Fall 2014

CollageA Magazine for Colorado’s Art Educators

REGISTRATION OPENS : September 15, 2014ENTRIES DUE : January 9-10, 2015

EXHIBITION AT THE HISTORY COLORADO CENTERFebruary 14-March 6, 2015

SHOWCASE OF SELECTED WORKS ATTHE DENVER ART MUSEUM

March 12-April 2, 2015

Call For Entries

The Scholastic Art & Writing Awards is the longest-running, most prestigious recognition program for creative teens in the U.S. and the nation’s largest source of scholarships for creative young artists.

www.artandwriting.org coloradoartawards@gmail.com

Call For Ent

T THE HISEXHIBITION AAT

: January 9-10, 2015ENTRIES DUETION OPENREGISTRAAT

triiesr Ent

Y COLORADO CENTERT THE HISTOR

: January 9-10, 2015 : September 15, 2014TION OPENS

ries : September 15, 2014

.artandwriting.org coloradoartawards@gmail.comwww

s largest source of scholarships for creative young artists. the nation’prestigious recognition program for creative teens in the U.S. and

wThe Scholastic Art & Writing AAw

March 12-April 2, 2015THE DENVER AR

SHOWCASE OF SELECTED WORKS AFebruary 14-March 6, 2015

.artandwriting.org coloradoartawards@gmail.com

s largest source of scholarships for creative young artists. prestigious recognition program for creative teens in the U.S. and

wards is the longest-running, most

March 12-April 2, 2015T MUSEUM THE DENVER AR

TSELECTED WORKS AATFebruary 14-March 6, 2015

The Scholastic Art Awards Colorado Region

would like to congratulate

Sharon RouseRecipient of the 2014 Minoru Yasui Community Volunteer Award

A Program of the Denver Foundation

CAEA FallConference

Oct 9-12, 2014Beaver Run Resort

in Breckenridge

www.caeaco.org

Where Art Comes From

COLLAGE is published by the Colorado Art Education Association Elizabeth Licence – President Deborah Walden Ossi – Editor Rosemary Reinhart & Elisabeth Reinhart – Copy Editors Todd & Elizabeth Licence – Layout Design & Production Please submit all materials to: COLLAGE Editor: Deborah Walden Ossi, caeacollage@gmail.com

COLLAGE is published tri-annually. Submission deadlines for COLLAGE are: Spring Issue - February 1; Winter Issue - October 1; Fall Issue - July 1. Email allsubmissions to caeacollage@gmail.com. Contributions of articles, photos, and artwork are encouraged. Submissions of text should be emailed as Worddocuments. Accompanying photographs of student work or students at work is encouraged. Do not include images within a Word document. Imagesshould be in .jpg format and sent as separate attachments. Refer to the attachment and the file name in the body of the e-mail. Whenever possible, includecaptions and, in the case of photos of original student or teacher artwork, include names of artists. Submitted items may be edited for clarity, length, andformat. Opinions expressed in the articles are those of the authors and publication does not imply endorsement. Lesson plan submissions must include les-son objectives, appropriate assessments, procedures, standards applications, and materials.

In This Issue

In Every Issue4 President’s Message by Elizabeth Mahler Licence6 From the Editor by Deborah Walden Ossi

74 CAEA Executive Board and Regional Division Representatives Council Directory74 CAEA Task Force Chairs and Publications Directory75 Regional Representatives

8 Adventures in Urban Art 2014 by Barth Quenzer 11 RedLine’s Educational Partnership Initative for the Creative (EPIC) Arts

Program by Robin Gallite 14 Inspiration for Educators: Dale Chihuly at the Denver Botanic Gardens by Deborah Walden Ossi

16 Postscript by Charles Parson 20 Who Is Ellen Dissanayake? (And Why is She a Keynote Speaker at the CAEA Fall Conference?) by Anne Thulson 24 The Art of Reading: Book Lists for Art Classrooms by Abi Paytoe Gbayee 27 Colorado Scholastics Achievements 31 All that Glitters at the Denver Art Museum by Deborah Walden Ossi 34 Radical Art and Teaching by Mary K. McDonald 38 Service Learning Through Art by Amy Marsh

45 Sharing Your Work by Deborah Walden Ossi50 CAEA Award Recipients 201462 Keynote Speakers: Fall Conference 201466 Fall Conference 2014 Master Class Artist Biographies70 Fall Conference Day at a Glance

Cover art by Esha Wicks. Esha created this work in Jill Day's art class atWilder Elementary. This talented young artist was only in the secondgrade at the time. You can see the full work and find a link to Day'seducation blog on page 45

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Pres ident ’s Message

alling All Art Educators:School is Officially Back in Session! I hope all of you have had a wonderfulsummer; mine was certainly busy and itfelt like it was almost over before it evenstarted because I had so much planned al-ready. As your President I spent the sum-mer involved in many aspects of planningand leadership of the CAEA.

In June, several CAEA Council membersand I got together for our annual Fall Con-ference Scheduling meeting. This is wherethe majority of the work happens whenscheduling all of the presenters, masterclasses, keynote speakers, conferenceevents and such so that the fall conferenceattendees can have the best experiencepossible. It also helps to start early so thatpresenters and others can be notified assoon as possible if their proposal has beenaccepted and when/where it will be. Afterthe schedule is set, many of the otherareas for Fall Conference can get rolling.Thanks to Vanessa Hayes-Quintana, SophiaKing, Michael Cellan, Ben Quinn and TaraPappas for all that you did that day.

Also in June, the Executive Council as wellas Michael Cellan and Sophia King all metin Breckenridge for our 2nd annual Sum-mer Planning Retreat. Beaver Run Resortwas so very generous in providing lodgingfor all of us to meet for CAEA strategic

planning as well as our meeting with theBeaver Run staff for Fall Conference plan-ning. Many Executive Council membersalso met with Jenn Cram, Manager of theBreckenridge Arts District and Public ArtProgram. We have built an exciting newrelationship with the Town of Brecken-ridge and all of our Fall Conference MasterClasses will be held at their newly remod-eled Art District Campus located in newand rehabilitated historical structures justoff of downtown. Our Thursday nightkeynote speaker Shannon Galpin will alsobe speaking at the Riverwalk PerformingArts Center so that the general public canpurchase tickets to see her talk as well asour attendees. Both the Town of Brecken-ridge and the Executive Council are ex-cited about this new partnership.

In July, I was happy to help Michael Cellancurate, hang and host the 25th AnnualCAEA Art Exhibition at Kanon Collective, acooperative gallery located in the heart ofthe Art District on Santa Fe in Denver. Wehad 34 members participate in thisprocess-oriented exhibition of work thatshowcased to the Denver community thatart educators are not only great teachersbut wonderful professional artists as well.The exhibition was very well received andwill continue to move throughout thestate of Colorado (including being atBreckenridge during our Fall Conference)

to educate and advocate for the importance and value of art educators.Special thanks to Justine Sawyer, Vanessa Hayes-Quintana and AngieWillsea for all of the help you provided in putting up and taking downthe show.Also in July, Robin Wolfe (CAEA Past President) and I traveled to SantaFe, New Mexico to attend the NAEA Summer Leadership Conference.Every year the state leaders of each region of the NAEA get together fora summer conference to work on regional planning and business in re-lation to the NAEA. This year was different in that all of the state leadersas well as other leaders in art education met for a summer conferencespecifically focusing on art educators as leaders in the field of education.It was very informative and helpful for me as your newly elected Presi-dent to gain information and knowledge about different leadershipstyles, how to best utilize strengths in others, how to effectively guide astate-wide nonprofit organization such as ourselves. The speakers were

inspiring and informative, espe-cially Dr. William Baker, directorthe Bernard L. Schwartz Centerfor Media, Education, and PublicPolicy at Fordham University,where he is also Journalist-in-Residence and a professor in theGraduate School of Education,distinguished professor at IESEBusiness School (ranked #1

globally by The Economist) and is President Emeritus of WNET, New York’spublic media station and the premiere source of PBS programs nation-wide. I have included photos of drawing that were done real time duringDr. Baker’s talk that illustrate some of the points he brought up aboutleadership in art education. It was amazing. The state leaders of the Pa-cific Region also got together for our regular meetings and I have foundthat being able to talk to leaders from other states about their organiza-tions helps immensely in brainstorming new ideas for success as well assharing the ups and downs of leading such important organizations. Aseducators, we are always learning ourselves.

All of a sudden it was August and I ran my first Representative CouncilMeeting as President on August 23rd. The majority of the meeting wastalking about Fall Conference and getting all areas planning and execut-ing the tasks needed to have a superb Fall Conference. Special thanksgoes to Linda Schmale for hosting the August meeting at Gateway HighSchool. I thought it was a great meeting to kick of the start of the 2014-2015 school year and I thank everyone who attended and participated.I feel like we have an excellent team and can’t wait to see what weaccomplish!

That was a mouthful. If you are still reading this address, thank you fortaking the time; I know it is incredibly valuable. :)

These dots represent all of the conferenceattendees and what leadership style theypossess. This dot is me.

Pacific Region state leaders posing for a group photo

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by Deborah Walden Ossi

From The Editor

e l l o N e w F r i e n d s ,

I’m excited to meet you all through this

issue of Collage. I contacted CAEA last year

about volunteer opportunities, and I feel

grateful to have found such a meaningful

way to serve the education community in

my new home state. (I moved to the Den-

ver area in 2013 from Nashville, TN.)

I’ve been an artist my whole life, and my

passion for art has always directed my

path. I studied art and art history in col-

lege, where I also was an English major. I

received my MA in art history from Vander-

bilt University, and then spent eight years

working in the arts in Nashville. I worked

for a year on a Kress Foundation grant

archiving and researching a collection of

rare photographs at Vanderbilt. I also

taught art history and design history at

Belmont University. Somewhere along the

way, I began writing about art for local

magazines and newspapers (because of

the music industry, Nashville has a surpris-

ingly large arts scene).

My experiences as a writer introduced me

to gallery owners and local artists, and I re-

alized that many of the students whom I

taught knew more about Michelangelo or

Picasso than they did about the artists in

their own city. This led me to start an arts

education section in a local magazine. Ed-

iting this monthly feature allowed me to

meet teachers and principals and to work

with education nonprofits and govern-

ment officials.

So, when I moved to Denver last year, I

knew I wanted to continue that type of

outreach, which is why I’m truly excited to

be a part of your organization. My goal is

to inspire new conversations between

teachers, students, artists, galleries, non-

profits, local and state governments, and

ultimately our communities at large.

I recently graduated from the Colorado

Business Committee for the Arts’ Leader-

ship Arts Program where I met represen-

tatives from numerous Colorado

nonprofits. They were all so excited to

learn about CAEA and the good work that

you do. I look forward to introducing you

to some of these groups in future issues.

If you have ideas for new conversations

about art that need to take place in our

HMy experiences

as a writer

introduced me to

gallery owners

and local artists,

and I realized

that many of the

students whom I

taught knew more

about Michelan-

gelo or Picasso

than they did

about the artists

in their own city.

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schools and in our cities, please share them with me—or better yet, submit them to Collage! The deadline for the Winter

issue is November 1, 2014. I would love to hear your voices! I’m also working on a YA fiction book with art themes, so if you’re

a fellow writer and want to talk shop/get inspired/complain, send me an email!

Thanks for this wonderful opportunity,

-D eborah Walden Oss i

Emai l : D eborah@deborahoss i . com

My goal is to inspire new conversations between

teachers, students, artists, galleries, nonprofits,

local and state governments, and ultimately our

communities at large.

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The art of revision

Editorial Pathways, LLC•Copyediting •Proofreading •Line Editing

www.editorialpathways.com

Helping make your writing shine

hat do you do with an idea?

If you’ve read Kobi Yamada’s illustrated children’s book (What Do You Do with an Idea?), you’ll know thatyou give your idea attention, and that you care for it, play with it, and share it with others. Do this and then oneday, your idea goes from “being here to being everywhere....”

This past year, I have stopped referring to the art room at Brown Elementary as a classroom…it is nowproperly and enduringly referred to as a learning laboratory, a special environment where ideas are nurtured.

One idea at Brown has been in incubation since 2007. This idea grows every year and fills thousands ofsquare feet. The idea has been entertained by hundreds of young artists, a handful of professional artists, andhas reclaimed our school walls from vandalism.

Whenever I hear of another teacher taking on an urban art project, I empathetically feel the fearless-ness and enthusiasm, a raw excitement that only public art brings. Murals are conceptually and technically chal-lenging to create and, because they are public, everyone is invited to be a critic. Public art instigates a differentkind of community dialogue that includes a variety of stakeholders. From the passersby to the property ownersto the neighbors to the artists, it’s a one-of-a-kind journey…perhaps one akin to an urban art wonderland.

My journey down the rabbit hole of urban art began when I visited West High School in 2007. I foundan inspiring teacher, Maureen Hearty, running an after-school mural program for young graffiti artists. Realizingtheir craving to paint, this teacher empowered these young high school artists with three tools: time, materials,and a wall. I walked away from that short introduction to mural making with a new mission…to start a publicart program at Brown.

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Adventures in Urban Art 2014

By Barth QuenzerBrown Elementary

Denver Public Schools

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Many years later, I recognize the importance of thatencounter at West High School. It planted a seed in my teach-ing and learning, but it also brought multiple partnershipsthat have woven a narrative that still brings me bewildermentand awe every time I tell the story. It is an exemplary ideaworth sharing again and again.

The big aha came in 2012 when artist Ratha Sok, ayoung, self-proclaimed social-entrepreneur, spoke during apanel discussion on how he “made it in America.” Ratha spokeof perseverance and the pursuit of passion. He described howhis career in art and business started at West High School withthe student-organized mural club. I immediately realized thatthis young man was one of the visionary students whoseschool murals planted an idea in me many years ago. Itseemed fated for Ratha to work with the students at Brownduring a city-sponsored Urban Arts Fund project.

Soon afterwards, a new partnership was promptedwith the very talented Bimmer Torres, another West HighSchool alumni and mural clubber. Bimmer’s contribution dur-ing this year’s Urban Arts Fund at Brown has illuminated ouroldest walls with renewed spirit, a beautifully woven tapestryof colors that weave in and out of our old murals and newwalls.

The murals at Brown are more than paintings; theyare metaphors for personified ideas. The collaboration withRatha and Bimmer is a synchronicity that could not have beenplanned. It happened because we gave our ideas attentionand because we shared our ideas with others. It is a full-circlestory, but certainly not the end of our story.

So, what do you do with an idea? Take author KobiYamada’s advice, “You change the world.”

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EPIC Arts Spring 2014 Exhibition opening with 350 attendees.

n response to the lack of emphasis on arts education in schools, many nonprofits are join-ing in the uphill battle to create greater access by providing support to educators and opportunities for students. Walk intoany school in the Denver Metro area and you will find that the school framework is no longer just between the parents, stu-dents, and school staff, but a responsibility that reaches beyond the traditional group into the community. To educate ouryouth is a community effort and requires determined focus from all.

Located in Five Points, RedLine is a 501(c)(3) nonprofit and an innovative, mixed-use arts space that combines an artist res-idency program with project-based engagement in the arts. RedLine’s vision fosters an environment where youth education,community, and artists co-exist in collaboration. Our core value lies in the transformative power of art and the ability arthas to instigate change. As a former math and art teacher and currently the Director of Education at RedLine, I believe art isin a unique position to begin necessary conversations and educate the public. Traditionally, art institutions create a cycle ofexclusiveness and reach only a small group within the community. RedLine was envisioned by an artist and is about accessfor all, a philosophy that develops investment and high engagement, both on the individual and community level.

The “magic” of RedLine is having 300 attendees from students to families, artists and community members talking about

art and social justice issues at an EPIC Arts exhibition opening. As our website states, “RedLine’s Educational Partnership Ini-

tiative for the Creative (EPIC) Arts program provides a platform for RedLine Resident Artists to work in collaboration with

educators from Denver area K-12 schools....” EPIC Arts

gives students a greater voice through the implemen-

tation of “an experiential curriculum that creates a

body of artwork through a lens of contemporary social

justice....The art-making process and resulting artwork

becomes a medium through which young people can

hone their critical thinking, communication and col-

laboration skills, and express their unique perspective

and ideas about today’s world.

http://redlineart.org/education/epic-arts.html

RedLine’s Educational Partnership Initiative for theCreative (EPIC) Arts Program

By Robin GalliteI

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Students examine social justice issues such as bullying, gender roles, immigration, depression, homelessness, climatechange, neighborhood violence, school rules, the economy, class, race, and teen pregnancy. Exploring difficult topicsthrough art does not completely resolve an issue, but it does provide a way to have a conversation about it and can connectus and shift our thinking. For example, we know that art won’t change the fact that 6 out of 20 students in a particularhigh school in Denver are pregnant or have a child already. Their lives are forever altered and their path onward is an ex-tremely challenging one. However, through art, students can discuss and share the issue, empowering themselves andproviding a form of support for others. Through EPIC Arts, students have a unique art experience that can fundamentallyshift their perspectives of themselves from passive receivers of knowledge to active participants in their education andleaders of their world.

EPIC Arts has engaged over 1,300 students and 20 schools and educators over the past four years. The numbers are great,but it is about the quality of the experience for the students, educators, and artists.

Program Highlights

• Experiential learning model to create greater student voice through art.• Exploration of social justice issues in students’ lives and the world around them.• New way of teaching and creating art for educators, artists, and students.

“We have a huge role in this world and have (the power) to positively impact these issues.” – EPIC Arts Middle School Student

“Students were debating what art is, refining their own definition of who anartist is, and engaging in discussion around the role of public art. I found thatstudents were leading conversations around the power of art, and pulling otherstudents in. My role as teacher shifted throughout the project to give studentsownership of the dialogue.”-EPIC Arts Art Teacher

“Working with young children completely opened up my perspective as anartist. Translating my own work to them was eye-opening, and learningstrategies to get them to be creative was so beneficial! My experience hasmade me look at my work through a different set of eyes—five-year-old eyes!It's helped me remember that art making is supposed to be fun and howimportant playful interaction can be.” –EPIC Arts Artist

“It’s always so valuable to check in with young minds and to be reminded thatthe range of creative possibilities is so wide…how limitless the possibilities are.” –EPIC Arts Artist

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“How to be a Superhero in 23 Days” in response to SOARCharter School kindergarteners’ concerns about bullying.

An installation piece by 11th grade students at Bruce Ran-dolph School in relation to barriers that block the happinesswe all seek to attain.

Performance piece by 7/8th grade students at Odyssey School inresponse to the Palestinian and Israeli conflict.

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Inspiration for Educators: Dale Chihuly at the Denver Botanic Gardens

By Deborah Walden Ossi

Dale Chihuly’s brilliant, colorful glass sculptures have made quite an impact on the Mile High City. Visitors to the Denver BotanicGardens have enjoyed them since their installation over the summer. If you haven’t planned your visit yet, time is running out. Theshow ends on November 30, 2014. Claudia Kiesenhofer, Children’s Program Manager at the Denver Botanic Gardens, has some tips forincorporating a visit to the Gardens into your art classes.

Assignments for StudentsThe many hues and textures of flowers in theGardens are the perfect inspiration for youngartists, but the addition of Chihuly’s sculpturesmakes an art class visit even more adventurous.Kiesenhofer says that the glass sculptures areideal subjects for photography students. She alsohas a great tip for drawing teachers who bringtheir students to the Gardens. “Ask them how thesculpture looks in the particular weather condi-tions of the day that they are there. Get themthinking about the placement of art. One idea isto sketch one of the glass sculptures and thendraw a different setting from another part of theGardens around it.” Since Chihuly placed thesculptures in their specific locations, this helpsstudents get a better grasp on the way that artinteracts with its surroundings.

General advice for art students of almost any age can make a visit more engagingand educational. “One thing that is very interesting is that the art is in an outdoorsetting, so look at patterns. Ask students to focus on why they think that Dale Chihulywanted to have this exhibit in the Gardens. Look at color schemes, complementarycolors, analogous colors, and different perspectives.” Kiesenhofer also recommendsthat students of all ages watch the Chihuly video in the lobby to learn more aboutthe artist and his work.

For elementary artists, Kiesenhofer suggests getting interactive. “Ask them to tell youthe story of the sculpture. What does the sculpture tell you? What kind of sculptureis it? How did it get here? Can you put your body in the shape of this sculpture (even

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as a group)? Get children to look at them from different an-gles or to look at them upside down.” You can also ask stu-dents how they think the sculptures are put together. Youngartists might also enjoy giving individual sculptures a newname.

Planning Your VisitKiesenhofer recommends visiting the Gardens’ website(www.botanicgardens.org) to find out which Chihuly-relatedprograms for schools will be available this fall. Any school visitto the Gardens (self-guided or guided) needs to be sched-uled through the Denver Botanic Gardens registrar at leastthree weeks in advance. Registration for the school year isnow open.

Elementary students can take advantage of the Gardens’Discovery Backpacks program. These backpacks come withactivities for youngsters in small groups. Teachers should also check out Plant Discovery Days at the Gardens. The Gardens will be filled withactivity stations that help kids learn about plants and engage. Some schools may want to make use of the Botanic Gardens’ Cultivation CruiserOutreach, which brings the Botanic Gardens to your school. Although this tool is geared toward science classes, art teachers can probablyget creative with ways to incorporate this program into their classrooms.

Contact the Denver Botanic Gardens at registrar@botanicgardens.org or by phone at 720-865-3580 to schedule a visit.

his past spring I had the opportunity to be involved for eight days in the installation of 28 exteriorsculptures on the grounds of the new sculpture lawn at the Arvada Center for the Arts. Curated by one of my artist-sons, CollinParson, and the assistant curator, Kristen Bueb, it became a show that grew out of an idea and intention…to then be put into actualform. It had a consistent visual language, early on, as specific works were selected and/or developed for the group placement. Butit also became an exhibit of individuals’ diverse ideas, consistently conceived and placed throughout the acreage in front of thislong-existing art exhibition reservoir.

The process of actual installation was almost magical. A blend, a synergy, developed as the days progressed and more and moreworks appeared, almost growing out of the wild grasses.

It was obvious that within this grouping, an ethos existed. All were practicing artists. It was a curatorial fact that all participatingknew how to put their concepts into form. It also became very clear during the eight rigorous days of various installations thateach artist also knew how to work within the realm of budget, time, equipment, tools, and weather conditions to consummatetheir vision of each work in its installed form. In this grouping of established creators there could subtly be seen three age groupings,25-45 year olds, 45-70 year olds, and one wonderful emeritus 83-year-old. Some had taught, some had been students at one timeor another of others in the exhibit, and some still teach (as I do).

The learning and teaching by all, from hands-on experience, continued during this time.This was enhanced with the excitement of installation that a group exhibition can promoteif everyone is on the same wave length.

They each knew their allottedtime to arrive and utilize thecranes and the provided equip-ment, as well as what adapta-tions were individually neededto transport their work to thesite in a reasonable manner.(Friendships and vehicles arealways pushed to the limit atthese junctures.) Most showedup much earlier than the as-signed time and stayed late,sharing with one another thesense of shared creation. Whatthe final works and the overall

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By Charles Parson

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The process of actual installation

was almost magical. A blend, a

synergy, developed as the days

progressed and more and more

works appeared, almost growing

out of the wild grasses.

Postscript

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show was to be revealed itself quickly in that week-long adventure. As realitykicked in, in the particular way that larger-scale sculptures can sometimesdo, the work presented challenges. Traditions and innovations were all con-sidered and valued. Distinct personalities in methods and end result wereapparent.

The dialogue about what wasneeded versus our original projec-tions, variations, and the oft queried,“What do you think?” filled the air.All three age groups respected oneanother’s approaches, but whenquestioned, the past experiences,stories of catastrophes (and/or suc-cesses) were balanced with new ap-proaches and ideas, giving us realoptions. New technologies, as well as more effective equipment, anddifferent perspectives were interlaced with older methods.

Merging from the singular studio into the group setting always presentsthis weaving of hands-on solutions as only the actual act of art installingprovides. Then the joy of sharing emerges with each distinct work, whenthe work is finally physically up. Then the art takes over….The quiet, calmor verbose excitement of seeing it completed is shared in a group of com-patriots who know and celebrate with the artists.

•••

After presenting one of the keynote talks and a workshop at the Colorado Art Education Association’s Conference last fall, I wasquite surprised by how many teacher/artists individually approached me with their responses. There seemed to be a consistentsense of concern imbedded in these responses. To put it in a nutshell, two thrusts appeared: It seems to be becoming harder andharder to make one’s own artwork. And work based directly in the classroom isbeing hindered by more and more reports, institutional minutia and academicadministrative oversight of one’s program. Teaching by DOING, by being a prac-ticing artist, seemed a remote reality in these conversations. As I spoke with severalteachers over the next couple of months (including at a recent summertime ele-mentary school party), it seemed “talking” and “planning” about art and educationis becoming the thrust. Less “making” is occurring. This isn’t the influence of digitalsensibilities; this is something else. Combined with this is the seeking of standardsand rubrics, which can be so helpful on one level, but is, I think, at a teeteringpoint of uniformity and sameness that can be deadening. The jazz-like playfulnessof experimentation is possibly being structured out of our formal learning cli-mates.

Are we inadvertently becoming the bad version of “The Academy”? How can were-engage our administrators, parents and, in particular, students in the importantcycle of creativity and distinct different approaches to making art? I find the cre-ative act, when viewed in person, brings the magic back to both participant andviewer. Visits to the studio or to classroom work sessions always bring a responseof some sort, different from just seeing something completed and hanging on awall. I think it is because the special sense of the place where a creative act occursis being sensed by visitors.

I come from a formal background that rolled practicing artists in with the role of teachers, where academic degrees were not thepedigree, but successes in one’s discipline as well as in the classroom were the basis. This affected me deeply. However, today’s em-

The jazz-like playfulness

of experimentation is

possibly being structured

out of our formal

learning climates.

I find the creative act, when

viewed in person, brings the

magic back to both participant

and viewer. Visits to the studio

or to classroom work sessions

always bring a response of

some sort, different from just

seeing something completed

and hanging on a wall.

phasis on the degrees an art teacher has earned is the status quo. This, rather than what they have done artistically, makes this oneof the major distinctions from my past that I now see in art education. To really date myself, I studied in the 1960s and early 1970s.It was a different time, obviously, with different definitions of art and educational roles. But I am hopeful that certain values fromthat time can re-establish themselves, including this valuing of a practicing artist and teacher.

At the time of my formal education, to have teachers miss an occasional class because they were installing a work in Munich orJapan was normal. To read about an instructor in a major magazine review right before our student critique added weight to his/hercomments. To have a teacher invite us to swing by his/her studio after school to see the new work in process before it left for aNew York show; or to even have a teacher come in frustrated (or euphoric) when a weekend in the studio had not gone as expectedwas part of our experience. To speak with creative icons of my youth like Walt Disney or hear Robert Motherwell speak in multi-lay-ered levels, even share cookie recipes with Adolf Gottleib….The magic was in their eyes when they shifted to speaking of their actof making art. My biggest influences were my early teachers, who taught me to be myself by thinking, feeling and doing. A senseof self in art speaks loudly.

Students, regardless of age, get that.

•••

Yet another road trip across the country this summer gave me another opportunity to take the main roads and at times the backroads. We passed several major colleges and universities but also saw a large number of unknown small colleges, community col-leges and public schools spread throughout the back communities. On these less-traveled routes, we experienced different accents,

foods, topography, architecture, customs, andmannerisms. I felt that this was indicative of thedistinctions that studying in various schools indifferent parts of the country used to bring.Chicago was different from San Francisco, NewOrleans different from Milwaukee. It also re-minded me that schools at all levels used to havea uniqueness based upon who taught there dur-ing what period of time. Programs had distinctpersonalities. This was much like the bands Iplayed in over the years. They definitely had dif-ferent renditions of standard songs, based uponwho sat in on the instrumental roles.

How do you affect the instrumentation of yourschool?C

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As we seek to organize our

curriculums, to develop con-

sistent results, and maintain

a professional performance

as teachers, I ask that we re-

consider, more aggressively,

teaching by example, being

hands-on artists.

19Imagine if Warhol, as an artist, had also had been a public school teacher. Imagine that instead of portraits of collectors he did portraitsof his administrators. And then Keith Herring, also on the staff, had all of his fourth-grade students do their individual portraits of theprincipal on the playground walls. And then Nick Cave, who also teaches art and Physical Ed, had all of the students design and makeoutfits that fit the principal’s various moods, presenting a hallway Fashion Show. What would that be like?

As we seek to organize our curriculums, to develop consistent results, and maintain a professional performance as teachers, I ask thatwe reconsider, more aggressively, teaching by example, being hands-on artists. I suggest we regularly invite, coerce or trick our ad-ministrators and political representatives into our actual classrooms to watch as we perform what we speak about. I ask that we eachconsider setting a deadline to develop an exhibit of our own art work, shown not only in a gallery, but possibly at a local library,restaurant, nursing home, school lunchroom, church, wherever, sharing with our administrators, fellow teachers, politicians and thecommunity the joy of self-expression from our own independent sense of originality. And we could have a special evening openingjust for our students, teaching by doing.

As I listened to others’ reactions from mytalk last fall, as I savored the sharing be-tween generations of sculptors this sum-mer, and as I start to see the end of myteaching career, this postscript is a chal-lenge to my community of art educators.I suggest that we lean on each other, haveconfidence and pride in what we’ve doneas artists and teachers…but also help tomake our expectations tangibly real.

Upcoming Exhibitions of Charles Parson’s work:

One-person show at "Z modern Gallery"in Denver. Opening September 26, 2014.

One-person show (concurrent with aone-person show by Parson's son, Collin)at the Colorado Springs Fine Arts Center.Opening October 25, 2014.

Two-person exhibit of new works byCharles and Collin Parson at "Mai WynGallery" in Denver. Opening November21, 2014.

One-person exhibit at "Denver Interna-tional Airport Terminal Gallery." Openinglate Spring 2015.

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What artists do, in their specialized and often driven way, is an exaggeration of what ordinary people also do, naturally and with enjoyment – transform the ordinary into the extra-ordinary. (Dissanayake, 1991)

In college, I drifted away from my provincial, mid-westernhome. The academic lectures, galleries, and performanceswere worlds away from my dad’s singing, my mother’ssewing, and my grandfather’s greenhouses. In my pursuitto be an intellectual, I kept “Art” in a sacred space, separatefrom these humble, everyday things. Eventually, this sep-aration made me very sad. As an art teacher, the sadnesscontinued. My art wasn’t part of what I did every day. Itwas something I did on summer vacation in my studio.Deep down I knew this wasn’t right, so I started to lookfor other ways to think and be.

In that search, I found Ellen Dissanayake’s writing. Herideas helped me gather and cohere many scattered parts of myself: artist, teacher, student, mother, cook, celebrator, gardener,archivist, interior-decorator, etc. So when I heard that Ellen Dissanayake will be speaking at this October’s Colorado Art Ed-ucation Association conference, I was very happy. As a way to entice you to come hear her, this is a short summary of an ad-dress she gave to the National Art Education Association in 1991.

Near the end of the last century, Ellen Dissanayake called for a fresh way to think about art. Fifteen years of living in non-Western countries helped her come to this perspective. She reminds us that before the 1800s, art mingled seamlessly withreligion, politics, and everyday life. Its purpose was dependent on these things.

But something changed. Around the 1800s in Europe and America, people thought art had a special power of its own, apartfrom its political, religious, and social contexts. Educated people were encouraged to have

A special frame of mind for appreciating works of art. (Dissanayake, 1991)

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Who Is Ellen Dissanayake?(And Why Is She a Keynote Speaker at the CAEA Fall Conference?)

By Anne Thulson

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For instance, when one looked at a painting of Jesus on the cross or Napoleon on a horse, one shouldn’t think too muchabout the subject or who commissioned it or the politics or theology behind it. Rather, the art should transport the viewer toa kind of pure ecstasy, an emotional and intellectual high. The viewer was instructed to appreciate the beauty and the powerof the art without getting bogged down with the nitty-gritty details of its context. In fact, it was believed that the “nitty-gritty”only got in the way of this lofty state of being.

The work of art became a world-in-itself, made solely or primarily as an occasion for this kind of detached aesthetic experience, which was considered to be one of the highest forms of mentality. (Dissanayake, 1991)

This meant that viewers could have a transcendent experience with any art object, even if it was from another culture or timeperiod that they didn’t understand. Good art, they thought, speaks for itself and lifts the viewer to more profound feelingsand thoughts. Picasso thought of African masks in this way. He wasn’t much interested in specific tribal purposes of the maskshe collected or the political situation of Western Africa of the time. He just liked them because their raw and bold formsinspired his own self-expression. The context was his, not theirs.

As abstraction progressed in the 1900s, understanding and explaining art became the job of the art critics and museum cu-rators. The elite art viewers appreciated modern art as they attended openings and read explanations from the art experts.As those educated viewers became privy to the aesthetic experience of art, regular folks felt left out and, eventually, checkedout. In that art world, people were either enlightened or they weren’t. The enlightened ones could and did say to the commonpublic, “It’s an Art thing. You wouldn’t understand it.”

In this modern climate, our old friends, the Elements and Principles of Design were part of that elite language. This is a storywe know well. The modern artists believed they didn’t need subject matter to get feelings or thoughts across. They just hadto know how to successfully manipulate the elements and principles. They believed that abstract forms were a universal,poetic language that traveled straight from the artist’s unconscious to the viewer’s unconscious. Zowie! This put modernartists kind of on a pedestal. They were considered modern-day shamans, able to transfer the depth of the human soul throughan abstract language to the viewer.Imagine. All this could be done with theflick of a wrist and a splash of paint.Shazaam!

Dissanayake challenges this modernconcept of art because

The arts themselves became practiced and appreciated by fewer and fewer members of western society. (Dissanayake, 1991)

As art became more and more an elite occupation, regular people abandonedthe conversation. They also stopped thinking of themselves as makers-of-cul-ture and concentrated instead on consuming mass-produced culture. Mystery,beauty, rich ideas, and meaning were not to be found in common life, but inrare, isolated art museums located between miles of ugly strip malls and end-less parking lots. This dilemma led Dissanayake to offer another way to thinkabout art. Rather than

“Art for Art’s Sake,” she calls for an “Art for Life’s Sake.” (Dissanayake, 1991)

She looks to pre-modern societies to model this approach. Here, art is embed-ded in all parts of life, made by many members of society. Life is made poeticand “special” though clothing, body adornment, dancing, hand-made objects,music, gardens, rituals, gift-giving, celebrations, spectacles, ceremonies, cook-ing, etc. You may be thinking, “Those things? Of course they’re important!” Butwhat Dissanayake argues is that “those things” are not only important, but theyare art. They bring mystery, meaning, and beauty to our lives. She asks us to en-vision art as a shared behavior by a whole community and not just specialized

behavior of the “gifted and talented” geniuses. Dissanayake recognizes that as a human species, we notice certain parts of life thatbring us meaning and joy and we all have the desire and ability to

…deliberately set out to make something special. (Dissanayake, 1991)

Critics of this view worry that standards and quality of art will be diluted. She responds to this by saying that “special” implies

taking care and doing one’s best so as to produce a result that is to a greater or lesser extent – accessible, striking resonant and satisfying to those who take the time to appreciate it. (Dissanayke, 1991)

This tells me that there are many ways to make and appre-ciate art and many legitimate worlds in which art exists.Those worlds aren’t ranked as high and low. They just co-exist. She also reminds us that the concept of art as a spe-cialized, expensive object made by a few master geniusesis a 200-year-old idea. She asks us to consider much earlierdefinitions of art that have spanned every culture and eraof the human species.

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How did all of this change my practice as an art teacher? I realized that my job wasn’t to just foster talent in a chosen fewand drag everyone else along for the ride, but to see all students as makers-of-magic now, today, and always. Teaching artis to create citizens who create culture, rather than citizens who passively consume the culture made by the “experts.” Theseideas also changed my identity as an artist. I realized that when I creatively collaborate with children every day, I am actuallymaking art every day. The ordinary act of teaching is full of mystery, beauty, emotion, paradox, and meaning. I believe it isart.

So, I encourage you to come to the conference and hear this world-renowned enchanter of art education. She is extra-ordinary.

Ellen Dissanayake’s books and other resources can be found at: http://www.ellendissanayake.comDissanayake, E., K. Carroll (Ed.), (1991). What is Art For? Keynote Addresses of the 1991 NAEA Convention, pp 15-26.

Editor’s Note: Abi Paytoe Gbayee led a workshop called “The Art of Reading” at the CAEA fall conference in 2013. In it, she dis-cussed new ways to incorporate illustrated books into art classes for multiple age groups. Paytoe Gbayee says the connection is obvious.After all, illustrators are artists too. She also believes that using books in art classrooms benefits all involved. “It makes administratorshappy, and we’re helping teach visual literacy. When you look at picture books, you are exposing kids to contemporary culture and art.”

Paytoe Gbayee shares with us her top eleven books (in no particular order) and explains why each book works so well in the artclassroom. These books also appear on her expanded book list at the end of this article – check them out to find some literary inspirationfor your teaching.

Paytoe Gbayee is an art educator in Cheyenne, Wyoming. She is also president-elect for the Wyoming Art Education Association.For more of her ideas and favorite resources, check out her website https://sites.google.com/site/abisworkshops/ and her Pinterest pagehttp://www.pinterest.com/abipg/

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By Abi Paytoe Gbayee

The Art of Reading:Book Lists for Art Classrooms

Title: Calabash Cat and His Amazing JourneyAuthor: James RumfordIllustrator: James RumfordConnections: Pattern, ColorI like this book because it’s one that kids usually haven’t seenand it has a lot of patterns. It’s about a cat who goes on a jour-ney to see if he can get to the edge of the world. It has somereally beautiful African patterning in the animals. I’ve used itwith K-6 kids, asking the kids to fill up animals with patterns. Italso provides a really good cultural connection to other coun-tries.

Title: You Be YouAuthor: Linda KranzIllustrator: Linda KranzConnections: Unity, Variety, Pattern, ColorIt’s basically the story of a little fish going through the ocean.This artist paints little fish on rocks, lots of them. She putsthem on ocean backgrounds. I use this book with rock art toteach unity and variety. I have the kids design fish. We talkabout how they are all unified because they are all fish, buthow they are all different. There are many that are the samecolor and some that are a mix of colors. It’s a good example ofhow that works.

Title: Title: Knuffle Bunny: A Cautionary TaleAuthor: Mo WillemsIllustrator: Mo WillemsConnections: Color, Contrast, Emphasis, EmotionThe artist took pictures of New York to go along with the story.The photos are in black and white. There are hand-drawn colorcharacters on top of them. I use it for black and white versuscolor. I got my third graders to find background images. Wexeroxed them so they were all in black and white, and then wehand drew characters to go with them. They had to write sto-ries to go with the illustrations. In addition to a visual narrative,I expanded it to include a written one, which makes connec-tions to other content areas. They were required to scale char-acters to make them fit in the background. It helped them seehow to emphasize what’s important.

Title: Not a BoxAuthor: Antoinette PortisIllustrator: Antoinette PortisConnections: Shape, ImaginationIt’s the story of a rabbit who has a huge imagination, so thebook is a really big imagination builder. If you draw somethingon paper, what else can it be? It also deals with shape, line,and idea generation. In a classroom, it could culminate in giv-ing students a box to make into an actual sculpture.

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Title: IshAuthor: Peter H. ReynoldsIllustrator: Peter H. ReynoldsConnections: Imagination, Work EthicIsh is for kids who are perfectionists; I use it to tell them to getover it. It opens up a whole world. It teaches them how to getpast making everything look exactly how it’s “supposed tolook” – and accepting that it’s close enough if it’s recognizable.It’s a good start-of-the-year book for older kids (e.g., fourthgraders and up) who really want to be perfectionists.

Title: Sky ColorAuthor: Peter H. ReynoldsIllustrator: Peter H. ReynoldsConnections: ColorSky Color is the story of a girl whose teacher has assigned a col-laborative mural. The main character is responsible for the sky,but the classroom runs out of blue paint. It’s about breakingthe mold of what you think things should be--about overcom-ing assumptions and visual stereotypes and making thingswork with what you have.

Title: Beautiful Oops!Author: Barney SaltzbergIllustrator: Barney SaltzbergConnections: MistakesWhat do you do when something bad happens to your art-work? This is a very interactive book. It gives you different op-tions of what to do with your mistakes. It’s a greatstart-of-the-year book (especially when combined with Ish). Itsaves materials because students learn to create somethingnew with a work of art that has a mistake.

Title: I Like Myself!Author: Karen BeaumontIllustrator: David CatrowConnections: Self-PortraitDavid Catrow is my favorite illustrator ever. This book is greatfor a unit on self-portraits, and it’s a good self-esteem builder.It helps students appreciate their own individuality. And it hassome really fun ideas for changing viewpoints.

Title: ArtAuthor: Patrick McDonnellIllustrator: Patrick McDonnellConnections: Abstract Art, Color, LineIt’s about a little kid named Art who makes art. It’s an introduc-tion to abstract art.

Title: A Little Bit of Oomph!Author: Barney SaltzbergIllustrator: Barney SaltzbergConnections: EmphasisIt’s a book on how to use emphasis in their artwork. Some kidsget close, but they never take their art to the next level. Itteaches them how to show what’s important to them.

Title: OneAuthor: Kathryn OtoshiIllustrator: Kathryn OtoshiConnections: Color, BullyingThis one covers number counting and colors and bullying. It’sall about how one color is being bullied by other colors. Ithelps kids process how to stand up to their friends, and theystill learn about color. It’s just a nice book about symbolismand color.

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The Art of Reading: Expanded Book List

Editor’s Note: Isabelle Heiferling, a student at Cherokee Trail High School, took home the national American Vision Award and

the prize for the Berger Collection Educational Trust in the Scholastic Art and Writing Awards. A student of Michael Chimento, Heiferling

turned a classroom assignment into a tribute that has touched hearts around the country. She shares the story behind her photograph,

Nancy Zeima Enquist, below.

Well, Mr. Chimento assigned us a project to take an environmental portrait of someone we knew. While I was thinkingabout who I should take a picture of, I tried to think about who was important to me and who made a big impact in my life.My grandmother was the first person who came into my life because she is the closest embodiment of an angel I had evermet (with some twisted humor of course). As corny as that might sound, she has always been a woman who represented kind-ness and benevolence towards anyone she knew. She is always willing to lend a helping hand, even though she is very weak.Although her body may be deteriorating, her soul and her thrive for life have only gotten stronger. I thought about her tellingme "When you die, you can't take your possessions with you. You can't take your money, your house, or your car. You can onlytake the love you have in your heart and eventually, your family will catch up with you." I then thought about the one personshe loved most of all- my grandfather. He was the epitome of what the perfect soldier, father, and grandfather would be. Hehad a warm heart, helping hands, wise words, and a clever mind. He died June 3, 2006 from cancer. My grandmother was a

pillar of strength for our fam-ily during that time. But overthe course of time thatstrength has weakenedalong with her mind andbody. She has severe de-mentia. Sometimes shedoesn't even know whereshe is or who her family is.That is why that photographis so important to me be-cause although I cannothave her in my physical lifeforever, I captured a momentin time that will last longerthan I will, and hopefully, itcaptured that legacy sheand my grandfather madeduring their lives together.And every time she looks atthat picture, she smiles andmentions her "Boompa"(which we all lovingly calledhim) and reminds herselfthat she is beautiful.

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Colorado Scholastics Achievements

All that Glitters at the Denver Art Museum

By Deborah Walden Ossi

November 16, 2014 marks the opening of Brilliant: Cartier in the 20th Century at the Denver Art Museum(DAM). The exhibit will feature over 250 works, including jewelry, accessories, and other fine objects.Educators will find a wealth of topics to discuss with theirclasses, including design, cultural statements, color theory,economic influence on the art world, and art objects asstatus symbols.

“The evolution of Cartier takes us on a journey through20th century history, from the era of the last Czars in Russia to the Roaring ’20s inAmerica to the onset of Hollywood glamour as we know it,” says Christoph Heinrich,Frederick and Jan Mayer Director of the DAM. “Focusing in on the creativity and pio-neering vision of the Cartier brothers and their designers, visitors will walk away notonly in awe of Cartier’s stunning works of art but also aware of the drastic culturalshifts that took place throughout the history of the Maison.”

On December 7, 2014, Glitterati: Portraits and Jewelry from Colonial Latin America willopen to the public. This exhibit features paintings of Spanish aristocrats who demon-strated their wealth through portraiture. Themes from this show dovetail with manyof the talking points from the Cartier exhibit, making the two shows a perfect double feature for young art students.

Teachers are encouraged to schedule group visits through the museum’smembership and guest services representatives at 720-913-0130. For a col-lection of online educational resources, including material relating to theCartier exhibit, please visit the DAM’s CreativityResource for Teachers. The site features over600 lesson plans written by teachers in collab-oration with the museum.

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Egyptian striking clock owned by Mrs. George Blumenthal.Cartier Paris, 1927. Gold, silver gilt, mother-of-pearl, lapislazuli, coral, emerald, cornelian, enamel; 24 x 15.7 x 12.7 cm.Cartier Collection. Photo: Nick Welsh, Cartier Collection ©Cartier.

Necklace worn by Elizabeth Taylor. Cartier Paris, 1951, alteredin 1953. Platinum, diamonds, rubies; Length 37.5 cm. CartierCollection. Photo: Marian Gerard, Cartier Collection © Cartier.

Tiger lorgnette owned by theDuchess of Windsor. CartierParis, special order, 1954. Gold,enamel, emeralds, glass; 8.5 x 2cm. Cartier Collection. Photo:Nick Welsh, Cartier Collection ©Cartier.

Desk set with clock. Cartier Paris for CartierNew York, 1931. Silver, gold, lacquer, nephrite,enamel; 24 x 12.5 cm. Cartier Collection.Photo: Nick Welsh, Cartier Collection © Cartier.

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Necklace worn by Countess of Granard. Cartier London, specialorder, 1932. Platinum, diamonds, emerald; Height at center 8.8cm. Cartier Collection. Photo: Nick Welsh, Cartier Collection ©Cartier.

Crocodile necklace made as a special order for Maria Felix. Cartier Paris,special order, 1975. Gold, diamonds, emeralds, rubies; Length 30 cm. and27.3 cm. Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

Tutti Frutti strap bracelet worn by Mrs. Cole Porter. Cartier Paris, 1929.Platinum, diamonds, sapphires, emeralds, rubies; 18 x 4.07 x 0.75 cm.Cartier Collection. Photo: Nick Welsh, Cartier Collection © Cartier.

Flamingo brooch worn by the Duchess of Windsor. Cartier Paris,special order, 1940. Platinum, diamonds, emeralds, rubies, sap-phires, citrine; 9.65 x 9.59 cm. Cartier Collection. Photo: Nils Her-rmann, Cartier Collection © Cartier.

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e had 15 people total, a big brown van with a trailer behind, a jeep, and a CRV filleddangerously to the brim for this epic journey to the middle of a dried-up desert lake bed. We were bringing two yurts;a burn barrel for warmth; a hammock which included a stand made from a lead pipe; rope and 4x4s; an overweighthomemade shower; a canopy; night/day costumes; a “monkey hut” (which is a tunnel-like shade structure built to with-stand big gusts of wind); bicycles for every person; a couple of tents; and enough food and water for everyone for ninedays. Within 20 minutes of departing, we had to stop and get rid of some weight because it was clear that the trailerwas not going to survive the 18-hour drive from Denver to Black Rock City, Nevada. Instead of ditching the 300-poundburn barrel or the overweight homemade shower (that one person used), we poured out most of our water, which isthe most important thing that you need in the desert. It stands to reason that we weren’t off to a great start to an amaz-ing, difficult, eye-opening, joyous, transformative, and beautiful vacation.

The choices we make, the inspirations that give us that glorious epiphany moment, and the thoughts that inhabit ourminds shape our reality. Each phase in this journey of creating a reality has developed my own self-directed learningskills, both in regards to my own art making as well as in my role as an art educator. In every experience, I focus on how

I can translate the transformation that takes place into positive learning and, byextension, my teaching. This last year was the most transformative year that I’veever had. I believe that this change was caused by two main events: completingmy first year of teaching and being able to attend Burning Man. Burning Man isan art festival in the desert of Nevada that happens every year and it is a tempo-rary community based on radical self-expression and self-reliance.

My life-long best friend attended “the burn” in 2011; she returned home a differentperson, an inspired person. I was perplexed by this, so she didn’t have to spendmuch time convincing me to participate in the regional Burning Man event,Apogaea, which takes place only a half an hour from my home (Bailey, Colorado).When I first went to Apogaea in 2012, I was exposed to a society that was differentfrom anything I’ve ever experienced. In college, I attended many shows and afew music festivals, which were disconnected and dirty. Apogaea is not a musicfestival. It is all about the art and you became a part of it; you are the art.

I fell in love with the freedom of expression and the willingness of the communityto participate in interacting with the art works. Artists welcomed me into theircreations and wished that I would fully interact. It is a week-long temporary world

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Radical Art and Teaching

By Mary K. McDonald

W

This last year was the

most transformative

year that I’ve ever

had. I believe that this

change was caused by

two main events:

completing my first

year of teaching and

being able to attend

Burning Man.

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full of self-sufficient, creative, giving, loving, amazing, andcolorful people. Molly Steenson wrote in an essay aboutBurning Man that “You’re not the weirdest kid in the class-room – there’s always somebody there who’s thought upsomething you never even considered. You’re there tobreathe art.”

At Burning Man events, much of the art that is con-structed (then deconstructed, transported, constructedagain to stay up for one week, then deconstructed fortransport again) has a functional purpose along with aconceptual and an aesthetic one. The art is functional inthe ways that it can be used, such as shelter from theharsh environment and lighting for an area at night.

The driving force of the community is a set of 10 principlesthat were laid down to ensure the ambience and harmonyof the event. Many of these principles can be applied be-yond the Burning Man ethos to further the goal of creat-ing unique and meaningful art in the classroom! Some ofthese principles include: radical inclusion, gifting, radicalself-reliance, radical self-expression, communal effort, andparticipation. Although all of the principles would be rel-evant to the classroom, the main principles that I will focuson here are radical inclusion, participation, and gifting.

Radical inclusion means that everyone is invited to be apart of this shared experience. It is created when the en-vironment is comfortable for students. When it comes to

inclusion, there are differences and similarities betweenelementary, middle, and high school students. It is not achallenge to ask elementary-level students to be radicallyinvolved with anything that you are doing in the class-room, especially if it involves an element of play. When itcomes to teaching middle or high school students, I per-sonally find it to be more difficult to encourage this typeof radical inclusion. There could be many different factorsthat pertain to this difficulty – one being confidence andanother perhaps being interest. Radical inclusion is a hardthing to be able to teach, but it is so rewarding when youcan experience a class where every student is fully partic-ipating in art. This is something that I feel I will always beworking on.

The only way for a transformative change and learning ex-perience to happen is from a medium of deeply personalparticipation. We can achieve being by doing! Burnerevents are set up for humans to create; the communitydepends on every single participant. You are there to builda new world; I feel that we do that every day with our stu-dents.

The gifting aspect is probably my favorite because I lovethe art of giving. The value of a gift is unconditional and itdoes not require a return or exchange for something ofequal value. A gift doesn’t have to be restricted to materialitems; it can be an idea. Artist Trading Cards, Empty Bowls,and sharing ideas through discussions and critique are

Radical inclusion is a hard

thing to be able to teach,

but it is so rewarding

when you can experience a

class where every student

is fully participating in art.

This is something that I

feel I will always be

working on.

Photos by: Carrie Dyes

http://www.burningman.com/whatisburningman/about_burningman/experience.html

some ways that we are already practicing gifting.I’m wondering if there are ideas circulating thatinvolve a gifting atmosphere. How are gifts beingexchanged in your classroom?

The main point of inspiration I have taken awayfrom attending Burning events is to allow stu-dents to explore their own inspirations and cre-ativity while also providing structure that candisplay student achievement. Observing and ex-periencing these have inspired me to learn howto teach various styles, techniques, embellish-ments, and design choices while allowing stu-dents to explore their own opinions and interestsas well as integrate logical multi-functional pur-

poses. Compiling all of these elements might help students to become resourceful and inventive, along withbeing excited and passionate about searching for a motive and inspiration.

Important questions to consider: How do we construct a learning environment that provides inspiration, re-sources, and opportunities to build knowledge and meaning in the process of making art? How do we makean authentic experience? How can we teach resourcefulness? How do we create within students a feeling ofimportance and involvement in the community? We’ve taught Artist Trading Cards and Empty Bowls, how dowe evolve from this idea to teaching the art of gifting? These questions continue to challenge me – I find myselfforgetting them and then going back to them (usually when I have a little break from teaching).

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As a group of novice “Burners,” our camp was ill preparedfor a week or so in the desert. Luckily, the festival haspreparations set up for people like us and the only thingsthat are sold are ice, water, and coffee. On the positive sideof things, we excelled in working together and participat-ing in everything we could in the time that we had.

We use art and art education to explore, participate, andplay in a world that we create together. Art is the drivingforce that creates our shared reality. The lesson that I’vetaken from this life opportunity is that this experience can

be a launching off point forthe careers of many amazingartists. And the biggest lessonand piece of advice that I tookto heart in my first year ofteaching is to be true to your-self and maintain your authen-ticity.

Unfortunately, Burning Manhappens the last week of Au-gust. Because it’s back toschool for many of us teach-ers, we may not be able to at-tend Burning Man. So, in

October at the CAEA conference, let us radically partici-pate, create, and express ourselves!

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Burning Man is a week-long tem-

porary world full of self-sufficient,

creative, giving, loving, amazing,

and colorful people.

Isn’t it part of our jobs as artists and educators to shift and unravel perceptions? I submit that this ideal is an altruistic pursuit, withthe goal of advancing the common good. Of course, in this pursuit, the lens and the delivery of the message are diverse. In my years as an artist and educator, I have sought out opportunities for increased visibility of this artistic voice. I value the collab-oration of service and the creation of art. I have found some of the most rewarding experiences have been integrating the objectivesof arts education with service learning objectives. Service learning through art marries the creation of art with community needsand social justice issues. Artist Corps Tennessee, a training program for such a marriage, states, “Arts education and service learningare natural links, engaging students in experiential arts opportunities to make change within their own communities.”

In this article, I expand on the history and context of artistic methods of delivering messages for the common good. I share some ofmy experiences and reflections around this pursuit. I also provide resources and support so you may feel more comfortable introducingservice-learning lessons into your arts classroom.

One of my recent experiences with service-learning lessons occurred in my middle-school enrichment class. I created a curriculumfor an enrichment class called “Service Learning Through Art.” When I introduced service learning to my middle school students(sixth through eighth grade), I needed to do quite a bit of front loading about what service entails. I have included a portion of mylesson on service below.

First DayPrint out stories from the Giraffe Heroes Project (www.giraffe.org).

• Write “philanthropy” on the board.• Ask “What is philanthropy?”

o Define philanthropy as “giving of one’s time, talent, or treasure for the sake of another, or for the common good.” Additional definitions include: “voluntary action for the public good; voluntary giving, voluntary service and voluntary association, primarily for the benefit of others; giving and serving; active effort to promote human welfare.” http://learningtogive.org/lessons/unit150/lesson1.html o Tell the students, “We will do this through art of different types!”

• Tell students to “find a person you know the least and interview them about their contribution to the common good.”• Have students get into groups of four per table where they all share what they found out about their interviewees.• Have students share with the whole class.• Have students move into different groups of four and silently read the printout from the Giraffe Heroes Project and make notes. • Collect papers and notes.

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Service Learning Through Art

By Amy Marsh

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Second DayOn this day, the students will deepen their understanding of service learning.

• Write “philanthropy/service learning” on the board.• Use the worksheets in K-12 Service-Learning Project Planning Toolkit or the Learning to Give lesson plan to

guide your planning:o https://www.ffa.org/documents/lts_servicelearningtoolkit.pdfo http://www.learningtogive.org/lessons/unit150/lesson1.html

I then directed my young artists to come up with a work of “street” or “urban” art that would serve the common good byshifting perception about a social issue. First, they needed an understanding of what “street” art was.I recently helped to write Visual Arts Curriculum for the State of Colorado. The subject was a 7th grade unit on street orurban art. In my Service Learning class, we created street art projects using this curriculum. The curriculum, as well as othersample units, is available at http://www.cde.state.co.us/standardsandinstruction/instructionalunits-visualarts. Our storyboardis below:

Middle School Visual Literacy Story Board

Once the students conceived a project that fit the criteria, they were required to write and present a proposal for their

project to our administration. Some were approved immediately. Others were asked to edit their proposals for various rea-

sons. Once approved, they began creating their art. It was very rewarding to watch the projects be driven by student interest.

Once installed, I found that I really did need to provide information to my staff, parents and administration about all these

“street” art projects that were popping up! My students and I received quite a bit of positive feedback.

A few examples of completed projects are described below. They are from Tristan, Peyton, and Safie.

Tristan decided to illustrate the inequity of world health care by creating a piece with a medicine cabinet. He painted the

cabinet. He wrote “U.S.” on the mirror on the left door and “Africa” on the mirror on the right door. When you opened the

“U.S.” side, it was filled with medicine bottles. When you opened the “Africa” side, it had only a few medicine bottles. He

chose to display his work by the nurse’s office.

Peyton and her friends decided to promote the

message of peace with the gift of art. We built

anticipation by having our assistant principal an-

nounce that peaceful gifts were coming and to

watch for them. The students created dog tags

with their own peaceful designs. They then qui-

etly passed them out to our school community

from ECE children to adults. The rule was that

each recipient had to re-gift the dog tag and

pass on the message before the end of the day.

Safie’s piece was a comment on how our per-

ception of someone changes based on how the

person is dressed. Safie and I went to a thrift

store and bought her some dressy business

clothes and a contrasting oversized “slouchy”

look. We took pictures of her in both outfits.

(Safie donated the clothes to a homeless shelter

after her photo shoot.) A kind, local business

owner printed life-sized prints for her. We cut

them out and displayed them at our school en-

trance. We heard so many comments about this

piece. One parent said it felt like she was in an

edgy gallery. It was exciting to watch the cre-

ation and viewing of relevant art with a contem-

porary delivery. To the right is a picture of Safie’s

project.

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My students have also participated in the following projects among others: Fundred, Canstruction, Empty Bowls, and TheMemory Project. I wrote an article about The Memory Project, a very special opportunity for service, in the Winter 2013 edi-tion of Collage.

Here is a list, by no means comprehensive, of resources for ideas to incorporate service learning into your arts curriculumfor any age student.

http://artexiled.org/http://www.fsu.edu/~flserve/resources/handbook/MyArtMyWorldFull.pdfhttp://www.tn.gov/arts/ae_stuff/act_guidebook.pdfwww.thememoryproject.orghttp://www.milestonesproject.com/http://www.onemillionbones.org/the-project/www.earthforce.orghttp://learningtogive.org/papers/paper239.htmlwww.emptybowls.netcanstruction.org/http://www.operationsockmonkey.com/

Try one or two of these projects or design one of your own. Start in a really small way – service to your classroom, serviceto the school, art flyers to post with a message, random acts of kind guerilla art! I began the Memory Project with threeportraits and worked up to sixty. These types of projects possess an array of opportunities to observe, create, synthesize,and connect art to the heart. Good luck and I would love to hear about the rewards and heart tugs along your journeys.Please share at https://www.facebook.com/CAEAColorado

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Resources for Middle School Visual Literacy Story Board

Barry McGee & Margaret Kilgallen (ART21 Video)https://vimeo.com/6547737

Keith HaringClean video on Keith Haring narrated by OBEY street artist Shepard Fairey

https://vimeo.com/44277095Superfast overview of images

https://vimeo.com/6174529Keith Haring explaining his subway art

http://www.streetartutopia.com/?p=5982Banksy

Street art imageshttps://vimeo.com/20320145

Lascaux http://blogs.scientificamerican.com/image-of-the-week/2011/08/22/cleaning-up-lascaux-paintingshttp://www.lascaux.culture.fr/?lng=en#/fr/00.xml (Interactive link)

Ai Weiwei’s Coca-Cola Vasehttp://classconnection.s3.amazonaws.com/542/flashcards/406542/png/han_dynasty.png

Yarn Bombinghttp://www.environmentalgraffiti.com/graffiti/news-yarn-bombing-not-just-your-grandmas-graffiti-0

Bull as Guerilla Arthttp://en.wikipedia.org/wiki/Charging_Bull

Bluhttps://vimeo.com/993998

Christo and Jeanne-Claude http://www.christojeanneclaude.net/artworks/realized-projects

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Sharing Your WorkBy Deborah Walden Ossi

Editor of Collage

We thought it would be fun and informative to share some of the online work of educators around our state. We put out a call forblogs and websites over the summer and we were excited to receive so many submissions!

Below you will find a list of websites that link to classroom work and artwork by your fellow teachers. The list includes artist websitesfor those who practice what they teach and some amazing ideas for interactive projects on the education blogs. You will also findlinks to blogs by the Clyfford Still Museum and the Center for Visual Arts at Metropolitan State University of Denver.

Keep this page on hand for inspiration throughout the school year and, if you have a site you would like to share, please email meat deborah@deborahossi.com.

Education Blogs

Jill DayArt Educator, Wilder Elementaryhttp://wilderpaintsplatters.wordpress.com

Justyna ButlerArt Teacher, Lone Tree Elementary Schoolhttp://heartlte.blogspot.com

Barth Quenzer Visual Arts Teacher, Brown International Academy (Also check out Quenzer’s website under Artist Websites and his article “Adventures in Urban Art 2014” in this issue.)http://artivore.weebly.com

Andrea SlusarskiArt Teacher, Gateway High School. (Check out the Awards section in this issue for more information aboutSlusarski who will be honored at the Fall Conference as CAEA’s

2014 Rookie Art Educator of the Year.) http://nerdyartteacher.weebly.comhttp://thenerdyartteacher.wordpress.com

Student work from Jill Dayʼs blog

Boulder High School:Dave Blessing, Photography and Digital Media Kate Villarreal, Pottery and SculptureMary Jenson, Art HistoryVirginia Schick, Drawing and Painting (Check out the Awards sec-tion in this issue for more information about Schick who will behonored at the Fall Conference as CAEA’s 2014 High School Art Edu-cator of the Year.)http://www.boulderhighart.com/

Kate BolintineanuArt Teacher, Los Lunas High Schoolhttp://bolinart.weebly.com/

Elizabeth BuhrVisual Arts Educator, Normandy Elementary School (Also check out Buhr’s website under Artist Websites.)http://blog.elizabethbuhr.com/art_spirithttp://blog.elizabethbuhr.com/practice_and_learning_

Anne ThulsonAssistant Professor of Art Education, Metropolitan State University of Denver(Also check out Thulson’s website under Artist Websites and her article on Keynote Speaker Ellen Dissanayake in this issue.)http://schoolofthepoeticcity.com

Jamie RoeberArt Teacher, Hotchkiss High Schoolhttps://www.facebook.com/Artwithroeber

Artist Websites

Tara PappasK-6 Art Specialist, Linford Elementary School CAEA Secretary 2014-2016http://www.tarapappasart.com/http://artfulexplorationsinnature.com/paintings-and-drawings/

Rudi MonterrosoTeacher, Downtown Aurora Visual Arts (DAVA)http://rudimonterroso.wordpress.com

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Artwork from Kate Bolintineanuʼs blog

Artwork from Elizabeth Buhrʼs blog

Barth Quenzer, Visual Arts Teacher, Brown International Academy(Also check out Quenzer’s school blog under Education Blogs and his article “Adventures in Urban Art 2014” in thisissue.)http://www.bquenzer.com

Claudia LewisRecent UNC graduate with MA in Art Education (currentlyseeking a teaching position)http://claudialewisarts.zenfolio.com

Rain BodineArt Teacher, Gunnison Elementary Guest Lecturer/Content Area Specialist, Western State Col-orado University. (Check out the Awards section in this issue for more informa-tion about Bodine who will be honored at the Fall Conferenceas CAEA’s 2014 Elementary Art Educator of the Year.) http://www.silkillustrations.com

Elizabeth BuhrVisual Arts Educator, Normandy Elementary School (Also check out Buhr’s website under Education Blogs.)http://www.elizabethbuhr.com/

Anne ThulsonAssistant Professor of Art Education, MetropolitanState University of Denver(Also check out Thulson’s website under EducationBlogs and her article on Keynote Speaker Ellen Dis-sanayake in this issue.)http://www.annethulson.com

Jamie RoeberArt Teacher, Hotchkiss High School(Also check out Roeber’s website under EducationBlogs.)http://wiredtothewest.blogspot.com

Barth Quenzer

Student work from Andrea Slusarskiʼs blog

Community Resource Blogs

Clyfford Still Museumhttps://clyffordstillmuseum.org/category/blog

Center for Visual Art at Metropolitan State University of Denverhttp://cvayoungartiststudio.weebly.com

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Photo from Boulder High Schoolʼs blog

Artwork from Tara Pappasʼ website

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Artwork from Rudi Monterrosoʼs website

Artwork from Claudia Lewisʼ website

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In the twenty years since Justine Sawyer began her teaching career, her passion, dedication, and impeccablework ethic toward her profession and her students has established her as a well-respected, inspirational role modeland advocate for art education in Colorado and beyond.

Justine’s educational career began in her home state of Iowa. Since then, her journeys have taken her to Col-orado, Croatia, California, and back to Colorado. Although Justine has taught at all levels throughout the years, shenow works for the East High School Art Department. Her career has given her a uniquely wide breadth of experience.

Justine realizes that to become a better teacher, one needs constant reflection, learning, and practice in theprofession as both an art educator and as an artist. She overcomes challenging situations with tact and professionalismby putting her students first and working hard to make sure their accomplishments are recognized. In addition tobeing department coordinator at East High and teaching a full schedule of art classes (including IB classes), Justinetook the initiative to become certified in order to establish a new AP program. The most important thing to her isthat her students are successful and recognized for their achievements.

Nominator Jody Chapel reflects, “To talk about Justine Sawyer is to talk about what she does for others. Work-ing with her as her student teacher, I learned many valuable lessons from her. The biggest one was that it’s all aboutthe STUDENTS. No matter what you have to deal with outside of the classroom, it all comes back to the students.”

Justine’s dedication to her profession, however, has not been limited to the walls of her school. Justine hasalways been highly involved with CAEA. Serving as the Metro rep, she held monthly social gatherings during the FirstFriday Art Walks on Santa Fe Drive. She wanted art teachers to have the opportunity for social interaction with eachother and to enjoy art experiences. In many other ways she worked hard to make sure the art educators in the Metroarea were involved in CAEA activities.

Currently, she has resurrected Youth Art Month (YAM) in Colorado, including organizing a state-wide art con-test in which winning artworks are displayed in the State Capitol Building; she requested and received a gubernatorialproclamation making March officially Youth Art Month in Colorado; and built a new presence for this important en-deavor by creating a YAM website and promoting it at the CAEA conference and at every art-teacher gathering shehas been involved with.

When the Scholastic Art and Writing competition was in dire need of volunteers to run parts of the program,Justine stepped up to the plate. In addition to a new job in a new district and taking on Youth Art Month, she alsovolunteered to coordinate the Denver Art Museum Scholastic exhibit and the teacher/student luncheon.

Lisa Lee Adams concludes, “Justine is a visible and integral part of the success of visual arts on a local and state leveland yet, despite her artistic, educational, and leadership accolades, Justine remains humble. I believe it is time tobring Justine Sawyer to the front and honor her for her devotion to all aspects of our craft.”

Justine Sawyer

Colorado Art Education Association2014 Award Recipients

Colorado Art Educator of the Year

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Plastered across the walls of Virginia Schick’s Boulder High Schoolclassroom and on the school's visual arts website is this quotation from mu-sician/poet Bob Dylan: “The highest purpose of art is to inspire." Virginia hasdedicated the art of her teaching to inspiring her students to succeed andbe the best that they can be.

Virginia’s passion, impeccable work ethic, and dedication to our pro-fession have not gone unnoticed. Among her many accolades are the MarieWalsh Sharpe Teacher as Artist Award, the Jared Polis Award, and the Impacton Education for Excellence Winner in teaching visual art.

In 2008, Virginia became nationally recognized as a Board CertifiedTeacher. Now serving as the Boulder Valley School District facilitator of Na-tional Board Certification, she assisted this past year in the National Certifi-cation of 23 other Boulder Valley teachers. Additionally, Virginia serves as herdistrict’s Induction Coach for new art educators and is the Teacher Leader 6-12 for district art teachers.

Her students' awards are also impressive. Under her tutelage, her students have received multiple local, national, andinternational recognitions, including awards from the State Board of Education and selection for inclusion in the National Con-gressional Art Show in Washington, D.C. Many of her students are Gold and Silver Key winners in the Colorado and NationalScholastic Art and Writing Awards.

However, it is not the accolades that drive Virginia to teach, but her desire to inspire. According to Pamela Starck, Col-orado Scholastics Art and Writing Coordinator, Virginia has the rare talent to create “magic” within the walls of her classroom,equipping her students with the skills, creativity, and personal voice needed to succeed as artists. Equally impressive to Pam isthe way in which Virginia's students respond to her high standards. Virginia demands 120% of herself. She requests – and gets– that same level of commitment from her students.

Schick’s passion is to inspire both serious and casual art students. Virginia established a Portfolio 101 class for all studentswithin the Boulder Valley School District who were considering a future in the arts through higher education. After acquiringAdvanced Placement (AP) training on her own initiative, she established AP Studio Art and Art History classes at Boulder High.Additionally, every week after school, Virginia offers “open studio” hours to students who are either unable to fit visual art classesinto their schedules or simply are desirous of more studio time after the regular school day has ended.

In her desire to inspire each and every student, Virginia uses art to reach out to struggling and at-risk students and tohelp them turn around their grades. Upon realizing the lack of diversity among registered visual art students at Boulder High, Virginiaimmediately sought a solution by translating all course offerings and connecting personally with diverse populations, sometimeseven conducting home visits. The result of her efforts? A 20% increase in the enrollment of diverse student populations.

According to Boulder High Colleague, Michelle Carpenter, “Virginia regularly stretches the traditional boundaries ofteaching, because she does not see the school walls as limiting factors. She truly makes our school and district a better placeto live, work and develop into lifelong artists.”

Pam Starck concludes, “There are many proficient and dedicated teachers in education. There are also teachers who,because of their commitment to education and students are considered outstanding. Virginia is outstanding, and it is withouthesitation I recommend her for High School Teacher of the year.”

Virginia Schick

High School Art Educator of the Year

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As a young boy, future art educator Tyler Utesch struggled aca-demically. The only place he felt any level of success at school was in theart room. Since deciding to pursue a career in education, his vow has al-ways been to “pay it forward.” He has established an art curriculum thatprovides a wide variety of artistic opportunities that allow for the successof all his students through the use of sound pedagogical instruction andthe establishment of a learning environment in which students feel safe,respected, and honored. In his more than fifteen-year tenure at ShadowRidge Middle School in Adams County District 12, Tyler has more thanaccomplished his goal.

Tyler is adept at developing standards-based lessons that meetthe needs of every artist who enters his class. When Tyler teaches a stu-dent to create art, he focuses not only on technique but also on whatthe student is passionate about, encouraging personal expression. Hespends individual time with students, teaching them how to translatetheir ideas into images. When he looks at a child’s work, it is not with a critical eye. Rather, he expounds on the virtues of timeand effort, as well as the individual progress made. In doing so, the students feel safe enough to experience emotions thatare often unfamiliar to them: pride and self-esteem. Many people underestimate how delicate the psyche of middle schoolstudents can be, especially in areas with great poverty and adversity. Tyler does not. He nurtures young artists, providinggentle suggestions for improvement through differentiating and modeling. In doing so, Tyler’s students discover their ownartistic process through which they may flourish.

Those who attend the annual district art show can see Tyler’s success – they are amazed by the quality and caliber of thework coming from Shadow Ridge’s students. Tyler’s students consistently win the highest accolades and his students havewon the most awards in the Adams County District 12 annual student art show in 10 out of the last 11 years.

The district's administrative offices are adorned with works purchased from Shadow Ridge students. For many at-risk students, having a piece of their artwork purchased can be the hallmark of their academic careers. This year, for example,one girl’s painting was purchased and teachers saw a rare sight – a grin peeking out from behind her hair that shone through-out the whole day.

Tyler has also established himself as a leader among fellow art educators in District 12, always serving as a voice of advocacywhen the call arises. For the annual art show, he has chaired the installation and striking of artworks for the middle schoolsection. Tyler generously dedicates hours to organizing and hanging the show in such a manner that the students’ work isdisplayed most advantageously. Under Tyler’s tenure as chair, the show has been enhanced because all the middle-schools’artworks are hung harmoniously – placed together according to media, instead of hung separately according to school.

Shadow Ridge colleague Joseph Sanford concludes, “Tyler has a rare gift to reach and inspire others. He has hadgreat success with high-risk students. It is my opinion and that of many of our staff that some of his students are alive andstill in school today only because he cared enough to help guide them. He is an exceptional art teacher whose commitmentto art, education and his students could not be higher. I don’t believe you could choose a better individual than Tyler to beselected Colorado Middle School Art Educator of the Year.”

Tyler Utesch

Middle School Art Educator of the Year

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Rain Bodine’s positive attitude, boundless energy, and infec-tious creativity make her an extraordinary art teacher. Rain is passion-ate about teaching art and her commitment to her students,colleagues, and community is obvious.

Rain currently teaches art to first- to fifth-grade students atGunnison Elementary School in the Gunnison Watershed School Dis-trict. But her range of experience spans from elementary to the uni-versity level. During the summer months , she actively shares herexpertise by teaching art education courses at Western State ColoradoUniversity.

Principal Sally Hensley describes Mrs. Bodine’s classroom as“vibrant and active.” She notes, “There is an audible buzz of creativityand engagement. I have a hard time walking by without popping myhead in. What I see are students working intently, animatedly dis-cussing ideas, looking through books and magazines for inspiration,taking out and putting away supplies, commenting on each other’s work, or gathered around Rain in rapt attention asshe demonstrates a new technique. Our hallways are showcases of rich and varied student pieces that make peoplestop and admire.”

The level of commitment and energy Rain brings to her profession does not stop with her students and col-leagues at Gunnison Elementary. She is dedicated to forging connections between her students and their communitythrough artistic expression, collaborating with local businesses to display student artwork, and generously donatingcountless hours of artistic service to organizations such as Habitat for Humanity, Gunnison’s annual Cattlemen’s Days,and the USA Pro Challenge cycling race. Through her students’ inclusion in these projects, they are encouraged to thinkglobally and to take pride in their philanthropy.

Principal Hensley continues, “I have been very impressed with Rain’s willingness to think deeply about howshe evaluates students and tracks their progress toward grade level expectations of the Colorado Academic Standards.She has dissected, unpacked and repacked standards, developed rubrics evaluation and feedback forms. She uses port-folios to document student work and includes her students in every aspect of her evaluation process. She started ‘Port-folio Nights’ where students present their work to their parents and reflect on their progression as an artist. As a result,her students see themselves as artists with unique and valuable contributions.”

Her passion and expertise for creating authentic, individualized assessments drives Rain to willingly collaboratewith other Watershed School District art teachers. She freely shares her expertise in creating authentic, standards-basedassessments during professional development opportunities in order to ensure that the Colorado Visual Art Standardsare being delivered to all Watershed students in a systematic, aligned manner.

Superintendent of Schools Doug Tredway concludes, “We are indeed lucky to have Rain Bodine as a teacher in the Gun-nison Watershed School District. Rain is an exceptional teacher and has had a significant impact on the students inGunnison. I have had the opportunity to observe her teaching, and her enthusiasm and passion for Art are evident.She is extremely deserving of this award.”

Rain Bodine

Elementary School Art Educator of the Year

Dr. Martin Mendelsberg has served the higher education art ed-ucation community in Colorado over the last three decades with an in-credible amount of knowledge, energy, and spirit. Martin is an exceptionaleducator. Articulate, scrutinizing, and motivating, Martin is a rare gem whobrings his years of international design experience to the classroom withone goal – to shape students into outstanding designers. Additionally,Martin’s command of subject goes well beyond the typical, employing apedagogy that delves thoughtfully into the theory, critique, and culturalcontext of graphic design. In addition, Martin is known to speak from theheart with authority and relevance to which the students fully respond,both cognitively and creatively.

In addition to Mr. Mendelsberg's outstanding teaching in the col-lege classroom, he is a world-class artist and designer. He has exhibitedinternationally in Russia, Australia, New Zealand, Germany, China, Israeland America. His work is represented in permanent collections at The Mu-seum of New Zealand; Victoria University School of Architecture; Govett-Brewster Art Gallery; Yale University: Haas Arts SpecialCollections; The Florida Holocaust Museum; The Mizel Museum, Denver, Colorado; Greeley Holocaust Observance Committee;and The Center for the Study of Political Graphics in Los Angeles. Martin’s most recent large exhibition opened May 25, 2014at the Holocaust Memorial Center Museum in Farmington Hills, Michigan.

Professor Mendelsberg’s affiliation with Denver’s Rocky Mountain College of Art and Design (RMCAD) began in 1988and concluded in 2013. It was there that Elizabeth Mahler Licence had the pleasure of working with Martin for more than sixyears. Elizabeth recalls Martin’s energy, charismatic personality, and command of subject and pedagogy having a profoundimpact on both her life and life’s work, fondly viewing him as an iconic leader, mentor, and fiercely passionate colleague.

Elizabeth reflects, “Martin Mendelsberg’s teaching, as well as his professional and personal work, has influenced peopleall over the world; he does not think small, he thinks globally. His impact on students’ lives and their learning can be seen intheir respect for him as a designer and educator and their mutual dedication to impeccable design and life long learning.”

Although Martin is no longer with RMCAD, it is obvious to Martin's current colleagues at Metropolitan State Universityof Denver (MSU) that he is having a profound impact on the way the students of MSU learn and relate to their chosen discipline.Current students continue to vocalize their unfettered appreciation for his teaching style and personalized relationship to thediscipline of design.

MSU colleague Lisa Abendroth concludes, “Martin Mendelsberg is a living manifestation of that which he teaches.Martin is living a life of design. He manifests his passion for design and design education in a tangible way. This commitmentto a discipline and a way of seeing the world (through the design lens) has significant bearing on his students and his col-leagues alike. Because he presents himself as a student of design – a curious lifetime learner – he revels in the beauty of dis-covery that comes about as a result of a deep inquiry into practice. These qualities are unique to Martin Mendelsberg as aremarkable design educator. It would be an honor to have Martin recognized for his contribution to the design communityof Denver, Colorado. He has given us so much and inspired so many. The award is well deserved.”

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Martin Mendelsberg

Higher Education Art Educator of the Year

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Andrea Slusarksi is as an active member of the arts community where shedisplays both personal and student work, advocates for arts education, and presentsstaff development to seasoned and upcoming teachers. Affectionately known asMiss Slu to her students, Andrea has been an arts educator for only three short years;however, she has made a large impact with her students, in her schools, and to theprofession at large.

Colleague Bryce Kennedy reflects, “In the two years I have known Andrea,I have seen that she has an incredible passion for teaching art and is interested inseeing all her students succeed and grow in her classroom. She has also had a majorimpact on the schools where she has worked and students she has taught.”

In her first position at Coal City Intermediate School in Illinois, Miss Slusarskiserved as art teacher, specials representative on the Teaching and Learning Committee, and sponsor of the art club. When making the transition to Colorado, Andrea came highly recommended by peersand supervisors.

Her second year of teaching brought her to Falcon Middle School where she taught drawing, painting, and 3-D classesto all middle-school grade levels. She helped to develop an innovative curriculum that included unit plans, common assess-ments, skills sheets, lessons, and project rubrics. She also served as the Building Apple Technical Coach. In addition, Miss Slusarskidesigned and printed the posters for and curated the Falcon Middle School Winter Art Show; worked to become Career andTechnical Education certified with the state of Colorado; collaborated with the vertical visual arts teams on curriculum devel-opment; and attended and co-presented at the NAEA Spring Conference in Fort Worth, Texas.

Andrea’s passion for mentoring youth drove her to take her talents to California during summer break where sheworked with teenage students attending college classes at the University of California Santa Barbara. For ten weeks, she su-pervised, counseled, and accompanied students and acted as their role model.

Now part of the Gateway High School art staff, Andrea continues to excel. She is working on curriculum developmentand mentoring students within the IB programs. She presented and co-presented at the CAEA Fall Conference and will, onceagain, be co-presenting at the NAEA Spring Conference.

Gateway High School teacher Melanie Rose concludes, “Andrea is full of energy, an inspiration and encouragementto all her students. I am constantly amazed at her organization, lesson plans, enthusiasm, passion, and great relationships withher students. I do not consider her a ‘rookie’ art teacher and am constantly learning new things from her and her classroompractices. She is a true leader and deserves this award.”

Andrea Slusarski

Rookie Art Educator of the Year

Tiffany Holbrook teaches kindergarten through fourth grade arteducation at the third-oldest charter school in Colorado, the Pueblo Schoolfor the Arts and Sciences (PSAS). During her tenure at PSAS, Tiffany’s dedi-cation and passion have been obvious in all that she undertakes and toeveryone with whom she comes in contact. Tiffany’s down-to-earth per-sonality and expertise always shine through – whether working one-on-one with students or collaboratively with other educators, she allows theircreativity to flow and helps them experience success.

Cynthia Ramu, a PSAS fifth- to eighth-grade art teacher, reflects,“Tiffany is an amazingly inspiring K-4 Art Teacher, and she knows how tokeep those kids drawing, discovering and inventing each day of the year. Ithas been a special pleasure to be her partner teacher.”

Diana Gifford, Academic Dean of PSAS, concurs: “Through my own experiences in education over the pastforty years, I have learned what real master teachers bring to the table. Strong teaming skills, good judgment, alwaysfocusing on what’s good for students, and the ability to see the ‘big picture’ are the qualities I look for when workingwith teachers. Ms. Holbrook works exceptionally well with our students, the humanities team, and all staff members atour school. I have observed her enthusiasm for her subject, her love for her students, and willingness to think out ofthe box, as well as encouraging creative risk taking amongst her students.”

In addition to being a treasured and respected member of the PSAS learning team, Tiffany is passionate aboutcontributing to the betterment of art education throughout the state through her involvement in CAEA. Tiffany firstentered the CAEA arena in 2005 as a student with youthful enthusiasm and inexhaustible energy. Never one to tiptoein timidly, Tiffany presented a workshop her first year attending the conference and has continued to do so every yearsince. When asked if anyone would be willing to put together and maintain the CAEA Facebook page, Tiffany did nothesitate, vigilantly keeping art teachers well informed with the latest CAEA information and events. Additionally, Tiffanyhas co-chaired both the Hospitality and Bash task forces for CAEA’s Fall Conference.

Nominator Jane Thomas of Cheyenne Mountain Junior High concludes, “Tiffany’s enthusiasm that first year at Confer-ence drew me to her like a magnet. It is impossible to be around her and not get a little extra pep in your step. Shedoes everything in her life without fear and with a little extra flair. She loves teaching and it shows. She is involved inthe art community outside of school, and is an artist of exceptional ability. I proudly stand behind my nomination ofTiffany Holbrook as Private/Independent/Charter School Art Educator of the Year.”

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Tiffany Holbrook

Private School Art Educator of the Year

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In addition to teaching art full time at the Joliet Learning Center in Aurora,Vanessa Hayes-Quintana has served tirelessly over the past eight years as the editorof CAEA’s art journal, Collage. During that time, Vanessa has proved herself to be aninvaluable contributor to CAEA, having worked tirelessly toward improvement of Col-lage’s credibility, format, and style.

Vanessa first came to the position as editor more than eight years ago whenNatalie Barnes, the beloved editor of Collage, placed an ad in Collage asking for help.Vanessa jumped into the challenge feet first, not only taking over as editor from Na-talie but also assuming many of the responsibilities of the advertising chair.

It was during Vanessa’s tenure as editor that Collage made the transitionfrom hard copy to today’s digital, online journal. Upon consensus from CAEA’s councilto go digital, it was Vanessa who took it upon herself to make it happen, helping tousher CAEA into the 21st century and allowing CAEA members to receive Collage infull color for the first time.

As part of this process, the fall issue of Collage was transformed, combining all the features of a traditional issue withthose of the Fall Conference program book. The new Collage format allowed CAEA members to share conference informationin a timely manner with school administrators, which assisted art educators in encouraging administrators to fund their atten-dance at the Fall Conference.

While stretching the magazine in these new directions, Vanessa upheld the magazine’s quality content. Foremostamong the interests she promoted as editor was building connections. She did so by publishing articles by educators in K-12and higher education as well as by working professionals. She welcomed articles about finding inspiration for teaching art inplaces as diverse as museums, flea markets, and ballroom dancing.

Similarly, she oversaw a well-rounded focus on professional development. Besides publishing articles to help teachersunderstand and incorporate the new visual arts standards, she published articles that encouraged teachers to continue theirown art making and to participate in the art education community through events such as ArtSource, the Fall Conference, andCAEA’s exhibits.

Rosemary Reinhart, copy editor of Collage, reflects upon Vanessa’s tenure, stating, “Vanessa brought a passion for artand art education as well as a big-picture perspective that created positive, catalytic change for Collage and CAEA. Vanessa wasalways enthusiastic and respectful in our collaboration. She impressed me with her openness, her generosity, and her commit-ment to bringing out discerning articles that would pass on the passion for art. She provided an exceptional service to CAEAthrough expanding the reach of Collage while continuing its tradition as a thought-provoking, insightful publication for art ed-ucators, students, and friends of art.”

CAEA Past President Robin Wolfe concludes, “Vanessa like many of us has a full life at home, with more challenges thanmost of us face. She is a wonderful teacher and works with patience and understanding at a school for challenged students. Yetshe still goes above and beyond to find time for her profession and colleagues through her involvement in CAEA. I know thatshe deeply regrets having to leave her position as editor at this time as she transitions into her role as our organization’s PresidentElect, having loved her work with the magazine and the connection it created with our members. Receiving our DistinguishedService Within the Profession Award is a fitting tribute for all that she has done for our organization, as well as continues to do.”

Vanessa Hayes-Quintana

Distinguished Service Within the Profession Award

Cesar Chavez Academy Denver (CCA) is a K-8, Title I public charter school

in Northwest Denver. The school’s unique, pedagogical approach to curriculum

development is founded in the intent to create an environment of rich diversity

and differentiation of instruction. Its highly diverse population of students de-

mands a challenging use of all learning modalities to assure continuous progress

throughout the school year.

Garden Marantino is a highly respected and beloved member of the CCA

teaching staff. Although his content area is language arts, Garden loves, respects,

and appreciates a visual art education because it helps students access their full

potential. This has made him a valued colleague and champion of CCA art teacher,

Jesse Diaz.

Throughout his tenure at CCA, Garden has been instrumental in collaborating with others to make sure his

middle-school students are set up for success. Armed with a deep understanding of the potential of the visual arts to

profoundly impact student engagement, Garden effectively wields the power of the visual arts to motivate students

and help them achieve comprehension and success. Each year he creates and covers the walls of his classroom with

high-contrast posters that portray various human-rights advocates from around the world. Each poster includes a

quotation from the depicted individual that embodies the spirit of his or her purpose. In accordance with CCA tradition,

the posters are thoroughly utilized and referred to throughout the year and then given to students to inspire them to

continued effort and success.

In addition to his inclusion of the visual arts to motivate student learning, Garden regularly extends himself

beyond the boundaries of his content area, reaching out to CCA art teacher Jesse Diaz to collaborate with him on var-

ious art-based projects. In 2013, Garden’s idea revolved around the creation of a Cesar Chavez commemorative t-shirt.

The student-designed, silk-screened shirts were to be worn during the Annual Cesar Chavez March, celebrating the

birth of the human-rights advocate for whom the academy is named. This year, Garden and Jesse’s collaborative efforts

manifested themselves in the design and creation of silk-screened “Aquila” flags that were used in a school-wide as-

sembly to, once again, honor CCA’s namesake.

Jesse concludes, “Mr. Marantino’s passion for art in the education of his students is clearly visible in his teach-

ing. In addition, Garden is always willing to help out with art in any capacity. I would like to take this opportunity to

nominate Garden Marantino to receive CAEA’s 2014 Distinguished Service Outside the Profession Award. I believe that

Mr. Marantino is, without reserve, the best candidate.”

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Garden Marantino

Distinguished Service Outside the Profession Award

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For more than 30 years, Kathy Wernsman has dedicated herlife’s work to promoting art education in Colorado. Now retired, herdedication and passion is undiminished. Karen continues to serve ourprofession as an advocate, mentor, and inspiration, and continues topositively impact arts education in the state of Colorado.

As a teacher in the Fleming School District, Karen’s classeswere without parallel. Karen continually sought innovative ways tobring fresh ideas and approaches to creatively challenge her students.In addition, having had the rare opportunity to teach and track childrenfrom kindergarten to twelfth grade, Karen meticulously created indi-vidual portfolios for each student. The portfolios contained samplework from their first art-making experiences until the end of their high-school careers. These portfolios, uponbeing revealed during senior year, served as poignant testaments of each child’s personal artistic journey andgrowth.

Throughout her career, Kathy continually pursued knowledge in order to hone her craft by staying in-volved with her fellow artists and community and by reciprocating whenever possible. As an active member ofboth ArtSource Colorado and the Colorado Art Education Association (CAEA), she regularly attends CAEA’s fallconference where she has taught workshops. When administrators did not feel the fall conference was a gooduse of funds, Kathy even lobbied local districts to allow other art teachers to attend.

Not content to rest upon her laurels after retirement, Kathy continues to advocate for the importance ofart in her community. She has been instrumental in organizing and operating the Prairie Winds Art Center ofHolyoke, Colorado. This recently-opened art center contains an art gallery and classroom area as well as a giftshop. Kathy arranges monthly exhibits and teaches classes and workshops. She continues to work with children,helping them develop a love of art. She also mentors young art instructors in the area.

Additionally, Kathy currently serves as a board member of the Phillips County Arts Council. This nonprofitorganization promotes musical performance and art expression in northeastern Colorado and southwestern Ne-braska. She raises funds and helps organize an annual concert series and assists with the annual Phillips CountyArt Show. In 2013, Kathy served as judge of the student art show.

Teresa Mailander, secretary to the Phillips Arts Council, concludes, “During this time when budget issueshave limited or ended art education in many rural schools, I am thankful for teachers like Kathy Wernsman whodedicated her career to instilling in her students a love for art. Kathy understands the role that art plays in theoverall intellectual development of the individual. In her retirement she continues to share her knowledge withmembers of her community while finally having time to create her own art. For these many reasons, I am honoredto nominate Kathy for CAEA’s Retired Art Educator of the Year.”

Kathy Wernsman Retired Distinguished Leadership Award

Robin Gallite is an educator and advocate who continues to actively contributeto the advancement of the field of art education in Colorado. As Director of Educationat RedLine in the heart of Denver, Robin is responsible for coordinating RedLine’s Edu-cational Partnership Initiative for the Creative (E.P.I.C.) Arts program. According to theE.P.I.C. Arts program website, the program "empowers young people to become activeinterpreters within their own unique art practice alongside a professional artist both inand outside of the classroom. The art-making process and resulting artwork becomes amedium through which young people can hone their critical thinking, communicationand collaboration skills and express their unique perspective and ideas about today’sworld."

RedLine partners resident artists with art educators and their students. Togetherthey collaborate to create works of art using the media of the resident artist and lookingthrough the lens of contemporary social justice. The E.P.I.C. Arts program experience culminates each semester in a studentshow at RedLine's Project Space.

Vanessa Hayes-Quintana's students were privileged to participate in the E.P.I.C. Arts program. According to Vanessa,“E.P.I.C. brings students’ school and life experiences full circle in a meaningful and authentic fashion. Robin always thought-fully facilitates the partnerships between the artist and the school to create the most perfect match. She attends to theunique needs of the student population as the artist and school collaborate in the art making process. Robin supportsstudents’ critical thinking and diverse outcomes through the partnerships, student visits to the gallery, tours and educationopportunities, and accommodating the spectacular art work in the gallery shows.”

The E.P.I.C. Arts program provides a bridge from nontraditional educational spaces to traditional neighborhoodsettings and is critical to maintaining a thriving and robust arts education community in Colorado. The contemporary andforward-thinking, student-centered pedagogy with which the E.P.I.C. Arts program is being implemented is a direct re-flection of both RedLine’s and Robin’s cutting-edge leadership and expansive vision with regards to progressive art edu-cation and authentic art making. The E.P.I.C. Arts program inspires students to be practitioners who think beyond theexpected and embrace their identity as artists who can contribute to positive change in the world. To that extent, we areall indebted to Robin.

Metropolitan State University of Denver (MSU) Professor Rachael Delaney says, “Robin Gallite has consistentlydemonstrated her commitment to the importance of the arts in the lives of all children. Recognizing the role of nontra-ditional educational spaces is critical to maintaining a thriving and robust arts education community in the State of Col-orado. Every time Robin is able to bring the E.P.I.C. Arts program into a neighborhood school she is directly impacting andsupporting this growth.”

Similarly, MSU Professor Anne Thulson concludes, “Robin is the glue that makes all this happen. Her commitmentto children, contemporary art and teachers is inspiring and has made artists more aware of art education and studentsmore aware of the professional art world. It gives teachers the opportunity to shine and celebrate their often-invisiblepractice of the classroom. Robin has done and continues to do this work with a welcoming spirit and tenacious energyand is highly deserving of this prestigious honor.”

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Robin Gallite Museum Art Educators of the Year Award

Suspendisse feugiat mi sed lectusaoreet nec interdumBy Trenz Pruca

Keynote Speaker Fall Conference 2014

Ellen Dissanayake

Author and LecturerAffiliate Professor, School of MusicUniversity of WashingtonHonorary Doctorate of Humane LettersMaryland Institute College of Art, Baltimore�

� Ellen Dissanayake’s ideas about the psychobiological necessity of the arts have been influenced by her several lives as an undergraduate music major, the wife of a research zoologist, the wife of a Sri Lankan professor, a resident (for sixteen years) of several non-Western countries, and hours of reading in libraries, from Oxford to the Library of Congress to the Universities of Ibadan (Nigeria), Peradeniya (Sri Lanka) and Papua New Guinea. This unconventional background, outside Western academia, has led to three books, more than a hundred scholarly and general articles, and nearly

150 talks to a variety of national and international audiences. See her website ellendissanayake.com.

� Ellen’s first keynote, in 1991, was presented to two thousand art educators in a hotel ballroom in Atlanta at an NAEA conference with the theme of the title of her recently-published first book, What Is Art For? Art educators gave Ellen her first public recognition and over the years they have shown her (better than any library) that her ideas about the universality and importance of art have real world relevance. She has learned as much from art educators as they have learned from her.

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Keynote Speaker Fall Conference 2014

Anya Beebe

Anya Beebe is a Licensed Professional Counselor and combines her background as an

artist, art teacher, and art therapist to use art as catalyst for transforming emotional and

physical distress into healing. After her own personal experiences in using art for healing,

Anya sought to help advance the use of art therapy in the healthcare system and con-

ducted one of the first clinically randomized trials using art therapy. Publishing these encouraging results has helped

give validity and medical credibility to the uses of art therapy

and has helped facilitate more art therapy positions in hospitals.

As a leader in the field, Anya has done numerous national and

international presentations, TV and radio interviews along with

published writings about her research including a chapter in

the book, Art Therapy and Health Care, edited by Cathy Malchiodi.

Wanting to expand her ability to use the arts to help others,

Anya founded the Whole HeARTs Family Center in Centennial,

Colorado. Here, she and her team use the creative art therapies

to help children and adults with chronic illness, ADHD, sensory

issues, autism and parenting along with offering art classes and

workshops to the community for personal growth. Whole-

HeartsFamilyCenter.com

Anya will be talking about her personal experience using art

for physical healing along with her published research in using

art therapy with children with chronic illness. In addition, she

will be sharing other studies and research on how we can use

art to heal.

Keynote Speaker Fall Conference 2014

Art Advocacy Breakfast

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Michael Cellan

Drawing the Naked FigureSo, How long has it been since you've drawn from a naked figure? Come spend over 3 hours with Michael and hismodel and learn a new way to see the nude form.Michael is a retired art teacher who has taught everything and all ages. My work is whatever I feel like doing at thetime.

Tom Mazzullo

The Secrets of SilverpointStudents will learn the old master technique of silverpoint drawing, practiced in the Renaissance, then lost for 500years. Instructor will begin with a brief history and examples of work. Students will prepare their own materials fordrawing, and open class time will be held afterward for drawing from the still-life.Born in Williamsport, Pennsylvania in 1968, Tom Mazzullo earned a BFA from Tyler School of Art in Philadelphia in1990, and an MFA from Syracuse University in 1993. He has drawings in museums, foundations, and private collec-tions, including the Everson Museum of Art in Syracuse, New York, and the Telfair Museum of Art in Savannah, Geor-gia. He teaches at the University of Denver, is affiliated with Gildar Gallery and the Arts Students League in Denver,Colorado. His work is drawing in the medieval medium of silverpoint. He starts with simple subjects, like scraps ofpaper twisted into shapes, in order to make complex, beautiful drawings that scintillate under the effects of lightand shade. His interest in drawing has become much more about grace, complexity, and concept in the past twoyears. The paleness and precision of silverpoint allows him to work slowly, spending time examining the subjectthen bringing it to life gradually, in subtle, exact tones.

Kim Putnam

Paper Plate LithographyNo Press Need ApplyIndulge your curiosity and discover the art of lithography in Paper Plate Lithography - NO Press Need Apply. Thislow-tech printmaking process uses Xerox copies as plates and no printing press! All skill levels are welcome.Kim Putnam is a Contemporary artist adjunct faculty member at Rocky Mountain College of Art and Design. As afaculty member of the Foundation department, Putnam teaches drawing and color theory. She has been teachingsince 2009. Putnam works primarily in oil, however over the last year she has experimented in a wide range ofmediums. Her work includes large-scale oil paintings, photography, printmaking, and installation pieces. She is rep-resented by Kanon Gallery in Denver. Putnam has a Bachelors of Art degree in Communication from Purdue Univer-sity, a Masters of Art degree in Art History from Ohio State University and is a Masters of Fine Art candidate withMassachusetts College of Art and Design.

Tadashi Hayakawa

Large Abstract Organic DrawingTadashi‘s workshop will explore a sensitive and ethereal approach to charcoal and pencil combined with non-tradi-tional mediums. Students will work with canvas. Participants will work from life. Tadashi will share his techniquesand will work in a large format. This is a perfect workshop for the person who loves drawing and painting.Tadashi Hayakawa was born in Japan, to an artist loving family. At the age of 19 he immigrated to the US, and stud-ied art in California. In 1969 he received an MFA from OTIS Art Institute. He became a successful graphic artist, own-ing the business. At the age of 50 Tadashi gave up the Bohemian lifestyle and decided to pursue his real passion,painting. He found himself in Denver and has since gained awe in the public eye. His paintings are spiritual, movingand introspective. Tadashi shows internationally in Los Angeles, New York, and Japan.

Fall Conference 2014 Master Class ArtistBiographies

67Connie Robbins-Brady

Spirit Figures

When you create a “spirit figure,” the idea is to be mindful, perhaps even prayerful, of your purpose. As you em-bellish your work with carefully chosen ribbon, fabric, and beads, you are imbuing it with vitality and strengthfor your intended mission.Connie Robbins-Brady (MA, LPC) has the joy of holding two unique positions in Mesa County Valley schools.Not only is she a school counselor providing classroom, small group, and individual art counseling at Loma Ele-mentary (Loma, CO), she is also the visual arts coordinator for 26 elementary schools. She worked in privatepractice and was instrumental in developing a hospice bereavement program prior to her work in education.Robbins-Brady believes creative art-making helps people of all ages communicate and work through difficultiestoward healing.

Jennifer Ghormley

Self Portrait Print Exchange

Play with multiple artistic interests through the trace monotype print, a process that merges printmaking, draw-ing, and photography. Bring several 5x7 to 6x9 self-portraits to use as a matrix in the creation of unique and in-teresting prints to trade with others.Jennifer Ghormley is a working artist who employs a variety of techniques in the translation of ideas into worksof art. Recently, she had an installation piece in Paper Work, and exhibition at the MSU Center for Visual Art,Denver, CO. Jennifer actively shows her work through national juried exhibitions and invitational portfolios. Sheis a curator for the Aspen Chapel Gallery, and served as Program Coordinator for the Venice Printmaking Studioin Italy, 2012-2014. Currently, Jennifer teaches printmaking courses and artistic workshops at the Art StudentsLeague of Denver, throughout Colorado, and nationally. She enjoys visiting artist opportunities, giving lecturesand demos, interacting with emerging artists and inspiring people through creative possibilities. To embrace allof her creative urges Jennifer creates artwork under her own name, as well as Jen G Studios. She received herMFA in printmaking at the University of Nebraska in Lincoln and a 2006 BFA in printmaking from MetropolitanState College of Denver, 2002.

Penney Bidwell

Heads Up

In this workshop participants will learn how to sculpt a small bust in ceramic clay. Basic anatomy will be dis-cussed but students will be encouraged to build intuitively and let the subconscious guide them.I came into the world on April Fools’ Day, 1968, and was born into the carnival. My mother had been an accom-plished ballerina and later a showgirl on the travelling carnival. My father was a third generation carnie and rideowner. My great grandmother was the tattooed lady in the early 1930’s. The carnival is part of my history andever present in my subconscious. I strive to capture the intimate and internal experience of the human condi-tion in my artwork. My figures each stand alone, even when part of a group. Each character emerges from theclay directly from my subconscious--characters of imagination, past experiences, family stories, motherhood,fairy tales, and dreams. They are soulful beings, reflective of deep inner experiences: joy, sadness, pride, or em-barrassment. Whatever the feeling, it is part of the experience of being human. My new work, "Holding On" ex-plores the notion of holding onto things, people, and ideas. The figures are holding onto something eitherliterally or figuratively. Technically, my sculptural pieces are hand-built from clay and combine slips, oxides, un-derglazes, and glazes. I strive to create harmonious surfaces that have an underlying complexity that engagesthe viewer. Each sculpture is multi-fired, anywhere from 3 to 7 times. My intent is not to control my inspirations,but to remain open and let the imagery inspire me as it develops. My subconscious guides my hands, and thestory unfolds as I work. The mystery of not knowing where a piece will take me and what I will discover is partof the process that inspires me.

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Courtney Cotton

Mixed Media Collage“When printed images are torn, when textures confront, when artifacts are assembled together, when ideas col-lide, there’s always something grandiose happening, the edification of a new world. It goes way beyond paperand ink, and I like it." DepelteauIn one composition we will repurpose a painting by tearing it into pieces and using it in a new compositionwith pieces of metal, string or other bits and pieces that work well with the former painting. Please try to bringa painting on paper or canvas you never resolved to this workshop. If time permits we can also explore sense of humor in collage by using print images. Materials will be providedbut if there are certain catalogues, magazines, or images you like feel free to bring these to make your collagemore personal.

Intuitive WatercolorCotton will demonstrate the way she paints using acrylic paint and other water-soluble materials. We will makeboth a representational and non-representational painting that will invite the viewer to participate. Be preparedto paint looser, bolder, freer, lighter and more intuitively. Think experimental and fun.Courtney Cotton is currently living and working in Denver, Colorado. She studied art and architecture at theUniversity of South Carolina, Rhode Island School of Design, and Queens College.An artist who is unafraid to express herself and her zest for people and life, she draws on the influences and in-spirations from her travels and experiences putting them effortlessly into her art. It is no wonder she says, “Ihave more than one visual voice and some find it hard to define or categorize my style.” Sometimes her work isthematic, but just as often she has the impulse to create something without representing anything.Some of her favorite pieces just came about from the act of playing with paint and paper, “I consciously reactwith the medium, the activity of creating is paramount, and therefore the results happen automatically with theunconscious influence of experiences and emotions.” Her latest accomplishment was winning a hotel card keydesign for Marriott’s SpringHill Suites. As more private collectors and businesses continue to support her art,Cotton is garnering the discipline and confidence it takes to become a prolific artist.

Mike Ariel

Animation and PhotoshopMike Ariel is first and foremost a teacher…he has been adjunct photo faculty at the New Hampshire Institute ofArt in Manchester for the past twenty years, and a full-time public school art teacher for the past 24 years inSalem, New Hampshire. He has taught at every level and to nearly every age. He is also an artist, photographer,film maker, musician, and father of two. He has a BFA in Photography from the Massachusetts College of Art andDesign, and an MFA from Boston University. Back in 2000 Mike became the first teacher in the Bachelor-of-Fine-Arts program at NHIA and a couple years later became the digital photo “guru”. He can also be found teachingthe Art Educator’s summer Institute, the pre-college summer program and the Masters of Art in Art Educationprogram. He has taught and lectured all over the United States and Canada, including the last 6 National ArtEducation Association Annual Conferences.Learn how to incorporate animation into your curriculum through this informative and entertaining presenta-tion. We will look at animation techniques, as well as adding video into your students portfolios using AdobePhotoshop.

Go to www.caeaco.org for Master Class schedule andadditional information.

8:30 am to

9:30 am

10:00 am to

12:00 pm

12:00 pm to

1:00 pm

1:00 pm to

3:00 pm

3:30 pm to

4:30 pm

Peak 6/7 Japanese Tea Ceremony Jenny Wise 10:00-12:00

The Instinctual Artist Mike Carroll 1:00-3:00

Teach Photo in 21st Cent. Alexa Overby 3:30-4:30

PEAK 8 Open Studio Open Studio Peak 9 Tantalizing

Textures: Clay Stamps Gita & Kylle 10:00-12:00

Action Research Informs Practice Elise Meier 1:00-2:00

Between Risk & Sustainability Kevin Slivka 2:00-3:00

Toilet Paper Sculptures Dana Orton 3:30-4:30

Peak 10 Comics for Visual Narrative Andrea Sluarski 8:30-9:30

Evolving the Digital Sketchbook Jody Chapel 10:00-12:00

Inquiry in the Art Classroom Staci Schmidt 1:00-3:00

DAVINCI: School of Creativity Roxie Mitchell 3:30-4:30

Peak 11 Gelli Arts Monoprinting Without a Press Robin Wolfe 8:30-9:30

Art Symbol on Silk Rain Bodine 10:00-12:00

“I Insist… you can’t resist” Lisa Adams 1:00-3:00

Concepts of Ownership Abi Payote Gbayee 3:30-4:30

Peak 12 Concepts of Ownership Abi Payote Gbayee 8:30-9:30

Artistic Tinkering Sara Magley 10:00-12:00

Drawing/ Soft Pencils/Art Erasers Sieger Hartgers 1:00-3:00

Reaching Special Needs Vanessa Quintana 3:30-4:30

Peak 14 Reaching Special Needs Vanessa Quintana 8:30-9:30

Not Typical Papier Mache Jean Hiza 10:00-12:00

What’s Holding You Down? Rachael Delaney 1:00-3:00

Peak 15 Living Art Patrick Fahey 8:30-9:30

Ecosystem Totem Poles Jane Thomas 10:00-12:00

Old Skool: Pixels to Mosaics Ryan Talbot 1:00-3:00

GRAFITTI: Tags, Stencils, Express Andrea Sluarski 3:30-4:30

Peak 16 Camouflage Wallpaper Nancy Deveno 10:00 -11:00

YogArte Shifting Consciousness Polly Hensel 1:00-3:00

The Anatomy of Learning Barth Quenzer 3:30-4:30

Peak 17 OP Art Unit- Pk-12 Kyla Witt 10:00-12:00

3D Chalk Drawing Michael Rieger 1:00-3:00

Explore Abstraction & Color Cathy Moore 3:30-4:30

Coppertop 2 Human BRAIN Joan Meister 1:00-3:00

Blooms: Creativiy Matters Katie Fowler 3:30-4:30

Coppertop 3

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ART PAKS: Formative Asses Tool Lauren Lehmann 1:00-3:00

CA

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Peak 17 - K

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7:00 am to

7:50 am

8:00 am to

9:00 am

9:30 am to

11:30 am

11:30 am to

12:00 pm

12:00pm to

1:00 pm

1:00 pm to

3:00 pm

3:30 pm to

4:30 pm

Peak 6/7 Black Velvet Mystery Painting Julie Swanson Davis 8:00-9:00

Watercolor Monotype/Monoprint Sieger Hartgers 9:30-11:30

Clay Fairy Doors Christina Martinez 1:00-3:00

Spider Web of Low Brow Art Keziah Kelsey 3:30-4:30

PEAK 8 Open Studio Open Studio Peak 9 Hipstamatic

Texture Photos- iPad Amanda Arlington 8:00-9:00

There Be Dragons Ingrid King 9:30-11:30

Mexican Folk Animal Sculpture Anne Mechling 1:00-3:00

Dream Works Anne Mechling 3:30-4:30

Peak 10 Basic Riveting Gail Siegel 8:00-9:00

Miniature Mummification Carrie Mann 9:30-11:30

Engaging in Identity Laura Cronen 1:00 3:00

Engaging the Community in Your Classroom Abi Payote Gbayee 3:30-4:30

Peak 11 Arts Integration, Cross-Curricular Connections Julie Slivka 8:00-9:00

Imaginative Weavings Barbara Jack 9:30-11:30

Photography of Art Miranda Ziegler 1:00-3:00

Preparing Digital Scholastics Images Diane Lea 3:30-4:30

Peak 12 Assignments From The Edge Kris Musto 8:00-9:00

Mishima, Scraffito, and More Mike Lemke 9:30-11:30

How Do I Fire My Electric Kiln? Mike Lemke 1:00-3:00

Observation Evaluation Guide Connie Stewart 3:30-4:30

Peak 14 YAM it up! Justine Sawyer 8:00-9:00

Majolica Renaissance Glaze Painting Diana Faris 9:30-11:30

Creative Texture & Dimension Keith Kern 1:00-3:00

Flipping Your Classroom Dana Orton 3:30-4:30

Peak 15 The ADD/ADHD Artist Abi Payote Gbayee 8:00 – 9:00

Human BRAIN Joan Meister 9:30-11:30

TAB Open Discussion Dale Zalmstra 1:00-3:00

Apprentice to Master Choice-Based Art Room Dale Zalmstra 3:30-4:30

Peak 16 Mosaics: Glass Art for All Ages Leslie Silverman 8:00-9:00

From Ceramics to Glass Leslie Silverman 9:30-11:30

Data is Not a Dirty Word Vanessa Quintana 1:00-3:00

Design Thinking for the Classroom Angela Houdyshell 3:30-4:30

Peak 17 Arts in Motion Connie Stewart 8:00-9:00

Living Art Patrick Fahey 9:30-*10:30*

Clyfford Still Museum Victoria Eastburn 1:00-3:00

Self-Esteem Treasure Box Anya Beebe 3:30 to 4:30

Coppertop 2 Don’t Hand It In – Publish It! Andrea Slusarski 8:00-9:00

Encouraging Critical Thinking Jenny Gawronski 9:30-11:30

No Solder Cuff Casey McGovern 1:00-3:00

Meaningful Rubrics Anne Thulson 3:30-4:30

Coppertop 3

Sunrise Y

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M – 7:50 A

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Got Gelli’s? Cindy Migliaccio 8:00-11:00

Division M

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Lunch On Y

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A Gorey Story Angie Willsea 1:00-3:00

Creative Programming Talya Dornbush 3:30-4:30

KEYN

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Ellen D

issanayake 6:30 PM – 8:00 PM

Peak 17 K

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– 10:00 PM C

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7:00 am to

9:00 am

9:00 am to

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10:15 am to

12:15 pm 12:15

pm to

1:15 pm

1:15 pm to

2:15 pm

2:30 pm to

3:30 pm

2:30 pm to

4:30 pm

3:45 pm to

4:45 pm

Peak 6/7 Creative Quill Pens Julie Swanson Davis 9:00-10:00

Drawing/ Soft Pencils/Art Erasers Sieger Hartgers 10:15-12:15

A New Twist on the Old Godseye Joshua Rau 1:15-2:15

Concept Driven Contemporary Lessons Robin Gallite 2:30-4:30

PEAK 8 Open Studio Open Studio Peak 9 Clsrm to

Learner-Direct. Studio Christina Reeves 9:00-10:00

Where Does MY Art Come From? Linda Tharp Arnn 10:15-12:15

Art of Spain Jean Hiza 1:15-2:15

The ADD/ADHD Artist Abi Payote Gbayee 2:30-3:30

Peak 10 Making Art a Career Travis Ogden 9:00-10:00

A New Start to Your Day Lisa Adams 10:15-12:15

Meaningful Rubrics Anne Thulson 1:15-2:15

Ecosystem Totem Poles Jane Thomas 2:30-4:30

Peak 11 Engaging Community In Clsrm Abi Payote Gbayee 9:00-10:00

Art Symbol on Silk Rain Bodine 10:15-12:15

Digital Portfolios Kelly Beach 1:15-2:15

Process, Product, Learning Marie Gibbons 2:30-3:30

DOK: Shifting to Higher Level Thinking Liz Buhr 3:45-4:45

Peak 12 Observation Evaluation Guide Connie Stewart 9:00-10:00

OP Art Unit- Pk-12 Kyla Witt 10:15-12:15

DAM: Art InterpretationKate Wheeler 1:15-2:15

Teach Photo in 21st Cent. Alexa Overby 2:30-3:30

Artsonia Assessment Sheryl Miess 3:45-4:45

Peak 14 Reaching Specl Needs Vanessa Quintana 9:00-10:00

Evolving the Digital Sketchbook Jody Chapel 10:15-12:15

SOS! New Teachers Vanessa Quintana 1:15-2:15

ARTcology Kris Heinz Nelson 2:30-3:30

Peak 15 Post-it Note Writing Tech Alexa Overby 9:00-10:00

Linear Family Tree Sculpt. Justine Sawyer 10:15-12:15

Reclaiming Your Creative Soul Anya Beebe 1:15-4:15

Peak 16 Representation by Design Kris Heinz Nelson 9:00-10:00

Electronic Origami Beverly Ball 10:15-12:15

Integrating Islamic Arts Deb Rosenbaum 1:15-2:15

Crayon Batik Tamara Leberer 2:30-4:30

Peak 17 Art Source Poetry Slam with Ken Arkind 9:00-12:00

Contemporary Lesson Ideas Connie Stewart 1:15-2:15

Scholastics Pam Starck 2:30-3:30

Coptop 2 Arts Overcoming Violence Laura Svigel 9:00-10:00

Old Skool: Pixels to Mosaics Ryan Talbot 10:15-12:15

Comics for Visual Narrative Andrea Sluarski 1:15-2:15

Boy Centered Multimedia Pamela Farris 2:30-3:30

Camouflage Wallpaper Nancy Deveno 3:45-4:45

Coptop 3

Sunrise Y

oga with V

ickie Graber 7:00 A

M – 7:50 A

M C

oppertop 2

Arts A

dvocacy Breakfast 8:00 A

M – 9:00 A

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Toilet Paper Sculptures Dana Orton 9:00-10:00

Deep Structure of the Arts Ellen Dissanayake 10:15-12:15

Lunch On Y

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Us and the Other Sarah Grundemann 1:15-2:15

Bedazzled Butterflies Ramona Lapsley 2:30-3:30

AR

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ann 4:30 PM – 5:30 PM

Vendor H

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– 8:30 PM P

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CAEA Art Auction at Fall Conference

Friday 8:00 - 10:00pm in Copper Top 3

Join us for an evening of fun with friends and fund raising. CAEA will providefood and cocktails while you peruse the donated art works from our felloweducators, that will be up for auction to raise funds for our teacher and student teacher scholarships.

Thursday 9:00-10:30 PM Base 9 Bar - Beaver Run Resort

Come Sing Your ART Out!

KARAOKE pARTyat Fall Conference

ART MART at Fall Conference

Saturday 4:30 - 5:30pm in Copper Top 2

Think community yard sale & craft show. Sell art supplies, books, media,crafts, artwork, jewelry, art objects, seconds, costumes, reproductions,interesting miscellaneous materials, fabric, tools, containers, organizers,decorative pieces, flea market finds, & unique items art teachers want!

CAEA EXECUTIVE BOARD & DIVISION REPRESENTATIVES

Elizabeth Mahler Licence

Vanessa Hayes-Quintana

Ben Quinn

Lloyd Bourdon

Tara Pappas

Robin Wolfe

Amy Marsh

Cathy Moore

Cindy Miggliaccio

Sarah Magley

Alexandra Overby

Mary Kate McDonald

open

Jesse Diaz

Sophia King

Elizabeth Buhr

Donna Goodwin

Teresa Clowes

open

open

Title Name EmailExecutive Board

Division Representatives

President 2014-16

President Elect 2012-14

Vice President 2012-14

Treasurer 2012-14

Secretary 2012-14

Past President 2012-14

Elementary 2013-15

Elementary 2014-16

Middle School 2014-16

Middle School 2013-15

High School 2014-16

High School 2013-15

Private/Ind/Charter 2014-16

Private/Ind/Charter 2013-15

Commercial 2013-15

Museum/Gallery

Supervision 2013-15

Higher Education 2014-16

Higher Education 2013-15

Retired 2012-14

Student Rep 2012-14

caeapresident@gmail.com

sayhayes@mac.com

bennyquinn@hotmail.com

lrabourdon@gmail.com

taranpappas@yahoo.com

caearobin@gmail.com

abeth127@yahoo.com

cmooreart@msn.com

chmigliaccio@gmail.com

saramagley@yahoo.com

alexandra_overby@dpsk12.org

mkmcdonald22@gmail.com

jdiaz6@me.com

sophia@stoneleafpottery.com

contact@elizabethbuhr.com

donnajgoodwin@yahoo.com

tclowes@rmcad.edu

Robin Gallite, Keziah Kelsey robin.redlineart@gmail.comkezzzke@me.com

CAEA TASK FORCE CHAIRS & PUBLICATIONS

Deborah Walden OssiCollage Editor 2014-2016deborah@deborahossi.com

Todd and Elizabeth LicenceCollage Design/Layout 2014-2016elicence@comcast.net

Rosemary Reinhart and Elisabeth ReinhartCollage Copy Editors 2014-2016rsrhart@gmail.com

Timothy GianulisAdvocacy 2014-2016timothy_gianulis@dpsk12.org

Leisa AustinArts Liaisonlcaustin@jeffco.k12.co.us

Jody ChapelArts Liaisonjchapel@ecentral.com

Pam StarckScholastics 2014-2016TPLBStarck@aol.com

Robin Wolfe and Michael CellanWeb Master 2014-2016medcellan@mac.comcaearobin@gmail.com

Dana Orton and Christina MartinezSocial Media 2014-2016www.facebook.com/CAEAColoado

Lisa AdamsSpring Conference 2012-2014ladams7@cherrycreekschools.org

Linda SchmaleSpring conference 2012-2014lgschmale@msn.com

Justine SawyerYouth Art Month 2014-2016caeayam@gmail.com

2075CAEA REGIONAL REPRESENTATIVES

North West: open

North Central: Sharon Jacobson-Speedy Frisco, CO 2014-2016 speedywheat@aol.com

North East: Christina Martinez Holyoke, CO 2013-2015 martinezch@hcosd.org

Metro: open

Metro: Mike Carroll Denver, CO 2013-2015 mcarroll@jeffco.k12.co.us

East Central: Jane Thomas Colorado Springs, CO 2013-2015 jthomas@cmsd12.org

South East: Gidget Burbacher Trinidad, CO 2013-2015 gbrubacher3@gmail.com

South Central: Jenny Gawronski Alamosa, CO 2014-2016 jennygawronski@adams.edu

South West: Dawn Alexander Ignacio, CO 2013-2015 scarlettdawn66@gmail.com

West Central: Rain Bodine Gunnison, CO 2014-2016 rainjbo@gmail.com

West Central: Abbie Mahlin Norwood, CO 2014-2016 amahlincaea@gmail.com

Fall Conference Vendor Line-Up

Stone Leaf PotteryJack Richeson & Co.New Hampshire Institute of ArtDenver Art MuseumRegis UniversityMinneapolis College of Art and DesignSavannah College of Art and Design

Colorado PERAAMACOSquare 1 ArtDavis PublicationsThe Naja Tool & Supply, Inc.MaycoBlick Art MaterialsSchool SpecialtyContinental ClayMeininger Art SupplySargent ArtProductive Office & School Environments

From:

The Colorado Art Education Association

www.caeaco.org

CollageDeborah Walden Ossi

16041 Bluebonnet Drive

Parker, CO 80134