Tag Archives: sketchbook


VISUAL ARTS PRACTICE 2 PEER REVIEW DISCUSSIONS This blog in in relation to the Visual Arts Practice Peer Review from the MEd Artist Teacher Programme at UWS in the Fall of 2014. You will find all artwork uploaded to Vimeo at http://voicethread.com/myvoice/#thread/6121329/31418811/32905532. Artwork is currently uploaded anonymously so the artists names are not available yet. Discussions are in progress about each image.
  Screenshot 2014-10-30 07.19.23CHRISTINE (ME) WROTE: The composition has continuity about it like a river flowing around and around small, middle and large sized islands. Is the composition meant to speak of cycles? Is it about something that will be represented in the centre or about the flow itself? Is this a “narrative construction” that opens a “floodgate of ideas and possibilities” with links between “narrative and life” as Clandinin and Connelly suggest when they speak of MacIntyre`s work and their thinking on narrative unity (2000, pg. 3)?
  • Clandinin, D. and Connelly, F. (2000). Narrative inquiry. San Francisco: Jossey-Bass Publishers.

  Screenshot 2014-10-30 07.22.56
CHRISTINE (ME) WROTE: How do we make sense of this piece? My experience reflects on a map of the suburbs. Do we connect to this map-like image mentally and emotionally- emerging “self remade”? Do others also find themselves “exploring our own interior landscape”? Does this map “effectively simplify” some elements and why is the view “Partial” and what relationship is being illuminated?Quoted words come from Eisner`s reflections on maps pg. 11-12.
  • Eisner, E. (2002). The arts and the creation of mind. New Haven: Yale University Press.
  • Eisner, E. (2002). The arts and the creation of mind. 1st ed. New Haven: Yale University Press.
  • Klee, Z. (2014). Taking a Line for a Walk. [online] Zentrum Paul Klee. Available at: http://www.zpk.org/en/exhibitions/preview/taking-a-line-for-a-walk-658.html [Accessed 3 Oct. 2014].
  • Leavy, P. (2009). Method meets art. New York: Guilford Press.
 DIARMUID WROTE: Christine I think you have found something here that connects to your interest in Narrative Inquiry and to Leavy's work too. Keep this inquiry going - others will benefit too.
Screenshot 2014-10-30 07.28.58
CHRISTINE (ME) WROTE:  The narrative is engaging through the images only as the text for me becomes purely mark making as I cannot make sense of it. Is this okay for the artist? I see a question, blood, wolves, a stamp, cold arctic colours, a post card like composition and a scratch like texture. Do we find metaphor is this message? Is it the artists desire to educate the viewer using the “cognitive and affective meaning together”(Egan, 1989. Pg. 37) and “become the spark(s) that ignite(s) a deeper passion for learning” (hooks, 2010, pg.52).
  • Egan, K. (1989). Teaching as story telling. Chicago: University of Chicago Press.
  • hooks, b. (2010). Teaching critical thinking. New York: Routledge.
    Screenshot 2014-10-30 07.31.42
    CHRISTINE (ME) WROTE:  Does this sculpture tell a tale that “…hair is a symbol for the refusal to be domesticated…a symbol of power par excellence”(Baltrock, 1998) as Kiki Smith does in her 1994 sculpture of the Wild Woman? Does she listen or does she speak as she sits upon her hands with her head tilted and her legs poised? Does she return to her centre “deciding what is critical, what to do next” (1992, pg. 329) like the wild women Clarissa Pinkola Estés tells us stories about? Egan suggest that we are “affectively” engaged in a story because we know the story will end or at least “satisfy some conflict set up by their beginning” (1989, pg.30) but is that the case here?
  • Baltrock, T. and Smith, K.(1998). Kiki Smith. [Köln]: Salon Verlag.
  • Egan, K. (1989). Teaching as story telling. Chicago: University of Chicago Press.
  • Estés, C. (1992). Women who run with the wolves. New York: Ballantine Books.
    Screenshot 2014-10-30 07.36.15
    CHRISTINE (ME) WROTE: Does the artist here present us with ”windows which are open on the whole world…a recovery of the totality of being…human freedom” (Sartre,1949, pg.57)? There appears to be a rich organic texture, a tale of nature and beauty.
  • Sartre, J.-P. (1949). Literature and Existentialism.(B. Frechtman, trans.) Secaucus, N.J.:Citadel Press.
DIARMUID WROTE: Your reading of this image should invite a response from its maker - we will soon be asking  the makers to respond  - we are still anticipating many more to upload and to respond. Particiapants, please reference your comments and copy also to your Artist Teacher blog.