# data[].attributes.headline
UNC Course Registration Class and Course Number  ART 513-615  CRN (25236)

# data[].attributes.subject
UNC Course Registration Class and Course Number  ART 513-615  CRN (25236)

# data[].attributes.attachment_link.readable_text
But, remember, these are digital representations. There are no actual artworks here.

So just what is this experience?

We asked University of Washington Professor Marek Wieczorek to take a look.

Marek Wieczorek, University of Washington: I was curious. I must say, as an art historian, I might have had a slight bias, you know, thinking, OK, I teach van Gogh in the classroom.

How is this immersive experience going to compete with what I do? I really enjoyed going, because what I saw was people who enjoyed themselves. And, ultimately, I think that's what any experience with art is about.

On the other hand, there were a lot of things where, as an art historian, I thought, OK, this is not right. Are we really getting the experience of Vincent van Gogh? If we look at Starry Night on the museum of modern art Web site and compare it to the video you see in the exhibition, it's like two different paintings.

# data[].attributes.attachment_link.title
Immersive Van Gogh exhibits paint a new way of experiencing art

# data[].attributes.attachment_link.description
Vincent van Gogh is the quintessential art-world phenomenon, both for his artistic creations and life story. But now, he's everywhere, in a new way: the center of a boom in immersive art experiences. Jeffrey Brown reports for our arts and culture series, CANVAS.

# data[].attributes.attachment_link.description
Tom Wujec presents some surprisingly deep research into the “marshmallow problem” -- a simple team-building exercise that involves dry spaghetti, one yard of tape and a marshmallow. Who can build the tallest tower with these ingredients? And why does a surprising group always beat the average?

# data[].attributes.attachment_link.readable_text
2018 Prizewinner and Students Land a Victory at First...

Harbor Freight Tools for Schools Student Ambassador Earns...

Education Trends to Inform our Work

Teachers Share How They Plan to Spend Prize Winnings

HIGH SCHOOL SKILLED TRADES TEACHERS AND THEIR PROGAMS...

Excellence Continued: Prizewinners Receive National...

# data[].attributes.attachment_link.title
Homepage - Harbor Freight Tools for Schools

# data[].attributes.attachment_link.description
2018 Prizewinner and Students Land a Victory at First... Harbor Freight Tools for Schools Student Ambassador Earns... Education Trends to Inform our Work Teachers Share How They Plan to Spend Prize Winnings HIGH SCHOOL SKILLED TRADES TEACHERS AND THEIR PROGAMS... Excellence Continued: Prizewinners Receive National...

# data[].attributes.attachment_link.title
Copy of CAEA 2018-The “5 min demo” Through Play

# data[].attributes.attachment_link.title
CANARY Corrugated Cardboard Scissors, Heavy Dudy Craft Scissors Japanese Stainless Steel Blade, Made in JAPAN, Blue (PS-6500H)

# data[].attributes.attachment_link.description
These are special scissors for cutting corrugated cardboard. Since the blade is heavy-duty of Japanese Stainless Steel and the large handle is easy to apply power, you can cut corrugated cardboard reliably.

# data[].attributes.attachment_link.title
CANARY Corrugated Cardboard Cutter Dan Chan, Safety Box Cutter Knife [Non-Stick Fluorine Coating Blade], Made in JAPAN, Yellow (DC-190F-1) (Bulk 3 pcs)

# data[].attributes.attachment_link.description
Length: 19cm Blade length: 7.8cm Fluorine coating processing. It is a cardboard saw that can be used easily. And packing tools, opening, it is useful to reduce the volume. I can cut without slipping even vinyl or PP bands for packing as well as cardboard Giza blade that produces a sharp edge with...

# data[].attributes.attachment_link.description
Share your videos with friends, family, and the world

# data[].attributes.headline
Practical Tools for building a more Inclusive TAB Community

# data[].attributes.subject
Practical Tools for building a more Inclusive TAB Community

# data[].attributes.attachment_link.description
Practical Tools For building a more inclusive TAB Community

# data[].attributes.headline
Questions for the TAB CO team? Contact us.

# data[].attributes.subject
Questions for the TAB CO team? Contact us.

# data[].attributes.body
Our email address:
tabcoloradoteachers@gmail.com

# data[].attributes.body
I can statements pulled from the Colorado Visual Art Standards’ Evidence Outcomes.  Currently, the Visual Art Standards Middle School Review Committee is proposing that grade levels are renamed from 6th, 7th, 8th to Middle School 1, 2, and 3. (MS1, MS2, MS3).  It’s my plan to look for and assess each student on the following I can statements.

# data[].attributes.attachment_link.title
Middle School I can statements from Standards

# data[].attributes.headline
Beginning TAB Nuts and Bolt Presentation

# data[].attributes.subject
Beginning TAB Nuts and Bolt Presentation

# data[].attributes.body
Check this out...We didn't get to everything in our time together. Remember it starts with one step.

# data[].attributes.body
These versions were used during my "Choose Your Own Journey" approach to remote learning but work in my TAB classroom in a face to face experience.

# data[].attributes.attachment_link.title
12_13_21 PD - Classroom management and engagement (1)

# data[].attributes.attachment_link.readable_text
Toan: Over the past 2+ years Moe and I have worked with the Learning and Engagement department team on analyzing our creative practices, and the process of making art. We first identified the steps involved in artmaking, which were not as straightforward as acquiring materials, sketching, etc., but involved much more intangible things like experimentation, failure, and reflection. There were many surprising moments throughout our (very fun) conversations. First, I had never really tried to break apart or analyze my process-it was something that was intuitive for me. Talking about it with Moe and the team at the museum helped me to realize that Moe and I engage in the many of the same intuitive steps of experimenting with new ideas, stepping away from a piece for a while, and gathering and meditating on inspiring materials. I loved talking about the process, and seeing the ways that Moe and I work differently and similarly.

Gram: The process for creating activities for the Creative Hub started with a wide variety of meetings. In early meetings, the Learning and Engagement staff asked Frankie and I a lot of questions about out creative process, how we generated work, dealt with failure, experimented, found inspiration, and how reflection showed up in our process. From there we used those notes to generate ideas or brainstorms for possibilities for activities. Conversations would spark new ideas, edits, and/or adjustments until finally, we were able to land on some great activities for patrons and families to participate in. After that we recorded the shred your expectations video, the audio for the reflection pods, had a photo shoot in our studios, and installed work in the glass case.

What did you learn/take away from collaborating with each other and DAM staff?

Gram: I definitely learned that I love and adore Frankie. We met during this process and I have become a big fan of them as a creative, but also as a person. I also really appreciate the DAM staff. It has been such a fun process working with them. They gave me a structure for examining my creative process and that has been super fun. I relearned myself as an artist and that is in many thanks to this crew.

Toan: I loved working on this project. It was so lovely to have the museum staff facilitating our reflection on our own practices. I learned a lot about how I work, what the important steps are while making, and I developed huge admiration for Moe. I love Moe's process, and talking with her about how she finds inspiration was inspiring for me. It's hard to not enjoy talking about the creative process. There's an element of mystery and magic to it, so working to develop activities that could foster that sense of creativity and magic in others was very gratifying. The DAM team had so many good ideas of how to translate something like failure-a hugely important part of my own (and Moe's it turns out) practice-into the simple idea of "shredding your expectations." They were able to put words and gestures to the core ideas of making.

How did creating the activities for the Creative Hub help you reflect on your own creative practice? What did you learn as artists? Has anything stuck with you after?

Toan: Breaking down my own creative practice into major and minor steps, and putting words to those steps was nourishing in a lot of ways. I am lucky to be able to spend a large amount of time creating, but I'd also lost sight of the magic that happens-the unexplainable small moments that span the translation of raw material to finished piece. I was thinking about physical steps: buying the fabric, making the pattern, cutting the material, piecing, stitching, turning, stuffing... but the years of trial and error that it took me to learn to make the correct pattern for a stuffed strawberry, or how to even start to think in 3-D shapes... I hadn't reflected on that wealth of knowledge I had been developing over the years. It was a gift to recognize the depth of my relationship with the materials I use, and the ways in which I am still learning. I don't know how often artists get to feel like "experts in their field", and working with the DAM on this project helped me to see my own expertise. I also have a renewed respect for the magic of making, and the process.

Gram: I was able to examine my intention for specific actions in the studio. It is easy to get into a habit of operating without really consulting with myself. I can just "go" and "do" very easily almost like tunnel vision. I get stuck in a loop. This process allowed me to allocate intentional time in the studio to think, reflect, reevaluate, and explore what occurs in my creative practice. Now that the Creative Hub is open, I get to be reminded of all I learned. When I look at my newer works, I can see how much I have evolved since our first meeting about this project in 2019. Many of my creative choices, while still fun and playful, have become so much more calculated. I love this for myself because, as a mostly abstract artist, it is important for me to make sure my work is accessible to people who are able to view it. I now have a better understanding of why I make the choices I make and have more trust in my approach to various projects.

You created an installation together in the Creative Hub-The Perfect Storm. Can you share a little bit about this piece, the process you two went through to create it, and what it was like working together?

Gram: Many of the people who will visit the Creative Hub will be introduced to my work for the first time. I wanted to create a piece that gave a brief snapshot to the history of my creative practice and a sprinkle of where I am now as an artist. Many of the materials in my installation have been collected over the last 5-10 years. For people who are familiar with my work or my career, I wanted them to be reminded of how much they have seen me grow since their first encounter with my work. Frankie is always the easiest person to work with. We are both very aligned in our color choices, material use, subject matter, communication style, and general approach to the creative process. They are organized and consistent, which is 100% my love language. We work very well together with very little effort.

Toan: I could not have wished to work with any artist more wonderful and inspiring than Moe on this project. We got to know each other much more deeply while working with the DAM. We both work with themes of community and connection, and we both use similar color pallets. We have now collaborated a few times, and working with Moe feels natural and dynamic. She and I make similar aesthetic choices, but she will ask questions or bring up ideas that I never would have thought of. Making The Perfect Storm was very easy and our work flows seamlessly together. We are two creative peas in a pod and I will always look forward to working with Moe.

# data[].attributes.attachment_link.title
Moe Gram & Frankie Toan's Collaboration on the Creative Hub

# data[].attributes.attachment_link.description
Toan: Over the past 2+ years Moe and I have worked with the Learning and Engagement department team on analyzing our creative practices, and the process of making art. We first identified the steps involved in artmaking, which were not as straightforward as acquiring materials, sketching, etc., but involved much more intangible things like experimentation, failure, and reflection.

# data[].attributes.attachment_link.readable_text
Membership unlocks access to more than ever before! As a member you'll enjoy daily free general admission, discounts at the Shop and on ticketed exhibitions, guest passes to share with family and friends, a subscription to our bimonthly member magazine, and so much more.

Become a member today and know that your support helps your Denver Art Museum preserve and share our collection for all to enjoy.

# data[].attributes.attachment_link.description
Membership unlocks access to more than ever before! As a member you'll enjoy daily free general admission, discounts at the Shop and on ticketed exhibitions, guest passes to share with family and friends, a subscription to our bimonthly member magazine, and so much more.

# data[].attributes.headline
Trauma Informed Teaching Presentation, Slideshow, & Resources

# data[].attributes.subject
Trauma Informed Teaching Presentation, Slideshow, & Resources

# data[].attributes.body
https://uwyo.zoom.us/rec/play/wRMyaimLu9ShvIzHQZ0WDhy5qaMmpmv29pv_gdZigEqDaZhJZOah1TQcPVUyc6M6DE7BTeqjlFTsdKYs.bLGtJ7vusR4ykrhD - Here is the Zoom Recording Link

Link to folder with research and articles used with this presentation - https://drive.google.com/drive/folders/1CWSXjZBrVqrJGJORx3zPUhCCehPW-02K?usp=sharing

# data[].attributes.body
This is how my students and I make connections between the standards, studio habits, creative and design thinking. This was a collaboration between myself and 7th/8th-grade design students. We continue to have conversations, this year students are contemplating switching the placement of standards 2 and 4. -

# data[].attributes.headline
Teaching Contemporary Art With Young People

# data[].attributes.subject
Teaching Contemporary Art With Young People

# data[].attributes.attachment_link.readable_text
"This book explores the potential of art in education, beginning at the center: art and artists. Artists reinvent art. Contemporary art can transform art education, offering a broad and diverse approach to creative expression - and freeing art education from the conventional shackles that can stifle it."

-Julia Marshall

Contemporary Art

How do we teach with contemporary art when it's so slippery, ever-changing and elastic that the time-honored elements of art skill and knowledge no longer apply? Teaching Contemporary Art with Young People and this website provide some windows into contemporary art that can help teachers and students enter into contemporary art to explore all its richness and power.

We begin with the question: What is contemporary art? Since current art is so diverse and flexible, the best we can do is formulate some hallmarks. Here are eight essential characteristics of current art:

​

Our second question is: Why is contemporary art important and useful in the classroom? Here are some answers:

Our third question is: How do we bring contemporary art into the classroom?

This question is at the core of this website. We hope the structures, ideas and vocabulary articulated here will help teachers as they venture into and make sense of this vast and valuable resource. This website is an ongoing extension of our book Teaching Contemporary Art with Young People, published by Teachers College Press, October 2021. Over time, we will add more artists, themes, ideas and strategies to the site. We welcome your feedback and contributions.

Connie Stewart
Anne Thulson
Julia Marshall

# data[].attributes.attachment_link.title
HOME | Teaching Contemporary Art With Young People

# data[].attributes.attachment_link.description
Resources for teaching K-12 students about contemporary art and artists.

# data[].attributes.headline
Mighty Networks as mentioned by Jill in her keynote.

# data[].attributes.subject
Mighty Networks as mentioned by Jill in her keynote.

# data[].attributes.attachment_link.readable_text
We bring together art educators to build a safe, welcoming community so that we can mentor, share resources, learn from one another to support the child as the artist.

Mission & Vision

TAB is a community of educator mentors advancing the creative confidence of all learners through choice and student agency.

A future led by creative change-makers who improve the lives of all.

Group Norms

As our community continues to grow beyond individual classrooms and into a worldwide organization, encouraging these norms will help TAB practitioners to uphold our values of inclusive collaboration in all settings. It is the vision of TAB's Board of Directors that these group norms will guide conversations, hold members accountable to high standards of inclusivity, and center our work on equitably supporting students, teachers, and families.

# data[].attributes.attachment_link.description
TAB is a community of educator mentors advancing the creative confidence of all learners through choice and student agency. A future led by creative change-makers who improve the lives of all. As our community continues to grow beyond individual classrooms and into a worldwide organization, encouraging these norms will help TAB practitioners to uphold our values of inclusive collaboration in all settings.

# data[].attributes.body
Jill's Keynote Address

# data[].attributes.body
UNC Credit Info

Course Info
ART 513-615

CRN (25236)

# data[].attributes.attachment_link.description
Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

# data[].attributes.headline
Studio Thinking from the Start book and appendix 

# data[].attributes.subject
Studio Thinking from the Start book and appendix 

# data[].attributes.body
https://www.tcpress.com/engaging-learners-through-artmaking-9780807758915

# data[].attributes.attachment_link.readable_text
The authors who introduced the concepts of Teaching for Artistic Behavior (TAB) and choice-based art education have completely revised and updated their original, groundbreaking bestseller that was designed to facilitate independent learning and support student choices in subject matter and media.

More than ever before, teachers are held accountable for student growth and this new edition offers updated recommendations for assessments at multiple levels, the latest strategies and structures for effective instruction, and new resources and helpful tips that provide multiple perspectives and entry points for readers.

The Second Edition of Engaging Learners Through Artmaking will support those who are new to choice-based authentic art education, as well as experienced teachers looking to go deeper with this curriculum. This dynamic, user-friendly resource includes sample lesson plans and demonstrations, assessment criteria, curricular mapping, room planning, photos of classroom set-ups, media exploration, and many other concrete and open-ended strategies for implementing TAB in kindergarten-grade 8.
Book Features:

Introduces artistic behaviors that sustain engagement, such as problem finding, innovation, play, representation, collaboration, and more.

Provides instructional modes for differentiation, including whole-group, small-group, individual, and peer coaching.

Offers management strategies for choice-based learning environments, structuring time, design of studio centers, and exhibition.

Illustrates shifts in control from teacher-directed to learner-directed, examining the concept of quality in children's artwork.

Highlights artist statements by children identifying personal relevancy, discovery learning, and reflection.

# data[].attributes.attachment_link.description
The authors who introduced the concepts of Teaching for Artistic Behavior (TAB) and choice-based art education have completely revised and updated their original, groundbreaking bestseller that was designed to facilitate independent learning and support student choices in subject matter and media.

# data[].attributes.body
Middle school Artist exploration- quick artist research that is used to help expose student to various artists of their choice or by a studio list of artist that work within a media-