David Bondt art work

After reflecting over all that we covered in our readings this semester, I found I was most fascinated with the art relating to the first nation peoples. Learning about the native struggles within the art world continues to show the in justices these individuals face. I am also grateful that I had the opportunity to experience art shows in Canada that focused on native artists. It was not until this course that I realized how the native art I viewed as a child/adult really impacted my creative process today.  I can associate my great love of color due to viewing the many works of Anishinaabe artist Norval Morisseau and the beautiful animal prints made by the Inuit artist Kenojuak Ashevak.

The work I created for this assignment is stylistically inspired by the aforementioned native artists whom I admire so greatly. The technique I used is called “collography” print making method, which is a new process for me. I designed a salmon representative from the Pacific North West native art style called “Haida.” This piece is in response of seeing a PBS program on the removal of a dam on the White Salmon River in Washington State. The video shows the incredible transformation of a predominantly native community that witnesses the salmon returning to an area where they once thrived. There is also an important story which tells us what the salmon represents to the Pacific Northwest Coast people and it goes like this:

“The people believed that Salmon were actually humans with eternal life who lived in a large house far under the ocean. In the Spring, they put on their Salmon disguises and offered themselves to the villagers as food. The tribes believed that when entire fish skeletons were returned to the sea, the spirits would rise again and change into Salmon people. In this way, the cycle could begin again the following year. Since the villagers feared that the Salmon people would not be treated respectfully by White people who had no knowledge of the taboos and regulations, they did not want to sell Salmon to the first White men.”

 My piece represents the selling of the Salmon to white men who cut off the ends of their tails which keeps them from swimming upstream (representative of the damn).They are also swimming in a circle which represents their completed life cycle once the damn is removed.

http://artfromthetribe.com/?symbol=Salmon

http://video.pbs.org/video/2336971141/

Hey guys sorry for the delay with all the posts but I have been working but there is no excuse for my slacking.  I have caught up in the posts and I have enjoyed reading all the responses. Sorry I could not respond to them sooner and I apologize for my slacking efforts.

Any who…for my final project I decided to do something I do not do very often and I am not very confident in. Painting.  I am kind of a one trick pony when it comes to artwork since all my work is black and white.  I am always willing to learn but I lack the motivation to do anything new.  I am not a good painter (in my opinion) and I have not painted very much. 

I chose to do a painting because I was inspired by Our Lady of Controversy, although my artwork has no controversy I was inspired to do something new.  I do like the meaning or what I feel is the meaning behind Alma Lopez version of the Virgin of Guadalupe.  So I chose to paint because I wanted to challenge myself and do something I wasn’t good at and not be afraid of what others would think.

I painted a cherry blossom tree starting to bloom in the night sky with the moon in the background.  I have chosen this because in Japanese culture it represents life.  The representation I get from it is that when the cherry blossom blooms life becomes greater.  Like my artwork and as time has gone by my artwork has bloomed and become greater.  Lately I have not had any motivation to draw or even do any artwork but while painting this it gave me a start in the right direction.  A friend of mine did a similar piece and I based my painting around hers.  I liked the meaning of the whole piece.  Like the cherry blossom my artwork is precious because it only blooms for a short period of time. I don’t do artwork very much anymore but I do cherish what I have done and what I will do in the future. 

The cherry blossom tree is in the night sky with the moon in the background because I take each day as it was the last. The piece hits home with me.  “Appreciate the moment for today is the day you will always remember, life is to short too worry about tomorrow.”  This is my life quote I have tattooed on me and this painting represents that. 

A Pedagogy that Engages Community

This semester seems to have flown by!  But as I look back at the books we covered through the class, I spot several "take-aways" to apply in my teaching realm.

Through Rendon's "Sentipensante" I saw the connection between a holistic teaching strategy and shaping the whole learner.  No matter the age of the learner, connecting all areas of learning together, rather than compartmentalizing disciplines, and connecting learning to their outside lives allows the learner to have a more complete learning environment.  Rendon has us contemplate our students as whole thinking/feeling/perceiving beings, rather than an empty vessel to fill with knowledge--dumping in the daily lesson.

We switched views slightly in VSD; not away from a holistic pedagogy, but to look more closely at artists pushed to the outside.  Through the essays covering the Venice Biennale, we were confronted with the unique situation facing Native artists here in our country and those in other locales as well.  Through our conversation, we discussed that not only do artists of Native backgrounds face a hardship in showing/selling artworks.  We found that many of us in the class perceive a bias when showing our work--many of us don't consider ourselves mainstream artists.  This creates the desire in us to push on and continue creating/showing/discussing.  

The video of architecture students pushing against the norm in their instruction--bringing an aesthetic to the rural poor in Mississippi--stirred ideas in myself for ways to push my own students into their community.  It was beautiful to watch the change in community as the outside architecture students came into the community and plugged into the lives of the inhabitants.

And in "Our Lady" we saw what happens when a piece of artwork becomes so controversial to a group that it riles up a vicious argument within a community.  Our conversation took us through these ideas of offensive artwork, what an artists' rights are, and how to diffuse an intense battle such as the one Alma Lopez encountered.

As I process each of these ideas and how it percolated through my conscious and into my day to day existence, I saw a theme appear.  

Recently in the news the idea of economic inequality and yet again, anti-capitalism/anti-Reganism have been pushed to the forefront of national conversation again.  These issues aren't any more pressing in recent days (as a slightly cynical libertarian I blame the media for stirring up problems where problems really are no worse than usual), but I've seen the usual increase in social media on these topics.  I see friends lamenting how our communities are colder (HA!  ice storm, yes, but also relationally) and we find greed in our holidays rather than charity and goodwill towards our common man.  

Yet in my community I see warmth and communication.  Thursday night as the ice fell and temperatures dropped, a limb came down on my power line.  This single gal didn't freak immediately, but after some sparks ensued, I called my firemen and waited for them to instruct me.  The lights of the firetrucks brought my neighbors out to check on me.  They made sure I was well and helped me get my car ready to head to my parents'.  The next day my neighbors began cutting the fallen tree off my line.  And called our neighbor up the street who is an electrician.  From the warmth of my parents house I began work on the dozens of cookies I'd deliver to all my neighbors who were working to help me out.  (And I'll probably ice up their favorite winter six-pack as well).  All this to demonstrate that no, there isn't a freezing in relationships in our communities.  

It is up to each one of us to reach out to our neighbors.  To help your neighbor, you have to KNOW your neighbor.

My neighbors check on me in crisis because I made it my goal to know them.  I'm constantly talking their ears off as I walk my dog or get my mail or tend to my garden.  I pack up my car with goodies I find at the plant sale to share with my neighbor Marian in her garden.  My plumber Johnny lives two houses over; he checks on me and I serve him up fresh baked bread and cold beers.  He brings me fresh chicken and duck eggs.  A small group of dog-walking neighbors meet up in the park on our afternoon walk to catch up.  

Even outside of my street and neighborhood, I have made an effort to engage my PTA moms and the area arts groups.  The PTA moms are plugged into my art classroom and help me to raise supplies and funds for the kids projects.  When I needed a solution to my horrible art storage problem, I sent out feelers for boy-scouts needing to complete their Eagle Scout project.  I have two coming up to school this week to measure for awesome flat file storage. 

I didn't wait for people to show me they deserved my kindness; "when they're nice to me, I'll be nice back."  All this goodwill comes out of a pointed effort to befriend those in my life.  

What I see solving problems, inequalities/rifts/offenses, in our community is training ourselves and our students to reach out into our communities and ENGAGE the people we run into.  Neighbors, firemen/police/facilities, school communities.  If each of us has the default setting "help those around me" than we can help to heal many hurting individuals/families in our day-to-day paths.

Each of these books tie into this theme.  A pedagogy designed around seeing society and being engaged in society.  The theme of being the solution.  To effect change by demonstrating the ways to changing injustices.  Not waiting for a government program to step in, not waiting for "someone else" to come fix it.  "When someone else starts doing that, then I will."  But to step up and help in ways that we each can help.  Little things or big, just by changing our outlook to be "other" oriented rather than self-absorbed.  

My art work for this semester are two collages.  I've layered the pieces originally both prints, with paint to pull out my imagery of the tree of life and a fallen dove.  The larger piece is a piece I'm mailing back an forth to Will Clark, another Junction former student that I made a friendship with that past summer.  He and I embraced the idea of long distance art making.  I'll mail him this piece and see what changed he creates.  Perhaps he'll send it back again.  The dove piece is an artwork that I started as I continue working through ideas surround sexual assault.  I tend to use lots of tree, dove/bird, and rodent imagery when dealing with this issue.  The tree for me ties into a couple themes:  the idea of the original tree and original sin (the tree of the knowledge of good and evil)--a prelapsarian utopia and then the pain in the postlapsarian world.  The tree also symbolizes family and rooting for me--a support system and a way of belonging, being rooted.  The bird (dovish) is obviously wounded/falling; ideas concerning a peaceful person/being and injury without provocation.

Reminder

Just a reminder that due to the fact I extended our reading time for "Our Lady" there is not additional readings coming in the mail. Have a great holiday and I can't wait to see your finished work.

Our Lady of Controvery, chapters 10,11

As we finish our last book I want you to reflect on one aspect of art making. How much is art about protest, about self knowledge, declaration of independence, and /or seeking independence? Respond both historically and personally. What is the motivation behind your work, the work you admire?

And finally, after reading all these essays and news reports consider how you would have handled the situation if you had been the target of the attacks?


A note on spring semester:
Registration is now open. We are offering Research with guest professor Helen Klebesadle from the University of Wisconsin, Madison. She is an amazing artist/educator and if you have not taken Research I highly recommend this class. BTW you can repeat Research for your degree.
We are also offering  a seminar  5360, Traditional Crafts Today, by me. This is not he same class on Crafts offered in the past so you need a seminar I think you will love this class. You can also arrange for an Independent Study class with either Ed or myself.

I am looking forward to your artworks as response to the readings. Remember any media, any response...this is your class.

If you are coming to TAEA come by the TTU table in the vendors hall to visit.

Nov 17th, Our Lady of Controversy, chap 7,8,9

These chapters are hard for me because they are so different from the heart memory I have of New Mexico. After graduate school I moved to Northern New Mexico, Eagle Nest, a small village of 75 folks between three mountain peaks, and half way between Angel Fire and Red River. This is the place I learned to meditate (TM), to laugh (after being widowed) and to two step. I did beautiful art and learned how to be a member of a community. I do not remember hated for anything other than the rude Texan on vacation.  Now this part of NM has more of a mining history and is home to some large ranches with lots of young cowboys. Which is a Junction story. It was and is the only place I feel I can be ME, in what ever form I want to take. It may have been my youth or the times ( late 1970's) but it remains one of my watermarks. Yet, I do believe my experience is romantic and very limited. Check out the previews for a movie about coming out in Northern NM.. Baby Lu, the movie. The father/mountain man is a friend from that time I hold dear.
So the NM that is represented in these writings is strange to me. I do not know how any group can claim a state. Especially a state with a large First Nations population.

As for censorship my experience was in Dallas. I had done a sculpture featuring three little clay figures on handmade stands(one bricks, one corn stalks, and one rocks) about aging and yoga. A cleaning lady had her son with her and decided the work was too suggestive for him  and his 13 years. Now these clay figures were anything but suggestive or sexy, just 8" high lumpy bumpy pinched clay. Nude but not real. Now I had painted some hair on the women's private parts but even that was crude. City Hall (location of the show) decided to draped the work. Now I was back in Lubbock but a friend  went to show after calling the newspaper and added fig leaves to the figures. What a hoot. It made the news and I ended up with two phone interviews , one in NYC and one in LA. The City backed down,not because I was so talented or so bright in my interviews but because Dallas was up for a huge bond and this made them look like hicks. They decided on the side of money.

Enough of my stories.

So as we continue to read, be open and question yourselves and your views.

Nov 10, Our Lady of Controversy, chapters 4,5,6

As we continue to read various takes on this subject I think it is important to remember that issues like this do not go away. As stated in the book there were articles everyday in the paper or on the TV news, thus we are also reading and re-reading about the issue. Life is not as simple as a book with an opening page and a conclusion...convictions are formed and defended, anger is developed and directed, stands are taken and fortified, causes become crusades, an clever work of digital art perhaps made partly in jest, as a self portrait or a plea, suddenly takes on a life that is beyond the gallery walls. It is and always will be insane when a incident like this happens. Think back on the big issues you may have learned in college. The lessons is usually on the censorship or protest more than it is on the art itself.
So for this week I have two questions. After responding to the readings give me one example of a protest, censorship or controversy in your community. Something local with a local theme. Next, ponder the issue of culture. Who owns a culture? When does culture change?

NOV.3, Our Lady of Controversy, chapters 1,2,3

Get ready for a huge shift in our readings. This entire book is a series of responses to one work of art from a show in Santa Fe in 2001, twelve years ago. The conflict will bring up issues on gender, faith, sexual orientation, ownership of images, museum management, public opinion and the role of artist as activist. Each essay takes a slightly different view. There is repetition and restating of the "facts". but keep reading.

I choose this book because each of the primary players was educated by someone, somewhere.  Each person speaking their mind believed they knew art and had a right to make decisions on/about art. 

Read these first chapters and give a response. How do you feel about the work in question? What would have done if you had lived in Santa Fe at the time? How would you have handled the issue in your art class or if you were a student and it was talked about in your class?
 

Oct 27 Place Based Education

For any of you that want to jump ahead here is the assignment for the following week.
Read "Place Based Education" and view the DVD "Citizen Architect", compare.  Would you, do you do anything that is aligned with either of these programs?

Tell me a story on how Junction or any other place has influenced your art/ your teaching.

Oct 20, Vision, Space and Desire...to end of book

Some of you have already read and responded to the end of the book. That is fine. For the rest it will be an easy read. This section found me underlining and musing more than any other section of the book. I loved the individual writings. So, for this week read, think and let me who you enjoyed or admired or disagree with the most. In other words who moved you and why.  Spend this "easy" week working on your final work of art.

Ed and I will be in Madison WI and Ottawa, Canada for a week. I will have limited time online but I will check in when I can.

October 12, "Vision, Place and Desire" pages 99-147

I really do not like performance art or maybe I just am afraid of trying it myself. I have some a few great works but mostly I want to tell each artist that they need some theater/acting or at least lighting training. So, this section was hard for me and it pushed me which is exactly why i love this book.  I was bad at some of the attitude but then I knew that was my own limited knowledge coming into play. I had seen the James Luna work on artifacts in museum cases (without the performance part) years ago in D.C. It made me laugh /think/ realize and then rethink everything I thought I knew about museum collecting and exhibitions.  Ed and I invited Edger Heap of Birds to Lubbock for a TAEA conference. He is everything you think he would be. Smart/sharp, kind, insight full and does not take on fools. It was a interesting to see how others reacted when he did not stand for the National Anthem. Or say the pledge. Even more interesting to see them react to his work. This was 10 years ago and Native American living breathing artists were not really big with the conference planners.

Tell me how you would (or have) created a performance. What would you be saying or trying to say. What reaction would hope from the viewer. Enjoy and play.

October 6, "Vision, Space. Desire" pages 69-99

Before my comments on this section of the book I wanted to share something about "Sentipensante'. As the book mentions this word is taken from a book by Eduardo Galeano, "The Book of Embraces", and I was curious. So I found the book and want to share the entire quote with you all.
from page 121  CELEBRATION OF THE MARRIAGE OF HEART AND MIND   Why does one write, if not to put one's pieces together? From the moment we enter school or church, education chops us into pieces; it teaches us to divorce soul from body and mind from hear.The fishermen of the Colombian coast must be learned doctors of ethics and morality, for they invented the work 'sentipensante", feeling-thinking to define language that speaks the truth.


On to the pages.
I feel much of this writing is about curating and/or is in a very real sense curators talking about curators. Image you had the power to be a large scale curator. What or whom would you show? Would you include yourself?  What is your intent? Who do you want to come to the exhibition? What is the title of your show?
When I had this responsibility I quickly learned  I needed to leave the museum, to literally leave my office and go out into the city. To see studios, and because my larges exhibits were on the history of West Texas music I had to go out and listen to music, learn the history and respect the unwritten rules of that society. How do you leave your classroom?

Describe your tribe.
 I am a military brat.  A very loose yet exact group of kids who grew up moving from base to base. We were always the outsiders, yet at instantly at home on the base. Our language is of other places we have lived and what was 'cool' then /there. I could and still can quickly  some up the social standing of a group of people. I have learned to make friends easily and say good bye just as easily. These traits are not shared by all but by most or so the books tell me. It is the name I call myself.

September 29, "Vision, Space, Desire" pages introduction - 68

We now switch from looking in to having the opportunity to listen to new voices from life experiences that are outside of our worlds. Or so I think, you may surprise me again. I not know of anyone in this class who has lived as a Native American but I would not be surprised if one or more of you have worked with or are close friends with an artist that could be in this book.

The writings in this book are from a series of talks/presentations at the 1995 Venice Biennale which is a reason why they at first sound very formal. Just keep reading. I have found certain pages that I had to re-read 3 or 4 times to pick up on the subtle references. As someone who has spent most of  my adult life in the southwest respecting what I saw of Native American art and slowly learning to see past the stereotypes and marketing images I found surrounding me on every trip to Taos or Santa Fe,  the book is refreshing and challenging. I keep wondering what mistakes/misconceptions leading to larger missteps have taken part in or be witness to.

I love how this book brings up questions on curating. How the assumptions I was trained to honor when I was a museum curator are very limiting and very white/euro-centered. I knew it, but it never hit home like the first part of this book.  As such ( and I truly accept that I may be the only one moved this way but the advantages of being the "teacher" is I can decide certain things) we are going to take an extra week with this book. So watch the posting.

After you read this first section, just share your response to all, any of it. Good, indifferent, mad, glad or whatever. I want to know what you think about the issue of Native American arts, artists.

Sentipensante, chapters 5,6,7

As we finish reading this incredible book I want to encourage you to read with your heart more than just your eyes/mind. Especially in chapter 6, take time to ponder one section, one paragraph that challenges you or delights you.

In Visual Studies we are often asked how do we know our undergrad students are "good". This is a trick question leading to more assessments and more rules. it seems for them to take two state tests, and complete 6 weeks of student teaching under very watchful eyes, not to mention get JOBS is not enough. We had to come up with another "internal " evaluation. This is the nature  of education. This is what this book is about.

A story story on validation. My sister is in NM with her father in law. They decided to try water color at ages 89 and 62 for the week they will be there. I love the idea and helped with the gathering of supplies, a couple of good books on the process and a few tips. Mainly they are having fun and exploring. When she told her sister in law what they were doing she replied "when does the play do come out?" I was insulted for them. How dare you smash a dream with 7 little words. Then I realized that I know I have been just as mean and unthinking with others...especially in grad school. This leads to why I so use Helen Klebesadel's 3 questions when it comes to critique: What surprised you? What impressed you? What are you caring away with you? And if there is time: do you want feed back and if so , on what?   A much better way to invite a dialog.

So, for this week, after lots of reading, please share a traditional way of learning you received from your family. An example would be my family's tendency to tell stories or parables to be exact.

today's paper

I could not resist sending this out.

"Sentipensante" chapter 3,4

Thank each of you for your responses to the reading and to each other. For those of you that are just now receiving your books, catch up when as soon as you can. Post on this weeks site, remind us that you are catching up. It is easier than going back and forth between due dates.

When reading allow yourselves time to re-think education...all of aspects of school. Why are classes from 8-4? What would happen is they were from 10=2 with afternoons for special work sections? Somehow distributive education has successfully done this for years. Why are classes 55 minutes long? What happens when the lesson is not finished or the kids what to continue working on a project?  I ask these questions because I believe it is too easy to accept the "way it is" as the "only " way it can be.
 Once, while attending a conference at Naropa University in Boulder, CO, I learned of a wonderful school that celebrated the curiosity of the students.  The example given was of a group of young kids who were interested in the game Monopoly. So the semester followed the history of the game. then what did it take to make a game from the art to the math,  how do you market a game or patten a game? Finally they created their own game. In the process dozens of side adventures were shared. Just imagine how much fun you would have with this project or any project that was based on what the students wanted to learn not on what a test says they need to learn. The joy is that everything needed for a "test" was covered but it was covered in a way that was connected and engaging.

Now on to Chapter 3,4.
I love the idea of difrasismo, because it aids in my re-thinking, allowing me to accept new connections, new joining of thoughts. Try one. Share with us.

If you have no contemplative time or practice in your day, consider taking a 5 minute walk outside  or sitting in a quiet area for 5 minute of silence.  Just try for a week.

How many opportunities were you ever given for "re-dos" in art? Have you ever attempted to re-create a work after you received some advise or hopefully a dialog with trusted friends? Do you allow yourself the time to think again and again about a work? Do you work over or recycle work?

Finally, the lesson of the moon journal delighted me on many levels. I love being surprised by my own slow learning curve.

Enjoy the readings.

"Sentipensante" Introduction, chapters 1,2

This is a hard book for me to read because it is so close to what I believe. I read one line and want to just sit and ponder and dream and remember and question. Question everything, question myself, question the way I teach, question the way I share and question the way I was taught.

One definition of sentipensante is taken from fishermen off the Colombian coast, meaning "defining language that speaks the truth (Galeano 1992). I love that idea/ideal of truth or at least the little slice we each are allowed to witness.

As we read this book I ask each of you to just respond. You may not be moved as I am and that is OK. You may be moved move and that is also OK. Take time to think beyond the usual and allow your inner learner to accept new ways of being. Share you thoughts on teach reading.

A few questions to consider as begin:
How does transforming fit into an educational model that celebrates rigor and references from accepted scholarship?  Is there a test for transformation? I ask this half in frustration from a weekend of mandatory Lab Safety Test. Not that the information is not needed but the format of trick questions and no feed back on how I missed a question or what I was confusing within my answers is mean spirited. How do we learn if we are only told we are wrong?

When/how have you felt different? You do not need to share more than you are comfortable with sharing in this online format but again take time to think about the issue. When have you felt left out of the lesson(s)?
A short story. Many of you know that Ed Check and I work together on a great many things. This partnership began when I was in his education class and we were studying some feminist arts. I countered what he presented. He asked why/how and I explained because I knew the women he was talking about and the quotes were out of context and misleading. He accepted me on the spot as a co-teacher. It did not matter that he had a PhD and held the title of professor . He could have  (as other professor did) not believe me, dismiss me assuming I was lying or simply resent me. But something else happened: the class became about sharing.  It was about learning. I have tried to follow this lead ever since.

Finally, I suggest we think of this semester as a journey towards a dream pedagogy. For each of us, as individuals, as classmates and as educator.

A Good Start

Thank you, one and all for your early postings. As we wait for books to arrive I have another question...what would you dream studio look like/feel like? Where would it be?  What music if any would you play? Would you have others in your studio? I know some of you have had the opportunity to visit other spaces/places or maybe Junction is your only experience...take time to dream. Dream Big.
And Syllabus is misspelled in the  blog. It will not be my only adventure with the alphabet.

Introductions

Pedagogy represents how learning occurs. There are numerous names for the different approaches, methods or programs. Those of us who have been in the classroom can name off the various styles we have been introduced to and required to adjust to on an average of every 3-5 years. All of them have great aspects within their message and are presented by concerned researchers.  With that said, it is  my experience  that most of us we teach as were taught or in reaction to how we were taught. It takes great concentration and conviction to re-think life long habits concerning process,  justification for rewards or retributions, and our personal  definition  of creativity.

During this semester we will be reading a series of books that hopefully will allow us time to reflect on what learning can be, not as a mandate but as motivation  for us as the educator and  as the student.  We will look at overall approaches that allow for a wide range of acceptance and applications. We will look at  artists that are often overlooked in order to try and understand their work and their learning methods.  We will watch a DVD that represents  one example of how learning can happen outside of the classroom and involve an entire community.

As we begin, I ask that each of you to(1) introduce yourselves to one another. Where you work, or live, where you received your undergrad degree (and what was your major), then finally what do you hope to gain from this degree. (2)Then  honestly share how you work. Think in terms of your art. What is the main source of inspiration? Are you quick to make decision or to you ponder a while? What tools /rules do you use to judge your own work? (3) Finally, describe your favorite class. How was it taught? What do you remember the most? What do you carry with you still?

Syllubus

Texas Tech University

School of Art

Art 5361 Critical Pedagogy in the Visual Arts   Fall, 2013

Meeting Times: Online

Future Akins-Tillett        742.3825, Ext. 257

future.akins@ttu.edu

Catalog Description  Introduction to curriculum materials and technology to develop awareness of and practice in innovative procedures for teaching visual arts disciplines.

Overview of Course This course examines the critical pedagogical and ongoing relationships between art, people and institutions, and the resulting politics, histories, and consequences.

This course proposes to address the concept of critical pedagogies in art(s) and education(s). Innately, critical pedagogy is about social justice, which may include ideas that may seem very foreign to you as an artist or art teacher. My intent as a facilitator is not to indulge in overly intellectualized discourses, but keep our classroom discussions in relation to our everyday lived experiences, hopes and visions as we use our books and reflections as guideposts. Our online blog serves as a salon-style classroom where our ideas and lived experiences ebb and flow, filling our imaginations with hope, vision and a critical clarity where both students and facilitator are treated respectfully and considered seriously.

Note: This class deals with real issues in life and art, issues that are pertinent to the making, teaching and researching about art, education and culture. Some of these issues may be personally unpopular, controversial or uncomfortable. All of the issues raised in this course are of substantive value and are addressed in art research and literature. It is hoped each student will approach difficult issues within the classroom with openness and respect.

Course Outcomes/Assessments  1. Students will examine critical pedagogies in contemporary art, social activisms, and teaching practices. Assessment: Students will successfully demonstrate knowledge of readings and course material through online class discussions, prepared presentations, and engaged social practice.

2. Students will develop personal critical pedagogical strategies. Assessment: Exhibited in personal testimonies, students will use life experiences as models for critical pedagogical practices demonstrated through blog postings and semester project.

Course Texts

“Vision, Space, Desire: Global Perspectives and Cultural Hybridity”

National Museum of American Indian, Smithsonian, 2006

“Sentipensante Pedagogy: Educating for Wholeness, Social Justice and Liberation”

By Laura I. Rendon, Stylus Publishing, Sterling Virginia,2009

“Place-Based Education: Connecting Classrooms and Communities”

By David Sobel, An Orion Reader, Orion Nature Literacy Series, second edition 2013

Published by Orion Magizine

“Our Lady of Controversy: Alma Lopez’s Irreverent Apparition”

Edited by Alicia Gaspar de Alba and Alma Lopez, University of Texas Press, 2011

And one DVD

“Citizen Architect: Samuel Mockbee and The Spirit of the Rural Studio”

PBS 

Course Requirements

Participation (70%)  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. read other students and make additional comments. You are responsible for reading the entire blog. You are required to respond to a minimum of three post by your classmates. I expect you to participate in class postings, contributing ideas and your perspectives on topics. Sometimes BlogSpot limits how long a response can be. I suggest you limit your responses to no longer than 200 words at a time. If your response does not upload to the blog, it probably means it is too lengthy and you will have to break it up into two responses.

Final Project You are required to create a work of art (any medium) based on or influenced/inspired by our readings and responses. Hopefully during the semester some thought, an insightful comment or a triggered memory will resonate with you and develop into a work of art. In addition you are to write a 150 work short statement on your work, the influences and/or possible further projects based on the same theme.

Responses on our readings

Keep in mind that in this MAE program, your voice and experiences are very important to your success in the program. That is why I encourage “I” language in postings and in papers/projects. I do not want you writing in third person. I would like you to start making questions/connections between the information in each book and your personal life, your teaching pedagogy (style, strategies, beliefs), your school, your neighborhood or city, or art. It can be on a personal level, a community level, or other. I am interested in knowing what you think, what questions you have, fears you have, doubts, strengths, commitments, etc.

Here’s why. When you begin focusing on a project, exhibition, or thesis (if you are in the MAE program), each one will require that you cite books you have read (like in this class and others), articles, etc. For example, when you write about your exhibition and art (if you choose the exhibition route), your paper will consist of an introduction about your theme or topic, a short history of influences on your art, artists and educators who have influenced you, and then talk about a few pieces of your art with a conclusion.

So, we will be heavily practicing in here, using “I” language in a supportive and non-judgmental way. So, by practicing a few citations in any paper (books, articles, movies, websites, etc.), you will become more familiar with citing as a practice. Citations are a way to teach each other of what we know and where to access other information. You can think of it as an academic courtesy.

I am hoping that each book will reveal interesting issues or historical facts that might galvanize your interests in terms of the topic for our course.

Attendance (online postings) are mandatory. Discussion of the content of reading material will occur in class postings. If you miss a week’s postings, you need to keep up with the reading and email other class students for what you missed and continue to read other classmates’ postings.

Semester Mapping

Responses are due by midnight on Sundays. You will have a week to read and exchange thoughts with your classmates. I will also respond to each our the original post from each of you. Each new reading assignment will begin with comments from me and a question or two for you to ponder.

Dates to keep in mind:

*September 12 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).

*October 31 is the last day for student-initiated course drop on My-Tech with penalty.

Course Outline

September

1      Introductions

8     “Sentipensante” Introduction, Chapters 1,2

     15    “Sentipensante”  Chapter 3,4

      22    “Sentipensante”   Chapter 5,6,7

     29     “Vision, Space, Desire”   Intro , part I

October

       6      “Vision, Space, Desire”   Part II

     13      “Vision, Space, Desire”   Part III

     20       Individual work on final work of art/essay

       27    “Place Based Education” (whole book) and DVD on Samuel Mockbee

November

2      “Our Lady of Controversy”  Chapter 1,2,3

10 “Our Lady of Controversy”   Chapter 4,5,6

17   “Our Lady of Controversy” Chapter 7,7,9

24   “Our Lady of Controversy”  Chapter 10,11

December

3      Parker Palmer and bell hooks readings (to be sent via US Mail)

     10     Final art work and essay due

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.

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.

Texas Tech University
 Statement of Ethical Principles  Texas Tech University is committed to the values of mutual respect; cooperation and communication; creativity and innovation; community service and leadership; pursuit of excellence; public accountability; and diversity (2005 Texas Tech University Strategic Plan). Texas Tech University is committed to being an ethical institution. In recognition of the rights and inherent dignity of all members of the Texas Tech University community, the university is committed to supporting the following principles and to protecting those rights guaranteed by the Constitution, the laws of the United States and the State of Texas, and the policies adopted by the Board of Regents. As members of the Texas Tech community, faculty, students, staff, administration, and all stakeholders accept responsibility for abiding by and promoting the ethical principles of the university described below. Although legal behavior and ethical behavior overlap in many areas, they are quite distinct from each other. While we follow legal requirements, an ethical institution goes beyond them to achieve the following values. See

http://www.depts.ttu.edu/officialpublications/catalog/_EthicalPrinciples.php