Running head: CONTEMPORARY ART AS AN ACCESS POINT
Contemporary Art as an Access Point
Katherine Giard
University of Central Florida
407.695.1816
kgiard@tr-pub.com
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Introduction
Despite all of the program cuts and chatter about funding, art education is part of
the school experience for many children. There are many who believe that any art
program is better than no art program. Is that enough though? With so much discussion
about excelling, innovation, and higher achieving students, shouldn’t we concern
ourselves with the business of quality in art education programs first and foremost?
The goal of art education ‘is not the art itself, or the aesthetic product, or the
aesthetic experience, but rather the child who grows up more creatively and
sensitively and applies his experience in the arts to whatever life situations may
be applicable’ (quoted in Michael, 1982, p. xix) (Efland, 1990, p. 235).
Art education teaches children to think. It challenges minds to be critical, reflect, process
skills and techniques, organize structure, make meaning of historical and global
connections, be innovative through the use of technology, and, then, assimilate these big
ideas for application in the future (“Next Generation,” n.d.). What better way to achieve
this than the use of contemporary art education? It is easy to get stuck in the past when it
comes to instruction. While it is important to know where we have been, it is just as
important to think currently, not only locally, but also globally.
Contemporary art education must become a sophisticated hybrid practice that uses
style (in its visual and verbal manifestations) to interest (and even to enchant)
students in order to enhance students’ abilities to engage, to analyze, to
apprehend, to make, and to enjoy (Gude, 2008, p. 101).
Contemporary, living artists hold a mirror to themselves and to the world. Sometimes
that mirror casts back complex observations, insightful commentaries, or questionable
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statements, all worthy of discussion. Their works speak to the soul of who we are now,
in our circumstance, and may offer insight so that we might expand on who we are. As
with anything in education, if the content is relatable, then you have got your audience
right where you want them. Students who are provided the opportunity to investigate
“issues of real concern to them are more engaged in the learning process” (Gude, 2007, p.
8). It is critical that children have time to study a wide variety of living artists and
explore their works. Contemporary artists may be the key to reaching students, igniting
passion and unlocking potential.
Han Yajuan
Introduction. Born in 1980 in Qingdao, China, Han Yajuan “enjoyed the social
and cultural openness that China has had to offer for its citizens since its economic
reform more than a decade ago” (Ng, n.d., para. 2). Her paintings are a running
commentary on a peer society that knows no boundaries. She often uses eye-catching,
brightly colored backgrounds and draws you in with the detailed figures of kewpie doll
girls. You wouldn’t expect anything less from an artist of the Cartoon Generation who
has grown up with technology, social media, and the Internet at her finger tips. These
girls have it all and they aren’t afraid to flaunt it. They exude consumerism, material
reality, and consumption, a far cry from generations of artist oppressed by a regime that
used art to make political statements and produce propaganda (“Chinese Art,” n.d.).
Yajuan’s art is completely contrary to a society that once discouraged individuality and
Western influences. Her art represents a society and a generation that has real hope for
its future.
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Biography. Han Yajuan earned her B.A. from the China Academy of Art in
Hangzhou, China. As one of the most respected institutions of fine arts in China, she was
given the opportunity to nurture her talent and craft her intention. Upon graduation,
Yajuan spent time working in the College of Visual Art at the China Academy of Art.
She later earned an M.F.A. from the Oil Painting Department of the Central Academy of
Fine Arts, Beijing, China. Among her interests is a love of high fashion, which is
reflected in much of her work. She currently lives and works in Beijing, China.
Significance. Han Yajuan has been on the forefront of an expanding and
evolving Chinese art world. With Mainland China overtaking Japan as one of the biggest
economic countries in the world, Yajuan considers much more in her works than it may
first appear. As in XL
Beetle (2007), right,
her figures often seem
simplistic until you look
past their superficial
exteriors. With their eyes
closed, these independent gals interact very little. Why are they so afraid to look? Are
they plagued with feelings of insecurity and acceptance? Don’t be fooled by these ladies
of fortune, swinging their ultra high-end handbags and flaunting their bedazzled bangles.
They move through their everyday lives, with their cow companions, simply disengaged.
These caricatures embrace capitalism and success, celebrating their lifestyle at the most
exclusive locations and getting there in the lap of luxury, but at what price? Is the
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identity of an entire culture and that of a generation going to be determined by who has
the most name brands? Yajuan offers some insight:
My recent creations consider the relationship between people, objectivity, and
space, and I attempt to use a kind of perspective that transcends reality in order to
observe and express the existence of physical ‘materialism.’ Through
deconstruction and the overall composition, a multi-dimensional perspective
presents itself, and this creates an effect that can highlight the interplay between
people, objectivity, and material culture. This type of thinking originates from
our curiosity and suspicion of the unknown world, and our investigative probe
into the ‘unknown’ behind ‘existent reality.’ And this ‘unknown’ factor may well
influence and construct the elements underlying our ‘existent reality.’ (“Han
Yajuan,” 2011, Talk, para. 1).
A perfect example of this lies in the
piece, Episodic Memory #1 (2011),
right, in which we see portions of
objects and individuals peaking
through surfaces, disappearing at
times, with necklaces passing from
one dimension to another, and the
presence of tiny ants. The ants
introduce a tradition of symbolism in
Chinese painting. They are the “righteous insect,” who represent “virtue and patriotism”
and, conversely, “self-interest and striving” (Williams, 1974, p. 46). Are these girls
CONTEMPORARY ART AS AN ACCESS POINT
slaves to their own interests? It may seem so. It’s easy to dismiss Yajuan’s work as
another cartoon-like product of a generation that is self-obsessed. However, she
painstakingly plans her work and has real intention with the images she chooses to
masterfully present.
Almost all her recent works adopt bird’s eye perspective. There are multiple
focuses and scenes in each of the paintings, with all the focuses and scenes being
independent and equally important. The perspective with multiple focuses is
consistent with the multi-point perspective used in traditional Chinese painting,
which enables artists to depict objects from different angles and allows the
audience to have diversified experiences. The perspective not only empowers
Han Yajuan to depict multiple scenes and plots simultaneously, but also makes
her art language an effective vehicle of her ideas. The complicated scenes
described with the perspective indicate the complexity of society and reveal that
seemingly unrelated people may be interconnected with each other (Chunfeng,
2011, para. 2).
House Party (2010),
right, gives us a
sense of Chunfeng’s
observations. Han
Yajuan’s work
represents more than
a passing fad. It represents a level of understanding and insight that very few have the
gift of seeing and expressing.
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Implications. Yajuan’s engaging cartoon-like works are an excellent opportunity
to explore art as it relates to another culture. They provide a rich resource to think about
the lives of people in another place and how those people relate to students. Although
Yajuan is of a modern society, she uses many of the traditions of Chinese painting in her
works.
Critical Thinking. The students will learn how to look at and speak about art.
Do you think the artwork is handmade or digitally created? Is this sample of her body of
work similar to anything you have seen before? They will examine the whole of Diva
Fever Fest (2012),
right, and then
describe the details.
Is there a story being
told? As all of the
works are being
internalized, they
will identify,
analyze, evaluate, and interpret symbols used in Chinese art, specifically. Students will
evaluate the accuracy of a commentary or a statement made by an artist regarding her
society. If the students are able to thoughtfully participate in discussions and reflections,
then the objectives have been met.
Connections. They will explore and conduct research for the theme of identity, in
terms of culture and relationships. What do you know about Chinese culture? What
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influences the artist? The teacher will use a rubric and essay assessment to evaluate what
the children have learned.
Process. With accurate vocabulary, students will describe and evaluate the
artist’s process. What materials are being used and how? Is there a plan reflected in the
work? The teacher will use observation, discussion, and feedback to evaluate students.
Conclusion. Yajuan is an artist whose works offer social commentary via ultra
feminine figures who are delightfully engaging and unexpectedly relatable. In each
piece, she shares a slice of life from a culture half a world away. Her subjects are often
involved in real activities in dream-like settings. She and her generation are dealing with
same themes of relationships, identity, and place that exist for others all over the world.
Her art bridges a gap, proving that globally we are not so different after all and we are
more connected than we realize.
Banksy
Introduction. As a somewhat elusive figure in the street art scene, Robert Banks
or Robin Gunningham, “Banksy” as he is best known, has made his subversive presence
felt. His commentary about everything from politics to social themes, uses wit to draw
you in and a bit of irony to make a point. His works have appeared on world wide public
surfaces, from the dilapidated shacks of post-Katrina, New Orleans, to the concrete block
buildings of Australia’s greater metropolitan hubs. The Daddy of street art has developed
a cult-like following with his paintings, assemblages, and films. As the world is left to
sort out if what Banksy leaves behind is art or vandalism, this speaker of the people
moves on to his next stenciling masterpiece.
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Biography. Born in 1974, in Bristol, in West England, Banksy started spraying
paint when he was 14. He had no formal art training and, in fact, was training to be a
butcher, when his renegade voice took over. As the 1990s approached, Bristol’s
underground scene, with its diverse urban culture, was expanding. Banksy found himself
smack dab in the middle of a revolution. Collaborations between musicians and graffiti
artists took off. Influenced by 3D, Robert Del Naja, Banksy hit the streets to make his
mark with “satirical pieces of art on topics such as politics, culture, and ethics”
(“Biography for Banksy,” n.d., para. 2). He quickly turned to a stenciling technique for
his art, as it was easier and faster than freehand. Time is of the essence when you are a
street artist, as graffiti, no matter how trendy, is largely illegal. It has been said that his
work parallels that of the Godfather of street art Blek Le Rat, a compliment both men
seem to enjoy. Recently, he and King Robbo, engaged in ongoing “Graffiti Wars,” over
painting, with artwork and insults. To this day, no one is sure who Banksy might be. His
parents even believe that he is a successful painter or decorator.
Significance. Banksy works are at first amusing and then, suddenly, thought
provoking. There is no denying that he is a street artist with something to say. When you
think of street art, your mind jumps to the images of freehand, heavily spray painted,
bubble letters on subway
cars. What Banksy does
is not that. What Bansky
does is clever, planned,
and imaginative. At the
same time, it is simple and
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quick. In Parking (n.d.), previous page, he uses the realistic image of a child swinging,
and the familiar form of “PARKING,” with the –ING whitewashed, to challenge the
establishment and the status quo. Even his placement is brilliant, appearing on the side of
a windowless building, overlooking a parking lot in California, one of the most congested
locations in the world. He gives a voice to those that may not otherwise have one, which
is ironic in that the very individual representing the masses has the most to gain from this
exposure.
According to art critic and Turner Prize judge, Louisa Buck, ‘Banksy needs the
art establishment in an inverted way, because if it didn't exist, he wouldn't have
something not to care about; like a naughty boy who needs a parent to rebel
against. But he's a genuine artist who lives in the real world (Chaundy, 2006,
Political, para. 6).
His work reflects a very real time and shines a light on issues that are often not discussed
in polite circles. This is displayed
best in Sweeping It Under the Carpet
(n.d.), right, in which a white maid
lifts a shroud to empty a dustpan, “a
metaphor for the West's reluctance to
tackle issues like Aids in Africa”
(Chaundy, 2006, Political, para. 1).
Banksy’s works are born outside of the traditional art world setting, both figuratively and
literally. Appearing suddenly on buildings or billboards, works are exposed to the
elements, other street artists, and the laws of society. "Art should have your pulse racing,
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your palms clammy with nerves and the excitement of creating something truly original
in a dangerous environment," Banksy once said (Chaundy, 2006, Political, para. 5). After
all, street artists don’t just go away. They are as tenacious, invasive, and relentless as rats
reveling in their underworld.
Banksy rats and rat murals
pop up everywhere, as seen in
this Rat Mural (n.d.), right, in
New York City, on Canal
Street and West Broadway.
For us, hopefully, this
mysterious figure will keep producing thoughtful images that challenge us to be the
change that we want to see in the world.
Implications. There are a variety of topics to explore when it comes to working
with students, Banksy, and street art. The obvious technical aspect of what he does
provides rich opportunities to explore a new way of creating.
Critical Thinking. The students will debate whether using a stencil to create
artwork constitutes an art form. If the students are able to engage in thoughtful
conversation, then they have met the objective.
Organization and Process. The students will work within the constraints of
formed stencils to create a realistic art piece that sends a message. They will think about
planning and how that works in the production of a piece. How do you deal with an
often, unwieldy material like spray paint? What about overspray? Will you use color or
not, and how will you layer color to achieve the desired effect? What happens when a
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work has to be completed within a short, specific amount of time? What is the quickest
way to get from point A to point B efficiently? Sketchbooks should reveal planning, with
notes. Self-assessment and authentic assessment, with a rubric, as well as observation
and feedback, will be used to assess student learning.
Connections. Students will explore the use of language and symbols. The
students will observe their world and respond or reflect, making a statement, simply.
Conclusion. Banksy’s street art has meaning. He moves through the cover of
darkness as an unknown, to complete his next mission. As long as society maintains its
current track, he may never run out of images and insights to impart. Society reflects the
human condition and Banksy sees it as his job to hold the mirror, so that we don’t miss
the reflection.
Carrie Mae Weems
Introduction. Insightful, smart, and powerful, these are the words that are used
to describe Carrie Mae Weems and her body of work. Her purposeful photographs
document a passing moment in time and beg you to look, linger, and contemplate. As an
artist, she is very much the storyteller, developing plots, using props, and integrating
words with image. In her narratives, identity is “communal and relational” (Robertson &
McDaniel, 2010, p. 39). She strives to unravel the truth about race, gender, class, and
more recently, tackles global issues, such as justice and equality. Her works ask us to
explore who we are, as individuals, and our sense of place in the world.
Biography. Carrie Mae Weems was born in 1953, second, in a large Portland,
Oregon, family. Initially interested in dance, her focus shifted to photography when she
was gifted a camera. She decided to use the lens more creatively after a review of The
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Black Photography Annual, a book of African-American photographers. She soon
moved to New York to study photography at the Studio Museum in Harlem. Weems
lived bi-coastally for a while, honing her craft while running between San Francisco and
New York. During a time when black women were non-existent in art, she earned her
B.F.A. at the California Institute of the Arts, Valencia. She then went on to receive her
M.F.A. from the University of California, San Diego. Weems also studied folklore in the
graduate program at the University of California, Berkeley. Weems currently lives in
Syracuse, New York and maintains a studio in Brooklyn, New York.
Significance. Carrie Mae Weems seeks to help us define who we are by showing
us the sum of our parts in one visual representation. It is up to us to break down the
image, examine the pieces, and decide if we agree or disagree. From there, it becomes a
matter of being inspired to make a change in ourselves or in the world or not. She
reminds us that we are more than the labels and constraints that society imposes. There is
power in knowing who you are and where you want to go. How do we know who we are
unless we refer to our place? Are we
defined by our circumstance? In a
textile factory or a sweatshop,
workers toil away for hours.
Suddenly, there is exuberance and joy
in the bleakest and most hopeless of
settings. A tired, middle-aged black woman, shirt stained, with no hope for her future,
but possibly for that of her child, explodes into laughter. This is Family Pictures and
Stories (1981-1982), above. In Colored People (1989-1990), next page, a young boy is
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fraught with worry. Has he done something? What
will the consequence be? Are those tears? He should
suck it up and be a strong black man. Then all at once
your instinct is to devour him in your arms, let him
weep, and console him. After all, he is just a boy.
Weems says, “I assume that I can speak from multiple
places and in multiple contexts. And even if I’m wrong, I assume that I can speak for
those who can’t or are too afraid to speak for themselves” (Art Participant, 2012, para. 4).
The message, loneliness is a desperate circumstance. A single light, one glass, one chair,
in a room with bare walls, and there she waits for that one phone to ring, a peek inside
The Kitchen Table Series (1990).
In a Feb. 29 New York Times review, art critic Roberta Smith wrote of Weems,
No American photographer of the last quarter-century … has turned out a more
probing, varied and moving body of work. None has made more adventurous use
of the photographic medium, adding performance, film and installation to the
serial print format (“Carrie Mae Weems,” 2008, para. 2).
Carrie Mae Weems works masterfully challenge us to see who we are. Through her
works, she pushes us to become more than we can hope to imagine.
Implications. Carrie Mae Weems offers the world of photography for children to
explore. “Cameras are powerful tools of creative expressionism” (Linderman, 2009, p.
139). They provide the ability to tell a story, capture a moment, and send a message.
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Critical Thinking. The students will revisit the question is photography art? Is all
photography art? They will discuss their viewpoints and share ideas. If the children
thoughtfully participate in the discussion then the objective has been met.
They will view the photograph, Black Woman
with Chicken (1987-1988) and determine if there
is a message being sent through the work. They
will share their ideas. The learners will explore,
research, and share photographers that are
meaningful, sending a message, and explain
why. The teacher will assess students through
observation and feedback.
Organization and Process. The students will learn the technical aspects of
operating a camera. They will use appropriate vocabulary relating to the field of
photography. Each learner will become a storyteller, a narrator, and use a setting and
props to tell a story. What story do you want to tell? What objects can help you tell the
story? The students will turn the cameras on themselves to explore the theme of identity.
Who are you? You are a complex, multifaceted individual. Are you happy, lonely,
content? The teacher will use observation, feedback, authentic assessment, using a
rubric, review of sketchbook plans, and a vocabulary quiz, to determine if students have
met the objectives.
Conclusion. Weems isn’t pigeonholed by her identity or her situation. Her
frozen moments offer insight and a unique perspective akin to walking in another man’s
shoes. Her work is very intellectual and in her work, we see that the “body carries many
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signs of identity” (Robertson & McDaniel, 2010, p. 39). She raises our awareness and
engages us in the plight of others. Through her eye, we see that maybe we aren’t as
evolved as we once thought.
Richard Long
Introduction. Richard Long walks … a lot. He is an English sculptor,
photographer, and painter, but he is best known as a land artist. In his creations, Long
reinterprets the landscape using discoveries made upon walks. He may clear a path, roll a
stone, or assemble organic materials, but he always has reverence for the natural
surroundings. Long often embarks on epic walks, for weeks at a time, in rural or remote
areas. His walks, and the resulting artwork, can be predetermined or arbitrary. With a
camera in hand, Long has trekked all over the world, in every type of environment and
terrain, to explore the possibilities of his art form. He works in sync with nature and uses
shape as it exists. The resulting snapshot offers us a glimpse of his masterful creations.
The production is then left to the elements and time.
Biography. Richard Long was born on June 2nd in 1945 in Bristol, England.
Long studied at the West of England College of Art, a very conservative school. An act
viewed as too precocious, he was dismissed for snapping photos of the track left after
making a snowball (O’Hagan, 2009, para. 4). So, he moved on to St. Martin’s School of
Art and Design where he immediately became associated with the birth of a new art form,
land art. Dozens of works, exhibitions, and evolutions later, Long received the Turner
Prize in 1989. He currently walks, lives, and works in Bristol, England.
Significance. Long’s respect for nature and the structure of shape are evident in
his creations. He is a master of raw material manipulation. His work is very simple,
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although precise. At first, A
Line in Scotland (1981), right,
looks like little more than a few
upended stones. As your gaze
investigates further, you realize
that the stones feel as if they are
moving. Is this line of powerful stones erupting from the Earth or plunging downward?
There’s an intersection with the surface terrain, which is smooth and undisturbed. Long’s
simple, yet meaningful organization brings about this cohesive form and gives the work a
sense of movement, not only from point A to point B, but toward the sky and into the
Earth. The lighting and the
background add to the effect. In A
Rolling Stone (2001), right, we see
the white divots that remain after a
stone has rolled down a hill. The
ground seems to be covered with ash,
while the path where the stone skimmed the Earth is white. Perhaps this is ash fallen on
snow. The contrast is striking. It’s somewhat of a challenge to determine which stone
was rolled, but eventually you are able to pinpoint the culprit. He captures the sublime
interactions in nature and this is what makes Richard Long an artist.
What I do in the landscape takes its place with all the other human and geographic
history that has been before. I've no romantic idea that I'm going to some virgin
untouched part of the planet. The places I go to are generally empty because that
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suits my work which is about space and distance and time and simplicity (Wroe,
2003, para. 51).
The implications of Long’s tradition of art making aren’t always well received, as
Tom Lubbock of the The Independent observes,
And why does he go all over the planet, to desert, to mountain, to river, to arctic?
For the traditional reason, it seems: to get away from it all. Wherever Long
travels, the messy human world is strangely absent. Whatever might be going on
in that part of world, he manages not to notice. Apart from his own interventions,
the Earth might be the Moon. His photos show bare nature, uninterrupted even by
animals. The Animal Droppings dropped into that text are a surprise. The
kangaroo that appears in A Straight Hundred-mile Walk in Australia is a real
rarity (Lubbock, 2009, para. 14).
It’s a bit of a humorous point really. Why does one man’s walking and art making bother
another so? There are numerous artists that record the world’s suffering, the abundance,
and the existence of humanity in innovative ways. Sometimes it’s nice to just be present
in the world and see what happens.
Implications. Long offers kids a change of scenery and a chance to try
something different in art. In land art, children can see another way that art can be in the
world.
Critical Thinking. Children will determine whether or not land art exists if raw
materials are manipulated and introduced into a gallery setting. The students will
determine if art exists if no one else sees it. Is the photo taken of the work also art? If
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the students can engage in a thoughtful exchange, using art vocabulary, then the objective
has been met.
Process and Organization. The learners will take what occurs in nature and
manipulate it, without destroying it or the surroundings. They will find an artful way to
mark the moment. The learners will use photography as a way to capture the land art that
was created. Students will revisit works to determine how time and the elements affect a
piece. The learners will be assessed through observation and feedback, self-assessment
and authentic assessment, using a rubric.
Conclusion. Long adheres to the pure definition of land art. Simply put, man is
one with nature. He comments,
A local could walk by and not notice it, or notice it and not know anything about
me. Or someone could come upon a circle and know it was a circle of mine. I
really like the notion of the visibility or invisibility of the work as well as the
permanence and transience (O’Hagan, 2009, para. 8).
His work is minimalist, present, and unobtrusive. It’s interesting that after all of these
years there continues to be much discussion about land art as a movement in art.
However, the more people talk about Richard Long and his journeys, the more we benefit
from his results.
Karen Searle
Introduction. Early in our human history, the making of crafts was central to our
way of life.
The term crafts is often used to describe the family of artistic practices within the
family decorative arts that traditionally are defined by their relationship to
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functional or utilitarian products (such as sculptural forms in the vessel tradition)
or by their use of such natural media as wood, clay, ceramics, glass, textiles, and
metal (“The Arts,” n.d.).
A large emphasis has always been placed on the manipulation of the material and the
technique used to achieve the desired product. As times have changed and the definition
of art has evolved,
the whole of the crafts field has uniformly clamored to be considered as art. Too
many people are asking for the rewards without the responsibilities; they want to
be granted the status of artists without being subject to the demanding kind of
thinking that is necessary for art, or to the challenging criticism that it always
faces,
says contributing editor to FiberARTS and art critic Janet Koplos (Koplos, 1986, para. 9).
However, some gifted craft folks do make a transition to the art world. Author, sculptor,
and fiber artists, Karen Searle weaves a story through her work just as carefully as she
joins thread or wire. Her intelligent pieces reflect the lives of women and their
experiences. She uses the female form to explore self, saying, “I am interested in form as
a container for thoughts, emotions, desires and archetypal imagery” (Searle, n.d.,
WARM, para. 1). Her works reveal that she is an artist in every sense of the word.
Biography. Karen Searle was born in April of 1943, in Illinois. She has a B.A.
from the University of Wisconsin, Madison. She also has a M.F.A. from the Minneapolis
College of Art and Design. She has attended the Women's Art Institute, Minneapolis
College of Art & Design in 2001, 2003, and 2009. At the Textile Center, a national
center for fiber arts, she works in the Mentor/Protégé Program to foster emerging artists.
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As well as being an artist, Searle works in the art editorial and publishing field. She
currently lives in St. Paul, Minneapolis.
Significance. Karen Searle’s unique innovation and ability to speak through her
creations has allowed her to walk into the art world as simply as she knits wire.
I utilize the techniques of "women's work" to present the feminine view. My
imagery is inspired by womens' lives and womens' bodies, and by the feminine
impulse to nurture. My sense of humor enters into the creation process and
becomes integral to many of the pieces. I think of my wire sculptures as 3dimensional line drawings in space. The line and movement of the object and its
shadow suggest the energy of a human presence,
says Karen Searle (Searle, n.d., Biography).
Nowhere is this more masterfully displayed than in the piece How My Mother Dressed
Me, right. Here Searle uses a
clothesline and some particularly
frilly dress forms to display one of
the most mundane and ultra
feminine of weekly tasks. With
their intricate loops and stitches,
Searle’s wire pieces take on a fabric-like quality. Gathers, darts, and ruffles hold form to
create brilliant silhouettes that float in mid air. The colorful little girl dresses here can
represent two ideas. First, dresses are restrictive and limiting, which makes you wonder
why women wear them to begin with. Conversely, dresses can offer a sense of power in
the feeling of attractiveness. This may be an internal conflict that women struggle with
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constantly. Looking closer, perhaps the clothespins are grasping on to more than just
dresses, but also childhood. Overall, maybe Searle’s sense of humor is revealing itself
and there is some dirty laundry that needs to be aired. At the base of the clothesline, she
has also attached a sort of timeline with portraits of women, adding to the sense of
women’s history a clothesline can represent. In,
Woman Within II, right, Searle seems to deal with
the sensitive subject of body image. Here, a more
sturdy, black wire, full figure encases a thin, red
woman form. There seems to be some sort of
conflict. Is she holding on to her youth? Is she
trying to address the preconceived and media driven
notions of what a woman should look like? Does the
woman in red want to escape her prison? Red is the color of blood, energy, and danger.
Is the thin woman someone to be feared? “Black is associated with power, elegance,
formality, death, evil, and mystery” (“Black,” n.d.). Searle offers a peek into her
mindset, “My Torso forms originated from my interest in the Jungian concept of the body
as a container for aspects of the self” (Searle, n.d., WARM, para. 6). The final
interpretation is left to the viewer, but her work is certainly thoughtful.
Art is an intellectual activity and the best work … has thoughts or observations or
emotions behind it. While there may not be any new ideas, there are as many
ways of expressing an idea as there are individual human beings. What makes an
art work new is the strength, assurance, and depth of the expression of the maker,
CONTEMPORARY ART AS AN ACCESS POINT
23
who communicates to those of us who take the trouble to look carefully (Koplos,
1986, para. 10).
Searle uses her considerable skill to weave works that convey a personal message.
Implications. Karen Searle’s pieces provide students with an opportunity to learn
a new skill. While many women, and, possibly some men, knit, children of today’s world
often miss out on acquiring the skills used to craft and, more specifically, knit.
Critical Thinking. The learner will engage in a debate regarding the line between
art and craft. Is there a difference? The learner will define the difference between art and
craft. The teacher will assess by using observation and feedback. If children can speak to
the discussion, then the objective has been met.
Process and Organization. The learner will participate in and practice learning a
craft, knitting at first with yarn, then with wire. Is it tough to learn a craft? Is it harder to
manipulate? Children will learn to manipulate a material to get a desired effect. Children
can use the skill to explore their sense of self. What work can you create, with this newly
acquired skill, that speaks to who you are? The teacher will use observation and
feedback, self-assessment and authentic assessment, with a rubric, to determine if
children have met the objective.
Connections. Children will research to identify artists and art forms that
transcend the line between art and craft. The students will be assessed through an essay
form of assessment.
Conclusion. Karen Searle balances her work between light and flowing garments
and grounded, sturdy human forms. All are seen as containers to pinpoint identity and
CONTEMPORARY ART AS AN ACCESS POINT
24
explore the relationship to self. Her manipulations are not what you would expect of
knitting wire. She assembles her pieces with great care and forethought.
Entanglements … have preoccupied me during the past 25 years. … I use the
tools and techniques of domestic textile-making, or ‘women’s work,’ to assert the
feminine view. The ritual of a repetitive handwork process is meditative and
honors my connections to female ancestors and the divine feminine,
says Searle (Searle, n.d., WARM, para. 4). Her talent has evolved into something much
more then previous generations would have ever dreamed.
Mac vs. PC
Introduction. A social stereotype, as defined by Dictionary.com, is “a set of
inaccurate, simplistic generalizations about a group that allows others to categorize them
and treat them accordingly” (“Stereotype,” n.d.). This is a powerful statement that should
resonate within us all. Today, we are bombarded with stereotypes for everyone and every
group. Advertising and media often represent individuals as one-dimensional caricatures.
The jock, the misfit, the model are just a few of a multitude of labels that are used to
describe people. With one word, an image has already taken shape and, likewise, a
notion of how to interact with that label has developed. Can you blame kids for forming
sweeping generalizations? It’s important that adults, parents and educators, intervene to
teach children that people are more than just a typecast. If not, what kids see, the
exterior, the stereotype, becomes their normal. They believe and/or expect that to be true
of individuals. They pass judgment on complex people, who are comprised of many
layers and personas. Students must be informed, so they don’t perpetuate stereotypes.
CONTEMPORARY ART AS AN ACCESS POINT
25
They should be taught that people are distinct entities, with character and qualities that
are unique. People are more than the sum of their parts.
History. Hi, I’m a Mac. And I’m a PC. The “Get a Mac” campaign, that ran
from 2006 – 2009, is a television advertising campaign created for Apple Inc. by
TBWA\Media Arts Lab, the company's advertising agency (Nudd, 2011, para. 1). In
total, there were 66 commercials that ran over a 4-year period, in all of the major markets
of the world. Actor Justin Long, seen as young, hip,
and stylish was Mac. Author and humorist, John
Hodgman, a middle-aged man, in a brown suit, and
glasses was PC. These characters entertained
“viewers for years with their quips, barbs, sight
gags, and one-liners” (Nudd, 2011, para. 1). In the
early 2000s,
despite iPod's staggering success, Mac remained a niche player in the computer
market. In January 2006, the new Intel-based Macs were an opportunity to make
Mac as culturally relevant as iPod, but Mac didn't translate to the PC world. The
idea: compare the easy, fun Mac experience with PC's frustrating complications.
The “Get a Mac” campaign personified each and the result was magic. A simple,
charming metaphor with all the reasons to get a Mac. Market share grew by 42%,
Apple had record sales and the campaign was culturally influential (“Despite,”
n.d.).
It’s amazing what a little finesse and the right campaign can do.
Significance. At the time, and even today, the commercials were well received.
CONTEMPORARY ART AS AN ACCESS POINT
26
Own a PC and you are a bit of a dinosaur. You are outdated, not tech savvy, and not in
the “in” crowd. If you are a Mac user, the world is your oyster. Both are stereotypes.
The criticisms, regarding the content of the commercials are often slight: “the differences
Apple is trying to tout aren't quite as huge as Apple would like you to believe” (Ulanoff,
2008, para. 8) and “isn’t smug superiority (no matter how affable and casually dressed) a
bit off-putting as a brand strategy?” (Stevenson, 2006, Grade). Even an unscientific
survey, conducted by Hunch in 2011, found that PC users
tend to prefer fitting in with others, are less tech savvy, and prefer Hollywood
films over indie films. The same survey suggests Mac users tend to throw more
parties, are modern art enthusiasts, and would rather drive a Vespa than a Harley
(Suarez, 2011, para. 1).
Putting that aside, isn’t it interesting that both the main characters are white males? This
suggests that you may not even own a computer unless you are a white male – big
mistake since there are more women than men in the United States alone. Although the
central characters changed depending on the country (remember, this was a global
campaign) women were never represented as PC or Mac. With this, white males are not
the dominant ethnicity, either in the United States or the world. Unfortunately, though
off on the target population audience, this seems to have had little impact on Mac sales.
In this spot, with the urging of PC, Mac shares his home movie. Out floats
charming, Brazilian model, Giselle Bundchen, representing the perfect Mac home movie.
A vacant look consumes PC, who is now encouraged to share his home movie. A guy, in
a wig, wearing the same dress and sandals as Giselle, trudges out, representing a movie
from a PC. So, the stereotype is a perfect Mac home movie is equivalent to a Brazilian
CONTEMPORARY ART AS AN ACCESS POINT
27
super model and a perfect PC home movie
is, basically, your dad wearing a dress and
a wig. Which would you rather have?
Implications. Stereotypes in the
school environment abound. Children may
represent any one of a handful of
stereotypes. They may also impose stereotypes of their own. Kids may not even be
aware of the media driven social stereotypes that exist. Shedding a light on the subject
through discussion and education is a step toward resolving the issues stereotypes may
impose.
Critical Thinking and Connections. The students will define and express what
they believe to be observed and existing stereotypes. They will use a critical eye to scour
the media for stereotypes. They will present what they perceive as media stereotypes.
Students will engage in thoughtful reflection of student media stereotype presentations.
Students will write an essay reflecting on stereotypes they possess. The teacher will
assess students’ progress by observation, providing feedback, student self-assessment,
and essay, using a rubric.
Innovation and Technology. The learners will use their essays to create a short
film about stereotypes. Students will work in small groups to generate a film that teaches
people about stereotypes. They will present their works to each other and engage in
critiques. Students will take that feedback and revise their work. If the students are able
to create a successful film that teaches people about stereotypes then the objectives have
CONTEMPORARY ART AS AN ACCESS POINT
28
been met. The teacher will use observation, feedback, and self-assessment and authentic
assessment, with rubrics, to determine if the children have met the objectives.
Conclusion. The media takes full advantage of what we presume in our minds.
While ads can be fun and often light-hearted, it is important the children understand that
what they are viewing is the result of serious consideration and can have negative
connotations. Advertisers are looking to sell a product and will use whatever means are
available to accomplish a sale. Awareness is key and is at the heart of learning to not
succumb to someone’s preconceived notion. Social stereotypes are very real. They can
be painful, often attaching a stigma and presenting a flat view of an individual. Don’t we
want children to be engaged in others in ways that extend beyond the superficial? A
considered education is essential.
Conclusion
The use of contemporary artists in the art classroom makes art relevant to children
in today’s world. Kids are globally savvy, making the world a much smaller place. Why
not use artists whose works provide current “memorable substance to their creative
visions” (Robertson & McDaniel, 2010, p. 3) and who reflect the world society? With
the presence of the media and the Internet “perhaps the major influence on art of today …
is the international universality of the artist” (Linderman, 1997, p. 194). There is an
entire generation of artists who speak to what is going on in and around the lives of kids
and they should be present in the art curriculum. At times, living artists may not even be
that much older than the students themselves. Others may offer insights to the history of
a generation before. With this, artists of today possess a wide range of skills, due to a
variety of mediums and often possess a conspicuous awareness. If the art world is
CONTEMPORARY ART AS AN ACCESS POINT
29
accepting of these forms and the resulting manifestations, shouldn’t the art curriculum at
the local school reflect that? Current content is key. Art has a “transformative power”
(Gude, 2007, p. 6) that can play a significant role in children’s lives. The art children
work with and experience should address issues and concerns that kids may be
experiencing first hand in their daily lives. Because of the opportunities of our advanced
society, children function on a higher level than did the children of generations past. As a
result, they are being asked to perform at higher levels. Contemporary productions have
the potential to engage children at these levels. While the art of generations before
should never be forgotten, the works of today must be included.
Reflection
This was a huge undertaking. I feel like there is a part of my soul in this project.
It extended well beyond what I had anticipated. My hope is that what I have created,
here, is on point and usable in the art classroom. I believe that these artists do have a real
place in art education. Their variety can speak to children in many ways. I, now, better
understand and appreciate the depth of a Contemporary artist. I am not sure that I really
acknowledged that before. This project also got me thinking about art again, which is a
good thing. Working with these artists, I developed a sense of who they are, how they
came to be in the art world, their techniques, and why they are being discussed. The
ability to research, via the Internet, opens so many doors. It is also a bit of a challenge, as
at least one of my artists had very little information to draw from. At other times, I found
myself wandering through an abundance of content and had to force myself to stick to the
essentials. In the end, the experience provides an interesting learning process.
CONTEMPORARY ART AS AN ACCESS POINT
30
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