caea winter collage 2015

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WINTER 2014-2015

Collage Winter 2014-2015

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sIn Every Issue3. President’s Message by Elizabeth Mahler Licence

4. From the Editor by Vanessa Hayes-Quintana

59. CAEA Executive Board and Regional Division Represen-tatives Council Directory

59. CAEA Task Force Chairs and Publications Directory

60. Regional Representatives

Page 17.

Unique and Unrepeatable

Page 20.

Value Self-Portraits: A How-To Guide

In This Issue5. The Practice of Art: On Finding Motivation to Pursue Your Studio Art While Teaching Full Time by Tara Pappas

8. Artist Lori Nix: Humor, Ecology and the Sublime by Anne Thulson

17. Unique and Unrepeatable by Elizabeth Buhr

20. Value Self-Portraits: A How-To Guide by Andrea Slusarski, Arts Educator - Gateway High School

21. 45 Years of Photographing Colorado by Barbara Gal

26. Notes from the Learning Lab: The Time Machine by Barth Quenzer

30. A Snapshot of the Impact of the Arts in Metro Denver – Study Results from the Colorado Business Committee for the Arts

31. Interview with Anna Estes, Citywide Arts Event Coordina-tor for Denver Public Schools by Deborah Walden Ossi

35. Third-Grade Victorian Houses by Jill Day

37. The Nobel Circle Project by Virginia Schick

45. White Paper Sculpture Lesson Plan by Dana Orton

49. Whirlwind Tour of New York City for Colorado’s 2014 YAM Winner by Alexa Overby

51. Advocacy in Action - Educator Effectiveness: The Beginning of Authentic Evaluation in Arts Education by Vanessa Hayes-Quintana

57. December 2014 eUpdate from the Colorado Department of Education

2.

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

Please submit all materials to: COLLAGE Editor:Vanessa Hayes-Quintana, [email protected]

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

Page 8.

Artist Lori Nix: Humor, Ecology and the Sublime

Cover Artist: Ogden Borgeson (10th Grade)

The CAEA would not exist without

the volunteer time and effort that all

of our Council members put forth.

Happy New Year to All!

I want to start off this President’s Message by thanking everyone who was involved in making our 2014 Fall Conference success-ful. It was wonderful to see all of you who attended and I hope you came away with valuable information as well as having had a great time. Along with the many topics that were covered at Conference within the theme of “Where Art Comes From,” I was reminded of why the art classroom is an im-portant place, a vital part of a child’s educa-tion. Most art educators practice more than just art standards; they are representatives of understanding and compassion. In a society where we all seem to have more and more be-ing placed on our plates with what feels like less and less time to do it all in, we all could benefit from a little understanding and com-passion, both giving and receiving. That is what I came away with from Fall Conference and want to carry over for 2015.

Winter is always a busy time for art educa-tors in Colorado with our two major state-wide events occurring: Youth Art Month

and Scholastics. Be on the lookout for emails, website postings, informational articles, and social media announcements and invites re-garding these two great opportunities for your students.

The National Art Education Association (NAEA) National Convention will be held this year in New Orleans, March 26-28th. The theme of this year’s convention is “The Art of Design: Form, Function, and the Fu-ture of Visual Arts Education.” I am looking forward to representing Colorado at NAEA and I will continue to build solid relation-ships with other state leaders as well as always look for great speakers, keynote speakers and vendors for our Fall Conferences in Colorado.

We appreciate all of you who ran for a seat on CAEA Representative Council and for all of you who voted in the election. The CAEA would not exist without the volunteer time and effort that all of our Council members put forth. So thank you to all of the Coun-cil members who are stepping down from serving, current Council members who con-tinue to serve, and thanks in advance for the new members who will be joining the CAEA Council “family” this spring.

On a personal note I have to say that I hope that 2015 is a better year than 2014. For me, one way of having that hope become a reality is to remember the Fall Conference’s message of understanding and compassion and to fol-low the advice of Captain Jean-Luc Picard of the Starship Enterprise: “Make it so.” •

President’s Message by Elizabeth Mahler Licence

Most art educators practice more than just art standards;

they are representatives of understanding and compassion.

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Collage is truly an amazing intellectual intersection where we can gather and sift through information at our leisure to inform our best teaching and art-making practices.

From the Editorby Vanessa Hayes-Quintana

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Looking for a way to beat the chilly winter blues? Are you in a rut? This issue of Collage should keep your toes warm until the spring thaw! You’ll find quick ideas to stoke your creative fire and meaty content to gratify your gnawing curiosity.

In our last issue, Deborah Walden Ossi compiled a list of blog sites of fellow Colorado art educators who share their teaching and art-making practices online (http://is-suu.com/caeaco/docs/fall_2014_collage_final_collage_fal). Looking at the pages, I am struck with awe at the amount of resources contained amongst ourselves. We are never at a loss to tap inspiring and informative content. Collage is truly an amazing intellectual intersection where we can gather and sift through information at our leisure to inform our best teaching and art-making practices. Most impor-tantly, Collage comes from us, the members of CAEA, and others in the community at large who value art education.

Other than engaging in representative council meetings or interacting at spring or fall conferences, I don’t get the chance to really connect with CAEA members in the way I would like. Also, it is difficult to genuinely communicate via a one-sided editorial. I never really know who has the chance to break open an issue of Collage. Who knows that Collage truly belongs to the CAEA members? Collage is a fantastic resource created by all of us, for all of us. Every meaningful article and tidbit of information in Collage comes from you! That’s right! It comes from people who fear writing (Rosemary and Elisabeth Reinhart of Editorial Pathways are amazing copy editors who make our content beautiful!), people who itch to share a great lesson or successful event, or from people who continually inspire us with their high-caliber work. Although representative council members submit articles as part of their CAEA service, anyone can share their work in art and art education with Collage. Every one of you who teach art and make art have something amazing to share. Share your conversations with Collage about art!

Your voices and ideas are an enormous part of the new conversations Deborah and I have looked to inspire. It is through these conversations that CAEA becomes a powerful and respected voice in the arts and in arts education. CAEA has the ability to pull fragmented conversations into a cohesive voice to sincerely support art and art education at a fundamental level.

I want to acknowledge the work Deborah did to bring articles in for this issue. Although she will not be continuing as the editor of Collage, I would like to thank her for her contributions to CAEA. Deborah is a talented professional and I always learn something new when I collaborate with her.

As you read through this issue of Collage, you will find out more about how conversations among arts educators are becoming meaningful to your work in the classroom and, of course, to your work as an artist. Yes, you read this correctly. There is actually some “walking of the talk” going on in our state. Real action on the part of many arts educators and the Colorado Department of Education is bringing to fruition recognition for the value of the work you do in the classroom. Keep calm, and read on….

The Practice of Art: On Finding Motivation to

Pursue Your Studio Art

While Teaching Full Timeby Tara Pappas

Teaching is much more than a full-time job. In fact, if I counted the hours spent in prep-aration before school, teaching students, staff meetings, after-school art clubs, and lesson planning, I would be easily working 50 hours each week. So, why are we teach-ing? If you ask any dedicated teacher, they would tell you that teaching is their PAS-SION. They believe that what they are do-ing has value and they don’t mind putting in extra time to make a difference in their students’ lives.

We, as art teachers, are blessed to be able to address two passions in one job title: teach-ing and art. But for many of us, our full teaching schedule leaves little time to focus on our growth and development as artists.

We come home to the buzz of our families, cooking dinner, cleaning, and, by the time we pause to breathe, our beds are beckoning us to get some much-needed rest. And so the cycle continues.

Art is powerful. Everyday I watch as student artwork brings joy to staff, students, and school visitors. The act of creating teaches students to think for themselves, and invest in their own learning. Making art is energiz-ing – and it was only within the last four years that I realized that I was inadvertently depriving myself of the very thing that I was preaching day in and day out.

I remember things seemed much more sim-ple when I was in art school. I had the mo-tivation to make art, knowing that I had to create a certain number of pieces in order to pass a class. When I first began teaching, however, I did not believe it was possible to fit one more thing into my busy schedule. All of my creative energies were going into classroom arrangements, posters, bulletin boards, and lesson plans. Whenever I even thought about making personal art, I would freeze up; I didn’t even know where to begin – and I felt guilty about it.

So, what’s the secret? How can someone manage to be an art teacher AND an artist, while still having time to spend with family and friends? There are a lot of excuses out

Whenever I even thought

about making personal art,

I would freeze up; I didn’t

even know where to begin –

and I felt guilty about it.

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there, telling you that you don’t have time, but the truth is that if it’s something that is truly im-portant to you, you will find the time.

About four years ago, I decided enough was enough: I wanted to be a working artist. Once I had made that decision, I had to fig-ure out what that meant to me. As a first BIG step, I knew that to be an artist, I needed to be MAKING ART. So, I began to search for inspiration. Since my style of artwork from my college days left me creatively blocked, I knew I needed to try something new. Inspiration struck as I was browsing the Internet for lesson ideas – leading to the creation of my first painting in over five years.

After painting my first piece, I knew I needed to find a mo-tivator to help me create regu-larly. So, I set my first goal: to show my work in a local gallery. I knew that in order to approach a gallery, I needed to have a body of work. So, I decided to make at least 10 paintings before ap-proaching a gallery. To make that happen, I knew I needed to set aside time (which seemed dif-ficult with a full-time teaching position, family time, etc.). So,

I made it a goal to

do something ev-

ery day to develop

my studio artwork.

Within six months, I had a porfolio of 12 pieces, which were accepted to be displayed at Works of Wyoming in Laramie, Wyoming.

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Story In Red

I decided to take a look at my daily schedule – actually taking note of the way I spent my time away from work. I found that I frequently had a little bit of down time in the evenings which I would spend watching TV or surfing online. Why not spend that time making art as well? With that in mind, I made it a goal to do something every day to develop my studio artwork. It didn’t matter the amount of time spent; it didn’t matter if it was painting time or research time.

It worked. Within six months, I had a portfolio of 12 pieces, which were accepted to be displayed at Works of Wyoming in Laramie, Wyoming. Since then, I have continued to create new motivators for myself as a way to keep my art-making a consistent and important part of my daily, weekly, and monthly schedule.

Having a motivator in place is very important. Whether it be a big motivator or something small, having a goal makes your efforts feel worthwhile.

Do you have a dream or something that you’ve been itching to try? I encourage you to start moving forward with it! Look at your schedule. Could your dream fit in with part of your down time? Could you draw or paint during your lunch break? Carve out some time – be it five minutes a day or five hours a week – to make that dream a reality. It’s worth it! •

I have continued to create new motivators for myself as a way to keep my art-making a consistent and important part of my

daily, weekly, and monthly schedule.

7.

The Chase


Lori Nix is a contemporary artist who makes min-iature dioramas that provoke and engage the minds of children and teenagers. Her ideas behind these dioramas connect well with the Colorado art standards and the lives of students. Here is a list of possible approaches art teachers could take while studying this fascinating body of work.

KINDERGARTEN

Grade Level Expectation 1, Standard 2“Identify that art represents and tells stories of people, places and things.”

I’ve always taken inspiration from my surroundings. – Lori Nix

Throughout Lori Nix’s body of work, you can find im-ages appropriate for kindergarten. They each tell a story about people, places, and things. For instance, her series “Some Other Place” shows mysterious tales of the life of bugs and birds. Students can view some of her scenarios and explain the story that they infer. Being able just to explain a story derived from an artwork means that a kindergartner has met the grade-level expectation above.

Ways to Document That the Student Has Met the GLE

Quick Documentation of the GLE: The teacher confers with students and makes a check mark next to names of students who can identify a story in one of Nix’s photos.

Layered Documentation of the GLE: The teacher tran-scribes what the student says about the story in the pho-to. She includes a photocopy of the image the student uses.

Art-Making Documentation of the GLE: A student draws what they think came before or after the story in Nix’s photo scenes.

TAB Alternative (Teaching for Artistic Behavior Class-room): After introducing the work of Nix, the teacher creates a center with photocopies of Nix’s photos spread on a table with scissors, glue, and book-making materi-als. She offers the prompt of working with Nix’s stories to make one’s own story.

Aquarium

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Food Chain

Artist Lori Nix: Humor, Ecology and the Sublime by Anne Thulson

FOURTH

Grade Level Expectation 2, Standard 2“The processes and philosophies of art and design in-form interpretations in works of art.”

I am greatly influenced by landscape painting, par t i c u -larly the Hudson River School of Painting…and the Ro-mantic painter Casper David Friedrich. Each of these painters possessed characteristics of romanticism and the Sublime and its ability to create a state of mind and ex-press intense emotions either through beauty or horror. – Lori Nix

Nix’s “Lost” series shows romantic, shock-and-awe images. “Bounty” (2004) shows a serene lake with a cross-section view of its depth. The lake just keeps going and going down, revealing murky man-made objects that got dumped into the water at impossible depths years ago, like an old Ferris wheel and an aban-doned ship. This notion of shock-and-awe in nature is what the Hudson River School painters and Casper David Friedrich wanted to show. According to Nix, the Sublime is a “philosophy of art (that) informs in-terpretations in works of art.” Fourth graders can rec-ognize the sublime in art. They are well equipped to investigate spookiness, ridiculous exaggeration, and mystery. “Sublime” can even be a new vocabulary word. It is part of our art heritage.

Ways to Document That the Student Has Met the GLE

Quick Documentation of the GLE: The teacher confers table by table and makes a checklist of students who can explain what the sublime means by using the examples of Nix’s work lying before them on the table.

Layered Documentation of the GLE: Students write in their journals to a teacher prompt, explaining how Nix and Casper David Friedrich both use the sublime in their art making. Included is a photocopy of each art image, one from each artist.

Art-Making Documentation of the GLE: Students participate in a collage exercise that deconstructs landscape and nature photos into an exaggerated world where the depths and heights are deeper than normal and the contrast is stronger than normal. Nature is made scary by its exaggeration.

TAB Alternative: After the teacher shows the sublime work of Nix and Friedrich and discusses the notion of the Sublime, the class is offered a prompt to create “the sublime.”

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Bounty


Living Room

Museum of Art

Space Center

Laundromat at Night

Circulation Desk

Fountain

Mall

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Majestic

Library

Laundromat

Violin Repair

Chinese Take-Out

Bar

Casino

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SIXTH

Grade Level Expectation 3, Standard 4“Eco-art is a contemporary response to environmental issues.”

I just want the viewer to consider their place in the world of today and their impact on the planet…I want the viewer to think about their actions and how they may impact the future of humanity and civilization. – Lori Nix

Nix’s series “The City” spins tales of apocalyptic after-math with discarded shopping malls, sand-filled subway cars, and plant-infested libraries. These images are scary, funny, and full of juicy details to observe and ponder. They may not be appropriate for kindergarten, but older students will love it. Science fiction and earth science are combined to create sober and fascinating views of the future. Sixth graders certainly have the capacity to work with this complex content. A great complement to Nix’s body of work would be viewing the work of other artists who imagine the earth in a future state such as Dougal Dixon’s After Man: A Zoology of the Future or Cao Fei’s (ART21) “RMB City.”

Quick Documentation of the GLE: During a formal dis-cussion about Nix and Cao Fei’s future-world imagery, the teacher checks off names of students who reference their own research to participate actively and rigorously.

Layered Documentation of the GLE: In journals, stu-dents complete a comparison diagram that includes an image from Nix, Dixon, and Fei. The diagram maps out and labels how the artists’ ideas are similar and how they are different.

Art-Making Documentation of the GLE: Students take an everyday object and disassemble, reassemble, and em-bellish it to represent its future “post-humankind” exis-tence.

TAB Alternative: After the teacher shows the work of Nix, Dixon, and Fei and discusses eco-art, students are offered a prompt to create “the future,” utopia or dys-topia.

Church

Botanical Garden

Natural History

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Hand Beauty Shop

Great Hall

Control Room Subway

Map Room

Vacuum Showroom

Shoe Store

HIGH SCHOOL

Grade Level Expectation 1, Standard 2“Reflective strategies are used to understand the creative process.”

I like to work narratively and serially. When I’m thinking of this series, I’m thinking 20+ images to complete the nar-rative. If I can’t stretch an idea this far, then I’m not going to pursue it. I consider how each image is different from the preceding images in relation to its color palette, the disaster being depicted, the layout of the space, even the placement of the line of view. – Lori Nix

Nix’s interviews on her website beautifully show an art-ist’s reflective strategies. She explains which artists in-spire her, how and why she uses photography, how she keeps a research journal (photos on her phone), how practical concerns influence her decisions, and other fac-tors such as her hometown, popular media, daily com-mute, art school, etc. Artists are certainly inspired by other artists, but they also are inspired and influenced by so much more.

Because high schoolers aren’t always engaged in direct teacher instruction, let the exemplar models do the teaching instead. Rather than the teacher naming a list of “reflective strategies” that students must do, the teacher could have students go onto Nix’s site and create a list of her reflective strategies. The teacher could model how to do this up in front first with Nix’s website. The strategies students find could be shared and compiled as a whole class later and then students could pick and choose which strategies from Nix they want to use as they begin their own artwork.

Quick Documentation of the GLE: Teachers could re-quire a research note-catcher that students fill out while they research Nix’s reflective strategies on her website.

Layered Documentation of the GLE: Student journal-ing and sketching about what reflective strategies they would like to use in their next artwork.

Art-Making Documentation of the GLE: Student’s fin-

ished artwork (or series) includes a process notebook in which the student documents the reflective strategies that were used.

TAB Alternative: The teacher offers students a list of art-ist websites, including Nix’s, and asks them to find the reflective strategies in their art making on the sites. Stu-dents are encouraged to document their reflective strate-gies in the next artwork they make.

In conclusion, even though Nix’s media is dioramas, I hope the reader noticed that I didn’t suggest that any students make dioramas. This was to prove one point. Just because an artist uses a specific media or style doesn’t mean that is the only way to explore the artist’s work. The ideas within each artist’s work can spur on the proj-ects. Of course, teachers could still have their students make dioramas and that could be extremely valuable, but mimicking artists’ ideas and not just their media is a sustainable way to meet the art standards. We may not have the resources and budget that contemporary artists have (e.g., filling vast rooms with mechanical curtains or fashioning 25-foot-long pipe organs), but we can still use them in the classroom. Ideas are always within our budgets.

All quotations by Lori Nix are from her website:

http://www.lorinix.net/index.html

Anatomy Classroom

Beauty Shop

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Clock Tower

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•

Unique and Unrepeatable

by Elizabeth Buhr

India Ink Thumbprint Paintings Grade 4

Editor’s Note: The following two articles by Elizabeth Buhr and Andrea Slusarski are examples of some of the mate-rial you can find on their blogs. These are only a couple examples of the excellent content being posted online by CAEA mem-

bers. For quick reference to CAEA members’ web sites, go to the “Sharing Your Work" article by Deborah Walden Ossi in the Fall 2014 issue of Collage on pages 45-48: http://issuu.com/caeaco/docs/fall_2014_collage_final_collage_fal

Sometimes during the school day, I scan the artwork and the students making it and think to myself “…unique and unrepeatable…unique and unrepeatable….” The second time I heard someone speak about the human person as unique and unrepeatable was in a workshop at NAEA with Peter Lon-don and Virginia Freyermuth. At that time I thought how very Jesuit, specifically how very Ignatian. The first time was years ago at the beginning of my practice of the Spiritual Exercises of St. Ignatius.

In education, thanks to John Dewey and many others, we have language for the unrepeatable moment and for the uniqueness of human experience. Language is not enough to wrap around what happens in the studio classroom. We need to document the moments of student learning and of student experiences.

17.


Documentation of student process, discussion as well as in the cycle of artwork exhibition, matters. Through documentation we create a sort of dendrochronology (study of tree rings) of the uniqueness and unrepeatability of the students’ learning and studio classroom environment. These tree rings of documentation serve as a path-way for colleagues and leadership (principal, coach, evaluator) to see a creative climate of student investigation.

Students Working on Pop Art Paintings

Grade 6

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For several reasons, I wanted to share with my school leadership what was happening in our studio classroom. I created a website using Google Apps. The website has become a web-folio of sorts. It contains pictures and documents that align student action with the Teacher Rubric and my Individual Educator Growth Goals for my school district. The web-folio and documentation certainly do not replace a teaching moment or the observation of an amazing conversation between two fourth graders. The web-folio and documentation do, though, demon-strate a spiral of learning and great things happening for students at tables filled with artwork and art materials.

India Ink Thumbprint Paintings Grade 4

Student ReflectionGrade 3

One way to document this learning that works for me is to walk around with an iPad and take pic-tures over the students’ shoulders. I also video re-cord hands working while the conversations about art making, materials and ideas are happening.

Try different ways of capturing student art activity. Because, really, we’ve all had the thought, “Wow, I wish I could show someone this really great thing.” Or, “I can’t believe where the students took this or that idea….” Recording the steps of student work along the way will aid your ability to share that really great thing or how the students imagi-natively pulled through this or that idea. Docu-menting and creating a web-folio may also have the added benefit of making you (as it has me) more intentional about instructional choices and more reflective in your teaching practice because documenting what the students are doing shows what the students are understanding (or not).

The goal of the web-folio has been to tell the story of what is being taught to the students and, to a great-er degree, the depth of understanding of the stu-dents by recording their process, actions, responses and art making. The students are individuals; the works they are engaged in are individual expressions of their understanding and vision. Documentation of student action creates an avenue to narrate the unique and unrepeatable expression and experi-ence of each student’s learning and art making. •

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Portraiture can be a daunting task for many students to complete and art educators to teach – especially when you have a classroom of beginning Drawing or Painting students staring blankly at you. However, you don’t need to punt on the first down here. There is a way. Over the past few years, I have been utiliz-ing Photoshop to help my students understand that beneath a complex image, such as a face, there are just basic shapes and values. When students start to see how basic drawing principles can create complex images in their drawing and painting, their fear of making portraits drifts away.

This project is all about expressing to students the importance of value in their artworks. I have adapted this lesson for both my beginning drawing classes and beginning painting classes. To begin, I photograph each of my students. (Tip: Photograph students with a white background behind them because the white background will make the editing easier and require less ink to print!) After photographing all of my stu-dents, I turn to Photoshop to edit these to have five to six values. This is easily achieved under Layer > New Adjustment Layer > Posterize. I also convert all of the photos to black and white – no need to use the color printer! (Tip: To save time, I have a student aide work on this process for me and within a few days all of the photos are ready to begin.)

The drawing portion of this project is where you seriously need to stress that students take their time and draw what they see! The images are supposed to look “weird” and “not right” because, instead of drawing the eyes, mouth, nose, etc., the student is drawing the value change. It is going to look like a bunch of organic shapes on the student’s paper or canvas, and that is good!

The second part of this project basically turns into a “paint by numbers” where students start mixing and shading the values into all of those weird organic shapes that are supposed to make up their portrait image. Once they get all the values in place, you’ll love to see the look on their faces during that “ah-ha” moment.

This portrait project is definitely a confidence booster for my students. After spending the beginning of each semester bragging about how important value is, this is where students really start seeing its value in artworks.

For links to the Prezis (available for download) used during this project, as well as other lesson plan ideas, visit my webpage: thenerdyartteacher.wordpress.com. •

Value Self-Portraits: A How-To Guideby Andrea Slusarski, Arts Educator - Gateway High School

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The show 45 Years of Photographing Colorado at the Denver International Airport (DIA) truly

represents the past 45 years of my life. I first came to Colorado on vacation in 1970, and fell in love

with the place. A year later, I quit my teaching job in Indiana and moved here. I got an MA in

Art Education at the University of Colorado (CU) and, in 1973, started teaching in Jefferson County. I am a compulsive photographer of everything, so it is not surprising that I ended up with thousands of photos taken in Colorado. I have photos from the 1970s and 1980s, before things changed so much in Denver, in the Columbine area, and around the state. When those became the “before” photos, I had to take the “during” and “after” ones. Pretty soon documenting my city and state became automatic. It killed me that I couldn’t do “during” shots of the building of DIA, but I have been shooting the hotel and train station since construction started.

45 Years of Photographing Colorado

by Barbara Gal

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Barbara Gal and Tim Vacca, Exhibitions Coordinator at DIA

Before and After: 20th Street Viaduct Today

Barbara Gal Show at DIA

Collage Winter 2014-2015 22.

collection in some version in as many places as I could. The Denver portion filled a booth at the Denver County Fair. The state portion went up at 40 West Arts. I was in the process of getting the Metro part up in Lakewood when I got a response from my contact at DIA.

It has taken a year of taking more photos, writing and researching, more printing and framing, and putting together the 12 panels in my studio. Now the show is an actuality. And it’s hard to believe that thousands of people will see these photos and learn something about Colorado. I think that as long as I can get around, I will be adding to this historic col-lection and looking for ways to share it. •

I am a compulsive photographer of everything, so it is not surprising that I ended up with thousands of photos taken in Colorado.

I have also photographed Union Station and the West Line of FasTracks since construction started. I am also documenting the tremendous changes in LoHi and RiNo and North Denver.

Of course, there are many photos I wish I had taken. The Platte River when it was trashed. Cin-derella City. Planes driving over I-70. I also have a long list of photos to take soon, before something else changes. And there are a few I know I took, but can’t find, like the crane placing the cupola on top of Casa Bonita. Lost forever!

While I was able to do some showing of my pho-tography while I was working, it was mostly en-tering group shows or finding a restaurant that would let me hang stuff on a wall. But at least I could always squeeze in time to shoot, so I felt like I was making art. My slides and negatives took up more and more storage space, but were mostly organized.

Once I retired, I participated in more shows, and had more time for taking photos. Then, in 2011, I interviewed and was accepted into NEXT Gal-lery. My first show there in 2012 was my first-ever solo show in a real gallery that I belonged to. It only took me 66 years! I also had moved to Green Mountain and become involved in the beginnings of 40 West Arts. Finally, my life revolves around being an artist.

Making this show happen has been a long pro-cess. I had most of the photos. But I had to find them physically or on my computer, scan the ones that weren’t digital, edit them (some needed a lot of work) and organize it all. I also went out and filled in empty spaces, and took “after” versions that were missing. For the show at NEXT, I col-lected old frames at ARC and garage sales, and used up all the new ones sitting around my studio. When I ran out of frames, I matted or mounted on foamcore. It took a solid week to hang over 500 pieces, floor to ceiling and wall to wall. Once the show was up, I immediately began mar-keting. After all that work, I wanted to get this

25.

Before and After in the Railroad Yards, 2010




Notes from theLearning Lab:

The Time MachineTime traveling… It’s a concept we’ve all tinkered with at some point in time. It entertains every aspect of our imagination: adventure, mystery, intrigue, and danger. What could be more thrilling?

But what if you were able to build a real Time Machine?

by Barth Quenzer

Building one is surprisingly uncomplicated. Apparent-ly, you don’t need a fancy apparatus that travels faster-than-light and you don’t need a special understanding of theoretical physics for space time travel or how to navigate through wormholes. To go quantum tunneling through time, you really only need three components: time, machine parts, and imagination. In fact, it is the imagination that gives the Time Machine its power, so

ask students to feed it their most imaginative ideas.

The Time Machine Prototype, Brown ElementaryThe low-budget Time Machine option has become our most important prototype for second grade, and has evolved to become a storytelling device that does something per-haps even more incredible than time traveling itself: It requires second graders to access their background knowledge and make inferences about artifacts from a period in art history us-ing a series of clues as a prompt.

Time + Machine Parts + Imagination, Brown Elementary

http://en.wikipedia.org/wiki/The_Time_Machine#mediaviewer/

File:The_Time_Machine_Classics_Illustrated_133.jpg

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If you’ve ever worked with second graders, you’ll know what an anomaly they are. They are squirrelly, chatty, and restlessly curious beings. This makes delivering content to second graders extremely challeng-ing. Their world schema is forming, but their knowledge of the world is full of blank spots and miscon-ceptions. The second grader is a unique breed of learner. They have a heightened energy, an investigative personality, and they talk non-stop. But what I think is most incredible about second graders is that they are able to take new information about the world and effortlessly imbed this new information into their ever-expanding world schema. This trait makes them some of the best inquirers and certainly the best Time Traveling Art Detectives.

The Time Traveling Art Detective, Brown Elementary

If you ask second graders to do a survey on where in art history they would like to time travel to, they consistently come up with the same genres. They want to see iconic representations in art such as, “Cave art, Egyptian art, Chinese art, the Mona Lisa,” and more modern events in history like World War I, World War II, and even the Wright Brothers. In helping them put their ideas together on an art history timeline, it looks approximately like this:

Prehistoric------------Ancient-----------Asian---------Renaissance--------Contemporary Art Egyptian Art Art Art Art 30,000 3,000 2,000 1500 2015 years ago years ago years ago

If you ask second graders the question where they would like to time travel to first, they almost always ar-rive at the “oldest art in the world.” So, this tends to be where we start our time traveling art adventures.

When time traveling with students, it is extremely important to coach them on how the Time Machine works. First, it requires a working time machine (time, machine parts, and imagination). Second, it re-quires a student volunteer to be the Time Traveling Art Detective for the day, to help read the clues, and to call on their junior detectives to make connections, predictions, and inferences about what artifact is in the Time Machine. Third, it requires a real artifact to be revealed after the students’ connections have been explored.

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In powering up the Time Machine for the first time, make sure the artifacts that you have chosen are rel-evant and build off of one another. When traveling to Prehistoric Art times, I always start off with these three clues:

1. This is the oldest drawing material in the world.2. Artists still use this material today.3. It is made using fire and wood.

After students make a series of connections using their background knowledge, the artifact in the Time Machine is revealed. On this first day, the artifact revealed is charcoal sticks. This revelation becomes the prompt for an exploratory drawing project. The second graders are always in bewilderment as they are asked to explore the world’s oldest drawing material. They get messy and, by the end of the day, they look like they have crawled out of a cave.

Stoic Cave Artists at Work, Brown Elementary

On the second day of using the Time Machine, students discover cave artist costumes (burlap shirts and leopard-print headbands). Now looking the part, having transformed into prehistoric cave artists, they revisit the charcoal and work big on collaborative “cave wall” drawings. On the third day, the true story of how the Lascaux Caves were discovered is told through the use of a shadow box and puppetry, and becomes an invitation for students to create shadow puppets and tell prehistoric tales. On the fourth day, the Time Machine goes on the fritz (oh no!), and accidently travels to 200 million years ago… What could possibly be in the Time Machine now? The second graders’ answer to this question reveals a lot about their world schema. The artifact on this particular day is a prehistoric dinosaur plant (you can buy these online or at the science store). This prehistoric evergreen plant stays dormant until you add water to it. You can see it begin to move and “bloom” right before your very eyes.

Prehistoric Dinosaur Plant, Brown Elementary

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The challenge for a teacher using a Time Machine with students is to find and collect relevant artifacts and present these artifacts to students in the most exiting ways possible. This means you need new artifacts almost every day. It also means valuing process over product. When second graders are given autonomy for how they will use their new knowledge and how they will explore the new materials or artifacts, they begin the journey of the researcher. If you teach a second grader how to do keyword searches on Google, they will quickly find inquiry connections to the artifacts. In fact, it was my second graders who showed me how King Tut really died. That particular story is unfathomable and, according to the Smithsonian Institution, King Tut’s death involved a chariot crash, a broken leg, a hippo attack, malaria, and (believe it or not) spontaneous combustion inside of his sarcophagus!

King Tut, http://en.wikipedia.org/wiki/Tutankhamun#mediaviewer/File:Tuthankhamun_

Egyptian_Museum.jpg

The Time Machine has contributed many adventures with sec-ond graders. But the reality is, it was invented out of necessity. As I mentioned earlier, the second grader is an anomaly. The Time Machine is an instructional tool specifically designed to help second graders reflect on their experiences by asking them to access their background knowledge and make inferences. It is aligned explicitly to the second grade Visual Arts Standards and is a clever way of assessing student comprehension and, simultaneously, introducing students to new content, concepts and ideas. It is now a staple devise in the art room that chal-lenges my students’ thinking and my own. It is an invention that continues to be re-invented as we learn how to better use it over time. But the best part of our low-budget Time Machine is the real invitation it presents: To become daring storytellers… To become Time Traveling Art Detectives! •

Time Machine in Action, Brown Elementary

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Economic Activity Studyof Metro Denver Culture — Snapshot

ECONOMIC IMPACT$520.8 MILLION

ATTENDANCE 14.2 MILLION 10,205 JOBS

OUTREACH TO STUDENTS 4.25 MILLION

SCFD DISTRIBUTION$46.4 MILLION 1

GIVING TO THE ARTS$167 MILLION 2

Thank You to Our Sponsors

Colorado Business Committee for the Arts(CBCA) has been demonstrating the social and financial impact of the

arts on our region for over 20 years. Together, we continue to reach new heights in cultural tourism, job creation, philanthropy, business development and community outreach.

The 2014 Economic Activity Study of Metro Denver Culture is calculated using 2013 data reported by

nearly 300 organizations that received distributions from the Scientific and Cultural Facilities District (SCFD) in the seven metro counties: Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas and Jefferson. The SCFD is considered a national model that supports our diverse, collaborative, vibrant and unique cultural community.

Above is a snapshot of the study from a high altitude. Access the full study at cbca.org.

1 In 2013, the SCFD generated and distributed $47.3M to its grantee organizations. This

study includes analysis on 97.8% of these funds reported by grantee organizations as of

December 31, 2013. The unaccounted portion of these funds are due to the timing of

distributions, differences in grantees’ fiscal year-end dates and accounting policies,

and SCFD’s recovered election costs from 2004. 2 Total contributions to the arts include SCFD distributions for the 2013 calendar year.

The Colorado Business Committee for the Arts (CBCA) was kind enough to share the results of their Economic Activity Study of Metro Denver with Collage readers.

This report is proof that the arts help invigorate and sustain our economy. Deborah Jordy, CBCA Executive Director, explains, “Arts, cultural and scientific organizations are major economic drivers in our region. This biennial study documents the role arts play in job creation, tourism, education, philanthropy and our regional vitality. This impact is amplified through valuable community partnerships, such as those with schools and arts educators.”

The graphic below displays key information that can be shared with students, parents, and schools. For more information, read the full study at http://cbca.org/programs/economic-activities-study/ and learn more about CBCA at http://cbca.org/.

A Snapshot of the Impactof the Arts in Metro Denver

– Study Results from the Colorado Business Committee for the Arts

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Anna Estes is the new Citywide Arts Event Coordinator for Denver Public Schools (DPS). She agreed to do an email interview for Collage so teachers around Colorado can get to know her better. We are excited about the plans she has for the arts in Denver!

Can you tell us about your new position at DPS?

This week marks my three-month anniversary of working for Denver Public Schools, and it’s been a whole lot of fun so far! My position as Citywide Arts Event Coordinator is a new one; for the first time, the Citywide Coordinator supports both performing and visual arts programs. This means that I organize the district-wide music festivals (Choir, Orchestra and Band), in addition to the visual art shows in the spring (High School, Middle School and Elementary). There’s also some theater, dance and drama thrown in the pot to keep it lively. A big part of my job is teacher communication. I also spend a lot of my work day juggling all the tiny moving parts involved in any event planning job...has the concert piano been tuned? How exactly ARE we going to hang those ceramic tiles? Did that 8th grader receive her bassoon music?

Interview wit h Anna Estes, C itywide Arts Event C oordinat or for Denver Publ ic Schoo ls

by Deborah Walden Ossi

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How do you think your background in the arts in Denver will shape your work in this new role?

I come from a visual arts background, and worked for a long time in the Denver non-profit world (specifi-cally in museums). Most recently I worked at DU’s Myhren Gallery, and also wore many hats at the Denver Art Museum (DAM). I was very involved in the Cartier exhibition, which just opened last month at the DAM. Over the last six years or so in Denver, I’ve made some really wonderful connections with local com-munity partners in the arts. I think these connections – both personal and professional – will offer a lot of unexpected new opportunities for DPS arts students. This year is a learning year for me, but I’m really looking forward to adding my own stamp to our Citywide events in future years.

What is your favorite part about working in the arts for DPS?

My favorite thing about my current role is seeing the kids in action – hands down! It’s easy to forget who your “clients” really are when you work at a desk all day. But all of the potentially overwhelming details and endless lists make it all more than worthwhile when you get to see the final product. It’s so fun to see the result of the students’ hard work at concerts and shows. They are excited and proud of themselves, and you can see it in their faces. Every time I visit schools, attend a performance, take part in a workshop, or see an exhibition, I’m amazed at the pure talent I see in these students.

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“For a l ot of kids, art gives t hem a reason t o get up and go t o schoo l. It gives t hem a sense of value.”

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Who is your favorite artist?

Oh, this is by far the hardest question! I think it would be easier for me to name a favorite cloud than a favorite artist. I’m going to cheat and name a handful of my top favorites. They are, to name a few in no particular order: Jan van Eyck, Pieter Bruegel, Henri Matisse, Winslow Homer, Judy Chicago, Willem de Kooning, Helen Frankenthaler, Yves Klein, and Paul Cézanne.

What is one thing you would like all art teachers in DPS to know?

Most would agree that being a teacher is one of the hardest jobs there is. Since starting at DPS, I’ve come to believe this 100%. In this district, we have approximately two administrators for every one teacher; I often feel as though teachers could benefit from even more support. I’d like all arts teachers to know that the central Art Department exists to support them and their students. I’d like to remind them not to lose sight of what is, in my opinion, the best of the six DPS core values: fun!

“Every time I visit schoo ls, attend a per formance, take part in a wor kshop, or see an exhibit ion, I’m amazed at the pure talent I see in t hese students.”

“DP S encourages a who le chi ld appr oach t o education, which aims t o br oaden t he previously narr ow def init ion of academic achievement. A wel l-r ounded education in t he arts features

pr ominent ly in t his new appr oach.”

Why are the arts important to you?

On a personal level, I have been involved in the arts in one way or another throughout my entire life. As a student, my identity was completely defined by art: I was a “choir kid” all through school, and constantly creating at home and in my art classes. I studied art history in college and went on to get a graduate degree in it. Having a creative outlet has always been essential in my life. As an adult, I recognize that same need in a lot of the students I interact with in the district. For a lot of kids, art gives them a reason to get up and go to school. It gives them a sense of value. DPS encourages a whole child approach to education, which aims to broaden the previously narrow definition of academic achievement. A well-rounded education in the arts features prominently in this new approach. At its most basic, an arts education prepares students for college and career. More than that though, I truly believe that the arts give meaning, value and beauty to life. I think that developing creative power is one of the most important things any of us can do. •

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RedLine’s EPIC Arts program at Kunsmiller Creative Arts Academy with Artist-In-Residence, Dmitri Obergfell

Many children have a fascination with drawing houses, castles and cities. As children transition from a schematic stage (according to Viktor Lowenfeld, Creative and Mental Growth, 1978) to realistic represen-tation (children around seven years old and up), they begin to work towards far more detailed drawings. Drawing and painting houses seem to fit perfectly into this new developmental stage. In order to take ad-vantage of a high area of interest, I had my third-grade students carry out a lesson designing and drawing Victorian houses.

My students did some initial preparation before starting their artistic process. Students wrote about what it means to be an architect and what sort of house they would design and build if they could. Students wrote about what kind of family would live in their house and how the architecture would reflect that. One stu-dent wrote, “Beyoncé would live in my house because it’s fancy, fancy, fancy!” I also read a lot of “I would live in this house because I love it!”

We spent some time observing and identifying characteristics of Victorian architecture. For our purpose, house drawings needed to show a focal point, Victorian architectural details and pattern. My students drew with white gel pens on black paper. These drawings were cut out and mounted onto a background that students painted with watercolors.

Because of the timing of our project (Fall), some students made their houses haunted. Haunted or not, many house drawings were protected by gargoyles. This lesson had a high success rate for my students. All students felt successful and proud of their work. I was proud of them too!

Third-G rade Victorian Housesby Jill Day

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•

The Nobel Circle Project is going to build a new public sculpture in Boulder, Colorado (see www.Boul-derNobelCircle.org). This fall they sponsored a competition among Boulder Valley School District 9-12 (BVSD) art students to provide fresh ideas for the new public sculpture intended for the Pearl Street Mall.

The sculpture will celebrate the five Nobel Prize winners in science from the University of Colorado (CU), National Institute of Standards and Technology (NIST), National Oceanic and Atmospheric Administra-tion (NOAA), and National Center for Atmospheric Research (NCAR).

The prompt below was given to students:

Background: A new public sculpture will be created for the Pearl Street Mall. It will celebrate the FIVE NOBEL PRIZES in science from the Boulder Area. Accompanying the sculpture will be in-spirational videos that include comments from the Nobel Laureates and clips by and for students on a variety of subjects.

Science reveals our dependence on Nature’s complex array of life. It compels a sense of importance for all forms of life, which leads to a powerful new definition of what is sacred: Living things and their sustaining Earth.

Design by Kate BrackleyThe Nobel Circle Project by Virginia Schick

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Speaking more pragmatically, the most broadly appreciated benefit of science is better health and greater longevity for most people. Cave men or women commonly lived to perhaps age 30, Thomas Jefferson’s era saw that expanded to about 50 years, and now the average life span in developed countries exceeds 70 -- more time for a richer life, for love, and for learning.

Inside this broad picture of science are the achievements of individual scientists. In Boulder the subjects range from basic physics as described by Quantum Mechanics, to the complex processes of large molecules in living matter, and to study of the Earth system as a whole that manifests as climate change. Boulder is alive with science.

Nobel Prize Winners:

John Hall, Physics, 2005; “contributions to the development of laser-based precision spectroscopy, including the optical frequency comb technique”

Eric Cornell and Carl Wieman, Physics, 2001; “achievement of Bose-Einstein condensation in dilute gases of alkali atoms …”

David Wineland, Physics, 2012; “ground-breaking experimental methods that enable measuring and manipulation of individual quantum systems”

Thomas Cech, Chemistry, 1989; “discovery of catalytic properties of RNA”

Competition: The Nobel Circle Project is sponsoring a competition among BVSD 9-12 ART stu-dents to provide fresh ideas for the artist/sculpture. Students may participate as individuals or as a team. Each artist/team will create an original design for the sculpture. The winning TWO designs from each high school will be forwarded to the judging committee to select the three finalists. The principal artist will have the option of choosing features from these three for use in the actual sculp-ture. The goal is a sculpture that is inspiring to viewers of all ages.

Drawing Guidelines:

1. Create original 2-D design of at least two views but up to 4 views of a 3-D sculpture; which cel-ebrates the 5 Nobel Prize Winners from Boulder’s research labs.

2. Identifiable images of the faces of Boulder’s individual Nobel Laureates must be presented in the sculpture. However it is not necessary for the sketches of the laureates to be individually identifi-able.

3. The sculpture includes one or more images of students. These images may be in reduced scale, and either realistic of abstract representations.

4. The style of the sculpture must be compatible with the old Boulder County courthouse on the Pearl Street Mall, between 13th and 14th streets.

5. The proposed sculpture should be no more than nine feet in any direction.

6. The Nobel Medal should be included in the design.

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Writing Guidelines:

1. In 500 words or less, describe the sculp-ture design and the materials of the sculp-ture. (long-term durability)

Boulder High School art students are always look-ing for authentic, quality, visual art challenges. Both the Portfolio Arts and the Pottery and Sculpture students entered. The winning three designs were judged and awarded to Kate Brackley, Zoe Kahl, and Samantha Travis. All were from Boulder High School. Their sculpture designs honor the laure-ates and inspire viewers of all ages to reach for their dreams and to dream BIG! Each young artist won a $300 gift card to the Ap-ple Store. We hope to see their ideas manifested as sculpture in the near future. Congratulations!

Perspectives of Competition WinnersBelow are the winners’ responses to questions about participating in this project.

KATE BRACKLEY

How does it feel to be trusted with a project so big?

I don’t really see it as being “trusted” with this project so much as collaborating and working with a bunch of great artists to accomplish this project. However, I am astounded that artists will be taking inspiration from my piece for a permanent sculpture. I feel a great sense of pride and joy.

Was the process for this project different from artwork you do in class?

Yes! I do more illustrative work (such as pen and ink and printing) as well as photography, so I’ve never done a piece that involves as much planning and logic as this one. I enjoyed the creative process a lot and I’m glad I got to try my hand at a different type of project.

Did working on this project make you think about the connections between art and science?

Working on this project definitely made me think about the more logical part of artwork, such as propor-tion and most importantly size when I was trying to figure out how big I needed to scale my drawing. I think that art is a great way to translate scientific themes to the public, especially those who might not understand it as well.

How do you think this project will affect your future?

For one thing, now I know that I can do this type of artwork! Whether or not I will choose to pursue it lies far in the future, but I think it will affect my future in the sense that I’m more willing to try things that I might not necessarily try in the first place.

Kate Brackley

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Design by Zoe Kahl

ZOE KAHL


Well to be honest I didn’t really think I would win so it was a great opportunity to challenge your creativity, and it is great to be one of the winners. I am very happy about that.


Yes a little. For this project we had to sketch our idea and explain our thoughts…I am in a pottery class so we usually make sculptures.

Did working on this project make you think about the con-nections between art and sci-ence?

A little but it more made me think about how to connect these two themes together.


I really don’t know. I would like to work on more projects like that. I live in Berlin, Germany which is a big art city so the competition is very rough but this will boost my confidence to applying to compe-titions like this.

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

Zoe Kahl and Samantha Travis

Design by Samantha Travis

SAMANTHA TRAVIS


Very mind-blowing and scary. I’m very honored to have someone believe in my art so much and to be a part of something that will only make my career in art better. I never thought I’d be able to see a huge sculpture I worked on and designed.


Not really, we just had more confinements and requirements to follow.

Did working on this project make you think about the connections between art and science?

Not as much as I wish it had, I still know so little about the scientists’ achievements. I definitely want to learn about the people I’ve transferred into my art.


I’m so excited for my future, it holds so many new possibilities. This is a gateway into the art world that I’m so happy to be able to walk through. •

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State Youth Art Month chairperson: Justine Sawyer, e-mail: [email protected]

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

You can also check the following sites for ideas: http://www.pinterest.com/justinesawyer/youth-art-month-ideas/http://www.pinterest.com/justinesawyer/youth-art-month-flags/

View the 2015 Winning Flags and Statewide Submissions

Visit www.caeayamflags.weebly.com to see images of the flag designs and winning flags submitted in January 2015.

2015 Colorado State Capitol Flag Exhibition and “Youth Art Day” Reception

March 17-25: Colorado State Capitol Flag Exhibit (60 juried works and winning flag) Artwork for the Colorado display at NAEA will be selected from work in this exhibit. View the works during regular visiting

hours at the state capitol in Denver.

March 19, 3:00-5:00: “Youth Art Day” Colorado State Capitol Flag Exhibit Reception following the Scholastics Selected Works at the Denver Art Museum show on the same day.

Sargent Art Prizes: Sargent Art sponsored prizes for our winners. The winning flag designer and teacher won a paid trip to

New York! First place prizes in elementary, middle and high school (students and teachers) were awarded supplies from Sargent Art. Be sure to submit a design next year to be eligible for these amazing prizes!

How to get involved in 2015 Colorado’s Youth Art Month

Consider planning an event or art show:Listed below are SUGGESTIONS, not requirements.

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The art of revision

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� Consider doing an activity correlating to the current year’s YAM theme. The goal of

participating in this activity is to advocate for the arts, so if your project can involve people outside

the art education field, that is great! See the resource pages at www.caeaco.org and Pinterest

pages (links above) for ideas.� Include “CAEA presents YOUTH ART MONTH 2015” (or something similar) on all advertising

such as flyers, posters, & invitations. � YAM is nationally celebrated in March. Strive to have your exhibit in March. However, if

that is not possible, it can be held at some other time.� Remember to invite local dignitaries to your celebration & reception.

Request a YAM Mayoral/Dignitary Proclamation/School Board Resolution:Contact your local congressman, mayor, school board or school district officials/ principals, superintendents, artists, businesses, etc. Suggest they make a proclamation declaring March as Youth Art

Month (sample form available at www.caeaco.org under the YAM tab).

1. Write a letter. Include the suggested proclamation and/or endorsement.

2. Make a follow-up call. One week later is suggested.

3. Your mayor/dignitary will read the information, approve the proclamation and have it

prepared for his/her signature. After you pick it up, duplicate it for distribution.

4. Include an appearance request.

5. The Board of Education will usually add the request to the agenda. Public officials are

usually eager to participate in YAM – if you just ask them!

Consider contacting your local news mediafor event coverage and recognition:One goal of YAM is to make art education visible in our schools and community.

Please Complete the State YAM Report:Please document all YAM and other activities and events throughout your school year and submit to

www.caeayam.weebly.com (link may be found at www.caeaco.org under the Advocacy>YAM Art Program tab) by May 1st, 2015. Your submission will be included in a statewide report, which is sent to the

National YAM chairperson.

Thank you for your participation!

State Youth Art Month chairperson: Justine Sawyer, e-mail: [email protected]

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

You can also check the following sites for ideas: http://www.pinterest.com/justinesawyer/youth-art-month-ideas/http://www.pinterest.com/justinesawyer/youth-art-month-flags/

View the 2015 Winning Flags and Statewide Submissions

Visit www.caeayamflags.weebly.com to see images of the flag designs and winning flags submitted in January 2015.

2015 Colorado State Capitol Flag Exhibition and “Youth Art Day” Reception

March 17-25: Colorado State Capitol Flag Exhibit (60 juried works and winning flag) Artwork for the Colorado display at NAEA will be selected from work in this exhibit. View the works during regular visiting

hours at the state capitol in Denver.

March 19, 3:00-5:00: “Youth Art Day” Colorado State Capitol Flag Exhibit Reception following the Scholastics Selected Works at the Denver Art Museum show on the same day.

Sargent Art Prizes: Sargent Art sponsored prizes for our winners. The winning flag designer and teacher won a paid trip to

New York! First place prizes in elementary, middle and high school (students and teachers) were awarded supplies from Sargent Art. Be sure to submit a design next year to be eligible for these amazing prizes!

How to get involved in 2015 Colorado’s Youth Art Month

Consider planning an event or art show:Listed below are SUGGESTIONS, not requirements.

44.

45.

White Paper Sculpture Lesson PlanThis project began four years ago as I was standing in the public library hunting for a book on oriagmi techniques. What I stumbled across was a book with the works of Jeff Nishinaka and other paper art-ist.

I became enthralled with the beautifully developed bas-relief and freestanding sculptures that were made using only white paper. Texture, layering, problem solving, structure, repetition, and folding were all uti-lized to perfection. Could my middle-school students accomplish such a sculpture?

The simple answer is yes. They amazed me with their creativity and problem-solving skills. I began by hav-ing only my advanced students work on this project, but I have recently added this project to my Introduc-tion to 3D class for 7th grade students.

I front-load this projects by giving requirements and showing photographic examples (http://www.pin-terest.com/danaorton/paper-sculpture/). We also discuss techniques that can be utilized throughout the project such as paper folding, multiple-layer cutting, and quilling.

by Dana Orton

7th Grade Student Artwork




State Standards:6.3.1, 7.3.1, 8.3.2 – Plan creations7.3.2 – Technical skills and processes required to achieve desired results6.3.2, 7.3.3, 6.1.1, 8.3.1, 8.3.3 – Using various me-dia, materials, techniques7.1.3 – Knowledge of vocabulary6.4.1, 7.4.1, 8.2.2 – Critical thinking for life

Materials:White copy paperGlue or glue sticksScissorsX-ACTO knives (optional) Cutting mats (optional)Rubrics (included with this lesson plan)Teacher-provided examples (photographs are ac-ceptable)

Objectives:Students will:plan a creation,use craftsmanship demonstrated through refin-ing ideas in response to feedback and self-evalua-tion, andcommunicate an idea visually.

Vocabulary:StructureObjective/non-objective artArmatureBas-reliefRatio

Directions:

Step 1:Students develop a sketch of their work. I require sketches from two or three angles to make sure stu-dents are designing the complete sculpture from the beginning.

Step 2:Students plan the internal structure of their sculp-ture (conical, round, cylindrical, square, etc.). They present both the sketches and their plans to the teacher for assessment, suggestions, and discussion of the project.

Step 3:Teacher places all supplies for students to access in a central location. My students can take as much paper as they wish, but return unused pieces to the pile at the end of each class. Students begin by ei-ther picking a colored piece of paper for the bases of a bas-relief or for starting the internal structure of their freestanding three-dimensional form.

Step 4:Students begin adding the external structure and details to the sculpture.

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white paper sculpture: !Criteria 1: Composition (10 pts)

- Was your sculpture reflective of your sketch? !

Criteria 2: Elements of Art (10 pts) - Were layers added to give the final project detail? !

Criteria 3: Process (10 pts) - Were all pieces joined correctly? - Did the piece support itself in the final form? !

Criteria 4: Craftsmanship (10 pts) - There is clear evidence that you took your time and

executed your project neatly. - Did you have a clear purpose for the items you choose? !

Criteria 5: Difficulty (10 pts) - You gave your best effort and created a work of art that

shows progress and willingness to improve.


7TH GRADE Intro to 3D!Project: Paper construction!

!Criteria

EXCEEDS!Excellent (10)!All criteria were included and done exceptionally well.

MEETS!Very Good (9)!1-2 criteria were missing or incorrectly done, but overall executed well.

PROGRESSING!Good/Average (8)!Main areas are done satisfactorily.

DOES NOT MEET!Needs Improvement (<7)!Poorly done, criteria not done well/item not included at all.

Criteria 1 - Composition!The project is constructed of paper. The project sits without support and is mostly uniform in form.!7.3.1, 8.3.2, 7.3.2, 7.3.3

Criteria 2 - Elements!Features are included on the outside surface of the project which reflect intent. At least five details appear on the artwork. The features are proportional and correct in form.!7.3.1, 8.3.2, 7.3.2, 7.3.3, 6.1.1, 6.1.2!

Criteria 3 - Process/Use of Materials!All attachments were joined correctly and stayed attached though out the process by using the correct technique.!7.3.2, 7.3.3, 8.3.2!

Criteria 4 - Craftsmanship!Materials used were executed neatly. Student took their time to improve areas and did not waste class time.!7.3.3, 8.3.2

Criteria 5 - Degree of Difficulty !Details are included, images are complex.!

48.


•

When Edna Adame-Hernandez went back to school this fall, she had more to talk about than the sum-mer movies she saw. Edna, a senior at Abraham Lincoln High School, got to experience a whirlwind tour of New York City (NYC) and a banquet in her honor because of her first-place award for the Colorado Art Education Association (CAEA) Youth Art Month Flag Competition.

Edna’s flag design of a columbine flower was chosen to represent Colorado at the National Art Educa-tion Association National Conference in San Diego, California – a conference with over 5,000 attend-ees. She also presented her work at the Denver Public Schools School Board meeting. In addition to providing local recognition, CAEA partnered with Sargent Art to give the state winner an all-expense paid trip to New York City last summer.

Edna, her cousin Lucia Adame, and I flew to NYC for the weekend of July 18 -20, 2014. Friday night consisted of a meet-and-greet with students, parents, and teachers from 25 other states and a banquet dinner with an awards presentation. Saturday was filled with visiting the great sites of the city. We started with a walk through Central Park, stopping at the Strawberry Fields memorial and enjoying the many sculptures throughout the park. We then had some time at the Metropolitan Museum of Art where Edna spent her time looking at work from the ancient world – Egypt, Greece, and Latin America were her favorites. Then came a tour of Rockefeller Center and the Top of the Rock, followed by a visit to the Museum of Modern Art.

Edna got to see many of the artworks she studied in class this year – Dali’s Persistence of Memory, Van Gogh’s Starry Night, and Picasso’s Three Musicians, to name a few. We topped off the evening with din-ner in Times Square and a fabulous performance of The Lion King on Broadway. On Sunday, we rode the Staten Island Ferry to see the Statue of Liberty, took a walking tour of the Financial District, and then finished with a visit to the 9/11 Memorial site. Our tour guides, Matt and Doug from e.e. tours, were amazing. They knew so much about the history of the city and were able to tie in the arts and visual art careers into everything we saw.

As her teacher, it was amazing to see Edna experience many “firsts” for her – her first boat ride, her first encounter with the sites in NYC, her amazement at the size – or lack of size – of famous artworks. Bhakti Oza and the rest of the Sargent Art staff were warm and truly excited to meet all of us. They did a great job making all 90 of us feel like one big family and we have made connections with teachers and students from all over the country!

For a girl living in the west side of Denver, Edna was able to expand her world and encounter a world of possibilities as an artist. Sargent Art and CAEA have provided an opportunity to recognize and celebrate our young artists and to show them that there are viable careers in the visual arts.

For more information on the CAEA Youth Art Month Flag Competition and CAEA’s partnership with Sargent Art, please visit the following links:http://www.caeaco.org/page-1534655 http://www.sargentart.com/sa/yam-colorado.asp

Whirlwind Tour of New York City for Colorado’s 2014 YAM Winner

by Alexa Overby

49.


Edna and her cousin at the Bethesda Fountain in Central Park

Edna listening to Doug from e.e. tours talk-ing about the Financial District.

Edna taking a photo of a sarcophagus at the Met.

Edna seeing Starry Night at the MOMA. Edna seeing Three Musicians at the MOMA.

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•

If you attended the Colorado Art Education Association (CAEA) 2014 Fall Conference in Breckenridge, you might have had the opportunity to catch a glimpse of the Educa-tor Effectiveness work that has been underway during the past couple of years in Colorado. During the past year in particular, the Colorado Arts Education Coalition, a lead-ership group representing Colorado’s arts community and arts education associations, has headed the development of Arts Resources for Educator Effectiveness that translate the Colorado State Teacher Quality Standards into arts specific language. With the support and guidance of Karol Gates, Content Specialist for the Arts at the Colorado Department of Education (CDE), the dedicated team from CAEA has developed arts resources specific to art education that are now available on the CAEA website under the Resources tab.

Before diving into explaining these resources, I wanted to add context to this story. Think back for a moment to your experiences with art advocacy. How many discussion panels have you witnessed or taken part in? How many times have you walked away from a discussion panel thinking that no one who needed to be part of the conversation had actually participated? How many times have you filled out advocacy postcards to target a specific initiative? Whatever your expe-

Advocacy in ActionEducator Effectiveness: The Beginning of Authentic Evaluation in Arts Education

by Vanessa Hayes-Quintana

Special thanks to these CAEA rep-resentatives for developing the first working resource guides: Dr. Pat-rick Fahey, Colorado State Univer-sity (CSU); Dr. Connie Stewart, University of Northern Colorado (UNC); Dr. Anne Thulson, Metro-politan State University of Denver (MSU); Dale Zalmstra and Vanessa Quintana, Cherry Creek Schools; and Liz Buhr, Jefferson County

Schools.

A very special thanks to Karol Gates, Content Specialist for the Arts, Colorado Department of Edu-cation (CDE). The support of Karol Gates in guiding this conversation and implementing these tools and resources for art teachers is immea-

surably appreciated.

rience, the end result of advocacy for art education at the highest levels has likely fallen short of successful actions realized in your classroom. The dream of actual results often lies hidden between the piles of scrap watercolor papers or in cabinets spilling over with glue, paint, and frustrated hopes.

Well, folks, the clouds have parted. The sunbeams stream down to reveal a glimpse of great expectations. Through the committed initiative of the Colorado Arts Education Coalition, the Colorado Department of Education (CDE) is backing the work being done by arts education associations to develop Arts Resources for Educator Effectiveness. What this means for us as art teachers is that the nuances unique to teaching and learning in the art content area are being appropriately recognized by CDE through arts resources de-veloped by arts educators. These arts resources will function to support administrators in their evaluations

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Advocacy in ActionEducator Effectiveness: The Beginning of Authentic Evaluation in Arts Education

of art educators. The resources take the edu-speak contained in evaluation rubrics and translate them into arts language for administrators who may be unfamiliar with art jargon.

This translation of evaluations into arts language will support administrators as they follow the Senate Bill 191 mandate to be fair, transparent, rigorous, and valid in their evaluations. These resources will take the guess work out of the evaluation process for administrators and allow them to more clearly see how the great work we engage in every day fulfills Teacher Quality Standards (and, in my belief, many times exceeds these standards!).

Below is a very simple description of the Art Re-sources for Educator Effectiveness developed by CAEA’s team, then some discussion on talking points surrounding the Arts Resources.

Art Resources for Educator Effectiveness: What It Is NOT:

1. More direction on how to comply with more mandates.

2. Senate Bill 191.

3. A new set of standards.

4. More work.

Art Resources for Educator Effectiveness: What It IS:

1. Tools and resources developed by educators who work in the art content area at every level of instruc-tion from elementary through higher education.

2. Tools and resources fully supported and vetted through the Colorado Department of Education.

3. A translation guide of the Teacher Evaluation Quality Standards Rubric to art-specific language, to be used as a reference for evaluators/administra-tors in determining educator effectiveness appropri-ate to the art content area.4. An observation guide to be used by evaluators/administrators during classroom observations as an on-the-spot, look-see tool to effectively and ap-propriately evaluate/gauge student activity and our performance as art educators based on the Teacher Quality Standards.

5. These guides are simple tools for administrators to track the great work already being done in your classroom every day, and for you to use as reference for this work.

You might have experienced feeling as if your evalu-ations are arbitrarily based on aspects of the quality standards that do not apply to the art content area, or that your evaluations are detrimentally affected by the disconnect between standards language and art content language. The Art Resources for Edu-cator Effectiveness work on behalf of art teachers. Evaluators will use the guides to assist their percep-tion and understanding of how your performance meets Teacher Quality Standards as it applies to the art content area. They give clarity to the qualities unique to your art classroom both in regard to your teaching practices and to student activity. Adminis-trators can base their evaluations of your effective-ness on these guides as they apply to art.

Before class, I indicated to my evaluator where I jotted down classroom activity she would observe in my classroom that day, and pointed out where the

activity was aligned to the standards already printed on the guide.

The observation guide and the translation guide are intended to “translate” the art

room for administrators so they can see how typical art room practices meet and

exceed standards.

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The translation guide is a reference tool for admin-istrators that simply frames teaching practices and student behaviors in language appropriate for the art content area to the Teacher Quality Standards. When studying this translation guide, evaluators will be able to see art classroom practices clearly and see how the practices fulfill the standards of quality teaching.

The observation guide is a hands-on tool for evalu-ators to use “in the moment” when they conduct classroom observations. Translation provided by the observation guide allows evaluators to quickly con-nect your art teaching practices and student activ-

ity “in the moment” to the listed Teacher Quality Standards. This is especially helpful to administra-tors who are not versed in arts jargon. The observa-tion guide and the translation guide are intended to “translate” the art room for administrators so they can see how typical art room practices meet and ex-ceed standards. The guides’ framework aligns both student and teacher activity with the Quality Teach-er Standards, making this translation very quick and easy for the busy administrator to reference.

Let’s face it, we are all busy! The last thing an administrator might have time to do is figure out every single point of contention for evaluating you as effectively as possible. They might very well appreciate the legwork you have

done to help them do their job more efficiently.

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How to Use the Arts Resource Guides

Action Plan! Using the resource guides is very easy! What you will want to do is print out the obser-vation guide and the translation guide. You can find these guides on the CAEA website or in the links at the end of this article. Take some time to go through the standards and become familiar with the location of various action items. You will notice that there is overlap in the way that many practices fulfill standards.

I prepped the observation guide for my evaluator. I knew which day she would be observing me, so I penciled in student and teacher activity she would be observing next to the action items in the guide. I also provided her with some of the printed ma-

terials that were part of the lesson, even though they weren’t all being used that day. This included a couple of both completed and prepared formative assessments. With goals and objectives visible in the classroom, handouts in hand, and the prepped observation guide, my evaluator was able to get a more complete snapshot of what was happening in my classroom. The language of the guides assisted my evaluator in understanding classroom activity. The prepped material allowed her to recognize in-tentionality in my preparation. This preparation al-lowed her to look deeper into classroom activity in the short amount of time she spent observing.

It is important to note that I do have a very sup-portive administration and they have been very receptive in using the observation guides. I found that prepping the guide was a great way to frame activity rather than simply forking over a handout. Before class, I indicated to my evaluator where I jotted down classroom activity she would observe in my classroom that day and pointed out where the activity was aligned to the standards already printed

It is most important to remember that work on these Arts Resources has just begun! Keep in mind that these guides have been created by our own people and there will be revisions, corrections, and additions to the document that any

of us can make.

on the guide. It was as if I did all of the work for her and all she had to do was show up and enjoy the lesson.

Another important note about my experience using the guide. The first thing my administration wanted to see was where the Teacher Quality Standards were located. That has been their first question when re-ceiving the guide to use as a tool. “Where are the standards?” As you will see, the guide contains a list of standards for their reference following each ac-tion item. The work is already done for them.

The following are questions that have arisen through the rollout of the translation and obser-vation guides.

1. What about the sixth Teacher Quality Standard?

The first five Teacher Quality Standards address the observation and evaluation of teacher and student practices in the classroom. These are the standards that have been translated into art-speak and com-prise the first 50 percent of the teacher’s evaluation. These are the standards addressed in the translation guide and in the observation guide.

The sixth standard addresses the other 50 percent of teacher evaluations. It is specific to how student growth and achievement is measured within the parameters outlined by an individual school dis-trict. Each school district will divide that second 50 percent of student growth and achievement at their discretion. There are a number of assessment variables that can be weighed a number of “weighs” (hehehe). State assessments, district assessments, and the breakdown of curriculum are all potential parts of this measurement. For example, a district may choose to weigh student reading and writing growth as 30 percent of the 50 percent total, and

54.

another district may not use reading and writing as an indicator of student achievement at all.

Since assessment systems of the sixth standard are not a direct translation of the arts, they are not in-cluded in the translation guide. Whereas rubric lan-guage from the first 50 percent of the teacher/stu-dent observations and evaluations can be globally translated, assessment language from the second 50 percent varies among districts and is too specific to be globally translated.

The next step for this team will be to address plan-ning and assessment surrounding the sixth stan-dard, coming up with step-by-step methods for data collection and demonstration of student growth. Teachers should be aware of how the second 50 per-cent is being broken down in their district, so they may properly address student learning objectives in their work.

2. What if my administrator doesn’t care to use the observation guide to help with their working knowledge of my classroom activity?

This is an excellent question. I am personally privy to a circumstance where an administrator informed an arts educator that they should not expect to ever meet standards for math. There are a few points worth covering in this matter. Most importantly, anyone who evaluates your performance is bound by Colorado law to evaluate you appropriately on your performance. Evaluators are responsible to know and use content information in your evalua-tion. They might not have taken the time to learn this information, and may not feel bound to use it. However, the rubrics for Teacher Quality Standards include parameters for evaluators to know and use this information.

Let’s say that you feel that your evaluator may not use this information and it would therefore effect your evaluation negatively. Let’s also say that you are limited in the number of artifacts you may use to support your teaching practice. It would be an effective strategy to use the evaluation rubric as an artifact, then highlight the aspects of the rubric you need your evaluator to recognize as part of receiving a whole and appropriate evaluation. They will know that you are aware of exactly where you are perform-

ing well, and where in the rubric this is occurring. Also, you have saved them the actual work time dig-ging up this information and going through it to figure out what exactly it is that you are doing every day. Let’s face it, we are all busy! The last thing an administrator might have time to do is figure out every single point of contention for evaluating you as effectively as possible. They might very well ap-preciate the legwork you have done to help them do their job more efficiently.

It is most important to remember that work on these Arts Resources has just begun! Keep in mind that these guides have been created by our own people and there will be revisions, corrections, and additions to the document that any of us can make. It took months of emails back and forth between everyone in our group to compile, edit, review, and re-edit the information in the translation and obser-vation guides. We have just begun to use the guides and, through their use, we will find ways to improve the system.

After you take the leap and use these guides, let us know how they are working for you! What altera-tions would make them better? I suspect that we will find the best feedback from those who found the guides difficult to use or received less than stel-lar feedback from administrators about the guides. While I have personally found the guides to be very effective, we all know that sometimes the best way to work out the kinks is by finding the flaws. After you use the guides, ask your administrator how they thought they were helpful and what would make the guides easier to use. Reflect on how the guides work for you. Then, if you have any feedback or questions, please email me ([email protected]) or any of the other team members (see sidebar for CAEA involved).

This is such an important time for our us as art educators. It is significant that CAEA is working directly with CDE to genuinely advocate for our work, and everyone’s voice matters! At the end of this article, you will find links to all of the guides, the Teacher Quality Standards, and various oth-er CDE resources to help support your use of the guides. Again, your feedback is vital to sustaining and growing this monumental leap for art educa-tion in our state.

55.


If you are interested in receiving monthly eUpdates from Karol Gates, the CDE Content Specialist for the Arts, you can email her at [email protected]. She will add you to her eUpdate list. To view Karol’s past eUpdate newsletters, please visit http://www.cde.state.co.us/coarts/artseupdates. Following this article is an example from Karol’s newsletter.

Until we meet again….

RESOURCESItems with an asterisk are links to the guides and standards directly referred to in this article.

* Colorado Teacher Quality Standards

http://www.cde.state.co.us/educatoreffectiveness/teacherqualitystandardsreferenceguide

* Visual Arts Classroom Observation Guide

http://www.caeaco.org/Resources/Documents/VAObservationGuide.pdf

* Teacher Standards: Visual Arts Teacher Transla-tion Guide

http://www.caeaco.org/Resources/Documents/VATeachStandardsTranslationGuide.pdf

Colorado State Model Educator Evaluation Sys-tem User’s Guide: Includes teacher evaluation ru-brics and guidelines for evaluations.

http://www.cde.state.co.us/educatoreffectiveness/usersguide

Rubric for Evaluating Colorado Teachers: This is a state guide. Your school district rubric contains all of the state-mandated benchmarks, yet might be organized a bit differently.

http://www.cde.state.co.us/educatoreffectiveness/rubric-for-colorado-teachers

Colorado State Model Educator Evaluation Sys-tem: Practical Ideas for Evaluating Teachers of the Arts: This is the CDE presentation of transla-

56.

tion guides for the arts in general and is geared to-wards evaluators of arts educators.

http://www.cde.state.co.us/educatoreffectiveness/practicalideasthearts

Depth of Knowledge in the Fine Arts: Great edu-cator assessment tools for the classroom.

http://www.cde.state.co.us/sites/default/files/docu-ments/educatoreffectiveness/downloads/implemen-tation%20resources/dok-arts.pdf

Depth-of-Knowledge Levels: Great educator as-sessment tools for the classroom.http://www.cde.state.co.us/sites/default/files/docu-ments/educatoreffectiveness/downloads/implemen-tation%20resources/dok_chart.pdf

Important Tidbits from Senate Bill 191

. Evaluations are Fair, Transparent, Timely, Rigor-ous, and Valid.

. Educators are afforded a meaningful opportunity to improve effectiveness and share effective practices with other educators throughout the state.

. Academic growth includes interim assessment re-sults (formative assessment) or evidence of student work, provided that all are rigorous and compara-ble across classrooms and aligned with state model content standards and performance standards.

. Student academic growth shall take into consider-ation diverse factors, including but not limited to special education, student mobility, and class-rooms with a student population in which 95 per-cent meet the definition of high-risk student.

. Quality standards for teachers are clear and rel-evant.

http://www.leg.state.co.us/clics/clics2010a/csl.nsf/fsbillcont3/EF2EBB67D47342CF872576A80027B078?open&file=191_enr.pdf

December 2014

Standards and Instructional SupportNEW Resources • PLC Bytes. PLC Bytes are 7-10 minute presentations or longer segmented

presentations designed to be used in Professional Learning Communities (PLC) or faculty meetings. The Arts Education PLC Byte “Year-Long Large Music Ensemble Unit Launch” is now available at: http://www.cde.state.co.us/coarts under the PLC Bytes section. This topic was chosen based upon feedback from music directors that wanted resources for authentic planning for marching band/choir etc. The Band and Choir Directors from Lake County High School in Leadville, Colorado developed a unit to meet these unique needs. The next PLC Byte for January will focus on the results of the comparison reviews between Colorado Academic State Standards in the Arts and the National Core Arts Standards in Dance, Drama and Theatre Arts, Music and Visual Arts. The CDE stance regarding the launch of the national arts standards can be found at: http://www.cde.state.co.us/coarts/coloradoandnationalartsstandards. If you have an idea for future PLC Bytes please contact me! To access previous PLC Bytes for Arts Education visit: http://www.cde.state.co.us/StandardsAndInstruction/PLC_Bytes.asp

Colorado Student Honored As a National Student Poet As the highest honor for youth poets creating original work, the National Student Poets Program (NSPP) is presented by the President’s Committee on the Arts and the Humanities, the Institute of Museum and Library Services, and the Alliance for Young Artists & Writers. Annually, five students are selected for one year of service as literary ambassadors, each representing a different geographic region of the country. The 2014 class of National Student Poets was recently announced at the Library of Congress, in Washington, DC. Congratulations to Colorado student, Julia Falkner, who represents the West Region. A senior at Monarch High School in Louisville, CO, most of Julia’s work is about adolescence, gender, and vulnerability. She co-runs her high school’s Writers Society as well as edits and produces the school literary magazine, B-Sides. Additionally, she absorbs as much art as possible. In the coming year she hopes to start a film project, read the collected works of Shakespeare, and complete a science-fiction novel. When she isn’t writing, Julia keeps a loaded AP schedule, plays electric keyboards and guitar, and runs cross country for her high school. Each National Student Poet creates and implements a service project to expand the reach of the program and its engagement with audiences in each region during the course of his or her ambassadorial year. Click the booklet icon below to view more about the National Student Poets and read their submissions.

December 2014

CDE Quick Links • Arts Education Guidebook

• CDE Arts Webpage

Colorado State Arts Partners

Colorado Creative Industries

Think 360 Arts

Colorado Arts Associations

Colorado Arts Education Association

Colorado Music Educator’s Association

Colorado Association for Music Curriculum and Instruction

Colorado State Thespians

Colorado Dance Education Organization

CDE Announcement: CDE recognizes Districts Accredited with Distinction, Centers of Excellence schools and other award winners. For details please visit: http://www.cde.state.co.us/communications/2014-12-02awardwinners CDE Arts Content Specialist

Karol Gates [email protected] (720) 202-9268 @KarolGatesArts

BRAVO! A UNC Theatre Student shares her beliefs about the importance of including arts training in teacher preparation programs:

In the words of Lauren Gunderson, “if you take a child to the theater, not only will they practice empathy, they might also laugh uproariously, or come home singing about science, or want to know more about history, or tell you what happened at school today, or spend all dinner discussing music, or learn how to handle conflict, or start becoming future patrons of the arts.” We as theatre students wholeheartedly agree with this statement. The arts have inspired us and shaped us to be who we are today. We can all look back to our elementary, middle, and high school years and remember how much the arts impacted us and our confidence. When students are able to express themselves through creative means, they not only learn about themselves, but also learn how to interact with society as a whole which carries into their adult lives

Arts Education eUpdate

Arts Education eUpdate 2

December 2014

December Highlights from Colorado Creative Industries

First Lady Michelle Obama recognized Downtown Aurora Visual Arts (DAVA) as Top Creative Youth Development Program

CCI is accepting applications for its new biannual program, the Change Leader Institute The National Endowment for the Arts has awarded 17 Colorado organizations and individuals a total

of $305,000 through the Art Works, Challenge America and Creative Writing Fellowship programs The 2015 Creative Industries Summit will be held April 23 & 24th at the Lincoln Center in the Fort

Collins Creative District. Nominations are open for the Governor's Creative Leadership Awards Registration is now open for the 10th annual Poetry Out Loud state competition

In This Season of Giving- Education Week Provides a for Arts Education: A Commentary Package GiftDiscussing the Role of the Arts in K-12 Learning

Educators and advocates discuss the role of the arts in K-12 learning. Artists who regularly contribute to Education Week illustrate the package, which includes a video that explores how an artists-in-residence program is building school community. Visit the link below to read the submissions.

http://www.edweek.org/ew/collections/inspired-learning/commentaries-on-arts-education.html

Think 360 offers information on the August Wilson Education Project. American Masters will run a documentary film on Wilson in February, and the project is offering a range of resources in a toolbox for secondary teachers, emphasizing the importance of Wilson’s work and his role in articulating issues of race and class. Toolboxes can be ordered through the website. Additionally, EdTA will be running a full-length profile on Wilson in the January Dramatics. Here is a link to the project: http://www.wqed.org/augustwilson/home

Gunnison High School Creating a World Where Creativity and Engineering Collide-STEAM-LAB

Visit the Gunnison Country Times to read more and view the e-edition of the article. Congratulations to the educators and students of Gunnison High School!http://www.gunnisontimes.com/news/full-steam-ahead-gunnison-high

Scen3 Reviews & PreviewsIt's holiday concert time! The Scen3 offers just a sampling of events. Check out Scen3 writer Marc Shulgold's coverage of holiday concerts by Kantorei, St. Martin's Choir, and Ars Nova Singers in "A Cornucopia of Choral Christmas Carols." Scen3 writer Ruth Carver reviewed the holiday concerts by the Rocky Mountain Ringers and the Cherry Creek Chorale. Read her piece here. Scen3 writer Barbara Hamilton attended Alliance Francaise's excellent European Book Club, an ongoing series. Read her review here.

Arts Education eUpdate 3

December 2014

MARK YOUR CALENDARS!

Upcoming State Arts Association Conferences

• Music: CMEA, January 28-31, 2015, Colorado Springs, Broadmoor Hotel, http://www.cmeaonline.org/ClinicConference.aspx

TECH TIPS for Busy Educators! Rewordify.com lets you read more, understand more, learn more words, and teach more effectively. It simplifies English, teaches vocabulary, creates learning materials, and lets you create documents to teach a global audience. It has many more features, and it's all free.

• Rewordify.com simplifies difficult English, and teaches you words quickly and effectively. • Learn more words faster. • Learn the way you want—from what you want to read. • Flip your classroom, and create independent learners.

The links below demonstrate how Rewordify changes text to support the reader to access information, but tools are built into the program to allow students to learn the original academic and technical vocabulary too. See out how Rewordify works with:

Shakespeare’s play, The Tempest (hover over the highlighted text to see what was interpreted): https://rewordify.com/index.php?u=rfd43gtgghwg06 Classic Literature Options: https://rewordify.com/browsearch.php The Declaration of Independence: : https://rewordify.com/index.php?u=pq18fj3b2d554q#

It also works with websites:

~ Sign Up and/or share something great about Arts Educationto include in the next edition: [email protected]

TED MED: Operatic Soprano Charity Tillemann-Dick (with Colorado Roots) shares her inspiring, courageous journey through a lifelong illness, double lung transplants and other unimaginable events to continue her dream of singing. -- Watch the TED Talk: Charity Tillemann-Dick: Singing after a double lung transplant

NAfME Posted This InfoGraphic developed by The University of Florida on the Benefits of Music Education. Click on the image to go to the site:


Vanessa Hayes-QuintanaCollage Editor [email protected]

Janet McCauleyCollage Design/Layout [email protected]

Rosemary Reinhart and Elisabeth ReinhartCollage Copy Editors [email protected]

Timothy GianulisAdvocacy [email protected]

Pam StarckScholastics [email protected]

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

Dana Orton, Christina Martinezand Tiffany HolbrookSocial Media 2014-2016www.facebook.com/CAEAColoado

Linda SchmaleSpring conference [email protected]

Justine SawyerYouth Art Month [email protected]

CAEA TASK FORCE CHAIRS & PUBLICATIONS

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CAEA REGIONAL REPRESENTATIVES

North West: openNorth Central: Sharon Jacobson-Speedy, Frisco, CO 2014-2016 [email protected] East: Christina Martinez, Holyoke, CO 2013-2015 [email protected]: openMetro: Mike Carroll, Denver, CO 2013-2015 [email protected] Central: Jane Thomas, Colorado Springs, CO 2013-2015 [email protected] East: Gidget Burbacher, Trinidad, CO 2013-2015 [email protected] Central: Jenny Gawronski, Alamosa, CO 2014-2016 [email protected] West: Dawn Alexander, Ignacio, CO 2013-2015 [email protected] Central: Rain Bodine, Gunnison, CO 2014-2016 [email protected] Central: Abbie Mahlin, Norwood, CO 2014-2016 [email protected]

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From:

The Colorado Art Education Association

www.caea-colorado.org/

Collage

Vanessa Hayes-Quintana

16041 Bluebonnet Drive

Parker, CO 80134

caea winter collage 2015

Documents

collage winter

arts education

collage editor

winter issue

vanessa hayesquintana57

vanessa hayesquintana59

colorados art educators

studio art