Carolina Reese Teaching Portfolio

Carolina ReeseTeaching Portfolio

Figure 1. One-on-one conferences help students understand their progress and aid with challenges.

Figure 2. Self-assessment questionnaire in which student reflects on learning and gains made between baseline self portrait and subsequent version.

Assessments, which traditionally may have been seen as only quizzes or tests, encompasses a range of strategies and tools that aid teachers in gauging how much their students

understand the course lessons. I use a variety of means to assess student learning and work in the classroom. Through observation, critiques, rubrics, and self-assessments, I apply diverse forms of assessments to evaluate how well my students are learning, allow them to assess themselves, and see how effective my lessons are for students. Consequently, these types of assessment allow me to re-assess and change strategy if students are not learning.

In order to gauge true understanding and learning, assessment should only assess what is being taught, that is, understanding of enduring ideas, key concepts or ability to perform certain processes or skills. This can be done in several ways.

CONFERENCESIt’s not necessary to formulate a formal assessment to give students feedback on their performance. I conduct one-on-one conferences while walking about the classroom and discussing projects with students as they do them (see Figure 1). I don’t need to wait until a project is turned in to help a student who is struggling or discuss progress. Students gain a lot from daily interaction with me and I also get to know them individually and become more aware of their work habits, behaviors, learning styles, etc.

SELF-ASSESSMENTSelf-assessments and/or peer assessments allow students to take charge of their own learning. These not only fulfill the role of a traditional assessment, but in and of themselves become a learning experience as students reflect on their work (see Figure 2). Students are able to offer explanations, make generalizations, provide examples, apply what they know to new situations, make comparisons, formulate and answer questions, make judgments about quality, or represent an idea in a new way.

ASSESSMENT

CRITIQUESI offer critiques as a part of the assessment process in my classroom. I never surprise students with a critique and they are informed that they’ll need to explain their artistic process and choices, as well as be able to respectfully critique their fellow classmate’s work. I have found critiques to be a beneficial part of the class dynamic as they not only allow students to demonstrate knowledge of their work, but teach students about respecting others’ work, constructively discussing successes and areas for improvement in their own work and that of their peers, and keeping an open mind during group discussions. Critiques are also a way for me to gauge how the class as a whole may feel about a project (See Figure 3). If little discussion occurs or there is much confusion, I am able to redirect and change future projects based on feedback from students.

Figure 3. Holding a first critique with high school students during teaching internship.

Appendix C – Rubric for Lesson 2: A Picture’s Worth a Thousand Words

Criteria Incomplete Satisfactory ExcellentPreliminary Discussion

Student did not participate in the discussion. Student was distracted or not involved.

Student participated adequately in the discussion. Student asked at least one question and was attentive and involved.

Student demonstrated exemplary participation in the discussion. Student asked several thoughtful questions and engaged actively in discussions with other students and the teacher.

Time/Effort Student spent little time/effort on the practice photography day, was disruptive to other students or didn’t take any practice images.

Student spent class time taking practice images. Used time wisely and took several images, paying specific attention to composition.

Student spent class time wisely and was consistently focused on taking well-composed practice photographs.

Final Photograph Final photograph does not contain at least 3 elements of composition. Photograph is out of focus, or contains no emotion conveyed in sport.

Final photograph contains 3 elements of composition. Photograph is clear, in focus and conveys an emotion associated with playing a sport.

Final photograph contains more than 3 elements of composition. Photograph is clear, in focus, emotional and exhibits exceptional attention to detail.

Figure 4. Sample rubric from a photography lesson on sports.

RUBRICSIt is important to the success of the students that they be involved in the assessment process. Teachers need to tell their students what is required to succeed, thus allowing the students to prepare adequately and engage in their own learning. One way to involve students in the process is by giving them rubrics, outlining what the teacher’s expectations are (See Figure 4).

TEACHER OBSERVATIONI like to get a sense for where students fall at the beginning of an assignment by giving a baseline assignment. With one of my high school classes, I had students draw a baseline self-portrait with no instruction and only a mirror for reflection. I first gave them mirrors and we talked about what a self-portrait is and I asked them to draw themselves using the mirror. I told them this would be our starting point (see Figure 5). From this base, we’d learn to draw facial features, etc. and then they’d make another self-portrait which they can compare with their baseline drawing. After giving them instruction on facial features and even teaching them to draw using a photograph grid method, I then compared their new drawings with their baseline ones (see Figure 6). The observations between the two drawings gave me an accurate sense of what they’ve learned about self-portraits and helped see gains (see Figures 7, 8, &9).

Figure 5. Student does baseline self-portrait using mirror.

Figure 6. Second drawing, after instruction, includes learning to use a grid.

Figure 7 (left). Adriana’s baseline drawing and post-instruction drawing.

Figure 9. Issandy’s baseline drawing and post-instruction drawing.Figure 8. Shy and reluctantly-participant, Freddy showed great improvement between his baseline drawing and post-instruction drawing.

BEFORE/AFTERDRAWINGS

COMMUNICATION IN PLANNINGBefore I teach any lesson, I make sure I am knowledgeable of the material I am teaching by researching historical context, practicing the art project myself and making sure that I can work with the materials before assigning them to students. I also make sure to communicate expectations for my class with students and parents as often as possible. This includes beginning of year syllabi, parent notifications, and conferences. In addition, I make sure to create rubrics and lesson preparation handouts to give students beforehand so they can know what I will look for in grading and what to expect throughout the lesson.

COMMUNICATION IN TEACHINGWhen it comes to teaching, I use the SUDS method (Say it, Use it, Demonstrate it, and Show it) of presentation in order to reach students with diverse learning styles. I need to make sure that visual, auditory and kinesthetic learners in my classroom can all find a way to learn during my lessons.

Say It- I verbally introduce lessons and discuss with the class any relevant historical context or student connections to the lesson. I go over what we will be doing and what I expect from students, as well as procedures for time, material use, and clean up.

Use It - This is a good time to give students the opportunity to work with materials or test concepts and become familiar with them before using them in artwork. For example, before asking students to demonstrate the elements in a drawing, I have asked them to practice working with different elements. Figure 10 is an example of students practicing using line, shape, and even value by assembling blocks and drawing them. To the students it seems like play, but they are actually practicing and creating habits in drawing visual representations.

Demonstrate It - Some students learn best when seeing an actual demonstration. In addition, it benefits the class to see me model a process so that know what it should look like (see Figure 11). Demonstrations can also include students by letting them explore hands-on with materials before they begin an assignment.

The manner in which a teacher communicates with students greatly influences learning. I firmly believe that students have the greatest chance of success if they are

fully aware of all aspects of the assignment and what is expected of them. Below are strategies I employ in ensuring strong communication with my students.

Figure 10. Exercise in practicing line, shape, and value using foam blocks.

COMMUNICATION

“She presents her lessons in a well formated , complete way and keeps in mind the learning level of the students, individually and the whole group.”

- Supervisor of Interns based on observation.

Show It - I like to show students previously made examples, historical works, or other works that may relate to the theme of the lesson. While this method is beneficial, I don’t like to show too many examples so as not to stunt creativity. I don’t want my students to copy the work, but simply to see examples and gain ideas and understanding from them.

COMMUNICATION IN ASSESSINGIt is important to communicate progress with students on a regular basis. This means verbally letting students know how they’re doing and offering assistance when possible. In addition, it is important to go over assessments with students as well. Simply giving them back a grade isn’t enough. I sometimes simply attach a little note to student’s work, or personally go over an assignment after the fact to make sure the student understands the grade.

POST LESSON COMMUNICATIONCommunication regarding a student’s success or struggle extends beyond the student alone. If a student is advancing in a particular area or struggling in another it is important to discuss this with those involved in the development of the student, including parents, other teachers, and/or administration. When I was teaching elementary art, I had a particular student who was struggling in my class. He either refused to draw or when he did would draw something completely irrelevant to the lesson. I requested a conference with his mother and discussed his behavior, showing her samples of his work

as well. His mother was deeply grateful as she had received similar feedback from other teachers but didn’t think it warranted having him tested, “Maybe he just doesn’t like Math or Science” she said. Once she noticed that he wasn’t participating even in art, she saw the red flag and had him tested. If it weren’t for open communication between myself and this parent, the student would have gone longer without receiving help.

Figure 11. My demonstration of a drawing using oil pastels.

Continuous Improvement

Much of what I do outside the classroom influences what I do inside the classroom. I have a broad educational history, from a BBA in International Finance and Marketing to an AA in Fashion Design. This experience comes in handy when talking to some of my high school students about career choices, university

considerations, etc. I feel we should never stop learning. After two years of teaching art at an elementary school, I wanted to learn more about my field and decided to enroll in an MA program in Art Education at the University of Florida. This degree along with volunteering and other professional development ventures have helped make me a well-rounded art educator, eager to share all I’ve learned with my students.

“[Carolina] was always very cooperative, open to constructive criticism and prepared for each day’s classroom routine.”- Mario Vasquez, Supervising Teacher

Figure 12. Student in miArt program works on images depicting Miami.

VOLUNTEERING miArt is a year-round art mentoring program for under-served students in Miami-Dade County. Many of these students come from at-risk neighborhoods and/or don’t have art programs in their local schools. The program is free of charge and I volunteered with them to help mentor the students. The program is meant to be an exploratory experience in two-dimensional work (see Figure 12). Students are given a theme and my job was to help them explore the theme, learn to draw objects, portraits, and landscapes. The experience helped me work with at-risk students outside the restrictions of a traditional classroom.

ACADEMIC EXPERIENCEBoth in my undergraduate and graduate school experiences, I made sure to be involved in the arts through internships and other programs that allowed me to immerse myself in art outside of the academic arena. Internships include working at Christie’s Fine

Art Auctioneers, where I had an amazing experience learning about the business side of auctioning art and an Assistant Designer internship at New York fashion designer Kay Ungar’s studio. I handled all of my duties with the utmost professionalism, even receiving an award from the University of Miami for outstanding student intern.

PROFESSIONAL DEVELOPMENTOutside of the classroom I am seeking to enhance my teaching skills. I attended professional development workshops through the Miami-Dade County Public School system and have attended studio courses at Florida International University (see Figure 13) and more currently am finishing a degree in Art Education at the University of Florida (see Figure 14). I recently attended a workshop on how to successfully blog, a skill I think could come in handy in our ever increasing technological culture. Teachers often blog about what’s going on in their classrooms, and I’d like to stay abreast of new

technologies and opportunities. Sitting in on someone else’s class gives you new ideas of ways to teach or convey an idea. In addition, I seek and welcome feedback from supervisors and colleagues on ways to improve my teaching methods.

PERSONAL STUDIO WORKAside from teaching I am also a photographer, specializing in Documentary Sport Photography (see Figure 15). I regularly attend photography workshops in person and online as a way to stay current. I take my experiences from these workshops and translate them into the classroom. By continuing to study and learn about my craft, I better empathize with my students and can connect with them as I know what it’s like to sit in class and learn a new medium.

Figure 13. Working in the studio at Florida International University.

Figure 14. Working in the studio at the University of Florida.

Figure 15. On a sports photography assignment, rain or shine.

Figure 16. Overview of an art unit on The Art of Sport. The overview highlights the importance of critical thinking throughout he unit.

Walker, S. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.

CRITICAL THINKING

Critical thinking is an integral part of effective art education. I believe in not only teaching students techniques and introducing them to creative media, but also challenging them to think critically about the art that they see in the classroom, the art they make, and the wide array of visual culture which surrounds them outside the classroom on a daily basis.

CRITICAL THINKING IN PLANNINGIn order to encourage critical thinking, I plan lessons around enduring ideas, which are concepts that have interested humans across time. Enduring ideas (also known as big ideas) are important to humans and help connect academics with life issues. Examples of enduring ideas include (but are not limited to) identity, survival, power, spirituality, relationships, humans and nature, and life and death. Figure 16 is an excerpt from a unit of study on The Art of Sport. The figure is an overview of the unit, in which I detail the big ideas and rationale for the lesson, making sure that I plan a lesson which requires students to critically think. In Teaching Meaning in Artmaking Walker (2001) states, “When we introduce big ideas to student artmaking, we can encourage students to examine them in relation to their own life by answering such questions as: How does this idea relate to my life? Where am I in this idea? What would I want to know about this idea?” (p. 20) When students ask questions like this they achieve deeper, more meaningful learning.

Overview of Unit

The Art of Sport unit explores celebrations of humanity by specifically addressing why people

participate in sports and how art is influenced by sport. There are several reasons why people

compete in sports including health, enjoyment, competitive impulse, inner drive, etc.

In this unit, students will examine the human desire to participate in sports. The goal is to make it

personal to them. It’s not about a particular sport, such as America’s past time love of baseball, but

rather what makes us enjoy the physical exertion of playing a sport. For those students who do not

participate in sports, they can research the biographies of famous athletes and try to learn what drives

successful athletes and why they love what they do. Thus, the big ideas we would focus on would be

health, humanity, competition, and personal achievement.

Essential Questions:

1. Why do we play sports?

2. What emotions do we feel when we play a sport?

3. What does playing a sport mean to you?

4. How can sports inspire artists?

This is an important unit because teenagers in one sense or another have personal knowledge of

sports. They either play a sport, know someone who does, admire a certain professional athlete or

even have a crush on an athlete. This unit personalizes this connection by not emphasizing the

glamour of sports or the popularity of professional sports, but rather by getting at the core of the

human desire to compete and be physically active.

Unit Goals:

By participating in this unit, students will be able to: (1) describe the human satisfaction, joy and even

hardship that come with playing a sport; (2) interpret and judge the human connection to sports in

works of art that they create as well as art made by contemporary artists; and (3) express their own

ideas and connections with sports through works of art.

Figure 17. Snapshot of the class discussion questions for a unit on documentary film-making and photography as an art form. The unit covered the importance of documentary film-making as an art form which can address social issues. I wanted students also to come out of the lesson thinking critically about visual culture and the media to which they are exposed on a daily basis.

CRITICAL THINKING IN CLASS DISCUSSIONSBecause the study of big ideas sparks questions, it is critical to consider the types of questions I ask during a lesson. I need to make sure that my questions are higher level and require critical thinking in order to answer. I make sure that when I plan lessons, I consider what I am asking my students, even during class discussions or critiques. Figure 17 shows an excerpt from a lesson on documentary film-making and planned discussion questions that encourage students to critically think by asking them to describe, analyze, and interpret the importance of documentary films and photography as art forms.

CRITICAL THINKING IN ASSESSMENTFor assessment, I also want to make sure that students critically think, by asking them to reflect on their lesson. Self-assessment is a good tool for encouraging critical thought. Figure 18 is an example of a self-assessment I planned for students. In the assessment, I ask them to describe their creative choices, analyze the process of artmaking, and reflect on challenges and accomplishments. All of this makes for a deeper learning experience as it links critical thinking with artmaking.

Figure 18. Self-assessment in which students critically think and reflect on their work.

Appendix E – Self-Assessment for Unit Closure

Name: Title of Unit: The Art of Sport As you worked on your contour drawings, photography and wire sculpture, you were involved in many different problem-solving skills and were exposed to new mediums photography and wire sculpture. These questions help you describe what you learned from your challenges and your overall satisfaction with your artwork. No answers are considered right or wrong. Please write your answers down on a separate sheet of paper. 1. Describe how you feel sports inspired your artworks? 2. For the contour drawing in Lesson 1, what was your biggest challenge? 3. How did you solve that challenge? 4. For the photograph in Lesson 2, what did you learn about photography as a medium to create art? 5. For the wire sculpture in Lesson 3, how did sports inspire your sculpture? 6. Which artwork are you most pleased with and why? 7. Which artwork would you change if you could and why? What specifically would you do to change that artwork?

DIVERSITY“Carolina was able to use diverse teaching strategies that motivated challenging at-risk students.”- Mario Vasquez, Supervising Teacher

Teaching in the Miami-Dade County Public School system means having a majority of Hispanic students. I want to make sure that when I plan my lessons, I take into account students’ heritage, community, and culture. While I believe in teaching diverse lessons with several points of view, I also want to make sure students feel understood and comfortable in my class. When planning a unit of study on street art, I brought in professional street artist, Trek 6, who also grew up on Miami streets and is of Puerto Rican decent (see Figure 19). In telling students his life story, his successes and failures as a kid growing up in Miami, I saw many students nod in acknowledgment. He was one of them and went from a kid spray-painting buildings and getting in trouble with police, to a legitimate working artist who was now making a living through his art. I truly feel bringing him in to talk to students brought personal meaning to the lesson.

Figure 19. Miami-based street artist Trek 6 in front of one of his murals in the city’s famed Wynwood Art District.

“This week I had a particularly heartbreaking encounter with a student. This was the same student that behaved inappropriately on my first day. He had been suspended for several days and was back. This was the last day of the grading period and my teacher asked if I would work with him specifically. I spoke with the student who told me that he had missed several days due to suspension and was afraid for his grade. He needs to get a B or above in order to avoid going to jail for 5 years (per a judge’s orders). He asked if I would help him with the current assignment so he could secure his B in the class. I worked with him to find an image he’d like to draw that was meaningful to him and set him up in a workspace where that could happen. I have to say he was diligent and completely focused. It felt good to be able to address a student’s particular situation and try to help. The truth is that many of our students have home lives that are less than ideal. [This student in particular had faced trouble with police in the past for sleeping in abandoned homes.] Sometimes being a teacher is more than just about a grade... Our decisions and interactions with them can have lifelong consequences. I’m hoping that working with him helped. And yes, he kept his B average.”

AT-RISK YOUTHPart of teaching in urban schools is that I saw a wide array of students, some from wonderful supportive homes, and others who were homeless, illegal immigrants, victims of abuse, etc. It was important to me to know their stories and make appropriate provisions for individual students who have learning differences or needs. An example of this is in Figure 20. I detail an experience with a student who had serious issues outside of school. This incident took place during my internship at Hialeah Miami-Lakes Senior High. My supervising teacher asked me to work individually with him. While this is a special circumstance, it’s important to me to pay individual attention to my student’s needs and make sure that I adapt to their special circumstances.

MULTI-LANGUAGE STUDENTSDuring my time at Archimedean Academy, a Greek language charter school, I had many students that came directly from Greece and spoke no English. Not wanting them to feel left out, I made an effort to learn basic Greek words and sat them next to students that spoke both English and Greek and could help me translate lessons and directions. Making accommodations for translation helped these foreign students feel welcomed and included in class activities. For my Spanish speaking students, I speak fluent Spanish and make sure to repeat any unclear instructions or even communicate regularly in Spanish with those students if they need. Being bilingual in Miami-Dade County has been extra helpful in dealing with students for whom Spanish is their first language.

LEARNING DISABILITIESMy first year teaching I had a student, Katherine, who was partially deaf and wore hearing aides. She needed special accommodations and had an Individualized Education Plan which reflected as such. I made sure to adhere to the education plan and sit her near the front so that she could hear me clearly and also made sure that when I spoke to her, that I stood in front of her so that she could lip read if necessary.

Figure 20. Excerpt from Field Experience Blog, Spring 2012 Week# 3

ENCOURAGING DIVERSITY IN TEACHINGIt’s also important to note that students should learn about other cultures and differing points of view. In designing a unit of study on documentary film-making, I incorporated lessons which required students to get to know a others, discuss social and political issues (analyzing differing opinions), and prepare a film incorporating different points of view (see Figures 21, 22, & 23).

Figure 21.

Figure 22. Figure 23.

ETHICSI understand that so long as students are under my care and supervision, that I am completely responsible for their safety. I take safety extremely seriously when students are working with materials (see Figure 24). In addition, I make sure to always do safety demonstrations when working with new materials. I also give clear guidelines on set up and clean up procedures so as not to cause confusion or accidents. Students are given clear roles and steps so everyone doesn’t run around the room putting things away. To make certain that students work with materials safely, I work safety into my rubrics (see Figure 25). For example, during a lesson in which students were required to work with wire, wire cutters, and scissors, I held a demonstration on how to work with wire (see Figure #). I showed them how to cut it safely and avoid being cut themselves.

Safety isn’t just important to me inside the classroom, but also outside of it. I make sure that wherever I am on school grounds or on field trips that I am watching for the safety of my students (see Figure 26). In class, when I have to send younger children to the bathroom, I make sure to send them in pairs, ensuring safety with a buddy system. I never leave students unattended, not even for a second, and in case I need to step out for an emergency, I call for a substitute to stay with the class. I made sure I knew all procedures for school emergencies, including lock-down procedures for “code red” scenarios (an event such that students are in immediate danger and urgent steps need to be taken to ensure their safety). During field trips, I make sure that students stay together, keep track of each other and use the bathroom in pairs.

Health is also important as many students suffer from allergies, some of which are life threatening. I took the appropriate trainings through my school on how to

administer an emergency Epi Pen if needed. I made sure I knew all of my students with life-threatening allergies and personally carried the Epi Pen on me, even when out at recess. I had one 2nd grade student who had several life-threatening allergies, one being to bees. If there were any bees near the door to my classroom, I made sure to call his previous classroom and let them know to access the rear entrance. I didn’t want to take any chances with his safety.

It was very important that my students respect one another as much as I respected them. I expected kindness and tolerance in my classroom, specifically when it comes to critiques. Children are tender and sensitive. In asking them to create art, it is crucial that I as well as other students respect their work and give constructive criticism that will help their fellow students without hurting their feelings. I vigilantly watched for bullying, and made sure that any instances of meanness were reported to administration and to parents. In addition, I feel students will follow rules if they help set them. When empowered with their own learning, students will rise to the occasion. I worked with students on the first day of school to discuss and establish classroom rules that we all agreed were fair and firm. From my end, I made sure to respect students’ individualities, cultures, religious preferences, and sexual orientation. Thus, I adhered to the Code of Ethics for the State of Florida as well as that of every school in which I’ve worked, respecting not only my students, but administration, and co-workers. Part of adhering to the Code of Ethics meant that all student information was kept confidential. I take this seriously, and thus, all blogs from my classroom experiences are password protected. In addition, I don’t post any pictures or content regarding my students on social media. In the classroom, all student files are locked in cabinets and out of reach from other students. Grades, comments, and parent communications are also kept confidential.

“[Carolina] exemplified her professionalism throughout her teaching experience. [She] has great rapport with all of her students and with her colleagues.”- Mario Vasquez, Supervising Teacher

Figure 26. Ensuring safety for students in and out of the classroom.

Figure 24 . When working with potentially dangerous tools, it is imperative to do a demonstration and review safety guidelines.

Figure 25. My project rubrics include observing safety guidelines as a component of success.

Appendix D – Rubric for Lesson 3: Wire Sculptures

Criteria Incomplete Satisfactory Excellent

Safety Student disregarded safety demonstration and rules, endangering themselves and other students.

Student was attentive during safety demonstration and followed the safety rules, using all materials correctly and safely.

Student was attentive during safety demonstration, followed safety rules by using all materials correctly and went above and beyond to help other students stay safe.

Time/Effort Student spent little time/effort on this project, was disruptive to other students or turned in sloppy or incomplete work.

Student spent class time working on project. Used time wisely and was responsible for turning in complete project.

Student spent class time wisely and was consistently focused on the project. Project was complete, thorough and detailed, reflecting significant effort.

Wire Sculpture Wire sculpture is incomplete, does not resemble the proposed contour drawing or is structurally flawed and sloppy.

Wire sculpture is complete, resembles the proposed contour drawing and structurally sound.

Wire sculpture is complete, resembles the proposed contour drawing and is exceptionally detailed and designed. Sculpture is structurally sound and creatively displayed.

HUMAN DEVELOPMENT

Play with Purpose - Timed Thumbnail Drawing Project

Once the students’ themes were decided, I wanted to try and break up some of the fear

commonly associated with artmaking. Specifically, this school’s visual arts program is

technique-intense. Students are commonly pressured into believing that art is solely

about technique and that only realistic art merits praise. I wanted to change that

perception and instill a meaning-based curriculum in my visual arts class. In order to do

that, we would have to debunk the myth that technique is all that matters and challenge

students to have fun with their artmaking. Thus, when introducing the elements of

design, I tweaked the assignments such that students couldn’t worry about whether they

were drawing “correctly.” We did “Zen-doodles” where students only had to worry about

making fun line shapes and the objective of the assignment was for them to “get lost in

their work.” Another assignment was 1 minute timed thumbnail drawings in which the

students drew snacks I provided, specifically Scoop Tortilla Chips, Popcorn, and Oreos.

In the beginning, students drew as they normally would. After 2 rounds, the rules

changed. Students had to hold the pencil by the eraser, or draw with their non-

dominant hand, or draw without looking at their paper at all. They wrote text in their

thumbnails about childhood memories involving the snacks. This text would serve as a

background for other thumbnails. The restricted time frame along with limiting rules

took the fear out of drawing. By requiring them to doing something differently, even if

awkwardly, students couldn’t get caught in the fear of reality. Students also did partner

contour drawings in which they would take turns drawing each other while trying not to

look at their papers. These are usually fun for students and not intimidating as the

drawings are not meant to be precise visual representations.

Lesson planning revolves around the learner. While I might have an idea of what I want my students to understand and be able to do and how I plan to facilitate their learning before the year starts. I often change, assess, and adapt lessons based on how my students react to the lessons and their performance. While enduring ideas are an essential part of my curriculum planning, I am careful to consider my students and give them big ideas that correspond to their ages and stages of learning.

I use various types of interactions and instructional strategies to make sure students get a wide array of learning experiences. For example, Figure 27 shows an excerpt from an exercise I gave high school students at the beginning of the year. I wanted to prepare students to relax and have fun while making art. I considered the idea that adolescents are at a stage of development where they start to become self-conscious about the realism of what they make and thus often stall or shy away from art-making. This behavior also falls in line with self-consciousness in other areas of their lives, from appearance to friendships and relationships. Adolescents want to be accepted and liked. As a result I’ve noticed a reluctance to try challenging art projects for fear of ridicule or non-acceptance from their peers. In order to proceed and produce meaningful art, I needed to address this stage of development and try to guide students passed self-consciousness. Thus, fun Zen Doodles and one-minute timed drawings helped students to relax (see Figure 28). Additional strategies I incorporate into lessons include (but are not limited to):

Body MovementBrainstormingSmall Group DiscussionsCollaborative LearningLearning PacketsProblem-based ScenariosVideos, DVDs, Powerpoint Presentations, etc. Web SearchWord Wall

Figure 27. The excerpt from our opening semester exercise. Through use of playful drawing exercises, students were encouraged to let go of self-consciousness and have fun drawing.

(Left) The chain of mycobooms Ball installed in front of the inflow/outflow stream. Her research showed that the e.Coli was coming from a stream down the White River. This burlap-wrapped mycoboom was designed to catch the water as it flowed into the lake and clean it. Evidence that the system is working is the growth of Oyster Mushrooms seen on the burlap fabric.

No Swimming

Artist: Katherine Ball

(Above) Girls check water samples as they learn how to inspect ph levels, e.Coli, and other bacteria during a community workshop.

mushroom spawn. The mushroom spawn created a web within the straw which then acts as a filter, cleaning the water.

Ball’s ecological intervention with the lake served a greater purpose than the objects that were created in the process (the mycoboom and igloo). She chose to involve the community in the project, allowing them to participate in water testing and educating them with tours and regular workshops on clean water issues, stressing the importance of participatory learning experiences.

S o c i a l Practice Projects

Katherine Ball aboard her row boat on the 100 Acres lake. This figure also shows the floating igloo structure on which she resided for the 6 week water cleaning project.

Social Practice Projects

Katherine Ball is a great example of an artist who chooses to use ecological activism

and social engagement in her work. In 2011, Katherine did a project on Indianapolis Island in collaboration with the Indianapolis Museum of Art. The project, entitled No Swimming, required her to take a six-week-long residency aboard a floating self-sustainable igloo-like structure to ecologically intervene and clean the 100 Acres Lake of E.coli and toxic waste from illegal dumping. After scientifically researching clean water methods and collaborating with clean water scientists, she constructed a mycoboom, a long burlap sack filled with straw and inoculated with

(Right) A greywater plumbing system Ball installed to clean and recycle

the water in the igloo, making it self-sustaining.

In addition, I strongly believe that integrated lessons are key to well-rounded learning. My Capstone research involves integrating subjects to achieve environmental activism in art education. As such, I produced an online guide for teachers to learn about integrating scientific methods, etc. in order to achieve environmental change in their art classrooms (see Figure 29). I believe that part of varying instructional strategies in art eduction also means trying new methods, such as activism as a way to merge art with social change. In order to successfully tackle contemporary environmental issues in art education, it is essential to step outside of art and integrate science and history with art education. I aim to apply this research to the classroom and teach environmental issues via activism.

Figure 29 (right). Snapshot of online guide Environment & Art Education which shows examples of environmental art projects, such as No Swimming, that integrate several subjects in an effort to help the environment.

Figure 28. Examples of one-minute timed drawings I showed students before their exercise.

KNOWLEDGE OF SUBJECT MATTER

Figure 30. Fashion drawing, different from traditional drawing elongates legs and a models figure to best flatter garments and show draping. To the right are technical drawings meant to flatten garments and accentuate design features.

Figure 31. Mood boards are a staple in the fashion industry, laying out themes, color schemes, and inspirational images for a garment collection. They are typically mixed-media including textiles, embellishments, and computer-aided images.

Before becoming an art educator, I graduated from the Parsons School of Design with a degree in Fashion Design. During my studies at Parsons I learned not only the fundamentals of sewing, draping, and pattern-making, but also the design aspect of Fashion. This includes fashion drawing (see Figure 30), mood boards (see Figure 31), fashion photography, and computer design via Photoshop, and Illustrator. With my experience in fashion, and course work in studio art, photography, and art history; I have a wide range of skills and disciplines that I incorporate into my curriculum.

Figure 32. Personal photography taken of Elite athlete Bryan Huberty during a photo-shoot for a local magazine.

Figure 33. Excerpt from project documentation explaining group work as students pick the enduring ideas that mean most to them. These ideas were to be used in planning future lessons.

Currently, I work as a sports documentary photographer in addition to teaching. I have taken my experience in this field and designed a lesson requiring students to document the art of sport using photography. Figure 32 is an example of my work at a photo shoot of Miami Dade athlete, Bryan Huberty. I made sure to give students background history and information on photography, specifically documentary photography. In addition, I want students to find meaning in their work and the lessons I cover with them.

In addition, I make sure I incorporate contemporary ideas, and issues into my lessons. At the beginning of the year, I had a class discussion with students regarding enduring ideas and I allowed the class to brainstorm and work together to pick the ideas most important to them. This way, we were sure to cover big ideas that they personally valued. Students worked in groups to narrow down enduring ideas and then the class voted for which ones they liked best (see Figure 33).

Enduring Theme Selection ProjectI decided to use the Backward Design model as the backbone of my teaching. Meaning, the lessons and subject matter was based on enduring ideas which the students picked themselves. As authors Stewart and Walker (2005) state in their book, Rethinking Curriculum in Art, “Such ideas have educational import because they link academic subject matter with life-focused issues” (p. 25). On the first day of class I told the students that they would be driving this train. I would tell them what had to be on it, but they would tell me where they wanted to go. As a catalyst to social/personal analysis and the exploration of enduring themes, I gave students an exploratory questionnaire (Appendix A). After discussing some of those answers we talked about enduring ideas and how artists throughout time used enduring ideas as inspiration for their art and discussed a list of them. Next, I divided the class into groups of 4 - 5 and instructed each group to decide on two enduring themes they valued most as adolescents and consequently thought we should cover as a class (personal communication, August 22, 2011). Students were given ten minutes to debate, discuss, and choose the themes. Afterward, we put the list on the board and voted on the oder in which we should cover the themes. The ideas the students voted on (in order of importance) were as follows (each class had a different set):

Period 11. Reality / Fantasy2. Beauty3. Humans / nature4. Relationships5. Love6. Spirituality7. Music8. Identity9. Technology

Period 21. Reality / fantasy2. Sexuality3. Identity4. Relationships5. Music6. Good/ evil7. Life / death8. Survival9. Spirituality

Students during this task were fully engaged (personal observation. Roussakis, 2011). They were working in groups and actively debating which enduring themes they felt the class should cover. After each group came up with their two enduring themes, they also had to explain to the class why they thought this theme was important.

Figure 34. Igor Shin Moromisato portrait

Figure 35. Florian Nicole portrait Figure 36. Mercedes Helnwein self-portrait series.

Once enduring ideas are set, it is important to link lessons to daily life, other subject areas, and even personal experiences. I’ve written lessons around sports, documenting life, identity, and other subjects with which students can personally identity. It is also important to me that I incorporate contemporary artists into my lessons. One example of this is a lesson I wrote on portraits. I wanted students to see contemporary versions of portraits and give them a wide range of examples (see Figures 34, 35, & 36). To me this also meant showing non-traditional portraits, as evidenced by Figure 34 by Igor Shin Moromisato, which shows a rear-view of a portrait. For students who are still uncomfortable drawing faces or just want a unique view, this example spoke to them and let them know that I am flexible about their creativity. I also pick contemporary examples to show students, but the artists don’t necessarily have to be famous. I pick images from Pinterest, Social Media and even suggestions from students themselves. Based on my knowledge of my students and their interest, I look for samples that I feel will appeal to them. Sometimes professional artist examples seem too advanced and beyond reach to students and can discourage them, “I can’t do that,” I’ve heard. However, if I show examples of great art by artists of different ages, stages, and fame (or lack thereof) students get the idea that it is possible.

Figure 37. Step-by-step demonstration of eye drawings, from initial sketch to final product.

Figure 38. Step-by-step demonstration of nose drawings, from initial sketch to final product.

It is also important to me to give accurate demonstrations of art production. For this lesson on portraits, we went through several stages of learning how to draw the human face. I started by giving the students a skull to get them to understand the foundation of the face. From there I gave demonstrations on how to draw in features such as eyes and nose. For particular details I used slides to show the transformation (see Figures 37 & 38).

Figure 40. Excerpt from 2011-2012 syllabus for my 2D Studio Art class at Academy of Arts & Minds High School.

Figure 39. Layout of my high school classroom in which three sections were sched-uled during one period.

CLASSROOM ENVIRONMENT: Students are expected to participate and be active learners in the study of Art. Participation, support, and respect in all phases of this course are important. The class spirit depends on your energy, initiative, attitude, productivity, and willingness to be involved in assignments, daily exercises, group discussions, home learning, and reviews.

CLASSROOM LAYOUTI’ve taught in a variety of classrooms. I’ve taught in large rooms, tiny rooms, art-on-a-cart, and even taught a class of 37 high schoolers in a tiny cafeteria. No matter the size, it is important to layout the room as best you can to maximize learning and minimize distractions. I set up my seating chart depending on how my class is structured. When teaching high school art, there were some periods when I had 3 different levels at the same time, 2D Art Level I, 2D Art Level II, and AP Studio students. I configured the seats in stations, keeping the AP Studio students who work more independently on one side of the room and the other groups In front of my desk, with view of the projector and board so that I can better instruct them without having to shout across the room (see Figure 39). While it may not be ideal to have three sections going on at one time, I have to be flexible and adapt to school policies and scheduling needs. It is what it is, and I need to make it work for me and the students.

CLASSROOM RULES & EXPECTATIONSAs a class, we work together to establish rules at the beginning of the semester that are fair and responsible. Some rules I set up myself and are non-negotiable. For example, safety always comes first. In addition, I will not tolerate meanness,

LEARNING ENVIRONMENTS

disrespect, or bullying among students. This rule to me is critical as words hurt and children who take creative chances can be crushed by ridicule. If an environment of creativity is to flourish in my class, respect toward each other’s work is crucial. As part of a syllabus for my high school students, I highlighted what I expect as a successful classroom environment (see Figure 40).

I handle student behavior individually. In getting to know my students I become of what type of motivation works well with them and how best to approach each student. Each student is different and has different home lives and needs. Talking and distractions are a normal part of student life. One way to minimize this is to sit friends separately. Sometimes this is achieved by sitting students alphabetically on the first day. As the year goes on, I can make seating adjustments based on behavior. Usually it’s enough for me to redirect the student, walk closer to them or standing near them to get them focused again. Some students need gentle verbal cues (see Figure 41), while

others respond better to a firmer voice. Students who are consistently lacking focus need more attention. If possible, I will pull them aside after class and talk to them about their behavior or move their seat closer to the front of the room or near my desk. Sometimes parent communication and intervention is necessary. If a student is disruptive enough to prohibit my teaching or other students from learning, I remove the disruptive student from the class and send him or her to administration. I keep a record of student behavior and parent communications, which come in handy during parent teacher conferences. If a student is having trouble in several classes, it is useful to have a written record of his/her behavior in my class to compare with administration and/or other teachers. I have had group conferences with other teachers and parents, which are powerful as parents hear an overall account of their child’s performance from several teachers. I allow personal music in my class post lecture, while students are working on their projects. I give specific directions on when students can put headphones in and they are not allowed to have iPods or iPhones out during lectures and demonstrations. For safety, I require that volumes be kept low so they can hear me if necessary and in certain cases, I play music for the class from my computer so everyone can hear.

KEEPING THE PACEIn order to foster good behavior and learning, it is important to plan the timing of the class period. Part of this means ensuring lessons are engaging, and participatory, and that time is allotted and structured for material distribution, work, and clean up. Also, down time or idle time should be minimized. I make sure students are always doing something. I have options available should we unexpectedly finish a lesson early. Sometimes it’s a structured activity like “Pictionary,” other times, it’s free drawing time. One game that was extremely popular with my elementary students if we finished early is the memory game. I would hold up a poster for 30 seconds, during which all students could look at it but not draw. Once the 30 seconds was up, they had 2-5 minutes to try and draw from memory as much as they could. Afterward, we would share our drawings and often laugh at our lapses in memory. This exercise keeps them on their creative toes while making sure they’re not wasting time.

Figure 41. Giving verbal motivation to a student who was intimidated to begin his drawing and thus not working.

COLLABORATIVE LEARNINGCollaboration between students is very important. Working together allows students to build bonds as they problem solve and share in decision making. It is also fruitful for students to socialize as this can sometimes relax them and take some of the pressure off of making sure art is realistic looking. Thus, it is important to keep the interactions productive, and sometimes if close friends are put together, the work stops and the socializing prevails. On example of peer interaction was during a still life exercise. I allowed the students to work together to arrange the objects in the middle of the room. They took several minutes to discuss, problem solve, and make adjustments until they all reached a compromise (see Figure 42 & 43).

Figure 42. Students collaborating to design their still life arrangement.

Figure 43. Students working on their still life drawings post collaboration.

PLANNING

The planning process begins before students enter the classroom. I collaborate with my department colleagues to set the scope and sequence of the year’s curriculum as well as plan for and order supplies, and arrange desks and tables (see Figure 44). At its inception, project planning begins as notes of major projects I’d like to accomplish (see Figure 45) and then gets narrowed down as the year goes on to what I think is teachable given students capabilities, ages, prior knowledge, time allowed, and school resources. As I get to know students, I adjust lessons to meet their different learning styles, capabilities, and backgrounds. I try to do as much planning before students enter the class so that they have a smooth transition. Before the school year begins I want to make sure I know who I’m teaching, what I plan to teach, and how I want to teach around enduring ideas. Once the year begins, I settle into a routine of planning lessons, as well as any other school duties. For example, while teaching at an elementary school, I had to factor into my schedule that I would be helping administer standardized tests, organize art exhibits, and help chaperon field trips.

Figure 45. On the left hand page, I begin thinking of class supplies before the year starts with a “Wish List” that then is narrowed down based on class budget, and time with which to work with certain materials. On the right hand page, is another rough sketch of major projects I wish to accomplish throughout the school year.

Figure 44. Tables, chairs, and room layout all set before the start of the school year.

Course Title LESSON PLAN: Instructor: Mrs. ReeseWeek # _5_______

SSS: VA.A.1.4- Skills and Techniques, VA.B.1.4 - Creation and Communication, VA.D.1.4 - Aesthetic and Critical Analysis, VA.E.1.4 - Applications to Life

Components:Elements and Principles of DesignEnduring ThemesReal Life Applications

Activities:LectureDrawingSketchingStudiesCritiqueArtist Guest Lecture

Assessments:Questioning

Project

Observation

Materials:Drawing Pencils, markers, charcoalLetter size paper, sketchbook, drawing paper

Resources:Slideshare.nethttp://treksix.com/home.html

OBJECTIVE: Apply the elements of design (line, shape, and perspective) in artwork, learn the critique process and visit with guest artist.ACTIVITY:

Monday: Comp 3 Students will turn in their reality vs. fantasy works and class will critique. Comp 2 students will participate in critique to learn process

Tuesday: Critiques will continue for any students not covered on Monday.

Wednesday: Students will discuss space and specifically perspective.

Thursday: Students will work with block still life to create the illusion of perspective. Friday: Guest artist Trek 6 will visit and discuss his work, artist habits and sources of inspiration.

In my experience different schools adopt difference templates for Lesson Plans. It is my job to respect school policies and adapt the way I write lesson plans given the school’s needs (see Figure 46). That having been said, it is important to me to provide students with a variety of activities and resources. As evidenced in other sections of this portfolio, I include, photography, painting, drawing, video-making, and other activities into lessons. In terms of resources, I use books, movies, video tutorials, documentaries, guest artists, and even field trips to teach students.

I make sure I adhere to the Florida Sunshine Standards by noting every state standard I am addressing in all of my lesson plans (see Figure 46) and make sure to look at the state standards as a guide during the planning process. Lesson planning also means planning for non-instructional time. I make sure that when managing my class time, I take into account how long set up and clean up will take, and plan for the most efficient use of that time so as not to waste valuable creating time. During class time, I also communicate the time line with students, including set up and clean up procedures so that everyone is on the same page. It’s not fair to students who think they have tons of time to work on something to be told “time’s up.” I also like to go over the weekly schedule with students on Monday so they know what to expect for the week and can gauge how much time they’ll need to work on their projects. Finally, it’s important to note that in every school in which I’ve worked, I have to provide a copy of my Lesson Plans to administration at the beginning of the week. However, I use these as guides and will alter, or change course if I see students are having difficulty with the lesson or the lesson seems to be out of reach for students given their lack of necessary prior knowledge.

Figure 46 (left). A sample lesson plan from a high school where I taught. They believed in a streamline, one page template.

ROLE OF THE TEACHER

EXHIBITING STUDENT WORKAs part of the annual end of the year show, I planned an art exhibit, turning a classroom into a gallery, sending out invitations and showcasing student art for the school and parents to see (see Figure 48). It was important for students to see their hard work recognized, for parents to see their child’s work showcased (see Figure 49), and for our art program to demonstrate creative learning in the classroom. I not only participated in school events but helped students participate in community events. I encouraged students to participate in our local Miami-Dade County Youth Fair art exhibition as a way to proudly exhibit their work while challenging themselves to compete with students from other schools (see Figure 50).

The teacher is not just a part of the classroom, but is also a member of the school and community as a whole. Specifically, the role of a teacher extends far beyond the prescribed lesson time. Outside the classroom, I was involved in my elementary school in a wide range of events, from planning Art Gallery exhibitions and helping tutor for and administer standardized tests, to helping organize school fund-raisers. All of this helped strengthen my relationship with parents, peers, administrators, and board members at the school.

Figure 48. The Art gallery I set up to showcase my elementary students’ work.

Figure 49. Sample of one of my 4th grader’s work on nature observations exhibited at the school gallery event.

Figure 50. My first student submission to the local county fair resulted in 1st place prize in Digital Photography for one of my 3rd grade students.

F

COLLABORATION FOR IMPROVEDSTUDENT EXPERIENCEIn preparing for future teaching experiences, it is important to me to work with other art educators to plan and improve educational experiences for our students. My studies at the University of Florida have allowed me to consistently discuss teaching strategies with other educators, test project ideas together, and even collaborate on group projects (see Figure 51). These interactions with fellow educators inspired me with refreshing new ideas to implement upon my return to the classroom (see Figure 52).

Figure 51. During a summer studio intensive course at the University of Florida, I learned valuable skills for teaching idea generation via sketchbook, learned from other art educators about best practices in their classrooms and have applied those strategies in my own classes.

Figure 52. During a Printmaking course at the University of Florida, I learned from other art educators several ways in which they incorporate printmaking in their classes.

MAINTAIN STUDENT RECORDS AND TAKE ADVANTAGE OF TEACHABLE MOMENTSWithin the classroom it is important to me to get feedback from my students and gauge their learning experiences. What do they value? Which lessons have been important to them? After surveying students from one of my high school classes, I solicited and recorded their feedback and reflected on ways to change aspects of lessons that weren’t working and expand upon those that were popular and effective (see Figure 53).

Feedback results

Before looking at the most popular ideas it is important to take into account the before-mentioned

background of the school and the previous administration’s technique centered view on visual arts.

Upon collecting the student feedback, students listed their favorite activities. Out of the 47 students

asked for feedback, 33 responded (due to absences on the day of the activity). In order of popularity

the students’ favorite activities were as follows and include a quote from one student per activity:

1. Allowing students to pick the Enduring Themes of the class was the most popular activity. 6 of the

33 students responded that they valued this as their favorite activity during the six weeks.

“I love how the students got to choose the categories on the enduring ideas and how we almost felt

like you were in our shoes instead of judging our thoughts and ideas.” (personal reflection, student

A, 2011)

2. Bringing guest artist Trek 6 to our class to speak to students and the accompanying documentary

were the next most popular activities. Four students indicated they liked these activities best.

“What I liked: The Banksy Documentary. Beautiful.” (personal reflection, student B, 2011)

3. The timed thumbnail drawings was tied with the artist visit in popularity. Four students chose this

as their favorite activity.

“The best was the timed drawings, they helped me loosen up and have to move quickly.” (personal

reflection, student C, 2011)

Some of the unpopular activities also need to be noted. Among them are:

1. Contour Drawings.

“I didn’t enjoy the contour drawings because I’m more of a sketcher and prefer to shade than to

keep at one line on a sheet of paper.” (personal reflection, student D, 2011)

2. Students wanted more hands-on activities.

“We should’ve gotten more hands-on from the getko.” (personal reflection, student E, 2011)

Figure 53. Results from survey asking students to reflect on their favorite and least favorite lessons.

PROMOTE ART EDUCATION ROLE IN COMMUNITYFinally, I also believe that an art teacher has a responsibility to help improve the community in which he or she works. The basis of my Capstone research is the suggestion that art educators employ Social Practice (activism) in addressing environmental issues and sustainability. I feel strongly about art education’s ability to spark social (or in this case, environmental) change. I made an online resource guide for art educators interested in learning more about Social Practice and a Pinterest page which contains current web content on environmental ethics, sustainability, Social Practice, and environmental art education.

Figure 54 . Examples of projects I have designed that involve activism as a method of teaching environmental issues in art education.

TECHNOLOGYI am a huge proponent of technology in the classroom. Technology helps me communicate with my students and have found that it engages my students more so than through lecture alone. I have taught with technology and without. My first year teaching art, I had no access to projectors, video equipment or any other technology. My second and third year teaching I had access to a projector which made a huge difference. With a computer and projector I am able to introduce lessons with brief presentations, show examples of artist work, show artist documentaries, instructional videos, and even do image searches while allowing the entire class to see.

Figure 55 (above). A screen shot of my lesson on The Art of Sport, which was designed and published via the ISSUU website.

Figure 56 (left). A screen shot of my Pinterest page entitled, Environmental Social Practice. Having a specialized interest in Social Activism as an art form, I started this page as a resource on Environmental Social Practice for other educators.

PLANNING WITH TECHNOLOGYI use the Internet to show my work, publish lesson plans, even exhibit student work, research lesson ideas, look for images for students, and even to learn new technological skills. When planning a lesson, I like to research as much background as I can and give students a multi-dimensional experience. This means looking for images online, documentaries or movies covering a specific topic, or online tutorials that help me master a medium. For example, in order to learn how to make successful publications using images and text, I had to learn to use Adobe InDesign. I turned to YouTube for several tutorials and have become proficient in working with the software as a result. I like to use Pinterest as a source for finding web content relevant

to my unit of study. In addition, I also have a Pinterest board covering my research on Environmental Social Practice in Art Education (see Figure 56). When making resources, web publications, or posting professional looking unit plans, I use the website ISSUU on which to upload PDF’s in a professional magazine-type format. After designing a unit of study entitled, The Art of Sport, I wanted to publish the lesson online in a professional design and also make it search-able for other educators looking to link sports with art (see Figure 55). I also have a personal website carolinareeseart.com on which I post all of my work, including links to Pinterest pages and ISSUU publications (see Figure 57).

Figure 57. My personal website carolinareeseart.com. Having a website allows me to have several different aspects of my teaching career in one place. On the site is my resume, examples of teaching practices, my teaching philosophy, capstone research, sample units of study, and links to my publications and Pinterest page.

TEACHING WITH TECHNOLOGYI have found that using technology in the classroom is invaluable. For example, during a unit on Street art, I had a guest street artist, Trek6, come speak to the class. Before his visit, I showed the documentary by renowned street artist Banksy entitled, Exit through the Gift Shop (see Figure 58). The documentary was fresh, relevant, and edgy, giving students background knowledge on the life of a street artist in a way that engaged them, connected them to the artist, and even made them laugh. During Trek6’s visit and lecture he was able to use a computer to show images of his work and discuss it with students (see Figure 59). As seen in the Role of the Teacher section of this portfolio, the documentary was one of the students’ favorite activity of the semester.

I also use software like Keynote to design presentations that help compliment classroom lectures. During a unit of study on Identity and Self-Portraits, I made an introductory presentation that accompanied a class discussion on why artists make self-portraits, their importance, and showed examples of famous self-portraits . I feel that, more so than simply discussing, having a visual presentation to accompany the discussion helps me communicate visual aspects of the lesson more effectively. The following page shows examples from a Keynote presentation I used on a lesson around identity and self-portraits.

Figure 58. A screen shot the documentary Exit Through the Gift Shop. I bought the movie through the iTunes software and thus it was stored on my computer, readily available to show or reference without having to have a physical DVD on me.

Figure 59. As part of a unit on Street Art, street artist, Trek 6, came to speak with students about his work, using the computer behind him to show a slide show of his work. The slide show was beneficial as it allowed students to visually connect with his lecture.

Frida Kahlo, Self Portrait, 1926

“I paint self-portraits because I am so often alone, because I am the person I know best.”

Why the Self-Portrait?

✤ Identity

✤ Who Am I?

✤ Outside perception

✤ Inner perception

Figure 60 shows how computer generated presentations can help outline discussions and lectures, allowing students to see key ideas that are important along with my lecture.

Figure 61 is a sample of Frida Kahlo’s first self portrait, drawn while she was in the hospital recovering from a brutal accident at 17 years of age. She made the portrait for her boyfriend at the time. He broke up with her after receiving it. This image, along with the quote next to it, was projected on a large screen for my high school students. Projecting the image, while telling the story behind it proved extremely powerful for my students. I saw some of them in tears. I believe the use of technology was pivotal in the success of this lesson.

Figure 62 is a sample of using multiple forms of technology together. While the presentation itself used technology, I also reference the fact that students today create self portraits every time they design and decide on a profile picture for the popular social media site, Facebook. It is important not only to use technology, but to be familiar with the technologies most popular with students. By referencing Facebook, students made a personal connection with the lesson as most of them had Facebook accounts and related with the idea of a profile picture being similar to a self-portrait.

Figure 60. Figure 61.

Figure 62.

“Art is about the process and personal growth that comes from creating something.” - Carolina Reese