Gail Nichols and Pinch Pots

Wow Wednesday continues! The ceramic professor and ceramics majors wanted to put together a lesson to showcase the visiting artist. My professor invited me to teach a group of 9th graders how to make pinch pots this morning and they did a great job! Two times today I witnessed the handiwork of master ceramicist Gail Nichols, who hails from Australia and has been cranking out work on campus since Sunday at least! I am not by any means confident in ceramics as a media yet.. but the surety with which she handled her work was inspiring and frankly kind of intimidating! She works 'upside down' when she throws, meaning she flips her work to add a bottom slab to it.. so nerve-wracking to watch. 

She works 'upside down' when she throws, meaning she flips her work to add a bottom slab to it.. so nerve-wracking to watch.

Nichols makes vessels with soft organic forms and lush dimpled glazes that appear to ooze out of the clay itself.

Okay, as promised - lesson plan outline:

Pinch Pots

all student work!

Students will attend the lecture/demonstration of ceramicist Gail Nichols and create pinch pots. Students will have a chance to question Nichols on her process, 'favorite pieces', techniques, and tips/tricks. Students will have to experiment to find the most effective techniques and also compensate for loss of moisture and plasticity while forming their pinch pots.

Ancient civilizations produced vessels of all sizes and shapes using only clay and hands. By creating pinch pots students will be introduced to the media of clay and the technique of pinching and forming a small bowl to be fired. Students will have to experiment to find the most effective techniques and also compensate for loss of moisture and plasticity when forming their bowls.

Materials:

~.5 lbs of clay for each student (pre-cut and wedged)

hand tools

water

texture objects

glaze

paint brushes

sponges

ware boards (?) 

Process:

After questioning and the lecture are over, students should separate and sit at the work tables. Students should sit quietly awaiting instructions. This will allow time for attendance/evaluating need for materials.

- Teacher should provide samples to inspire students.

- Teacher should demonstrate the basic principles and process of forming a pinch pot.

1. Roll clay in hands until a solid ball is formed. Smooth cracks to ensure a strong foundation.

2. With the ball in your non-dominant hand, use your thumb of your dominant hand and press into the middle of the ball. Do not go through the bottom – leave half an inch of clay in the bottom of the ball. 

3. Demonstrate handling of clay ball and formation of bowl opening. Light pinching and consistently moving fingers in a circle – patterns and rate create consistency.

4. Small pinches are more effective and less destructive than big pinches!

5. Emphasize importance of thickness and evenness of walls (half an inch thick – not much thicker than that)

5. To compress and finish the rim of your bowl you can use a sponge or a rib tool to smooth the edge.

* * Make sure to demonstrate how to fix cracks and markings that are unwanted.

* Demonstrate pressing items into clay to create texture and patterns.

Hand out materials AFTER demonstration. Each student will receive a ball of clay and begin forming their bowls. Circular bowls are not mandatory but they are the easier shape to create. A few students made triangular and even one heart-shaped bowl.

After students are nearly done forming their pinch pots another demonstration should take place to cover glazing. Show students how to apply layers of glaze and discuss color mixing. Make sure to tell students NOT to glaze the bottom of pieces.

Questions during process:

Does the clay feel as you work with it more? How do your hands feel?

How did you fix cracks? What would be the consequences of not fixing cracks?

Some questions to consider:

Does a bowl have to be round? How can I apply textures and pattern to clay? How can I create consistent thickness of walls? What is the best way to fix cracks and weak walls? What happens if you pinch your clay too hard? What do you think small pinch pots were used for in ancient times?

Reflection:

I was extremely grateful to the ceramics majors who prepared the clay for students and helped hand out materials - they also made samples. Pros! I enjoyed working with the students and watching their work progress. They only had an hour to produce their bowls and, with some students requiring a little bit more help than their peers, they were more than ready to deliver! Some students made non-circular bowls and some students created teacups and tea bowls. There was a wide range of work created and the bowls will be fired in the next few days. I would adapt this lesson to the classroom with the addition of glazing and other forms of decoration or addition. I showed the students my examples from my hand building class as inspirations and samples and quite a few of them expressed interest in making their bowls more complex. Maybe next time. 

And now to rest and relax before another day of work and classes..

Until next time, 

Ms. K

"What's Wrong with Homosexuality"? UM NOTHING. A response!

Hey there! So yet again it is Wednesday, or as I affectionately call it, WOW Wednesday. This semester has had its share of challenges, triumphs, and.. weird days. Today has been crazy busy but also productive and.. informative.

I am currently the Director of the Students' Art Gallery at NMU and this semester has been extremely eventful for me. The current exhibition is titled "What is Wrong with Homosexuality?" and is on display in conjunction with the President's Committee on Diversity's exploration of larger cultural and societal topics. The title is not meant to infer there is anything inherently wrong with homosexuality, but echoes the title of author John Corvino's book "What's Wrong with Homosexuality?" which is a social satire and philosophical exploration into the stigma, assumptions, and misconceptions about homosexuality in our current culture. It's a pretty excellent read and I am looking forward to meeting Corvino and hearing him discuss his work and passion for advocacy.

All throughout the semester the Diversity Committee has been bringing guest authors (Corvino will be here during our reception!!), artists (iO Tillet Wright was here earlier this week for lecturing and photo shoots), philosophers, and other personalities to campus in hopes that NMU will welcome diverse and new ideas. Today, for example, I witnessed the handiwork of master ceramicist Gail Nichols, who hails from Australia and has been cranking out work on campus since Sunday at least! I am not by any means confident in ceramics as a media yet.. but the surety with which she handled her work was inspiring and frankly intimidating! She works 'upside down' when she throws, meaning she flips her work to add a bottom slab to it.. so nerve-wracking to watch.

Anyway, more on ceramics in the next post.. I want to get this other experience down on 'paper'.

I was speaking to one of my classmates today in my hand building class. She had brought up the topic of the exhibition in the gallery and is a representative for the on-campus group Queers and Allies. Q&A advocate for LGBTQ students on campus and organize events both on and off campus to connect the campus communities and educate the general public. It's a very proactive and supportive organization and NMU is lucky to have them. However, what she said concerning the exhibition made me step back.

"I think that the numbers for this show were low because of the topic." To which I replied, "Yea, it seemed rather narrow for the amount of work we expected... but it was a show that needed to happen and the diversity committee was pushing this since December."
 My classmate agreed but also added, "I think the topic turned many people away because, well, not all of us make 'queer' art. The art we make is not about being queer or having that lifestyle; we make art about everything! And the fact that we are queer or identify as something other than straight essentially makes our art queer art." She also stated that the show title implied something being 'wrong' with homosexuality and I tried to explain to her that it was the same as one of the author's works... but I took her concern into account. This was a battle between words and ideals: Nothing is wrong with homosexuality and showcasing that question as a tagline was not a good move on part of the committee. It's hard to spin such an accusatory statement into one of advocacy and personal growth. I apologized for the negative connotations that were brought to light by using this phrasing and I have made the BIGGEST mental note ever to always clarify statements with departments before display!

My classmate's next suggestion was to create an exhibition for 'queer art' meaning art created by those members of the LGBTQ community who were, in her own words "afraid to say or create something that could expose them too much. It's not exactly safe for us here". I understood her concern and it was upsetting to hear that fear is still such a large stigma for these students and community members... I want to make this show a reality in the coming school year. I think it would be interesting to have students submit work and display it anonymously - to protect those who are not quite ready to reveal that part of themselves - or those who fear what may happen. As my classmate said, "There are a LOT of queer artists on campus and the work is whatever they want it to be. It's not about orientation." The date of the show is being organized because, dammit, it needs to happen!

 --

In a separate event that occurred only an hour ago I was sitting at work and a gentleman came in to the gallery to look at the exhibition. At first I greeted him and he remained silent, just walking through the space and what I can only assume was absorbing all the visual information on our walls.  He spent a very long time at the front of the gallery looking at a particular piece. His first statement to me after the silence was finally broken was that he was in an "interesting and perplexing" situation when it came to his son. I asked him why. He proceeded to tell me that he and his wife are evangelical preachers who "just so happen to have" a son who is gay. He spoke to me at length about the 'signs' he chose to ignore in his son's childhood and upbringing; things that he was not sure of until very recently.  He said, "I did not choose my son son, nor do I think he would have chosen me and my wife. But that's just our situation, I suppose.." I finally spoke up, "I don't think this is a matter of choice but a matter of truth, sir. Everyone needs to live their truth and when you stop doing that you lose who you are." I was beginning to feel disheartened by this man's responses to his son and his lifestyle.. but then the tide changed.

I listened quietly and let him pour out his apprehensions, fears, confusion, and confessions onto my desk. He began talking about his profession as a preacher and personality in the evangelical faith. Looking around the gallery with a smile he also admitted to having 'stray thoughts' in college and not being sure of his own sexuality because, as he said, "I was striking out with the ladies and wanted an excuse." He let the words flow freely and honestly, stating that many of his congregation and peers in faith would not understand his current situation if presented with it. He said it was hard to see eye-to-eye with them knowing his son-- and he fiercely defended him. He talked about how his son is a lawyer, not a court lawyer but "nose in a book". How he defends companies and small businesses and protects doctors and professionals. He told me about his degree and how hard he worked in law school and how he was also an Art History minor - which was "all about analysis and interpretation".  He told me that some of his fellow preachers and religious personalities "cherry pick" from the Bible and make it say what they want to their own advantage and that he often disagrees with their interpretations. After my brief comment this man wanted to make sure I knew he was proud. He was showing his love and admiration for his son's individuality and dedication to hard 'nose in book' work. But most importantly he showed me that he was standing on his own without questioning his son as a human being because of his faith community members.

He walked around the gallery for another half hour and made some other quick comments. I was glad to have met him and to be here to listen to his story. I think that's what this show is about: not what is wrong with homosexuality, or what other people (maybe artists, maybe not) observe about it, but what is the best way we can overcome our misconceptions and fears of a different lifestyle than 'the norm'. This stranger, an evangelical preacher from Marquette, walked around a gallery of artwork all focused on the trials, successes, and lives of LGBTQ students.  As a student I have seen the consequences of prejudice and fear on campus - both concerning homosexuality and other personal characteristics of people. The gallery has, in just the past week, become more of a safe haven and beacon for students to learn from and experience art from across campus. We have received many, many visitors including community members, students, and faculty and each person has a different story to tell - or to keep to themselves. I want to apologize to any who felt attacked or conflicted by the title of this exhibition; that was never the intent of the committee or the gallery. There was never an implication that homosexuality or LGBTQ lifestyles were 'wrong'. We wanted the exact opposite result of these comments: we wanted expression and the reassurance that messages in this space would be on display for all to hear and see and feel without fear or misconception. The SAG* was to be a place for art that communicated about the topics that interconnect and intersect with this community. I am upset that the title of our exhibition in the SAG* has caused such conflict and apprehension but I know I have learned a great deal from this experience. Words are powerful in scope and influence and we need to be more careful of how we say what we say.

As a teacher I will strive to create a community where all students feel welcome and welcome others. Throughout my years in college I have observed many k-12 classrooms where students identify as gay, lesbian, bisexual etc.. I do not think these revelations and experiences are something that people should hide or conversely be afraid to witness. In fact, I want students to be empowered by their lives, personalities, and their personal truths. After watching the TEDTalk with iO Tillet Wright I realized that, as she stated, "we often put people into boxes". We do not have the right to do that - and the more we challenge that need to distinguish one person from the other for their beliefs, lifestyles, appearances, or whatever else can be categorized - the more we can learn from each other that everyone has different paths and truths. We have a painting in the center of the gallery that patrons are free to write on during this show and the man who came in to the gallery today wrote : "Evangelical Parent: What to think? What to do? LOVE UNCONDITIONALLY!" Reading that and hearing him commend all of the artwork in the SAG* made me smile. He gets it.

We often do not choose the people or the paths on the journey; we only choose which way to point our feet when we finally start moving. I never want to stop moving forward.

Thank you for reading

Ms. Breanne Kanak

WOW Wednesday: Microscopic Art

SO a few days ago I stumbled upon something super awesome that instantaneously inspired me to lesson brainstorm. Because my mind will not let me focus on anything else.. I need to write about it now. The tagline "Origami Microscope" pulled me in and the TEDTalk on this technology is great! The basic premise behind this new microscope is the use of folding paper and extremely well-designed and STURDY electrical components as well as lenses. Did I mention there are different levels of magnification that can be accomplished with each version of the scope?! I am so interested in this :)

The Foldscope has a 'trial offer' on their website where you can sign up to try out the Foldscope via email. And I definitely did that!

Just applied to try out a #foldscope THESE THINGS ARE SO COOL http://t.co/lAeclwn4gW #SCIENCE #art #alwaysretweetscience
— Breanne Kanak (@MsBreKArt) March 13, 2014

OR I could use the Foldscope at my summer camp job and show students the natural world around hem at camp! I really hope they let me try one out :)


Tiny Worlds
Why Microscopes?
I believe it is more important than ever to integrate subjects with creative making and learning. Using a Foldscope I would be able to introduce k-12 students to the microscopic world and uncover the possibilities of art production using science and discovery as inspiration. In addition, students would learn how to construct the microscope and I would open discussions to implications about world health, disease control, prevention etc - since that is the original nature of the technology as a functional asset to medical professionals.
Students should have some knowledge of the 'tiny worlds' that surround them in nature and in day-t-day life. I immediately thought of a lesson idea proposed to me by a friend who is majoring in Biology and Science Education - why not use the microscope as a tool for art? He suggested having students take photographs of what they see in the microscope and submitting those as art. Definitely an awesome idea and I wanted to expand upon that by having students also complete a painting of their findings.
The Foldscope would make this an easier task altogether because instead of trapping the image inside the lens of the scope, the image is projected! Students could trace the image onto a canvas or their painting surface and just GO.
Honestly I want to do this project myself and have been thinking more and more about it as a theme for my upper-level painting course/ individual art review. My family has had a lot of health issues in recent years and it could be a healing experience to put those individual ailments onto canvas - to declare them dead and gone. It's kind of morbid to think about when I look at the images, references, and plans I have but if I cannot connect with my work I do not want to bother with it. This is my brain on science, guys. Deal with it.

Objectives

• View photography by contemporary artists
• View microscopic samples using Foldscopes/microscopes
• Be able to construct Foldscope
• Classify different slides with samples
• Teach students about local plants and wildlife using microscope slides
• Teach students basic digital photography and photo editing

Key Concepts

• Nature and culture are full of diversity
• Nature informs (and inspires) culture
• Nature and culture interact with and impact each other

Essential Questions for Lesson

• How does nature impact culture positively? Negatively?
• How can we use photography to create a basis for other artwork? Is photography artwork on its own? How can working in iterations develop more complex ideas?

Lesson Plan

Tiny Worlds

Empowered Experiencing

Gather samples of natural materials from the local area (leaves, sticks nature artifacts). Discuss cellular structure of plants, animals, bacteria, and viruses. What you think your gathered objects' cells will look like under magnification? Why? Draw your ideas of what they might look like based on in-class discussions.

Comparison 

Brainstorm ideas about the differences between animal and plant cells and why these differences exist. Think about the function of cells for each organism. Observe pre-existing samples and images of plant, virus, bacteria, and animal cells.

The Human Element

After viewing preexisting images and samples of cells discuss the impact of microorganisms on humans. We will discuss implications about world health, disease control, prevention etc - since that is the original nature of the technology (Foldscopes and microscopes) as a functional asset to medical professionals. Students will learn how to operate the Foldscopes and microscopes. Students will learn about basic digital photography to create their reference images and how to edit images for color corrections, saturation, hue, and brightness changes.

Artists and Resources

Fernan Federici’s Microscopic Photography

Microbial Art - for the Eeww factor

Luke Jerram -Glass Microbes

Gather
Gather samples of natural materials from the local area (leaves, sticks nature artifacts). Discuss cellular structure of plants, animals, bacteria, and viruses. What you think your gathered objects' cells will look like under magnification? Why? Draw your ideas of what they might look like based on in-class discussions. Brainstorm ideas about the differences between animal and plant cells and why these differences exist. Think about the function of cells for each organism. Observe pre-existing samples and images of plant, virus, bacteria, and animal cells.

Capture
Learn about basic photographic principles and learn to use microscope as a tool for photography. Foldscopes would make this task much easier because they project what is under the scope onto the wall. Students will use digital photography to capture the image of their cell/sample for the next iteration of the project: paintings. Students will learn basic photo editing in Photoshop and be able to modify saturation of their photography as well as focus, sharpness, hue, and other effects. The main goal is to develop an image that can be translated into a visually interesting painting. By observing the beauty- and imperfections - of nature students will begin to appreciate the tiny worlds that surround us.

Enlarge and Engage
Students will either project and draw or grid out their photograph onto a canvas/board. After creating the framework for their composition, students will begin painting. Students should keep in mind the use of color scheme, texture, arrangement, and focal points. Students should strive to recreate their image in paint but there is room for improvisation and embellishment.

Elaborate
Students are required to create a statement about their work. Where was the sample found? What is it (Plant, animal, other?) - Or maybe the object should be a mystery... I would leave it up to students. However, for my grading purposes I would have students write a statement about their work to turn in to me. Students would decide if they wanted to display their statement with the work.

Moving Forward
We will discuss implications about world health, disease control, prevention etc - since that is the original nature of the technology (Foldscopes and microscopes) as a functional asset to medical professionals. I want to include a bigger 'human element' with this project because disease and microbes are issues that effect all of humanity. Perhaps tying in a Skype call to another country and/or a different culture could build awareness for international disease control and prevention efforts. Ideas in mind: AIDs/HIV, clean water initiatives, epidemics, etc.
Other Iterations: Ceramic cells/viruses, mixed media collage, mixed media sculpture, diorama, mobiles.... There are a lot of different ways to talk about and recreate cell/microscopic structures.

I will be incorporating this lesson into my unit plan for sure! I love the idea of joining science and art together to form concrete understandings of objects which are often invisible to the naked eye. Students would in effect learn about ecosystems, food chains, cell structures, the aesthetic qualities of our natural world, and hopefully a little something about human health and wellness.

Nerding out and signing off,

Ms. Kanak

Earth Education: Research Synopsis from Studies in Art Education 2012

So I just finished this paper for my art education class.. I am pretty proud of it AND it directly connects to my developing Nature and Culture unit. Some light reading for a snowy Saturday. I will be posting a new lesson later today. Enjoy! 

Ms. Kanak

I once saw a photograph of anonymous writing on a wall. The writing stated, “Earth without ‘art’ is just eh.” In the Spring 2012 issue of Studies in Art Education I read an article that both restates this claim and provides supporting evidence for its existence. Earth Education, Interbeing, and Deep Ecology, written by Tom Anderson and Anniina Suominen Guyas of Florida State University, begins to touch on the very complex subject of who we, humans, are in the broader scheme of nature and our environment. More importantly, Earth Education addresses how we as art educators can motivate students to connect, observe, and create change through building knowledge of “transpersonal relationships” (230).

In the art of our past, humans are depicted as the rulers, the powerful hunters, the gods and goddesses who created the heavens and the Earth; however, the more everlasting reality is the proposed idea of interbeing. Interbeing “suggests we are all one and collectively we are the life force of the planet” (230). Another powerful statement made by the authors, “We are of nature, having evolved on Earth, and it is in our nature to be in relationship to the ecosystems that change us” (230). The oldest cultures and tribes on the planet have respected these ideals and have learned to coexist and thrive in environments many would not think to call home. We are responsible for the preservation and conservation of natural flora and fauna as well as our use of the many gifts the planet has to give.

Anderson and Guyas list Principles and Strategies for Teaching and Learning about Deep Ecology and Art Education (233). The first principle emphasizes meditation, observation, art inspired by senses other than sight, journaling, and other ways to instill “Radical Amazement” (233). Nature, environment, and the senses interact and interconnect constantly; the challenge for educators is making the experience meaningful. The second principle concerns how enabling and encouraging sensual experiences can create empathy and reveal values and emotions. A lesson application for this principle could be having smells bottled and available to students to use as inspiration for a reflective painting or drawing. Smells are directly tied to memory and so could awaken experiences students have ‘stored’ or even repressed. The authors emphasize the importance of using “positive emotionally based possibilities” as opposed to “problems” (234). That being said, we as educators need to be prepared for the more negative experiences or emotions that can also come into play when making students self-aware. Kinesthetic learning, play, and meditation are the focus of principle three. By utilizing the body in art and play experiences, humans can reconnect with nature and the materials that make up the environment. Drawing from previous art making experiences, students will often retain information more effectively if given the opportunity to assign movement to an experience. One example could be teaching students about full-body or kinesthetic painting techniques as practiced by Jackson Pollock and/or Yves Klein. Principle four encourages the “[exploration of] the purposes and consequences of advertising and consumer culture” (236). In our culture of excess, visual information, and symbolism, the importance of visual literacy and the ability to analyze is more important than ever. Those who are not in control of their perceptions and values are often directed by pop culture and the idea of haves and have-nots. Barbara Kruger, AdBusters, and having students research and discuss techniques advertisers use to create stereotypes and desire would all be beneficial for study. Principle five connects to a later principle. The sixth principle provided by the authors states, “Implicit in the notion of interbeing is the understanding that self-realization cannot be attained through heightened attention to the individual ego but must be achieved in relationship with other people, species, living organisms, and even with water, rocks, wind, and earth” (238). In addition, collaborative artwork and emotional bonding are vital to functional relationships, empathy, and sympathy. The authors state people who are more connected to nature “enjoy life more, have deeper relationships through a shared sense of belonging, and more emotional capacity to bond…” (238). By encouraging group projects and collaboration students will have a stronger sense of belonging and can definitely gain knowledge from their peers, positive or negative. The seventh principle introduces the concept of “place-based epistemology” or theory of knowledge as it pertains to ones environment. Strategies used to teach this principle include “observational drawing, video, photography, place-based sculpture, and related art education activities” (238). Students can learn a great deal from studying the history of their hometown, local parks, forests, and other surrounding places. Museums and local architecture are often a wealth of information for both students and educators. Principle eight discusses the importance of “artistic knowing and inquiry" (238). As art educators we are responsible for having an understanding of the relationships between artists and their work. Often the process informs the purpose or vise versa. I have made an honest effort to thoroughly research artists, their processes, their philosophies and personal backgrounds before constructing lessons and objectives. Students are often highly engaged by the backstory of an artist, which can create the connection needed to facilitate deeper learning. The final principle scaffolds upon the previous principles, and covers principle five, and states that Earth Education is interdisciplinary. One important aspect of this principle is the need for student engagement and furthermore student action. Earth Education should encourage students to want to take action, make changes, critically question, and “actively seek[s] harmony and balance for the biosphere” (241). Having students research conservancy, current events, events of personal interest that relate to nature and the environment, and create art that responds or creates action to combat or support these issues facilitates empowered experiences and deeper learning.

Resources

Anderson, Tom, and Anniina Guyas. "Earth Education, Interbeing, and Deep Ecology." Studies in Art Education: A Journal of Issues and Research. 53.3 (2012): 223-245. Print.

Bring Back Ground Force! High School Style

Well, hello, blog!

I have been SO busy these past few weeks. I neglected you. I started working on a teacher sample for the "In A Natural Fashion" lesson plan featured in a previous post - still in progress. CHECK OUT THE SKIN - I am becoming my snake.

Each animal attribute tells a story about me! More to come...

 In addition to that I have also been busting my butt in Ceramics class and working on my tile project. My tiles began to slowly but surely form a robot shape and I have been running with that idea ever since! I was discussing the project/idea with my professor and I came to a realization.. the piece resembles some aspects of my personality.

One one hand the tiles are very intricate, painted and carved to simulate wiring and circuitry. The lines are clean and obviously thought-out; in regards to my personality this represents the orderly, organized, functional aspects of how I operate. On the other hand the tiles themselves, in craftsmanship, are far from perfect. Edges are choppy and do not fit flush into joints and grooves. There is space between each tile and room for movement and definitely room for refining. Another part of my personality is.. well.. impulsiveness! I tend to work quickly to accomplish tasks and can often lose myself in details when I really need to focus on the bigger picture. Art imitates life, right?
My concept behind the design of the robot was to create a form that only functioned in one arrangement - much like a puzzle. If you remove one piece from the 'machine' the rest of the robot would not function properly and the circuit would no longer be completed. Have I mentioned how I pretend to be a science teacher sometimes? Cause I do...

I will be firing this first round of underglaze designs this week and am hoping for the best! Also, I received my in-process critique grade: earned an A thus far!

Last week I was busy enjoying my spring break and having some time to relax but I am back to business and really excited sharing about this long-delayed lesson idea :)

In most of my Art Education textbooks there has been some mention of using outdoor design as a learning tool. As an avid HGTV, Ground Force viewer, (anyone remember that AWESOME show? I'm a weirdo, I know) and gardener myself I have often wanted to experience the unique challenge of formally designing an outdoor space. Flower boxes and houseplants can only entertain me for so long, guys - it's time to think bigger. It's time to tackle a garden plan.

Ground Force 2.0
Why Gardening?
To follow my overarching unit Nature and Culture, students will continue to learn about how culture and nature collide, interact, complement, and function as disparate elements in the same space.
All students will have varying familiarity with gardens, whether they have a small flower patch in their yard or live within walking distance of a large public garden.
Students can gain inspiration and ideas from viewing designs and works by artists and garden designers. I have had the privilege to travel in Europe and see some of the most beautiful gardens humans have designed and contributed to culture. I would like to provide my students with the opportunity to see images of these gardens as well as encourage them to find garden sites in their daily life. Golf courses, walking paths, road medians, city parks, and even race tracks utilize horticulture for function and beauty.

UNESCO Garden, Isamu Noguchi

 Objectives

• View designs and gardens created by contemporary and more well-known artists/designers
• Discuss how nature can change an environment 
• Discuss different types of gardens, their purposes, and assign descriptive language to better understand rationales for creating and designing gardens
• Create connections to real-life, relevant job skills and knowledge
• Teach students about local plants and build basic botanical knowledge for garden planning
• Teach students about birds eye view drawing as well as landscape sketches

Dedemsvaart, the Netherlands, Mien Ruys

Key Concepts

• Nature and culture interact with each other
• Nature and culture depend on each other
• Nature informs culture

Essential Questions for Lesson

• How does nature beautify and influence culture?
• How do gardens serve different purposes?

Lesson Plan

Breaking Ground

Investigating Community Themes:  Consider local gardens and natural spaces. Also, view designs and sculpture gardens by Isamu Noguchi and Piet Oudolf. Think about the plants, rocks, water features (sorry, Ground Force), and design elements used in community outdoor spaces. I would love to have students be able to ACTUALLY implement a final design or design elements to a local space or even their own school grounds. Site-specificity will help students reign in some of their ideas while making them think about the purpose and audience for their decorative space. Other options could be rooftop gardens, backyard ponds (with fish?!), zoo exhibits, or maybe a student encounters a space that just feels 'empty'. The possibilities are pretty exciting!

Comparison and Discussion: What makes a garden a garden? Consider the work of the Society of Garden Designers, and Mien Ruys. Notice the many different TYPES of gardens (memorial, produce [farming/green living], zen, labyrinths) and discuss possible rationales for design choices. Do certain gardens create specific moods or messages? We will discuss different types of gardens and pair them with words and emotions to describe them.

Empowered Making: What cannot be included in a garden? Will students limit themselves to local plants? How can we explore this lesson through a Green Critical Lens (Keifer-Boyd and Maitland-Gholson, 2007)? "Rather than the current art market's concern about authenticity, ownership, and investment, a green critical approach to visual culture is sensitive to the concept of place, to how a work's surrounding influence viewing and understanding, and to the degree to which the viewer is invited to take a proactive, ecological stance. One artist I want students to consider is Mel Chin - Revival Field. Chin sought to repair the damage humans have done to a specific outdoor site by using certain types of plants to 'clean' the soil and surrounding earth. Chin's work directly impacted the environment in a positive way. Again, site-specificity will help students reign in some of their ideas while making them think about the purpose and audience for their decorative space.

Revival Field Blueprints, Mel Chin

Artists/Designers/Resources
Isamu Noguchi
Piet Oudolf
Society of Garden Designers
Mien Ruys
Mel Chin - Revival Field
Garden Visit - How to design a Garden

Gather
Students will be encouraged to keep a 'garden journal' in their sketchbooks. In this journal they will make note of local natural spaces, do quick sketches of gardens or spaces that inspire or interest them,   brainstorm ideas for plants and elements to include in final designs, and create pre-sketches. Keeping in-class notes during discussions and presentations will be helpful to the brainstorming process as well.

Draw
Quick sketches, on-site sketches, and a final drawing will be required for this unit. If applicable, visits will be made to local natural spaces and/or community gardens for sketching, discussion, and brainstorming. Drawing is an integral aspect of this lesson plan; students will learn about placement, measuring, different methods for garden designing, and how to create 'green prints' (aka blue prints).

Write and Record
As you begin to draw and plan your ideas may change.
Write: your inspirations, your favorite gardens/spaces, your research/findings, your green prints, and your steps to completion. Were you inspired by something you saw in class (an artist or a fellow student)? What is the rationale for your design?

High Line, Piet Oudolf

Moving Forward...
So here is where things get interesting.. I am playing with LOTS of different ways to expand upon final drawings. I am leaning towards having students create models and/or dioramas of their gardens. As per a suggestion in one of my textbooks one teacher had her 3rd graders create "dry gardens in aluminum pie plates". If the students are older I think I would go bigger and possibly have students work in groups to create LARGE models. I have done projects like this before in other classes and it would be fun to see what students came up with to suggest trees, shrubs, fountains, what-have-you... I might also have students create transparency drawings and encourage overlapping designs between each other's ideas. I AM GETTING MORE IDEAS. I should stop... but really. This is something I want to do with high school students for many reasons. And again, I think it would completely awesome to be able to design for an actual space either on campus or in the neighborhood! I dream big. Always.

... I just miss the GRASS, guys! I haven't seen pavement since October. It was 54 degrees outside today which is CRAZY for Marquette at this time of year. I think it's time for spring... Or maybe just time for a new houseplant!

Happy March :)

Ms. Kanak