Teaching Philosophy
I never wanted to be an art teacher. I didn’t believe teaching art was possible or that I was able. Even after many years studying art in college, I was adamant that I would never teach. I come from a family of teachers. I never related to them. So it shall be written (although never ACTUALLY written), so it shall be done. Well…. not exactly.
I was given the opportunity to teach classes in graduate school. Amazingly and instantly, I knew I was to be an art instructor. Teaching art has afforded me the opportunity to express and share my excitement and appreciation for art with young artists. Teaching drawing, painting, and foundation classes has given me the platform to help students in areas in which I am most passionate. As an instructor of art, it is my duty to educate and equip young artists with the materials, vocabulary, and curious investigation befitting a serious art student. I instruct students to incorporate fundamental methods and materials to find and form their own voices and techniques with which they can best express themselves and their creative intent while also establishing themselves in a contemporary society.
Direct observation is an ongoing and integral part of my creative process. It was a significant element prior to my education in a university setting and is as vital now within my classroom instruction and my personal studio work. I believe that with a firmly established foundation in observation, students can confidently explore and experiment with varied approaches to their own work. It is my belief that the solid groundwork of direct observation informs and makes possible later forays into experimental and conceptual modes of expression.
I have had many art professors that impacted my evolution as an artist and a teacher. I took teaching aspects from graduate school professors. Some of my studio practices and behaviors are directly influenced by undergraduate professors. The most influential professor in my life was Jack Bartlett. He taught me painting and drawing at Mississippi State University. His enthusiasm was infectious. I grew so much under his guidance. He was demanding of me yet he allowed freedom to explore themes and experiments in and out of the studio. It was what I needed. I teach in a similar way in that I encourage and demand that my students foster their curiosity. I give them as much freedom as is possible. Foundations classes are too often bogged down with mundane (but necessary) assignments and materials; however, I push my students to expand their interpretations of the assignments. I urge them to consider the themes and materials of an individual project while they express their creativity and vision.
For example, in my Drawing II class, we have a drawing project that depicts an interior/exterior that is executed using pen and ink and emphasizing mark making. While giving examples of previous successful and failing student work, I ask them, “What is your idea of interior/exterior? Is it a building? Can it be something else? What might it be? What do you think of?” I want them to think. I need them to have the curiosity, dedication, and confidence to investigate and express themselves and address the problems that the assignment presents. More often than not they substantiate my confidence in them. They go above and beyond my and their expectations. It is exhilarating!
In my classroom and studio, I stress and promote how vital an understanding of art’s history and knowledge of contemporary art is in producing relevant, twenty-first century artwork. I stress the importance of research and exploration of artists and art movements that have preceded, as well as reside in, our present time. I require my students to research and write about artists to whom they relate to or who intrigue them. This requires additional work that stimulates their desire to learn and aids in establishing their place within the visual arts’ expansive history. I firmly believe the students do have a place.
It is very important to me to establish a connection with students. I believe the best method of identifying with them and relating to them is to understand where they are coming from. I am sincerely curious about what they bring to class. My students and I are a generation and decades in age apart. Their views on what constitutes a “work of art,” their influences, their career possibilities differs from mine; however, I make it evident to the students that, although they are at a different stage in their development, they are like all instructors and artists in confronting self-doubt, confusion, failure, and, through hard work and perseverance, success. I forge a bond through a constant dialogue of not only art, but their lives as well. I begin every class at the first of the week with these questions: “How was your weekend?” “Did anything exciting happen?” “How are your classes going?” Also, I end every week by saying, “Have a good weekend. Be safe.” I create an atmosphere of inclusion, camaraderie, competitiveness, and, most importantly, support. I view each class as “our family” and I make it known to the students. My most important rule in class is “Respect yourself, your classmates and me.” I want my students to be prepared for their next stage in life. Although I never steer them in any other direction, the truth is that not all will remain in the field of art. That matters not to me. Adhering to the principles promoted in my classes prepares them to be successful in life.
It is crucial that my students take art, its history, and the processes seriously. They are embarking on a career in art. I take it seriously. I, most importantly, demand that they have fun and enjoy the journey. It is fun! It is enriching! It is life-changing and ever evolving! I have them always remember and practice a quote from Henri Matisse: “Creative people are curious, flexible, persistent, and independent with a tremendous spirit of adventure and a love of play.”
Teaching art is fulfilling in that it enables me to guide younger artists to envision and execute their ideas. It is gratifying that this simultaneously affects my own artistic practice. I may have never wanted to be an art instructor, but, thankfully, through my years and numerous experiences with students, I AM. Watching my students’ enthusiasm and experience expand encourages me and confirms that I was indeed wrong. I am influencing them. They will then go out and influence others.
I never wanted to be an art teacher. I didn’t believe teaching art was possible or that I was able. Even after many years studying art in college, I was adamant that I would never teach. I come from a family of teachers. I never related to them. So it shall be written (although never ACTUALLY written), so it shall be done. Well…. not exactly.
I was given the opportunity to teach classes in graduate school. Amazingly and instantly, I knew I was to be an art instructor. Teaching art has afforded me the opportunity to express and share my excitement and appreciation for art with young artists. Teaching drawing, painting, and foundation classes has given me the platform to help students in areas in which I am most passionate. As an instructor of art, it is my duty to educate and equip young artists with the materials, vocabulary, and curious investigation befitting a serious art student. I instruct students to incorporate fundamental methods and materials to find and form their own voices and techniques with which they can best express themselves and their creative intent while also establishing themselves in a contemporary society.
Direct observation is an ongoing and integral part of my creative process. It was a significant element prior to my education in a university setting and is as vital now within my classroom instruction and my personal studio work. I believe that with a firmly established foundation in observation, students can confidently explore and experiment with varied approaches to their own work. It is my belief that the solid groundwork of direct observation informs and makes possible later forays into experimental and conceptual modes of expression.
I have had many art professors that impacted my evolution as an artist and a teacher. I took teaching aspects from graduate school professors. Some of my studio practices and behaviors are directly influenced by undergraduate professors. The most influential professor in my life was Jack Bartlett. He taught me painting and drawing at Mississippi State University. His enthusiasm was infectious. I grew so much under his guidance. He was demanding of me yet he allowed freedom to explore themes and experiments in and out of the studio. It was what I needed. I teach in a similar way in that I encourage and demand that my students foster their curiosity. I give them as much freedom as is possible. Foundations classes are too often bogged down with mundane (but necessary) assignments and materials; however, I push my students to expand their interpretations of the assignments. I urge them to consider the themes and materials of an individual project while they express their creativity and vision.
For example, in my Drawing II class, we have a drawing project that depicts an interior/exterior that is executed using pen and ink and emphasizing mark making. While giving examples of previous successful and failing student work, I ask them, “What is your idea of interior/exterior? Is it a building? Can it be something else? What might it be? What do you think of?” I want them to think. I need them to have the curiosity, dedication, and confidence to investigate and express themselves and address the problems that the assignment presents. More often than not they substantiate my confidence in them. They go above and beyond my and their expectations. It is exhilarating!
In my classroom and studio, I stress and promote how vital an understanding of art’s history and knowledge of contemporary art is in producing relevant, twenty-first century artwork. I stress the importance of research and exploration of artists and art movements that have preceded, as well as reside in, our present time. I require my students to research and write about artists to whom they relate to or who intrigue them. This requires additional work that stimulates their desire to learn and aids in establishing their place within the visual arts’ expansive history. I firmly believe the students do have a place.
It is very important to me to establish a connection with students. I believe the best method of identifying with them and relating to them is to understand where they are coming from. I am sincerely curious about what they bring to class. My students and I are a generation and decades in age apart. Their views on what constitutes a “work of art,” their influences, their career possibilities differs from mine; however, I make it evident to the students that, although they are at a different stage in their development, they are like all instructors and artists in confronting self-doubt, confusion, failure, and, through hard work and perseverance, success. I forge a bond through a constant dialogue of not only art, but their lives as well. I begin every class at the first of the week with these questions: “How was your weekend?” “Did anything exciting happen?” “How are your classes going?” Also, I end every week by saying, “Have a good weekend. Be safe.” I create an atmosphere of inclusion, camaraderie, competitiveness, and, most importantly, support. I view each class as “our family” and I make it known to the students. My most important rule in class is “Respect yourself, your classmates and me.” I want my students to be prepared for their next stage in life. Although I never steer them in any other direction, the truth is that not all will remain in the field of art. That matters not to me. Adhering to the principles promoted in my classes prepares them to be successful in life.
It is crucial that my students take art, its history, and the processes seriously. They are embarking on a career in art. I take it seriously. I, most importantly, demand that they have fun and enjoy the journey. It is fun! It is enriching! It is life-changing and ever evolving! I have them always remember and practice a quote from Henri Matisse: “Creative people are curious, flexible, persistent, and independent with a tremendous spirit of adventure and a love of play.”
Teaching art is fulfilling in that it enables me to guide younger artists to envision and execute their ideas. It is gratifying that this simultaneously affects my own artistic practice. I may have never wanted to be an art instructor, but, thankfully, through my years and numerous experiences with students, I AM. Watching my students’ enthusiasm and experience expand encourages me and confirms that I was indeed wrong. I am influencing them. They will then go out and influence others.