AED 813 6: "Contemporary Art as Public Pedagogy Curricula- Implementation and Reflection"

I attempted to implement a piece of my unit into my actual classroom but was faced with the impossibility of it due to PSSA testing, a long spring break, and returning with deadlines to meet. My goal was to teach Lesson 1 as a segue for my eighth graders into a creative advertisement project as opposed to my unit of linocuts presented in my last blog. Here, the objective would still have students visually teaching and persuading with an advertising message/perspective relative to and idea instead of an object or product. We would explore visuals as promotional/pedagogical for teaching three beginning ideas: the significance of females throughout history with Judy Chicago’s “Dinner Party,” the continual struggle to be black in the USA with Dáreece Walker’s “Made in the USA,” and American values relating to immigrants and fear with Shepard Fairey’s "We the People Are Greater Than Fear." All pieces have an educational component and could be interpreted to advertise a particular concept- to take the viewer to see from a specific perspective. This lesson would teach students ways in which visual communication is possible with ideas instead of goods.

Lesson one will begin with adult viewers collaborating to discuss their interpretations in an “I see, think and wonder” format followed by a less formal discussion with questioning for my actual implementation. I would prefer if my small group of adult students who I will teach this to naturally engage in a dialogue amoungst themselves before having me intervene. As they view and respond to the series of works, we will sit in a circle facing one another. Afterwards, I will provide a short bit of additional information about the artist and their purpose and ask the following prompts:

-Analyze the use of the medium of cardboard and how it helps communicate the message and feel of “Made in the USA” by Dareece Walker.

-Think about the connotations a hijab has in American society; how does the overlaid pattern of the American flag in Shepard Fairey’s work remix some of these ideas and fears?

-Imagine being next to Judy Chicago’s “Dinner Party” installation; explain how you would participate with the large piece that encompasses 999 women’s contributions throughout history.

I conducted my lesson with two neighbor friends and my partner; they were most inspired by and interpretive of Shepard Fairey's work. My "students" observed the juxtaposition of the hijab (an item of hiding) and the bold color of red lipstick (a symbol of power and freedom). They also saw the flag on the hijab as a symbol of protection. We analyzed what the phrase "We the people" means even for Muslims and the idea that we should not fear difference. One student said this woman is another Lady Liberty. I appreciated that the "class" saw the value of teaching understanding of difference and how this piece achieves this. The participants were extremely engaged in discussing this piece- far more than anticipated. I believe this piece could be a catalyst for a plethora of other adjacent issues.

They really shied away from discussing Judy Chicago's work due to perceived sexual connotations. For a minute the repeated a "..... those are...?" There was confusion over the symbol of a dinner table as a woman's place to rule and the literal image of what were obviously women's privates on the plates. They questioned the intimacy of the work and who actually sits at the table- the woman or are they for other's enjoyment? The participation around this artwork was more uneasy and strained than anticipated. They were sure that students in a school environment would interpret the imagery and sculptural quality of the plates as sexual; this has me weary to ever introduce this specific work into a public school classroom. I would be interested in choosing another artist or work to share with students in my art classroom with a more direct teaching capacity without the connection to the "woman's core."

As race is a more stressed topic to discuss, I know my participants read hastily into Dareece Walker's work at first. They drew historical and societal connotations from the use of cheap and disposable cardboard, the tattoo as a barcode or factory stamp (showing he's not really anyone), the artist's submissive stance in the assumed face of authority, and the exposed/naked/vulnerable feel of his bare back. They further questioned textures that echoed scars from a whip (alluding to slavery). They asked if the USA still owns him? Is he arrested? Thinking back on it, I would have liked to question them more about their position of viewing and having this black man against the wall as a white viewer.

Reflecting onto the course of AED 813: Art as Public Pedagogy, I was most interested in the ideas of upstander art we examined in the first modules. I think the social-justice-seeking teacher I am is most drawn to this not only because we as educators want students to advocate for the better good and rights of themselves and others but also because of the challenging social and political climate that we a re currently living in. I think the future of public pedagogy is going to be forever expanding online and to foster this is of the upmost importance, especially because there is a lot of hate and ignorance concerning the differences among people- especially online. To be able to critically think and act (make visible) is the most essential social skill in the 21st century from my perspective. I further enjoyed the curricular resources that were shared throughout the course, particularly with Pedagogy of everyday objects.