you, a Korean-American girl, about

you, a Korean-American girl, about beauty?” I asked. We discussed above Figure 2. Jenny Park. Drawing from fashion magazine photograph.right Figure 3. Jenny Park. Stencil superimposed on drawing from life.
May 2012 / Art Education9how ideas of female beauty permeate our culture. Her artistic response was to create carefully crafted stencils based on ancient Greek statues, which she then spray-painted on top of her drawings (Figure 3). Her idea was to suggest how ideals get imposed upon how we see our embodied selves. Another response was to draw artifacts of contem-porary culture in and around her figure drawings (Figure 4), suggesting how our images of ourselves are interlaced with the objects that surround us. The essence of this teaching experience was a conversation, informed by a rich framework of tradi-tion, contemporary art, and popular visual culture. This example also illustrates how a student’s aesthetic interests might be valued and how art and artifacts can be given mean-ingful contexts within the lives of students.The evening figure-drawing sessions provided rich opportunities for the perfor-mance of teaching and personal conversa-tions. These unpredictable exchanges were the most important part of the teaching experience. The traditions of figure drawing, ideas about the body, and the possibilities of drawing, created meaningful contexts for these conversations, a construct with many connections to important ideas in the lives of students and in contemporary art. Sometimes I got excited, because it was exhilarating to be alive and have a body. The model had the magic and excitement of the human form, yet the drawings looked like stick people, straight up and down. To dramatize my feelings, I lay on the floor and cried, “Your drawings are killing me, it doesn’t matter if you spend a year and draw every vein and hair on that leg. It doesn’t matter if you don’t have the action.” A key to making the drama of teaching and the ensuing dialogue meaningful was the tension between the script of artistic conventions and provisions for these conventions to be disrupted by student ideas. Students were given both the structure of artistic languages and the freedom to perform and interpret these languages in very personal ways.The process of figure drawing was designed to cultivate a repertoire of thinking and artmaking strategies as a way to get at bigger ideas. Some drawings were saved. But most drawings were recycled, covered over, or reworked. They were a way to gain confi-dence and skill within a range of media and ideas. The drawings also created a context for conversations about what a drawing might be, for ideas about body and culture, and as a stage to gain experience with mark-making. Students agreed that the human figure was challenging. They felt like beginners who were unsure of their drawings and insecure about confronting the nude figure. They also felt free and quiet while drawing. I realized that it was the hospitable climate where their ideas and efforts were valued, not overly assessed and not overly constrained, that allowed them to feel free, even though we were working within defining traditions of figurative drawing.ConclusionThe practice of figure drawing was magical and beautiful in the way a skeleton is beautiful. It was about the ballet of drawing as an embodied act that included a heightened awareness of the physical act of drawing. We set out to engage with artistic conventions and gain an awareness and understanding of their power and purposes. I like to think about this curriculum as a sketch or an experiment that emerged from the collective interests of the teacher, the students, and the surrounding culture. It included big ideas, questions, discus-sions, and small steps that helped to build discipline, drawing skills, and a structure for

Kết quả (Việt) 1:

bạn, một cô gái Hàn Quốc-Mỹ, về vẻ đẹp?" Tôi yêu cầu. Chúng tôi đã thảo luận ở trên hình 2. Jenny Park. Vẽ từ thời trang tạp chí photograph.right hình 3. Jenny Park. Stencil đươc trên vẽ từ cuộc sống.May 2012 / Art Education9how ideas of female beauty permeate our culture. Her artistic response was to create carefully crafted stencils based on ancient Greek statues, which she then spray-painted on top of her drawings (Figure 3). Her idea was to suggest how ideals get imposed upon how we see our embodied selves. Another response was to draw artifacts of contem-porary culture in and around her figure drawings (Figure 4), suggesting how our images of ourselves are interlaced with the objects that surround us. The essence of this teaching experience was a conversation, informed by a rich framework of tradi-tion, contemporary art, and popular visual culture. This example also illustrates how a student’s aesthetic interests might be valued and how art and artifacts can be given mean-ingful contexts within the lives of students.The evening figure-drawing sessions provided rich opportunities for the perfor-mance of teaching and personal conversa-tions. These unpredictable exchanges were the most important part of the teaching experience. The traditions of figure drawing, ideas about the body, and the possibilities of drawing, created meaningful contexts for these conversations, a construct with many connections to important ideas in the lives of students and in contemporary art. Sometimes I got excited, because it was exhilarating to be alive and have a body. The model had the magic and excitement of the human form, yet the drawings looked like stick people, straight up and down. To dramatize my feelings, I lay on the floor and cried, “Your drawings are killing me, it doesn’t matter if you spend a year and draw every vein and hair on that leg. It doesn’t matter if you don’t have the action.” A key to making the drama of teaching and the ensuing dialogue meaningful was the tension between the script of artistic conventions and provisions for these conventions to be disrupted by student ideas. Students were given both the structure of artistic languages and the freedom to perform and interpret these languages in very personal ways.The process of figure drawing was designed to cultivate a repertoire of thinking and artmaking strategies as a way to get at bigger ideas. Some drawings were saved. But most drawings were recycled, covered over, or reworked. They were a way to gain confi-dence and skill within a range of media and ideas. The drawings also created a context for conversations about what a drawing might be, for ideas about body and culture, and as a stage to gain experience with mark-making. Students agreed that the human figure was challenging. They felt like beginners who were unsure of their drawings and insecure about confronting the nude figure. They also felt free and quiet while drawing. I realized that it was the hospitable climate where their ideas and efforts were valued, not overly assessed and not overly constrained, that allowed them to feel free, even though we were working within defining traditions of figurative drawing.ConclusionThe practice of figure drawing was magical and beautiful in the way a skeleton is beautiful. It was about the ballet of drawing as an embodied act that included a heightened awareness of the physical act of drawing. We set out to engage with artistic conventions and gain an awareness and understanding of their power and purposes. I like to think about this curriculum as a sketch or an experiment that emerged from the collective interests of the teacher, the students, and the surrounding culture. It included big ideas, questions, discus-sions, and small steps that helped to build discipline, drawing skills, and a structure for