How do we construct the idea of who is a monster and who is not? When do we become a monster? Coincidentally, my son was reading Mary Shelley’s Frankenstein during the time I worked on this project. A packet of brass brads is included for the construction of paper doll “monsters” from the pages. (part of the Brooklyn Art Library Sketchbook Project)
“I was thinking about the colour black after we met in the park and quite frankly sat far too closely together. We were definitely not maintaining a 2m distance. I had no trouble thinking of other positive associations for black. In the black. Black Friday. Black tea. Black belt. Black Power. Little black book (lovers keep little black books, or is that rapists, not sure, now that I think about it). And thinking of how black is also enveloping and so black could be seen as comforting. Then there was “Black Out Tuesday” and there was some criticism about it visually creating a huge void because people were stupidly using the black lives matter hashtag, when the goal was to center and bring forward black voices. Then I thought about black also being an amalgamation of colour. Black is the absence of colour in the light spectrum, but when dealing with pigments black is all of them. So not a void, but a gathering of sorts.”
From an email between myself and another artist friend; dated June 5, 2020; edited for clarity.
What can I say about the way the 2020 school year ended that isn’t already being said by hundreds of other educators. I am not even going to make an attempt to deconstruct all of that.
This past teaching year (2019/2020) I worked on contract at North Island College in the Comox Valley. In the Fall, I facilitated Creative Processes (one of my favourite courses), Modern Art History, and two sections of a first year painting course. The following Winter semester I was contracted to teach a first year Art History survey course and Screen Printing.
I also don’t intend to disseminate everything I think is wrong with the way we educate (see Jesse Stommel’s work for more on that), but I think it is that dissatisfaction with the status quo that drives innovative ideas.
As I looked at the pile of midterm exams for the Fall Modern Art History class (a course for which I had no say in the textbook selection, nor the topics covered, plus just one week to prepare) I felt a little bit of my soul dying. If I dreaded marking these exams, what are my students thinking as they write them. Ugh. What an awful scenario.
I thought about some of the ways we have students engage with ideas and material in Creative Processes and decided to change the midterm exam from a written exam into a physical or material practice exam for the following term’s first year survey class. I don’t claim to be the originator of this idea. I must have read about it somewhere and it’s an idea that I also implemented in another academic class I co-taught for Emily Carr in 2014. It was time to try it again.
Anthropologist Trevor Marchand states in The Future is Handmade (2019), “[we] really must expand our understanding of what knowledge is. Knowledge is not merely book learning, knowledge is being able to perform tasks beautifully with the body. This embodied knowledge needs to be re-evaluated by our society and given the status that it deserves. Making something beautiful is an expression of that knowledge.”
I asked the students to select an art work from the assigned text book and create a material response to the work. They were able to choose whatever form they wanted for the work. I did ask them to meet a minimum size, but other than that the field was open to them. I wanted them to think about what they would respond to in particular. Would it be a response to the content of the work? Or to a formal aspect of the work? Or to the materials used? The exam also had a one page written analysis with guiding questions for them to articulate to me what they were thinking.
I was blown away by what they made. I think I cried.
I had 26 students in this class and on the day of reckoning I asked that anyone who felt comfortable sharing what they made with the class was invited to share. So we spent the first part of the class looking at artworks and talking about what motivated them to choose a particular artwork to respond to and some of what they learned through the process of making.
Every student met my minimum expectation for the project with at least a third of them going far beyond my expectations. I made sure they understood from the outset that, especially since some of them were not art students, that they were not to stress over the execution of the project (although I did expect care) as much as they could articulate the whats and the whys. Most of the artworks were small drawings and paintings, but there were also collages, stitched wall hangings, and 3 dimensional works. One student taught himself to make egg tempera paint and then created a painting with it. Another student painted the crucifixion and tried to make Jesus different than what she sees in European crucifixion artworks: sexy Jesus. I loved that. The students taught themselves how to make sourdough starter (the bread smelled fantastic!), constructed elaborate boxes, made books, used humour, embroidered, and sewed.
Many of the students reported to me that it was the best academic exam they had ever done. Now some might think, “Oh yeah, making art, how easy is that? Of course they liked it.” However, the written portions along with their excited talk about how they worked through the project tells a different story. I would argue that making art is very hard work.
This kind of academic exam is a definite keeper.
I have asked permission from some of the students to post images of what they made and they also had the option of using their name. So what follows is a selection of some of the work that was produced for the midterm exam.
A selection of collages made during the day of May 9.
This summer I attended Squeegeerama. A week-long screenprint workshop in the Comox Valley at Wachiay Studio.
Emily and I worked on a 5 hour collaboration that we dubbed the Punk Print Posse.
What goes on in the print studios on campus?
If you’re a local you may sneak a peek into the windows as you walk from one part of the campus to the other. Here is a little of the magic that happens in the screenprint (serigraph) studio.
Printmaking is a technical process and the students are learning not only the technical aspects of the process, but also how to solve problems when they encounter a challenge.
Most of the day was spent in the studio pulling prints.
Learning the collagraph process involves making several test plates. The following three were printed from a test plate made from combed gesso.
The title comes from a 1637 book by Adriaen Roman, Samen-spraeck tusschen Waermondt ende Gaergoedt. I am also interested in the role of the Dutch in the development capitalism, colonialism, and the 16th to 19th century slave trade between Europe, the African continent, and the Americas.
For the month of January, I participated in the Comox Valley Arts, a community arts council, 30-Day Drawing Challenge. I used a free app: You Doodle, and my finger on an iPad. This is a selection from the 30 days.