1. As an artist, how would you define your visual work? What are the literacies i in your work? who is your intended audience?
It
is difficult to define my work in a short specific statement at this
time as I am moving in multiple directions and away from traditional
ways of thinking about art. I suppose I am increasingly seeing it as a
process of investigation, documentation and interpretation of ideas and
life issues. It allows me to see in new ways and transform what I see.
Perhaps if I can move the website forward it can also be a strategy to
connect to others and create visual conversations.
2. As an educator, how do you define your work? How important is
an "arts based curriculum" in your teaching? What benifits do you find
from teaching this way?
In a large scale general
sense I see my role as an educator to be supporting students to find
ways to learn through inquiry and to develop intellectual curiosity
along with an understanding of good sources of information, an open
mind and solid ways to apply knowledge in both practical and conceptual
ways. I hope students find a sense of wonder in thinking in new ways
about the enormity of potential learning for themselves and for their
students (if they are or become teachers in any context). I think
teaching for me is also ultimately about developing a sense of ethical,
responsible and well informed agency.
3. I know that today, you are a professor at Lesley University.
Can you please briefly describe any other teaching experience you may
have had up until this point.
My earliest formal
teaching experience was in high school when I volunteered at a daycare.
I worked as an assistant with small children and this allowed me for
the first time to get a glimpse of how little kid’s big minds and
limited access to and knowledge of information shapes their
perceptions. I really did not do any more formal teaching until I was
working on my MFA at RISD and I received an assistantship to co-teach
an intermediate photography course for non photo majors. This was a
great experience. I co-taught with one of my peers and together we put
together a course that engaged students in defining a topic/direction
for their work and develop a cohesive portfolio of images. Our students
were other RISD students in Architecture and other majors as well as a
few Brown University students in Education, Anthropology and Semiotics.
It was an interesting group and they did fantastic work. I recently saw
one of those architecture students at a Lesley open house looking into
Art Therapy graduate degrees. It was great seeing her and she mentioned
she still has the portfolio of the work she made in our class. I had
never thought of this but I guess maybe that experience preceded my
current courses functioning as an inquiry into a topic (though the
focus is very different and the work collaborative). Part of the
collaborative piece is getting teachers who are not necessarily
comfortable with the arts to share the wealth, the burden and the
anxiety, to make it safer to take risks. It seems to work but I am
never sure.
After RISD I was hired at the Manchester Craftsmen’s Guild where I
worked as a Photography mentor in the after school program which
brought students from every single public school in the area and a
handful of private school and home schooled kids. In this position I
also worked as an artist in residence in 3 Pittsburgh Public High
Schools. This work was so great because I got to work with both small
groups developing particular projects and individually with kids as
they developed their own work and their own ways of seeing. After a
couple of years I moved to Washington D.C. To teach at the Children’s
Studio School (a public charter school for the Arts and Architecture).
I began my work in the school in its first year of operation as a
charter school. They had been approved, found a building to rent space
in (the third floor of a public middle school) and hired 5
artists/teachers to develop the curriculum and teach young children
(starting at 3-5 years old the first year and growing yearly)
everything through the arts. There were 2 visual artists, an architect
and two poets). This work was the most difficult and most incredible
work I have had the opportunity to do. Our work began in quite
literally putting the school together: recruiting students, painting
furniture, moving it to the third floor of the building, designing the
curriculum framework (based on DC standards of what students needed to
know by 3rd grade) and devising assessment tools with the support of an
educational consultant from George Washington University. I was the
artist teacher in the Ocean Studio with 12 kids ranging from 2.9- 5
years old. I devised long term projects that would get us all
investigating big questions through visual art. I included story
telling and did plenty of science experiments and observational work,
my kids interviewed people in their lives and collected stories from
them about themselves and their ancestors. It required an enormous
learning curve for me in content and pedagogy and most of all in how to
create this learning community in my class. The kids came from urban
D.C. And were mostly African American, Ethiopian and Latinos and
brought a wealth of stories, languages, and ideas into the classroom.
It was beautiful and difficult to imagine where they would end up
considering the school system in D.C. I went back to school thinking
that I should go into public policy to improve conditions on a more
large scale basis. I did an M.Ed. In Art and Education with a
concentration in Administration, Planning and Social Policy...and
decided to go back to teaching instead. My next stop was Lesley where I
started teaching Art and Visual Inquiry (Materials of Art at that time)
and eventually expanded to teach both the Art Culture and Community
course as well as to work on reworking and running the Art Education
program and teaching a few courses in that program.
My biggest challenge right now is working with teachers in schools in
workshop settings. I feel unsuccessful and uninspired by the small
scale format that does not allow them to get past their pre-conceptions
about art and content and do work of any significance.
As an artist in residence I
worked in 3 public schools: Brashear, Carrick and Perry high schools in
Pittsburgh. My students were urban students, mostly African American
and white kids with a high proportion of free and reduced lunch. The
kids were mostly really great. The security guards were mostly mean and
the teachers I worked with ranged from fine to very problematic both on
content knowledge and on pedagogical terms. On my first day introduced
to one of the schools there was a lock down because of a rival gang
coming in the school and starting a fight. Luckily that was the worst I
experienced.
Interestingly I worked with art teachers rather than teachers in other
subjects. Mostly the art teachers would give me a group of kids
(usually the most disruptive but sometimes the most ‘advanced’) and I
would pull them out and develop photo projects with them. In one school
I worked with a ceramics teacher that I am quite certain drank (when
you have had some issues in your family you learn to recognize them
elsewhere) and with a photography and graphic design teacher who not
only had questionable character (he was kind of a bully and smoked in
the darkroom so it stunk all the time) but also had no idea about
photography. His written instructions in the photo lab where downright
wrong. He gave me a group of his ‘best’ students (all boys) who had
been taught everything wrong, their prints were purple and brown
instead of black and white yet they insisted that what I was teaching
them was wrong because he taught them differently. Of course the way to
print clean photographs also requires more discipline in testing,
timing and washing prints. It was the most difficult group to work with
because they were so blindly committed to him and his process. Finally
I let one kid go, I told them if they were not interested in working
with me they did not have to. The rest stayed and we had a great time.
They were in the football team and the only group of kids in that
school that I saw had friends of different races. I could see that
playing in the team had bonded them in ways that the general school
population did not bond.
Another school had a teacher that also had wrong directions and she
would not even let me in the darkroom (a previous artist had told the
kids that her directions were wrong) I had to build a relationship with
her and make suggestions in roundabout ways until she let me work with
the kids...wasted so much time trying to get through the
teacher....then I had to keep telling the kids that ‘there are many
ways of doing something’ so they would try running test strips and
following ‘my way’. Eventually many kids realized this worked and began
not only to make work but also to come after school to the Guild on a
regular basis. Some of them did incredible work.
One of the teachers I worked with (ironically the only one who actually
understood photography) started by giving me some ‘difficult’ students,
then her most advanced students and eventually to ask for my advise in
devising projects. She often followed through on my advise and she was
probably the best teacher I worked with in Pittsburgh (though she was
very restrictive about what kids could do work about, no blue or red,
gang colors, no hand images, potential gang signs, etc.). During lunch
with all the art teachers complained about the gay students who were
upset that they were not protected by teachers from bullying. They
discussed how depraved the gay lifestyle was and it was clear they
shared the attitudes of the bullies about gays and thought it was ok
for them to have stuff written on their lockers and taunted. This was
difficult for me. I was the youngest (so much so that students often
thought I was a new kid) and was difficult to get any credibility with
the older seasoned teachers (except for the one I worked directly with).
5. Did you ever meet with your students parents? How did they appreciate their children's art education?
Yes,
I met parents both in the after school program at the guild and at the
opening receptions for the accomplishment show which included work from
all Pittsburgh Public Schools. The parents I met fully appreciated our
work as they were the parents that were committed enough to come and
visit and celebrate the artistic accomplishments of their kids. In my
position as an artist in residence at the school I never met any
parents.
At the studio school parents placed their children there for multiple
reasons (not always interest in the arts). For example. Many of the
Ethiopians were there because they felt that other schools did not
value their culture and they were tired of having the Easter Bunny,
Santa Claus and other Christian holidays imposed on their kids. One
family brought all the rest. They were a tight community and very
involved in their studenst education. Others thought it was convenient
(down the street), but mostly they really appreciated the work we did
and always spoke well of the school and teachers. Some parents who were
public school teachers themselves talked about how their kids learned
more in one month at the Studio School than most kids learn in a full
semester in the traditional public school. This made me sad. They
valued the arts mostly because they could see their kids grow, but I am
not sure they came in valuing the arts themselves. Often parents
(generally the most educated) wanted to have one on one conversations
about how this work helped their kids academically and often moms were
convinced and fathers needed more background and sharing. We held
required workshops for parents so they could understand the process. So
even in a school dedicated to the arts that parents chose to enroll
their children in, many were skeptic of the soundness of an arts based
education.
6. What is your mission as an educator? If your students were to walk away with one lesson, what would you want that to be?
To
provide whatever tools students need to have the widest range of
personal and professional opportunities, including those they know they
want to pursue as well some that they may not have considered. This
requires that they have both basic skills and that they be critical and
creative thinkers and learners who recognize that they have agency to
make their own decisions.
7. What are some struggles you have encountered in your field?
Have you ever found it difficult to find work as an artist/educator?
I
have never had difficulty finding interesting and rewarding work but I
have never made much $$. I have always been willing to move for
interesting work which has been both great but also a struggle in
getting to make a new community every time and stay in touch with loved
ones left behind. (though I must admit am not so willing anymore)
8. Sometimes I worry that my career might lead me to strictly "free
lace" type of work, working as an artist in residence for schools, and
by working in poorly funded arts organizations. What are some words of
advice you would give to an upcoming art educator. Do
good work, work hard and take risks that allow you to grow. The
advantage of non-profits (specially when you are young) is that while
they pay badly and work you hard, they tend to provide opportunities
for learning that established big organizations are unlikely to
provide. You can often take on work that feels beyond your edge of
expertise and if you are a fast learner and a hard worker, do your
research and tap your resources you can prepare to do work that you may
not have envisioned.
Think of this time as an investment, travel and let the work take you where it may.
Be creative, opportunities come where you least expect them. Go to arts
and community events, when you are part of a community you meet people
who are connected to others in the arts community.
I will still be involved
with the arts and I will still be involved with education. I would like
to learn more and move slowly toward new expertise in TESOL and
bilingual education. I would like to work to infuse that field with the
arts. I may be here or I may be in a school setting with kids. Likely
not in administration but rather working with teachers, students or
families. Who knows?
I used to think I may move away from the arts (thinking that perhaps
they are not seriously connected enough to people’s lives and to things
that matter) but every time I doubt, I realize that they are integral
in my life. Also through my students and some of the courses I teach I
often am reminded of the enormous potential the arts carry. But I think
I will always need to connect them to other areas of life.
The attached file is my personal reflection of my interview with Vivian.
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