Education and Community Programs

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by Alanna at 2:04 pm 2009-10-27
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New Space for Showing Video

Dan Graham, New Space for Showing Videos 1995 T.B. Walker Acquisition Fund, 2002

Mirror, Mirror Art project
Mirror, Mirror Art project

Hello, I’m Alanna, the new Family Programs intern, assisting with Free First Saturday. I’ll be posting periodically on events relating to Raising Creative Kids, as seen from my behind-the-scenes perspective in the Education and Community Programs Department. For my first blogging assignment I decided to sit down with Ilene Krug Mojsilov, The Walker’s Art Lab Coordinator to see how the upcoming Dan Graham exhibition would be used to fuel a creative art activity that she’s designed for Nov 7th Free First Saturday.

Dan Graham is a conceptual artist, among many things—a photographer, performer, video artist and critic. He has been working since the 1960’s in New York and is considered a pioneering figure in many modes of art. His retrospective, Dan Graham: Beyond, organized by the Museum of Contemporary art, Los Angeles opens at The Walker on Oct 31.

A lot of Dan Graham’s pieces are works of installation. How do you get kids to understand the concept of an installation?

Well first I get them to define the word “install.” I start out with the question: “Who knows what it means to install something? I liken the idea to a kitchen that needs to be redone and how an object like a stove, fits in the space.

Dan Graham’s work often challenges viewer’s perceptions. He creates environments where the viewers see themselves and are seen by others. Tell me how your art activity relates to this idea of perception.

The activity is called Mirror, Mirror. It is made from human-made materials, different from natural materials. Plastic, glass, lumber, steel, and metal are examples of elements used in architecture. I ask children to manipulate materials like plastic, Mylar, and foam core so that they can envision what a space could be. In this way, the art becomes self-reflective, as they can infuse their own lives in it. I ask the kids to use three different types of surfaces, transparent, meaning material you can see through; translucent, material you can see partially through; and opaque, material you cannot see through.

What are the reasons or intentions behind the project?

I like people to play with the idea of space by using materials that play with light.

We all perceive space differently. Light and shadow are ingredients in this recipe for a space. I also hope that this activity gives participants a way to delineate personal and public space.

How will the kids get this?

I always like to relate an artistic work to their own experience. I tell them, “Think of your bedroom.” In this way, the children are able to use the materials with specific purposes that arise from their own imaginations of familiar places.

Can this work for all ages?

Yes. Older kids can see the project as an interior design project. To younger kids, it can be an outdoor installation. It would be suitable for 3 years olds to teens.

Ilene is giving accessibility to contemporary art. It is a genre I admit I am not familiar with.

This seems to be an experience where the children are introduced to conceptual art without even knowing it. You’re offering an experience where they don’t get bogged down with definitions.

Exactly. They don’t get bogged down with definitions.

We are both smiling

It seems like you enjoy the experiential side of learning.

I like to learn that way…I like when there’s a challenge.

Our conversation dips into discourse about teaching methods. I am beginning to discover Ilene’s passion—her identity as an independent thinker, gutsy, intuitive and someone who discovered her own kinesthetic learning style early in life. She draws on this strength in challenging kids in the creative process.

I want all people to experience the creative process. I do my job because I’m discovering something.

How do you initially think of ideas?

I am inspired by other artists and exhibitions. I think: What could I do with this? What can I take? I borrow from these influences. That’s what makes working in museum education so interesting. There is always something new, a new exhibition…I never get stuck.

Do you ever run out of ideas?

No…like cleaning out my closet. I find new ways of looking at the everyday. That’s always been part of my experience…finding connections to the present.

Using Dan Graham’s exhibit, Mirror Mirror will construct a creative way for children to connect with their present.

 
 
by Daniel Smith at 4:09 pm 2009-10-23
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“Artists to my mind are the real architects of change, and not the political legislators who implement change after the fact.”

-William S. Burroughs

Burroughs_1983

This month marks the thirtieth anniversary of William S. Burroughs’ first reading at the Walker Art Center, on October 24, 1979. The Walker would subsequently bring Burroughs back to Minneapolis in 1981 and 1983. Both Burroughs images were shot by our staff photographer at the time, Glenn Halvorson.

Burroughs_1979

 
 
by Christina at 10:21 pm 2009-10-16
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I adore the book Where the Wild Things Are! I’m also a big fan of the film’s blog We Love You So and their amazing contests including fort building. We were so inspired that we’ve created a contest of our own using the website ArtsConnectEd. We gathered works from the Walker and Minneapolis Institute of Arts to create a special art collector set to get you inspired.

Now go out and make mischievous works of your own using materials of one kind or another. Email an image of your project to kids@walkerart.org by November 10. Include your first name, last initial, and age. All submissions will be posted on ArtsConnectEd and one winner will receive a $50 gift card to the Walker Shop.

Let the creating begin!

 
 
by Ashley at 3:29 pm 2009-10-14
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I happened upon filmmaker Astra Taylor and her documentary Examined Life at the Women with Vision festival last spring and found myself a huge fan of the film, and I became intrigued by her bio, particularly the fact that she was unschooled until age 13. From what I know about unschooling, it’s very similar to the artist’s life. You wake up each day guided by the question ‘what do I want to learn today?’ You’re not told by a boss or teacher what to do, when to do it, and how to get it done, rather your own curiosities lead the way.

This anarchist approach to education has been fundamental to Taylor’s D.I.Y. attitude towards learning, creativity, and pedagogy. As one interviewer wrote, ‘Her non-traditional upbringing, or as she calls it, her “super weirdo hippy background,” stood her in good stead, providing a strong sense of confidence and an affirmation in her own abilities and artistic vision.’ Thinking about Astra’s unconventional past, I began to wonder how education and the way we’re taught to learn can hinder or support our creative development.

Luckily, Astra will be back to the Walker next Thursday night (talk and gallery admission are free) to speak about how her personal experiences of growing up home-schooled without a curriculum or schedule have shaped her personal philosophy and development as an artist. If you need a primer, check out this great interview she did with CitizenShift or you can get a better idea of Astra’s influences by her recommended reads:

* * * *

Animal Liberation by Peter Singer

A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Felix Guatarri

The Golden Notebook by Doris Lessing

Ways of Seeing by John Berger

Wanderlust: A History of Walking by Rebecca Solnit

The Gift: Creativity and the Artist in the Modern World by Lewis Hyde

* * * *

Other Suggestions:

“Against School” by John Taylor Gatto in Harpers Magazine, September 2003

HowChildrenLearn.jpg image by gstepp525

How Children Learn by John Holt

How Children Fail by John Holt

Deschooling Society by Ivan Illich

The Teenage Liberation Handbook: How to Quit School & Get a Real Life & Education by Grace Llewellyn

 
 
by Allison at 2:48 pm 2009-10-08
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American ceramist Kathy Butterly earned a BFA at Moore College of Art in 1986 and an MFA at the University of California, Davis in 1990. Her awards include the Evelyn Shapiro Foundation Grant in 1993, an Empire State Crafts Alliance Grant in 1995, an NYFA Grant in 1999 and the Anonymous Was a Woman Award in 2002.

Kathy Butterly, Pillow, 1998

Kathy Butterly, Pillow, 1998

 Her work, which has been cited as the 3-D cousins to Robert Crumb’s drawings are richly ornamented and sensuous. She has studied with Robert Arneson, whose work is also featured in the Dirt on Delight exhibition, but her main inspiration has always been Viola Frey, another DOD artist. She has said that the physically small Frey worked in such a bold way, and that she, “couldn’t believe that this woman whose about my height could make these big macho things.”

Butterly will be speaking alongside her fellow Dirt On Delight artists Ann Agee, and Beverly Semmes on the panel There’s Just Something About Clay, with coordinating exhibition curator Andria Hickey. The discussion will take place at 7:00 pm on Thursday, October 8th, 2009, in the Walker Art Center Cinema. Tickets are free and will be available at the Bazinet Garden Lobby desk from 6:00 pm.

In your answer to the Institute for Contemporary Art question,“How did you come to clay?”  you cite Viola Frey as an inspiration. You said the way she worked was so confident, almost macho, that you were so inspired to make clay your medium. Now, you’re being exhibited with her in the Dirt on Delight show. Can you comment a little further on her inspiration and the rest of your process in working with clay?

I think that basically in addition to what was already mentioned, Viola was there at the right time/right place for me.  She enabled that light bulb to go off over my head.  In addition to Viola, Jack Thompson and Ken Vavrek who were my ceramic teachers at Moore College of Art, helped to open my world up further with inspiration for world travel and also taught me the down and dirty basics of working with clay. You wouldn’t realize by looking at my and Viola’s pieces that she was an original source for my love of  clay, but after witnessing her in action, making her monumental pieces,  I began to also work very large….4-9 ft. tall.  Now my works are 4-9 inches tall. 

Why is there a distinction between ceramics/clay and any other sculpture? How important is that distinction anymore?

This could be a very long answer and also one that I don’t know how to answer.  To some the distinction it is very important and to others it is not. For me, it’s not something that I think about when I’m making my work….it is external….not a distinction created by me.  On another note, I actually think of myself more as a painter who happens to work with clay, three dimensionally……

“Kathy Butterly’s tiny ceramic vessels are abstract and intensely associative, most often evoking aspects of the body. They recall the convolutions of George Ohr’s pots and Robert Arneson’s mugging faces and twisted figures, as well as the finesse of Adrian Saxe’s gew-gaw-ornamented vases. Her playful tone echoes these predecessors, but with a coyness that seems distinctly feminine.” That’s a quote from a review of your work by Janet Koplos in the New York Times. Can you talk about how you come to create some of these objects? Particularly, Fall into Spring, Cenotes, and Like Butter, which I believe are all in Dirt on Delight.

Kathy Butterly, Like Butter, 1997

Kathy Butterly, Like Butter, 1997

I never know what a piece will be/look like until it is completely finished. I never do sketches…..I can explain my process- both thought and making-  like that of a Rorschach test combined with exquisite corpse.  I start with a form, react to it, add to it, fire it, react, fire react……..so on.  At a certain point I understand where  the piece wants to go and after it is complete I understand the meaning of the piece….. ” Fall into Spring” has to do with how I was feeling after 9/11 (I live downtown in Manhattan.)  My head was so full of information and it felt so heavy…..I made a few pieces like this one.  It is definitely a self portrait ….of how I was feeling….. If you look at the piece “Like Butter” – it is a piece made early in my relationship with my husband. Cenote has to do with lushness, about showing off the inside as an equal to the outside and also about the fear of loss of water…..

What would you say to artists choosing clay as their medium to create? 

I would say the same thing to anyone who wanted to be any sort of artist….just be honest to yourself and your work.

 
 
by Christina at 10:36 am 2009-09-17
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It was a chilly winter morning when my coworker, Ashley, and I were dreaming of the warm summer ahead and the fun activities to do in the Minneapolis Sculpture Garden. We were both excited by the idea of programming a day inspired by the sculpture Prometheus Strangling the Vulture II, 1944/1953 by Jacques Lipchitz and other mythic works in the garden.
Prometheus

Lipchitz liked to explore themes from mythology. According to legend the Titan Prometheus stole fire from the god Zeus and gave it to the humans. Zeus punished Prometheus by chaining him to a rock where a vulture would eat his liver every day, only to have it grow back every night. Eventually Hercules killed the bird. It’s a great bedtime story.

Ashley turned to me and said “Prometheus was kind of like a superhero. He fought for the humans and never dies.” Perfect! We had theme for day: Super Sculptures!

Fast forward to September. Families had a great time making their own action figures using masking tape and newspaper with artist Mary Rivard. Heroes are often known for being incredibly strong and the artist gave Prometheus some serious muscles, so we invited bodybuilders to come and flex their stuff.

Hero
But what is a superhero without a cool super suit! We gave kids tape, cardboard, some paper, makers, string, and let them go wild. Photographer Sam Hoolihan made some fantastic backdrops and spent the day snapping shots of people in their cool new costumes. It was awesome.
Just look at the results.

(more…)

 
 
by ilene at 4:53 pm 2009-09-08
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The Soap Factory's $99 Sale

The $99 sale at The Soap Factory attracts a mass of egalitarian participants, and I am one of them.

Being someone who firmly believes in the barter system, I favor the exchange of services without the green back. So, it’s apropos that I create an artwork and donate it to The Soap Factory for the sale on September 11th and 12th this year.

Just a word about the works for the sale; they must be created on 5″ x 7″ paper without any signatures. There are many top notch artists in this pool, and this standardization levels the playing field. All the artists who participate in this event are united by their support of The Soap Factory. Last year, when all the works were installed in the gallery, they read like cells on a storyboard to me. What a kick to be part of this community that backs The Soap Factory cover to cover.

 
 
by Courtney Gerber at 2:24 pm 2009-09-08
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In support of mnartists.org Field Day, which took place on August 27th at the Walker, I decided to rally some colleagues to form a kickball team. We were scrappy, made up mainly of education and new media folks with some help from membership and visitor services. Our name: Spherical Propulsion Ensemble (SPE). Our mascot: the subject of Angus Fairhurst’s The Birth of Consistency, a gorilla. Unfortunately, our enthusiasm for propelling kickballs didn’t match our ability, but we had a raging good time attempting to topple a talented Walker marketing team. A team, by the way, that somehow managed to recruit three especially nimble players who were each roughly fourteen years old. Not fair! Luckily, we avoided a shutout thanks to the kicking talents of Robin Dowden.

I was happy to see that despite our loss our mascot ended up prominently displayed on a number of screen-printed shirts being cranked out at Calpurnia Peach’s Remake, Revamp.

SPE mascot with name

SPE mascot with name

SPE gorilla with alternate text

SPE gorilla with alternate text

Truth be told, we as a team never got around to getting our mascot on our shirts prior to the fated game, so it wasn’t exactly clear to Field Day goers that the sporty ape had a kickball connection. I had actually commissioned my husband, former opera singer and current finance professional/guerilla sketch artist (pun intended), to bring our team name to life. The gorilla’s colorful (re)appearance at field day was a fun surprise. Wear him with pride Minneapolitans.

 
 
by Witt Siasoco at 1:24 pm 2009-09-08
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Please enable Javascript and Flash to view this Flash video.

This post was written by WACTAC member Nakami Tongrit-Green (see bio below).

Being on WACTAC for the past 2 years has been one of the most rewarding experiences I’ve had in high school. So when Witt asked Kaitlyn (2nd year WACTAC member) and I to attend the Generation O: Conference at the Institute of Contemporary Art in Boston, I was more than thrilled to accept the offer. Although I was excited about the trip, I didn’t really know what to expect. I knew we would be meeting teenagers from around the country who were involved in similar museum related programs but I wasn’t sure what they would be like, and what I could gain from meeting these people.

Day One in Boston was a bit tiring. As soon Kaitlyn and I arrived in Boston, Witt immediately took us around the city to look at some colleges, and kind of get a feel for the area. It was Kaitlyn and my first time in Boston and I have to admit, it’s a gorgeous city. We met Rosanna Flouty, the Teen Programs director at the ICA that night at dinner, as well as some other teen representatives and museum educators. It was nice to get a chance to meet people before the conference kicked off but I was too busy stuffing my face to really have a valuable dinner conversation with anyone. We ordered so much food that night. I had probably eaten enough for the whole weekend at that point…

Day Two consisted of a series of presentations from all the different Museums and teen programs, as well as a tour of the ICA and the Shepard Fairey exhibit, which was amazing! It was also great to hear all the different programs going on from Miami all the way up to Chicago – Museum of Contemporary Art Miami’s Women On The Rise Program, Museum of Modern Art’s Teen Council , Whitney’s Youth Insights, and Marwen.

By Day Three, it seemed like I knew everyone so well! The kids from the ICA showed us around Boston a little bit, and we had time to kick it at the hotel, which was nice. During the day, we had discussions on a variety of topics regarding Teen Programs in Museums and it was actually really beneficial to hear everyone’s opinions and ideas.

Day Four. No one wanted to leave!!

I was definitely inspired by this trip and I feel like I’m ready to kick off my final year on WACTAC! I would just like to say thanks to the Institute of Contemporary Art in Boston and shout out to all the great people we met there! I’d also like to thank the Walker for this great experience. Look out for even more fabulous WACTAC workshops and events this year :)

Nakami Green has been singing for as far back as she can remember, starting with sing-alongs to old Aretha Franklin records in her living room. Now, at age 16, she is a member of the Harding Senior High School concert choir and has performed solo as well as with other young musicians around the twin cities. She has worked as a singer/songwriter for the past two summers in the COMPAS Artswork Apprenticeship program and has sung with the Walker West gospel choir. Nakami has competed in talent shows and was a finalist last fall in her school’s singing contest, “Harding Idol”. She still finds time to sing along to her favorite Aretha tunes, but now works mainly on original compositions. She incorporates styles from every genre into her R&B sound, which is a reflection of her diverse taste in music. Nakami Green is currently working on her demo which she hopes to release in 2010.

 
 
by Julie Caniglia at 10:42 am 2009-09-02
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ArtsConnectEd Hunter

Online visitors, students, and educators get creative with a dynamic new ArtsConnectEd.org

As back-to-school rituals go, logging on to new Web sites is today’s equivalent to that analog practice of signing out a heavy load of textbooks. This fall, K–12 students and their teachers across Minnesota will usher in the new year by exploring a fully overhauled, freshly supercharged artsconnected.org—the product of a long-standing educational partnership between the Walker and the Minneapolis Institute of Arts (MIA).

When it originally launched in 1998, ArtsConnectEd’s function was to provide digital access to the collections at both institutions, mainly for people who couldn’t make the trip to the Twin Cities. Now, browsing more than 90,000 works of art, plus reading, watching, and listening to more than 1,000 art-related articles and video/audio records is just the beginning. The big change in the new version of ArtsConnectEd is the ease with which teachers and students at all grade levels can use this content to create presentations, quizzes, handouts, lesson plans, research, and curricula—and share these materials with each other. A host of examples is already available for use in the classroom, such as an “Animals in Art” presentation that includes an ancient Chinese bronze horse from the MIA and Franz Marc’s The Large Blue Horses, a highlight of the Walker collection; and “Building a Story,” which helps students create a fictional tale based on works of art. One lesson investigates different kinds of brushstrokes; another offers an “adventure” for younger students based around the color red. One teacher had his students use the site to create MySpace-style pages focused on photographers that interested them.

“It is much more self-directed in its design than many other online resources,” says Kevan Nitzberg, an Anoka High School teacher who is part of a “power user” group that has been using ArtsConnectEd since its earliest days. “That helps to give students open-ended access to researching and using the data they discover.” He and his fellow power-user teachers are developing and field-testing activities with the new site in classrooms around Minnesota this fall. “We really re-envisioned this site as an easy, flexible, and fun-to-use tool,” says Susan Rotilie, the Walker’s manager for school programs, who is a codirector of ArtsConnectEd along with the MIA’s Treden Wagoner. “We’re looking forward to seeing the creative ways that people put it to work in all academic disciplines.”

The relaunch, which has been funded by a grant from the Institute of Museum and Library Services, represents a milestone in a partnership between the Walker and the MIA that goes back more than 10 years. “As the needs of our audiences have changed and our technological capabilities have changed, our commitment to ArtsConnectEd and our partnership with the Walker have grown,” says Wagoner, the MIA’s technology and training specialist. He and Rotilie, plus other education and new media staff at both institutions, have been working for more than two years on the overhaul with Sandbox Studios, Inc., a company that works with museums on education and technology projects. In addition, the ongoing consultation, feedback, and testing from those ArtsConnectEd “power users” have been instrumental. “Our opinions always were important, which often isn’t the case in a public school system,” says Litchfield High School teacher Gerard Kulzer. Rotilie says the ArtsConnectEd redesign wouldn’t have been possible without Kulzer and his colleagues. “They challenged us to make the new ArtsConnectEd useful in the classroom and pushed us to create a state-of-the-art online educational resource.”

Aside from boasting an array of new functions, the redesigned ArtsConnectEd reflects other, broader changes on the Internet, such as the shift to engage people as creators of and contributors to Web sites. ArtsConnectEd still showcases the Walker and MIA collections, but it does so through the content that users create. Another change reflects new “learning/teaching paradigms that have literally turned the entire educational process on its head,” as Nitzberg puts it—such as considering teachers and students as both consumers and producers of information. “When students provide their own direction to their learning experience, ultimately that experience is much more meaningful,” he says.

Finally, the relaunch of ArtsConnectEd is just one way in which the Walker is responding to broader cultural shifts in learning enhanced by the power of online technologies. “Introducing new tools for accessing and sharing information is just the beginning,” says Walker director Olga Viso. “Along with other new programs and initiatives, including a major reinstallation of our collections in November, ArtsConnectEd presents opportunities for people to be creative themselves, to have two-way conversations about art, and to contribute to an expanding network of communities both here and outside the state of Minnesota. Ultimately, it’s one of our key tools for connecting art and the visions of artists to the larger world.”

ArtsConnectEd Homepage

ArtsConnectEd is a joint project of the Minneapolis Institute of Arts and the Walker Art Center. The project to improve ArtsConnectEd was funded by an Institute of Museum and Library Services National Leadership Grant.

 
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