When Adults Engage in Learning, by Darcy Hicks

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Mrs. Romanello sketching and writing with her students
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Ms. Williams drawing in her journal with her class
Ms. Mahieu with her class at the Yale British Art Center

This year, the teachers at the Read School in Bridgeport actively engaged in the the Visual Literacy partnership with the Yale Center for British Art. As teachers, we all know how hard it is to let go of the management role…and sometimes it is simply not possible, especially if the students require oversight and assistance. However, whenever possible, the teachers at Read participates in the process of discussing, drawing, and writing with their students. The effect has been powerful: the students take themselves and their creative work much more seriously, and are eager to work alongside their teachers. As a result, less oversight is needed and the role of task-manager becomes a background job in many instances, which is a welcome relief for teachers especially.

In the Fall, when sketch journals were introduced to the students, the teachers began using theirs also. I find that adults are much more nervous about sharing their drawings and writing than the kids, so it sometimes takes courage for the teachers to share their journal entries with their students. But the message the teachers send when they do this is that challenging ourselves, taking risks, and improving our skills is a lifelong journey.

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Ms. Scali’s journal entries

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Ms. Scali, a fourth grade teacher who came to the Summer Teacher Institute at YCBA last year (http://britishart.yale.edu/education/k-12-and-teachers), shared her journal pages with her students, explaining that there are times when she is proud of her drawings and other times when she is not as happy with how they turned out. But she said, “I never tear out my pages because I always learn from all my work, no matter what.” As a result her kids use their own sketchbooks with pride and care.

When the time came to visit the Yale Center for British Art, the parent chaperones were given their own journals, and asked to participate along with the students. During those trips, one of the biggest impacts was the strengthening of their community of artists/writers/thinkers, and the inclusion of more adults into their creative world.

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Parent chaperones drawing with their kids’ class at the Yale British Art Center

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At the Read School, parents and students and teachers alike work alongside each other, sketching, writing, and sharing their thoughts. This gives them the powerful understanding that there are many ways to see the same thing. Working together across generations, combats rigid thinking, exercises empathy, and generally opens our eyes to one another. And we all need more of that.

YCBA Gallery Visit with 3rd and 4th Graders, by Darcy Hicks

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Five teachers from the Read School in Bridgeport, CT brought their students to the Yale Center for British Art last week, as part of their Visual Literacy partnership. They were divided into groups and headed off into the galleries with their parent chaperones and their group leaders (either a docent, their teacher or myself). Each group visited two paintings, and discussed what they saw in the paintings as well as what they thought might be happening.

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The children were equipped with pencils and their sketch journals, which they have been using in the classroom for drawing and writing as they engage in Visual Literacy. They drew what they saw in the paintings into their sketch journals. Drawing the paintings forces them to observe carefully and they see things they would have missed. As Donald Graves said, “We see with our hands.”

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There are a number of things that happen when children talk about paintings. First, as they tell what they see, they share and build vocabulary at a rate I never see in other conditions. One child says “The horse has a seat on his back,” and another says, “It’s a saddle.” I kept notes as they shared new words, but could barely keep up!

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The other thing that always surprises me is the easy connections they make to these paintings, which at first glance seem so distant from their lives today. Looking at these scenes allows the children to share their own previous knowledge and life experiences with each other. One little girl said, “I think it’s morning because the sun is shining some pink, and that’s what I see in the morning.” When describing a dog in a hunting scene, a little boy said, “I think he’s trembling because he is about to enter the woods and woods are dark.” Note the vocabulary: words like “trembling” catch the attention of us teachers, who are often surprised that they know these words.

For the last half-hour of our visit, the children met in the Library Court and wrote in their journals about what they saw. They were given choices for writing. Some told a story about a painting, others described it. Some also chose to write from the perspective of one of the people or animals in the paintings. A few wrote poems.

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"The sky is blue and the sun is out. It is a sunny day. I'm feeding my horse Pumpkin. But then I began to sweat. It's humid outside. I see the clouds reflecting in the sparkly lake."
“The sky is blue and the sun is out. It is a sunny day. I’m feeding my horse Pumpkin. But then I began to sweat. It’s humid outside. I see the clouds reflecting in the sparkly lake.”

The kids are learning to live in the paintings, and write from there.

"It looks like the horse is trying to turn away because the lion is trying to kill the horse. And the lion is biting his neck and that makes the horse not to breath. And his mouth is open trying to breath. And if I was in that painting I would hear the loud roar and last but not least I would hear him running!"
“It looks like the horse is trying to turn away because the lion is trying to kill the horse. And the lion is biting his neck and that makes the horse not to breath. And his mouth is open trying to breath. And if I was in that painting I would hear the loud roar and last but not least I would hear him running!”

These journal entries are seeds for all sorts of writing: personal narratives, poems, stories, informative essays, expository pieces, etc. The paintings are the bridge to their authentic topics and voices.

Establishing a Pattern of Making Meaning in the Classroom

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This week I visited the third grade classrooms at the Read School in Bridgeport, CT to coach teachers and students in Visual Literacy. The goal was to introduce a pattern of making meaning through these three steps: 1. visual experience; 2. picture-making; 3. writing. All the while, the underlying goal is to get them to slow down and focus, so that they can recognize their own thoughts and stories, and develop their writing voices. This pattern of talking about art, drawing, and writing (in that order) inspires them to make connections to their own lives.

As phones, computers and over-scheduled lives monopolize more and more of our students’ time, the practice of making meaning seems to need our instruction. The good news is, children are thirsty for this kind of self-awareness, and are thrilled to discover that they have so many experiences which are worth writing about.

I began in each class by talking about why I draw before I write. I shared my own journal, reading a piece which started with a sketch of a pair of scissors and led to my writing a memory piece about my mother sewing. The idea was that the drawing, in this case, is not for show, or for beauty; we are drawing like scientists draw: to explore, and to pay attention to the world and to our thoughts.

Then, we established the pattern we will practice to make meaning of our own thinking:

A Wooded River Landscape with Fisherman by James Arthur O'Connor
A Wooded River Landscape with Fisherman by James Arthur O’Connor
  1. Visual experience: Discussing a work of art as a class (this painting is on the YCBA website (www.britishart.yale.edu/collections) is an opportunity to: a) focus our eyes and minds; b) share vocabulary and prior knowledge; c) build community.

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2. Picture-making: The drawings above were both done in response to the O’Connor painting. Their choice was to either copy the painting itself (left) or to draw something it made them think of from their own lives (right). Both choices give the student the time to reflect, explore detail, and make meaning.

3. Write: Students can have a hard time transitioning from drawing, where they often feel comfortable, to writing, where they often don’t. But these students are predominantly bi-lingual, and easily understood my explanation that their writing is really just a translation of their drawings. This is where they explore their ability to share their thinking and to develop their writing voices. I wrote their choices for writing on the board:

  • Imagine you are in your picture. Describe what you would see, hear, smell, feel…help me to see your picture with your words.
  • Tell a story about your picture. Pretend it is on “pause,” and describe what happens when you press “play.”
  • Your choice: a poem, a letter, etc. about your picture.

Yadeslie’s poem (choice 1), as read to me:

“If I was in the picture/I would feel the water/and feel the bark of the tree/and hear the leaves crack together/and hear the birds chirping/and I would smell the fresh air and the leaves/and touch the leaves and touch the grass.”

Caroline, (choice 2), wrote about her memory with her uncle, saying that “the tree feels wind in the air.” When I read her piece to my husband, he said it reminded him of Wallace Stevens’ line from Of Mere Being: “The wind moves slowly in the branches.” I will be sure to share that poem with them next time I see them, and point out how similar their writing is to Stevens.

Angie (choice 3) decided to describe her process, which was so helpful to me as a teacher and learner:

“When I drew my picture I thought that it was just sand and chairs and water. But then the teacher said to pretend it is a video. I put it on pause and then I played it. The first thing I hear is birds flying everywhere. I was running in the sand. The sun was shining. It smelled like the sea. I saw a sea star. It felt bumpy…it looked orange. I felt the wind blowing through my hair.”

–Darcy Hicks

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Seeing

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Incorporating visual literacy practices into an English classroom is a standard practice in Australia. In their National curriculum, they begin investigating visual language in the very first years of schooling and continue this practice to the end.  A K-12 approach to visual language is an essential skill for our current times.  In our own attempts at a national curriculum we have neglected visual communication.

At the Yale Center for British Art, the K-12 program for teachers seeks to foreground visual literacy.  The museum becomes a source for experiencing and exploring how visual communicate works.  The applications are multifarious.

I regularly use drawing and looking in the classroom.  I use these activates to foster creative and critical growth. But I also bring students to the museum to see for themselves.   Screens, although the dominant frame in our lives are not the only way to view an image.  Seeing an image live, in space, is a form of knowing that has its own logic, emotion, and physicality.

At the Summer Institute we take time to look. And once stopped, we go even further: and take a closer look.  Simply, sitting (or standing) in front of an image and looking. What do I see? And waiting.  We so quickly want to say what the painting is about or want to look at the placard (both important details). By slowing down and experiencing the visual design, the visual effect, the act of seeing, we enter into an exchange with the artist, we share the same space.

Our visual culture has its roots in our visual history. In a museum, and only here, we are able to stand before an image whose grammar has become dominant.  The museum then is a source of seeing how all the made visual world has occurred.  In our age of mechanical reproduction we are freed from time and place. Yet, going back to the place and seeing the work in space and in time, provides an opportunity for creative and critical insight.  We see in and we are seen and the light in our space is the light in the canvas.

From here we can converse, draw, think, feel and move happily towards further seeing.

–James Shivers

The Surface

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Today we talked about staying on the surface, about noticing all that we can of what’s right in front of us.

 

Texture.

 

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Gesture.

 

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Composition.

 

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Detail.

 

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Story.

 

What did you notice?

 

Translating Oil to Paper

 

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George Clausen, Schoolgirls (1880). Oil on canvas.

by Jennifer Kowitt

As part of today’s drawing activity, our group recreated George Clausen’s Schoolgirls using only construction paper.  Through drawing a work of art, students look more closely at the detail and evaluate the way in which the work was constructed by the artist. We think of drawing as putting pen/pencil/etc to paper, but this activity encourages you to think about drawing in a different way. The goal of this activity is to provide students with the benefits of close-looking that come from drawing a work of art, but to allow them to do so using another medium.  However, as the final product made only of  construction paper can never look exactly like the real painting, there is no pressure for students to make theirs look “just right.”  And because this activity doesn’t use glue or scissors, you can do it in the museum galleries!

The only materials you will need for this activity are: (1) construction paper in each of the colors used in the painting, and (2) large sheet of construction paper as work space.

Directions:

1. Assign students to work in pairs.

2. Tell students that their job is to recreate the painting before them using ripped pieces of construction paper.

3. Students can rip and manipulate the paper in any way that they would like.

4. They should build their picture on the large piece of paper provided as a work space, but that work space should not define the size of their composition (i.e. they do not need to fill the whole work space with the ripped paper).

5. After students have finished, let them look at the work by the other pairs in the class.

6. When you are done discussing, you can fold up the work space and recycle the whole thing. No mess!

 

Our post-activity conversation included discussions about scale, perspective, layering, shapes (both in the painting and how to create them), problem-solving, visual priorities/main idea in the painting, the relationship between nature and urban, and how to represent without line.

Please post your photographs of your collage of Schoolgirls! (p.s. this counts as your homework assignment for the night!)

Seeing Blue

Recently I spent time looking through the archives.*  I was curious about the writer Henry Peacham – his work on rhetoric has had a large influence and in searching the collection, I discovered he also wrote on drawing and painting. In The Gentleman’s Exercise (1694) he covers a range of topics from exercise to illness, from drawing to recipes for creating color for painting.

 

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Reading his descriptions on how to mix materials to create array of colors I came to a simple realization: when we look at a painting we are often looking at the unique mixing of a particular color. The museum then is not only a place of visual meaning, but also a site of visual making by particular human agents located in a specific time and place. Color here is linked to a person and a composition, not a digital formula. A museum hums conversations of color. In the age of screens (even with retina), paintings –as acts of color making –are translated in a plane of sameness. Machine color is amazing. Human color authentic, located, aging, limited.

 

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When you have a chance, go to the museum. More than ever, we need to see the physical design of color. Composition and color are structural markers similar to narrative devices. What colors are used for somber, gleeful, mysterious, industrial moments?

 

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Color is not singular, but plural. When we say ‘blue’ we have a host of blues. Seeing these blues in a museum expands our visual terrain. A place where the constant play of context, space, light, and size of the canvas affects our seeing.  A direct physicality emerges beyond the reach of mediated machines, like this one.  The museum space fuses with our perception, our day and our space. We don’t just see once.

 

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We can see blue on our screens. Yet, do we ever think of making blue? With making comes choice, volition, effort, trial and error, quality of material products: the variables increase, and now as we look we can see that artists have a certain color design, a certain way of using the canvas, the brush, the elements. We realize that a color like blue is also a multifoliate human narrative.

 

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*See Rare Books and Manuscripts and the Reference Library and Archives for more information.

All photos were taken on April 16th, 2014 on the fourth floor.  For a wonderful history of the color blue, see Blue: The History of a Color by Michel Pastoureau (2001).

–James Shivers

Thoughts of a Donkey

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Our current exhibition, Sculpture by Nicola Hicks, lends itself to storytelling. Check out the podcast interview between the artist and 9 year old Eva Heitmann Levenson to get a sense of how the objects resonate with young people.  They talking about living with animals, sculpting with hay, how to start a drawing, and much much more. It’s a great discussion about working throug the creative process.

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We have also created a gallery guide with drawing and writing exercises based on the interviews so you and your students can join the conversation. Please let us know what you come up with!

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Consortium Notes

During our first visual literacy consortium meeting this year, we began with time in the galleries. Each teacher found a work of art that reflected their own experience beginning the school year. Many found that the experience helped shed new light on the work ahead. Here are some excerpts from the conversation.

Charlice Culvert, art teacher

“Given the fourth floor to explore the concept of what were our expectations for the new school year and where was it going, I knew immediately that I would focus on the abstract art in the Long Gallery. Abstract art allows me to reflect more deeply than representational art; there are no boundaries for the interpretation.

 

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Barbara Hepworth’s stone sculpture is located in front of a window, causing the black surface to seem even darker with the light behind shining through the openings. I thought about how to get through to the other side of the curriculum, expectations, students and everything the new school year brings; would there be surprises on the other side, would I be able to enjoy the journey? I could see some glimpses of what might be, but could not tell exactly what awaited me on the other side.

 

Next, I viewed John Walker’s, Untitled Collage NYC No5. With all its different textures, it reminded me of all the students who enter my classroom and all their different personalities. The complexity of one student could also be seen through this collage. We are all complex in our personalities. How do I respond appropriately to them all?

 

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The last piece of art I viewed lacked a label so I gave it the title, All Eyes on Me. Scattered all over the painted are three dimensional circular shapes which are eye-like. Red forms, reminiscent of figures, stand facing outward. Black lines move through the composition conveying the feeling of jazz music. My students’ expectations are high, they are energetic and they demand attention. I need to be on my toes at all times.”

 

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 Nick Mead, 2012

Daron Cyr, kindergarten teacher

“Chaotic best sums up my year; lots of lines and colors that seem to never come together. I view visual literacy as a “safe” place for those colors, textures, and lines to play, arrange, rearrange, mingle, change, morph into something visually appealing. The eyes in the piece … like my 4 year olds eying everything – the good, the bad, my reaction, the day, the mood … all the eyes. 

I hope to let their creativity shine unstifled with textures and tools in their desperate fingers. It’s a mindset really: That we are valuable thinkers and creators of ideas and art. 

I sought abstract art because the lines and boldness were almost soothing – a means of decompressing and a way to visualize my room as an art form even amidst the chaos. 

 

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I gave my students their sketchbooks for the first time last week and asked them to do a self portrait – which was exciting and a great first time in their books. Last friday I put up A Couple of Foxhounds from the YCBA collection and after reading the painting together (which is getting better every week) I asked them to use only pencil (which normally would be “boring”) and either try to draw the painting, focus on their favorite part, or draw what it reminds them of.

 

I was in awe of how well my young and challenging learners handled it! Many copied the shadows and shapes in the painting but even more drew their own dogs or family because the dogs reminded them of home.  Everyone was doing something and whether or not it was recognizable to me wasn’t as important as the fact that they were moved to draw something based on what they saw. 

Next week I’m getting ready to start a “Work on Art” center as part of literacy time because it fits perfectly with their need for Oral Language but also because they are engaged and will enjoy choosing a picture card and spending time in their sketchbooks.”

 

Rebecca Looney, art teacher

” The piece I chose to talk about and connect with my students was Peter Howson’s Farewell, Farewell. I felt that this work would invite the most conversations about the back story of all that I looked at. Beginning this year, I’ve noticed conflicts between students occurring much earlier in the year than in years past. Usually they are one student against a couple of others, which seemed to be exemplified by the number of people in this painting. This painting would be a great bridge to talking about relationships and communication.”

 

Karen Williams, art teacher

“The beginning of the year can be exciting and intimidating at the same time:  new students, new school procedures, new administrators, new colleagues, new materials – all new experiences to bring to a new year.

This past YCBA workshop was a reminder of what I took and want to keep from the summer institute.

The art room is a place where things can move S  L  O  W.

The art room is a place where you observe, notice, question.

The art room is a place where individuality is honored.

Although the rush of school year can cause me to overlook these very important things, the meeting served as a good “huddle” time for us, as educators, to reflect on why we are doing what we are doing: To help our students, ourselves and others to learn, to grow and to deepen our experiences not only in art but in all other areas of life as well.”

 

Patti Darragh, reading specialist

Launching the Year

“As I wandered the galleries, thinking about starting the school year with my reading students, this painting jumped off the wall at me. 

 

The Sense of Sight, Philippe Mercier

It emphasizes the power of a visual image. Just as the characters in this narrative are intent on studying this map, my students stretch and move their seats to get a better view of images I present to them.

Looking does not put my challenged readers on the spot. Everyone can look and looking naturally leads to thinking and talking.

I don’t know who is more amazed at students’ responses to art; me or the students themselves.

My advice- try it and be amazed!”

 

Please share your own experiences “launching” visual literacy this year.

Clouds and Skies

 

“Blue needs sun,

Without it,

Blue hides.

Then,

suddenly,

sparkling spring sky!”

-Joyce Sidman, Excerpt from Red Sings from Treetops, A Year in Colors

 

Check out our newest Pinterest post about Clouds and Skies here! This is just a small sample of the many works that showcase the natural world around us. Check out the clouds and skies using our online collection here and here. There are various options for using these works in the classroom; stay tuned to our blog to see how other teachers have used our collection of clouds and skies at the YCBA in their classrooms. How will you use these artistic expressions of nature? Share with us your own ideas about Clouds and Skies in the classroom.

 

Here are some books for all ages that can easily accompany one of the Pinterest posts:

Birds, Kevin Henkes. Illustrated by Laura Dronzek.

Little Cloud, Eric Carle.

Red Sings from Treetops: A Year in Colors, Joyce Sidman. Illustrated by Pamela Zagarenski.

Once Upon a Cloud, Rob D. Walker. Illustrated by Matt Mahurin.

It Looked Like Spilt Milk, Charles G. Shaw.