades are calculated from the following activities:

Reading/Posting blog                                                  40%

Participation                                                                30%                                                                                        

Semester Blog Project/Collaborative                           30%

Readings and Projects

Readings Advice about Reading Assignments: Be prepared to discuss the readings in the following manner--What is the author’s position? What is my position? My personal or professional experiences? My reactions? What is the relation or connections to arts and education? What questions do I bring to the discussion? Note: Bring at least one question per reading to post to discuss. I suggest writing down your questions and comments (in a journal?) before each class period. The same applies to movies. Know the cultural context of the movies; the directors, actors, playwrights, etc.

Viewing movies: Movies are a part of our visual literacies. It is your responsibility to view movies for class when required. All movies can be checked out overnight from our Visual Studies library or can be watched in B-12 or on computer, laptop, iPad, phone, etc. You can also access movies on Netflix, our main library and other providers. 

“I” Language. In classroom conversations and discussions, I prefer you use “I” language. Speak/Post in the first person. “I believe,” “I think,” “I’ve experienced, “ “I’m wondering,” etc. It makes your statements and posts much more powerful in delivery and meaning.

Semester Blog Project You will develop and design an online blog on blogger.com with images and text in relation to your personal/professional/research interests. Topics will emerge from our readings. Other possible topics include: Outreach Ideas, Recasting the American Family, Sustainable Environments, Nation/s at War, Personal Geographies, Trauma and Recovery, Rethinking, American Identities, AIDS, Cancers, Weight, Etc., War in ________, Art in the Public, Media Literacy, Immigration, Transnational Identities, Snapshots, Images of America, and Images of Family on TV, etc. Media/Methodologies used may include but not limited to: Autobiography; Autoethnography, Standpoint Theory, Witnessing/Testimony, Social Justice, Community, Sustainability, Memory, and Social Change; IPhonography, iMovie, photography, outreach, creating innovative lessons, etc.

Blog Rubric for Assessment  (A=exceeds expectations; B=meets/exceeds expectations; C=/meets minimal expectations; D/F=fails to meet expectations)

Clarity of writing 20% Is your writing clear and focused?

Contemporary references 20% Have you cited contemporary artists and writers?

Use of Social Theories 20% Have you engaged/applied/rethought social justice or other critical pedagogical themes?

Connections to art and/or teaching 20%

Willingness to rethink/reconsider personal and professional experiences within critical frames 20%

Keep in mind these themes addressed throughout course: Autobiography; Autoethnography, Standpoint Theory, Witnessing/Testimony, Social Justice, Community, Sustainability, Memory, and Social Change

Course Requirements

Participation  This course is taught as an online seminar/salon so each student is responsible for keeping up with the reading as well as participating in weekly class postings. This is a reading intensive class. I expect you to participate in class postings, contributing ideas and your perspectives on topics. I am expecting you to post a minimum of four times each week. There will be more about this on the actual blog. (30%)

Making Art/Essays/Blog

The main purpose for this digital writing/art exercise is for you to experiment with writing about issues important to you. It may encompass art you have made recently, or an idea for a project that you create. I am expecting all of us to look at these and give constructive comments. Your writing piece can be environmentally related, personally/teacher-related, or art-related; something you are currently working on. You can write about a research topic in relation to community, art making or teaching that you are interested in beginning to explore this semester. In this short preview,  cite artists and other writers who you have read that influence you.

You are responsible for creating/documenting an artist/s, contemporary theme or question, or project (visual, performing, digital, etc.) that will be housed on a blog site/page. Guestimate a maximum of 500-1000 words on site (which is about two to four pages of double-spaced text). You will upload images and explore a research topic—an ethnographic idea or your own art with examples related to teaching or some other art-related activity or venue. Include images. (30%)       

Attendance/Posting  Online postings are mandatory. Discussion of the content of reading material will occur in class postings. If you miss a day or more of postings, you still need to keep up with reading the blog. You might even email other class students for what you missed. You will post missed posts always on the current day’s posts, letting us know you are posting from previous readings. (40%)

Semester Mapping

You will always have until noon of the following day to post from the previous day. Friday’s posts are due Monday at noon--That gives you three extra days to post Friday’s if you have a busy week. If you miss a day of posts, you may post those comments in the current day. This is to accommodate your often, hectic schedules. If you miss more than two days of posts, I expect an email explaining why. Your posting during each day keeps our non-synchronous virtual class feel like a real-time conversation. I encourage you to respond to each other’s comments. I will start off each day on the blog with questions or comments to facilitate our/your responses. You do not have to respond to all of my posts or questions. My posts are usually there to facilitate discussion/posts. But I do expect you to post a minimum of four posts per day. Many of you will post many more than that.

Course Outline (subject to change)

Dates to keep in mind:

*July 7th is the last day to drop a course with a refund. Last day for student-initiated drop on MyTech without penalty (drop does not count against drop limit).

*July 11th is the last day for student-initiated course drop on MyTech with penalty.

Other dates to keep in mind:

Faculty on Duty: July 7
First Class Day: July 8 
Last Class Day: August 6
Final Exams: August 7 – 8
Commencement: August 9

July 8  Introductions

July 9  Rader pp. 1-20 (Prologue and begin Chapter 1); Lampert pp. 1-21 (Chapters 1 & 2)

July 10  Rader pp. 21-30 (Chapter 1); Lampert pp. 22-38 (Chapters 3 & 4)

July 11  Rader pp. 31-40 (Chapter 1); Lampert pp. 39-59 (Chapters 5 & 6)

July 14  Rader pp. 41-50 (End of Chapter 1/Beg. Chapter 2); Lampert pp. 60-85 (Chapters 7 & 8)

July 15  Rader pp. 51-60 (Chapter 2); Lampert pp. 86-109 (Chapters 9 & 10)

July 16  Rader pp. 61-70 (Chapter 2); Lampert pp. 110-34 (Chapters 11 & 12)

July 17  Rader pp. 71-80 (End of Chapter 2/Beg. Chapter 3); Lampert pp. 135-55 (Chapters 13 & 14)

July 18  Rader pp. 81-90 ((Chapter 3); Lampert pp. 156-75 (Chapter 15 & 16)

*post this weekend idea/s for blog project

July 21  Rader pp. 91-100 (Chapter 4); Lampert pp. 176087 (Chapter 17)

July 22  Rader pp. 101-10 (Chapter 4); Lampert pp. 188-98 (Chapter 18)

July 23  Rader pp. 111-20 (End of 4/Chapter 5); Lampert pp. 199-210 (Chapter 19)

July 24  Rader pp. 121-30 (End of Chapter 5/Beg. of Chapter 6); Lampert pp. 211-223 (Chapter 20)

July 25  Rader pp. 131-40 (Chapter 6); Lampert pp. 224-234 (Chapter 21)

July 28  Rader pp. 141-50 (End of Chapter 6/Beg. of Chapter 7); Lampert pp. 235-41 (Chapter 22)
             And Kate Lyman: Girls, Worms, and Body Image (pp. 107-111)

July 29  Rader pp. 151-60 (Chapter 7); Lampert pp. 242-51 (Chapter 23)
             And Kate Lyman: From Snarling Dogs to Bloody Sunday (pp. 119-125)

July 30  Rader pp. 161-70 (Chapter 7); Lampert pp. 252-62 (Chapter 24)
             And Kate Lyman: AIDS: You Can Die From It (pp. 149-153)

July 31  Rader pp. 171-80 (Chapter 8); Lampert pp. 263-68 (Chapter 25)
             And Kate Lyman: The Trial (pp. 140-143)

Aug 1  Rader pp. 181-90 (End of Chapter 8/Beg. of Chapter 9); Lampert pp. 269-77 (Chapter 26)
           And Kate Lyman: Staying Past Wednesday (pp. 199-201)

Aug 4  Rader pp. 191-200 (Chapter 9); Lampert pp. 278-85 (Chapter 27)
           And Kate Lyman: Teaching the Whole Story (pp. 168-175)

Aug 5  Rader pp. 210-210 (End of Chapter 9/Beg. of Chapter 10); Lampert pp. 286-95 (Chapter 28)

Aug 6  Rader pp. 210-227 (Chapter 10 and Epilogue); Lampert pp. 296-304 (Chapter 29)

Aug 7-8 Final Exam (Post projects on blogs; we will review each one)

Health and Safety 

The School of Art endeavors to comply with the intent of state laws and the University Health and Safety Program in an effort to maintain a safe working environment. Students are expected to take note of cautions and safety procedures listed in textbooks or covered in class. Accidents should be reported immediately and injuries should receive prompt medical attention. Broken equipment should be reported in order to make timely repairs and avoid hazards. See http://www.depts.ttu.edu/opmanual/OP60.01.pdf.

Integrity 

“It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension” (2009-2010 Texas Tech Student Handbook, Part II, Section B, page 7). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf See Academic Integrity information at http://www.depts.ttu.edu/studentjudicialprograms/IntegrityMatters.

Civility in the Classroom 

“Each Person Has Worth and Dignity”. “It is imperative that students learn to recognize, understand, and celebrate human differences. Colleges can, and indeed must, help their students become open to the differences that surround them: race, religion, age, gender, culture, physical ability, language, nationality, sexual preference, and life style. These matters are learned best in collegiate settings that are rich with diversity, and they must be learned if the ideals of human worth and dignity are to be advanced”(2009-2010 Texas Tech Student Handbook, Assumptions and Beliefs, page 3).

Classroom Conduct 

Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have an opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from using cellular phones or beepers (including texting), eating or drinking in class, making offensive remarks, reading newspapers, sleeping or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a request to leave class and an absence for that session. Unless the instructor requires it, you may not surf the Internet or check your email during class time. If a student is found doing either of these things, you will be asked to leave the class and earn an absence for that session. See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf

Academic Integrity 

“It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension” (2009-2010 Texas Tech Student Handbook, Part II, Section B, page 7). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf  “Academic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student.” (For the specific definitions of Academic Misconduct, see 2009-2010 Texas Tech Student Handbook, Part IX , Section B, Number 3, a through e, page 20; and to Part IX, Section D, Number  22, C, page 23). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf This includes, but is not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor or the attempt to commit such an act. See Academic Integrity information at http://www.depts.ttu.edu/studentjudicialprograms/IntegrityMatters.

Conflict Resolution 

The Office of the Ombudsman is available to assist students with any conflict or problem that has to do with being a student at Texas Tech University. You may visit the Ombudsman in the Student Union Building or call 742-4791.

Reporting Illness 

In case of an illness that will require absence from class for more than one week, the student should notify his or her academic dean. The Dean’s office will inform the student’s instructors through the departmental office. In case of class absences because of a brief illness, the student should inform the instructor directly. Other information related to illness is found in the Student Handbook and the Residence Halls Handbook.

Absence due to religious observance 

"Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. A student who is excused under Part II, Section I, page 8, in the TTU 2009-2010 Student Handbook may not be penalized for the absence; however, the instructor may respond appropriately if the student fails to complete the assignment satisfactorily.

See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf.

See http://www.depts.ttu.edu/opmanual/OP34.19.pdf.

Student Absence due to Sponsorship of Student Activities and Off-Campus Trips

“According to the 2008-2009 University Catalog, faculty, department chairpersons, directors, or others responsible for a student representing the university on officially approved trips should notify the student’s instructors of the departure and return schedules in advance of the trip” (TTU 2009-2010 Student Handbook, Part II, Section K, page 8). Proper protocol dictates that a student missing class due to an officially excused trip to personally notify their instructor of the departure and return schedule in advance of the trip as well. The student may not be penalized and is responsible for the material missed. According to TTU OP 34.06, students will be responsible for making their own individual arrangements with instructors for class work missed while participating in an off-campus trip.

See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf.

See http://www.depts.ttu.edu/opmanual/OP34.06.pdf

Illness and Death Notification 

“The Center for Campus Life notifies the campus community of student illnesses, immediate family deaths and/ or student death as a courtesy. Generally, in cases of student illness or immediate family deaths, the notification to the appropriate campus community members occur when a student is absent from class for four (4) consecutive days with appropriate verification. It is always the student’s responsibility for missed class assignments and/or course work during her/his absence. The student is encouraged to contact the faculty member immediately regarding the absences and to provide verification afterwards” (2009-2010 Texas Tech Student Handbook, Part II, Section J, page 8). The notification from the Center for Campus Life does not excuse a student from class, assignments, and/or any other course requirements. The notification is provided as a courtesy and the student must initiate the request within two weeks of the incident. See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf

Disability 

Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. The university-approved mechanism for doing so is written notification from AccessTECH—a Letter of Accommodation (LOA). The LOA on official university letterhead indicates to professors that the student has given proof of his or her disability and that the accommodation noted is considered appropriate and reasonable.” TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act.

See (http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH). Absolutely no other written documentation, verbal verification, or explanation, other than the LOA; may be requested as “proof of disability” by any faculty member under any circumstances whatsoever as this is in direct violation of Federal Law.

“Section 504 of the Rehabilitation Act of 1973, as amended, and the Americans with Disabilities Act (ADA) require that universities, and all faculty and staff therein, make reasonable accommodation for all students with disabilities in all programs and activities, both academic and nonacademic. If such reasonable accommodation is denied to any disabled student, the institution may be held in violation of the law”  (TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act). See http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH.

See also http://www.depts.ttu.edu/opmanual/OP34.22.pdf for current changes to TTU OP policies.