ART LESSONS
►Register for painting and drawing lessons, public and private, for all ages.
►Statement of Philosophy for Teaching Art
►Sample Syllabus
SPRING 2012
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Piedmont Virginia Community College Workforce Services
Basic Drawing
Six Weeks
Tue - Feb. 7 - March 13
6:30 - 8:30 p.m.
Stultz Center for Business and Career Development
Ph. 434-961-5354
register www.pvcc.edu/wfs
NEW
COLOR THEROY
Six Weeks
Mon - Feb. 6 - March 12
6:30 - 8:30 p.m.
Stultz Center for Business and Career Development
Ph. 434-961-5354
register www.pvcc.edu/wfs
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The University of Virginia School of Continuing and Professional Studies
Basic Drawing
Eight Weeks
Wed – Feb. 8 – April 4
6:30-8:30 pm
(no class Mar. 7)
Zehmer Hall
Ph. 434-982-2779
register www.scps.virginia.edu
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PVCC Futures - Summer Career Camp
Summer Sessions for Young Learners
read more www.pvcc.edu/futures
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STATEMENT OF PHILOSOPHY FOR TEACHING ART
My teaching stems from a consideration of the past, present, and future, and unfurls by way of historic references, discussions on contemporary issues, and linking this information to inform a learner’s forward thinking. I encourage students to push, daily, on three fronts: research; application; and critique. In this statement of philosophy, I describe how I tie together research of the past, application of the present, and honest, constructive critique of one’s work for the sake of their future as an artist.
REFLECTING ON ART FROM THE PAST
For over 20 years, as a professional artist, I’ve witnessed and embraced constant change in industry. Practices in the way we design and produce art, implementation of technology, and the responsibility of those who make creative decisions, have evolved. Now, I advise that artists who will seek to research and understand tastes and trends, and nurture relationships with scholars and working professionals, will most likely succeed in this changing world. My own networking with various groups and guilds has kept me in the loop concerning important aesthetic, pedagogical, and technical considerations.
In my curriculum, learners are introduced to abundant art and design styles. Some contemporary references include samples from the Push-Pin studio to artists whose works appear in trade publications such as HOW, CA and Print. Historic references date back to the cave paintings at Altamira and Lascaux. To explain why the cave renderings look so natural, I cite the words of my high school art teacher, Anthony Waring, who informed me that “Back in those days, they didn’t have much else to worry about.” I believe that level of insight transcends the formal qualities of visual arts study, and is necessary for learners to see the bigger picture of why we make art.
My lessons emphasize an understanding of traditional tools. In these digital times, the ability to work with one’s hands and understand the usefulness of drafting instruments (bow compass and ellipses) is important. I have not seen many artists who can use Adobe Illustrator to create smooth Bezier curves without understanding first the basic algorithms of a French curve.
In light of historic references, we teach to understanding major movements. We ask: what caused them, and how do we weigh their significance today? In the context of reflecting on an artist's surroundings, I cite Pablo Picasso. First, we talk about his early work in the classical style. Then, we discuss how, after the attack on Guernica in 1937, Picasso gave the world some of his most poignant art. I do not seek to traumatize my students, rather, I want them to think deeply about their reasons for making art. Through this reference, learners validate the notion of producing work that reflects what is important to the artist and her or his community – locally as well as globally.
REFLECTING ON ART OF THE PRESENT
Within the breadth of our visual-language colloquia, I meet students where they are. I help each student find her or his own unique voice. This comes by way of giving the student options for exploration, such as a deep investigation of whatever topic — whatever aspect of their lives — is most important at the moment. I offer this to my students: If they want someone to take the time to look at their art, then much time must be taken in thought, in practice, and in critique to make the art worthwhile for all who experience it.
In life drawing sessions, I require students to eavesdrop. Chances are, when I am working with any student, I am addressing a consideration that another student has faced, or will face. In the former scenario, it helps for the student to re-hear the discussion. In the latter scenario, listening in on a conversation will give the student food for thought. I am energized when I am hands on , always sharing and restating information, and generating discussion.
I know I am off to a good start when I see learners become apt at something they did not know they could do beforehand. As I hear students express their enthusiasm and plans going forward, I know I have done my job, to which the following student evaluations attest. “The instructor was very considerate & good-natured. [He] sincerely wanted to help students draw better and I do appreciate his earnestness to assist in any way.” Another student enjoyed most the “Demos, class environment and interaction.”
Cultural awareness is high on my list of influences. For years, I drew and painted my family. Now that they are grown and have moved on, I seek inspiration in multi-cultural settings, where I study groups of people who are new to Western culture. In the service of integrating into the community, I am planning to produce a public access television series on painting. These ideas, I share with my students.
In this age of technology, it is important to instill in young learners, the benefits of traditional media. I like to keep technology in perspective. I do not regard it as an end, but rather a valid means to studying art. If learners want to know how to design a web page, I have them look at the compositions of Degas, Rembrandt, and others. Although, historic references are imperative for study and development, we do not want all the concerns of another’s past to completely overshadow the excitement and potential of our future.
GOING FORWARD
Ongoing learning is tantamount to growth. C. W. Hawthorne tells us that “a great painter is always a student.” Despite some artists’ tendency toward introversion, I encourage community-building efforts in my students, whether it is carpooling to the National Gallery in Washington D.C. (no amount of textbook study serves us better than seeing a work in the flesh) or attending a local painting co-op session where participants cover the model’s fee.
Leveraging off my experience and professional relationships, I feel compelled to talk with students about their expectations of the art industry. I discuss career paths and assist students in assembling their portfolios. As one option, a student may, between semesters or after graduation, seek employment as an artist in-house, where stress levels are lower than in fast-paced advertising agencies. I inform students that many in-house positions no longer offer as much creativity as in the past. Still, within these entry-level opportunities, the young artist can learn the trade and make critical decisions about subsequent paths to follow. After a time, the artist may be ready for the many challenges and rewards that come with working in an ad agency.
One of my favorite college teachers once said, “Your best work is always your next work” (Eldon Danhausen, Chicago, 1977.) With each new class I instruct, I instill new ideas; in others — ideas that will foster ongoing, self-initiated study for purposes of life-long learning. I do this by sharing everything I have learned over the decades as an artist, teacher, and student. For me, teaching brings not only rewards in seeing others accomplish creative and productive feats, it gives me a chance to utilize my own ideas in designing lessons.
SUMMARY
When we paint an apple, we learn much about an apple. But we learn far more about ourselves in terms of our focus, dedication and patience. We learn our limits and how to expand them. The more I teach, the more I learn how to teach more effectively. As I teach, I am rewarded again and again by the experiences I see taking place among my students.
I believe these words give teaching information as well as telling information. I believe the reader will know me in terms of how I practice art instruction and who I am as a person.
Mike Uriss – Charlottesville, Va, December 2010.
