about teaching
Every project and method of instruction which I use are shaped by three fundamental premises:
First, the practice of making art by hand is necessary for the lifelong development of all students, whether they are aspiring artists or simply taking a course to fulfill a general education requirement. Students learn essential things about themselves, their peers, culture and history only by physically making a work of art.
Second, demonstration, or teaching by example, provides the strongest foundation for learning in the studio classroom. Students learn best when they are able to witness, firsthand, how their instructors and classmates go about making art. Beyond helping them develop essential skills, this approach inspires them to stop thinking of themselves as students, but instead as junior peers, or working artists among a community of artists. For this reason, the depth of the instructor’s personal studio experience makes that instructor more effective in the classroom. Students begin to respect and identify with their instructors and peers, seeing themselves as artists.
Third, students make the language of art their own by solving engaging and increasingly complex sequences of hands-on visual problems. To build confidence, I only provide assignments that are appropriate for the level of the student and that provide a concrete possibility for success. Success breeds more success and, with it, the appetite to explore the unfamiliar. As I present each project, I explain directly to students why they are doing the project, what their learning outcomes will be, and the techniques which they will need to master. Then, I demonstrate the assignment, provide examples of other student work, and place the assignment in the broader context of art history and culture. I explain to students that I want them to master techniques, but not at the expense of experimentation and making mistakes. Experimentation is the catalyst for conceptual development.
Introductory Drawing and Painting courses should always emphasize learning to render from observation as this is essential training for representational and abstract artists alike. This teaches students to investigate the visual world in a way which casual seeing does not. Every artist is liberated by mastering the ability to translate 3D reality onto a 2D surface by applying the principles of comparative measurement, linear perspective, light logic, and color. This promotes the ability for students to create images that are compelling and spatially convincing. Intermediate and advanced students can then build on this as they explore other approaches to their medium, whether traditional or contemporary. As students progress, they are encouraged to develop an artistic point of view that is constructed within their personal experiences and actualized in a cohesive body of work.
Throughout this process, students are provided with opportunities for reflection and assessment. I require students to keep written journals in which they acknowledge their struggles, identify their progress and reflect on the essential ideas they are working with. These provide a basis for critique, both in the individual and group format. During critique, students respectfully discuss the work of their peers in terms of both form and content, using appropriate terminology. Although students are required to present well-crafted works of art, it is important that the critique does not feel punitive to the student. I want them to view it as an opportunity to see their work through the eyes of their peers and to find something positive that they can carry forward into their future work as budding artists.