ED 306/5306

Spring Semester, 2011

3 undergraduate/graduate credits
Stacey McKenna: smckenna@mica.edu
Fox 121, office hours: Wednesdays and Fridays, 12:15 – 1:30. Some Wednesdays until 3:00.
Please contact me for an appointment as I often am required to attend meetings that overlap with these office
hours.

STRATEGIES FOR MAKING AND TEACHING ART

Art does not solve problems but makes us aware of their existence. It opens our eyes to see and our brain to imagine.
—Magdelena Abakanowicz, sculptor

World making involves the transformation of worlds and world versions already made.
-Jerome Bruner, psychologist & educator

A teacher can always do badly—just assign things and get the kids to say them back and then make a good
presentation when the principal visits the room. When I wanted to spend all that time with those little people in class, I
found that the intimacy I had shared with my peers in college in the sixties was carried over into my classroom . . . I get
exhausted, but not burned out. Sometimes I’m dropping my dream for a day or two, but most days I’m on, and
stunned by the kids. Lately I’ve realized that in setting up a classroom, at last I’ve given myself permission to form a
society I’d like to live in.
-Marcia Umland, as quoted in Twenty Teachers

The world is the ensemble of references opened up by every kind of text, descriptive or poetic, that I have read,
understood, and loved.
-Paul Ricoeur, philosopher

COURSE DESCRIPTION
This is a K-12 methods course focused on studio practice. In a broad sense, this course reviews
strategies related to the development of a repertoire of representational skills and processes for
creative inquiry through studio practice. The main problem of the course is to identify and translate
one’s own studio expertise into a thematic unit with an elegant problem. Attention will be given to
all aspects of unit development including use of thematic and metaphoric centers, problem setting,
searching for artistic references, strategies for generating ideas, ways of orchestrating investigations
with materials and visual forms, developing relevant representational skills, making interdisciplinary
relationships, adapting to different levels of learners, and assessing process and product.
Class meetings involve studio investigations, presentations, discussions, and group work. When it
appears that visits to local resources would be of benefit, students are responsible for arranging their
own transportation for class trips off-campus. Students should check Moodle and their email at least

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once a week for updates related to the course. The last day of the course you are invited to attend
both sessions.

Note: This course is designed for students in the five-year BFA/MAT program and the graduate
level MAT program. Required pre-requisites for this course are Introduction to Teaching Art and
Art and Human Development and it is taken concurrently with Critical Response to Art. A grade of
B or better in Strategies is required for continuation on to Internship I.

ORGANIZATION OF THE COURSE

Part I: From Expertise to Ideas for Teaching
Presentations by all class members on their own work will be used to begin a dialogue about themes
and metaphors in art and will assist individuals in identifying expertise from studio, art history,
contemporary art, and life which can be used as the basis for solving the culminating problem of the
course, a unit that could be taught to a group of art students.

Participation in small group and/or one-on-one coaching sessions is designed to mentor students
through the process of solving the central problem of the course. Students should be proactive in
seeking appointments for coaching outside of class to be sure they are moving along at the same
pace as the rest of the class.

Part II: Developing A Thematic Unit Connecting Art and Life

A step-by-step process will be used to develop a thematic unit including a unit diagram, one or more
prototypes, teaching visuals, assessment tools, strategies for implementation, writing a unit plan, and
making connections to and adaptations for different developmental needs.

All semester: Developing Strategies for Making and Teaching Art

Throughout the semester there will be presentations, experiences, and working sessions focused on
art-making strategies and [arts based] community-building strategies. These strategies will include
classroom organization; models for lessons, units, and courses; developmentally appropriate
approaches to interaction, curriculum, and assessments. These strategies will be documented in a
personal book, which book will become a resource for developing and implementing lessons in all
future Internship courses and student teaching.

INSTRUCTIONAL CONCEPTS – THE BIG IDEAS THAT GROUND THE COURSE:

• Art can be thought of as visual symbolic language embedded in sensuous form and
material, and making thoughts, feelings and ideas visible.
• Art is a human behavior that arises out of human propensities and fundamental needs;
its roots can be seen in the behaviors of infants and young children; its development
requires education.
• Purposeful and meaningful engagement with the creative process of making art is a
primary goal of art education.
• A holistic approach is one in which a safe community for learning is created and
instructional choices are selected for their ability to bring body, mind and spirit into
alignment so as to maximize depth of engagement and authentic connections.
• Thematic and metaphoric centers for instructional units are an effective way of
deepening learning.

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 • Elegant problems provide a structured and sufficient tension to guide artistic and
personal development as well as choices that accommodate personal and/or collective
meaning.
• A broad repertoire of art-making strategies and teaching methods can be called upon to
create developmentally appropriate and learner-centered art-making encounters.
• The process of translating one’s own studio expertise into resource materials for
teaching can add depth and meaning to one’s own work.
• The content of art can be enriched by integrating reading and writing into the art-making
process.

IMPORTANT POLICIES AND PROCEDURES

Attendance and punctuality are primary. Should you need to miss a class, notify me ASAP by email
before class. Please note, most missed classes cannot be ‘made up’ as most of our learning takes place
within the experience of the group. If you do miss class, contact your peers and/or me via email to
find out about missed work. It is very unlikely that you will be able to earn an “A” if you miss more
than two classes. Students missing four or more classes will automatically fail.
Please be pro-active: let me know when you feel you might be confused, unsure, stuck, or need help.
Keeping appointments for individual or small group coaching is your responsibility as a student. Put
dates in a calendar. Come prepared with notebook, references, materials investigations – and
questions.

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In case of problematic weather, check the Portal to see MICA’s latest word on opening times or closing. Then check
your email for an announcement for more information, possibly from me.
Please turn off cell phones during class. If you expect an important call, put your phone on vibrate. No texting during
class time.

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COURSE OUTCOMES EXPECTATIONS
\N
PROFESSIONAL Demonstrate:
DISPOSITIONS • the capacity to be reflective
• a willingness to take direction well
Development of • punctuality and consistent class attendance
professional behaviors and • ability to follow protocol for dealing with absences
attitudes essential to one’s • a steady work ethic keeping up to date on assignments, prompt
development as a teacher revisions of work
and colleague • take responsibility for one’s own learning, and being proactive in
seeking help or sharing concerns.

Think about using faculty as consultants, seeking and taking direction in a

manner that demonstrates your readiness to work collaboratively with
cooperating teachers and supervisors.

A LEARNING Demonstrate a concern for the success of the entire learning community as
COMMUNITY well as one’s own success.

A sense of community and
a safe environment that
supports each individual’s
and the group’s
development as artists and
teachers
Be a contributing member of our class by listening to your instructors and
peers. Share ideas, insights, references and resources. Give constructive
suggestions and praise the achievements of others. Contribute to the quality of
our collective dialogue.
Work with your peers in a manner that suggests you are interested in their
development and appreciate the contributions they are making to your
development.

Think about yourself in the context of a community that will enter the
profession together.

STRATEGIES FOR
TEACHING, LEARNING, Develop a system (notebook or file) that organizes and archives assignments,
AND MAKING ART supplemental readings, handouts, notes, and teaching resources so that you
can use them in the future.
Development of a
repertoire of teaching Think about building your resources for teaching. The materials you collect
strategies through this course, and others to come, will help you teach.

INSTRUCTIONAL Demonstrate a professional level of craftsmanship and design in the

SUPPORT MATERIALS construction of teaching visuals and instructional materials.

Development of art and Develop a portfolio of teaching visuals and work samples that you can use in
design skills related to the your teaching.

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 creation of instructional
support materials Think about how every resource you create now is an investment in your
future.

THEMATIC UNITS
Transformation, and
enhancement, of one’s
own art-making expertise
into expertise for teaching
Develop a thematic unit with an elegant problem based on your strengths and
interests as an artist, one that:
—translates your expertise in making art into expertise for teaching.
—provides evidence of research into art history and contemporary art to
provide validation, models, and insights related to your unit problem.
—provides evidence of experimentation with materials and ideas, creative
problem-solving, and new learning.
—promises to create the conditions for meaningful engagement of others in
the processes of making art.
—integrates strategies from course presentations, discussions, and readings so
as to deepen engagement and develop art concepts, skills, and knowledge.

Think about this unit as one you will teach during your student teaching, one
that will keep evolving as you continue to develop it in practice.

INTEGRATION of Unit reveals ways in which solving the central problem of the course has
ARTIST AND TEACHER Integrated, deepened, and expanded the insights, skills and knowledge you
brought to the course.
Synthesis, integration, and
holistic growth and Reflective responses reveal:
development as an artist —critical examination of existing values, beliefs, skills, knowledge, and
and teacher. understandings.
—integration and synthesis of new information from class presentations,
discussions, and readings.
—new ideas and insights that will inspire and inform your work as an artist.

Think about how the process of developing and translating your existing expertise into a unit
for teaching, and the larger content explored in this course, can inform your work as an
artist.

EVALUATION PROCESS
The pattern established from rankings on each of the above criteria will determine the overall grade
received. Weekly assignments will be evaluated. Progress on the unit is viewed developmentally and
supported by on-going coaching with a mid-term and final assessment process that includes a self and faculty
evaluation and possibly peer feedback.

Note: Expectations for graduate students are qualitatively higher than those for undergraduates.

GRADING SCALE
A+ Exceptional or noteworthy in one or more ways
A Excellent, consistent, clear evidence that outcomes have been met. Growth is evident in all
work.
Very close to excellent, almost meeting all the course outcomes at a high level.

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B+ Good with some room for improvement or growth; fairly consistent evidence of meeting
outcomes of the course.
B Acceptable yet leaving with room for improvement or growth and/or greater consistency related
to course outcomes.Course must be re-taken. Borderline acceptable at times, with substantial
room for improvement or growth; inconsistent or uneven in meeting course outcomes; not eligible
for continuation on to Internship I.
C+/C All work completed but at a level not sufficient for continuation in the program.
D/F Work incomplete and uneven or problematic in specific ways.

REQUIRED MATERIALS AND RESOURCES:

• Strategies Diary: a quality bound, hard back or leather-type covered book. No larger than 5 x
7-inches, or the size appropriate such that you can carry it with you nearly all the time. Select
one with quality paper on which you’ll enjoy writing. (Example: Moleskin, Utrecht) No spiral
or glue bindings permitted. If you prefer typing to handwriting, you may print out your diary
entries and paste them into your chosen hardbound book. This book is not a sketchbook-
journal for multiple purposes; it is only for documenting strategies (text and/or images as
needed).
• Unit Notebook: Purchase a 1 ½” binder with a plastic cover into which you can insert a page
with your name and unit title. Also buy a set of 10 dividers and place into the binder. Bring
to our second class meeting. This binder will stay here. At regular intervals you will submit
new or revised work into the binder. This way we can use the book as a reference in
coaching you on the development of your unit.
• Flashdrive or passport or other portable drive on which to keep unit plans, images, and
more.
• A notebook, file system and calendar to keep track of work that is due and for class materials
and supplemental handouts.
• Basic art supplies may be useful.
• One piece of black 32 x 40-inch Foamcore®.
• A little money set aside for making quality color hard copies/digital reproductions.

Bring your laptop to class if you have one. Computer with access to Internet and email as well as a
printer are highly recommended. Access to college labs may substitute or supplement equipment
privately owned. Students are encouraged to make use of campus computer labs as the ones in the
department are primarily for the use of graduate students.

ADA Compliance Statement

Learning Resource Center ADA Compliance Statement Any student who feels s/he may need an accommodation based
on the impact of a disability should contact the instructor privately to discuss specific needs. Please contact the Learning
Resource Center at 410-225-2416, in Bunting 458, to establish eligibility and coordinate reasonable accommodations.
For additional information please refer to: http://www.mica.edu/LRC

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 ANNOTATED BIBLIOGRAPHY OF TEXTS & RESOURCES
TWO REQUIRED TEXTS YOU MUST PURCHASE:
Anderson, T. & Milbrandt, M. K. (2005). Art for Life. Boston: McGraw-Hill.
This text, also used for Critical Response to Art, presents models for authentic instruction
that foster meaningful engagement with art.

Walker, S. (2001). Teaching Meaning in Artmaking. Worchester, Massachusetts: Davis Publications, Inc.
Using an exceptionally user-friendly structure and language, Walker lays out considerations
for developing K-12 art lessons that incorporate the “Big Ideas” and essential questions;
with lucid examples from the processes (not merely the products!) of some contemporary
artists.

REQUIRED READINGS FROM THESE (you do not have to purchase!):

Carroll, K. L. (2007). Better Visual Arts Education. Maryland State Department of Education.
The structure of sections II and IV provide a structure for the course. The entries focus on
practice, identify supporting theory, and summarize findings from the literature. Each entry
includes an annotated bibliography of references, research studies, and reports from practice.
Book is available in Hurwitz Resource (non-lending) Library so that you do not have to
purchase this (expensive) book for the required readings.

Hurwitz, A. and Day, M. (2009) Children and Their Art: Methods for the Elementary School. Belmont, CA:
Thompson Wadsworth.
This is the classic resource for all art educators. Book is available in Hurwitz Resource (non-
lending) Library so that you do not have to purchase this (expensive) book for the required
readings.

SUPPLEMENTAL RESOURCES:
Olson, J. (1992). Envisioning Writing: Toward the integration of drawing and writing. Portsmouth, NH:
Heinemann Press.
Olson offers specific strategies for teaching narrative drawing as well as a discussion of its
particular value to visual thinkers, students in special education.

Roukes, N. (1988). Design Synectics. Worcester, MA: Davis Press.

A theory of creative thinking called “synectics” is followed by a review of formal language
for describing visual, spatial and time-based phenomena and ways of thinking about
metaphor, analogy, humor, and other ideas for making art. Loaded with examples of studio
art problems.

Smith, N., & and the Drawing Study Group. (1998). Observational Drawing with Children. NY: Teachers
College Press.
Smith qualifies what is meant by observational drawing and illustrates work of students from
grades K-6. Includes scripted lessons that demonstrate the use of a structured dialogue
throughout the drawing process.

Eisner, E. (2002) Arts and the Creation of Mind. New Haven: Yale University Press.

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 Chapter 4, “What the Arts Teach and How it Shows,” and Chapter 7, “The Educational
Uses of Assessment and Evaluation in the Arts” are of particular relevance to the Strategies
course.

Ewald, W. and Lightfoot, A. (2002) I Wanna Take Me a Picture. Beacon Publishers.

Freedman. K. (2003) Teaching Visual Culture: Curriculum, Aesthetics, and the Social Life of Art. New York:
Teachers College Press. Chapter 2.
Drawing on social, cognitive, and curricular theory foundations, Freedman offers a
conceptual framework for teaching the visual arts from a cultural standpoint, including visual
culture in a democracy; connections between art, student development, and cognition;
student art making inside and outside of school.

Hurwitz, A. and Carroll, K. (2008) Memory and Experience. Washington D.C.: NAEA Press.
This new book is a great resource of ideas for developmentally appropriate cross-cultural
themes for drawing with children. Essays by some very influential contemporary art
educators.

London, P., Carroll, K., Ed. A Holistic Approach to Art Education. Baltimore, MD: Maryland Institute
College of Art.
We may read some excerpts from this. The PDF can be downloaded from MICA’s website.

Simpson, J., Delaney, J, Carroll, K., Hamilton, C., Kay, S., Kerlavage, M, & Olson, J. (1998). Creating
Meaning Through Art. Columbus OH: Prentice Hall.
Chapters include a review of developmental theory, cultivating artistic behaviors,
encouraging visual storytelling, forming elegant problems, and creating conceptual units.

Smith, N. with Fucigna, C., Kennedy, M., and Lord, L. (1993) Experience and Art: Teaching Children to
Paint. New York: Teachers College Press, Columbia University.
Organized in developmentally appropriate themes, this book is a great resource of strategies
for teaching (as the title says!) children to paint, including: set up, organization and clean up;
questioning for deeper thinking; and discussing ideas. Through practical ideas and anecdotes,
a philosophical approach to art-as-inquiry becomes apparent—an approach that is easily
translated into any media, not just painting.

Szekely, G. (1991) From Play to Art. Portsmouth, NH: Heinemann Educational Books, Inc.
Any George Szekely book is jam-packed with ideas for strategies for engaging children of all
ages with themes, materials, metaphors, and performances—working in 2-D, 3-D, and time-
based enterprises. Unfortunately, many of his books are out of print. I particularly like this
one for its hands-on, action, accounts of productive play art-experiences with children.
Inspiring especially for the freedom with which he brings life, play, and all artistic behaviors
to the experience of making art with children.

You may also wish to purchase subscriptions to Scholastic Arts and/or School Arts through our
office. Membership in the Student Chapter of the NAEA includes subscriptions to Art Education
and other useful publications and is required in your fifth year.