Immersive Learning and Creating a Culture of Engagement
Immersive learning–is it just another buzzword? Interdisciplinary, student–driven, collaborative learning, with community partnership are all part of immersive learning. Experiential learning is the process of learning through experience and a reflection on doing. Engagement requires a two-way process. Let us move away from the buzzwords and focus on ways that art and design students can venture into new territories as part of their studies in direct and meaningful ways. What does engagement look like? How do we do it? This session is to share best practices, pitfalls, and successes, while supporting new ideas.
Send proposals to: Session Chair, Barbara Giorgio, Ball State University, email@example.com
MACAA at CAA
Fear of the Unknown Saturday, February 24, 2018, 4:00–5:30 PM Room 402B, Los Angeles Convention Center
Presenters: Session Chair, Christopher Olszewski Pato Hebert Jason Swift Christopher Kienke Jim Diachendt Chuck Carbia
Pato Hebert, Tisch School of the Arts, New York University Much Better than A Like: Art and the Organizing of New Worlds This presentation will offer an overview of Hebert’s recent spatial interventions developed in concert with diverse communities. These projects aim to cultivate a conceptualism that is more visceral and sympoietic. Hebert will discuss the role of creativity in HIV prevention with young queer men of color in a non-profit setting, zine and text work developed with the formerly homeless and support from a museum, the claiming of urban space by queer people in Quito and São Paulo, and a stone sculpture that tackles the legacies of settler colonialism on a college campus. The projects draw on popular education, contested histories, community health strategies and urban intervention tactics.
Chris Kienke, University of Illinois at Urbana Champaign Hotrods and Handguns Images broadcast on social media, film and television shape our values both individually and collectively as a society. My research explores iconic visual imagery, which influences the formation of American cultural identities. The considerations that fuel my artworks are not limited to one discipline. For example, ideas about patriotism, citizenship and freedom – are represented by images, which are themselves reflective of class, race, and gender. They shape our beliefs about what American values are and who gets to share in those values. The continuing discussions of social, political, historical and economic issues filtered through nationalistic and patriotic ideals found in social media, film and television in the United States is a dialogue that demands visual rendering. My responsibility as an artist is to contribute to these larger conversations by using the medium of visual language as a departure point for discussions about these topics.
Jason Swift, Plymouth State University Locating Visual Arts Education in a Post-Liberal Arts Landscape In American universities tuition has skyrocketed, business management models appear as preferred modes of operation for administrators and more and more stakeholders demand accountability and degrees that guarantee employment. Where does this leave visual art departments? How do they quantify value and profit of the visual arts while qualifying career potential and the intrinsic value of the arts for students, their education and future? How do visual arts faculty and departments advocate worth, contribution and importance of the arts in a growing post-liberal arts education climate? This presentation explores the current climate and location of visual arts at post-secondary institutions in a growing post-liberal arts climate. It discusses the future of visual arts education in a socio-political climate that appears to value scientific education, monetary success and authoritarianism over the cerebral, emotive and visceral importance of visual arts education.
G. James Daichendt, Point Loma Nazarene University Street Side Activism Street art developed as a powerful tool in the late 1970s and early 1980s that challenged conventional borders of graffiti and the professional visual arts. In the 21st century, the genre has dramatically forked in two directions, first as a stimulus for economic growth and secondly as a representation of chaos and disorder. From calls to action and participation to pleas for destruction - this presentation focuses on each development and how proponents have used the medium to challenge the current social-political landscape and confront these issues to produce change.
Chuck Carbia, Savannah College of Art and Design The Spectacle of Relationships Chuck Carbia will present moments from his 15-year span of work with the collective Glitter Chariot, founded by Ryan Berg. With inspirations from Glam Rock to the Grand Ole Opry, Paul McCarthy to The Muppet Show, Glitter Chariot has always experimented with the possibilities of spectacle, while telling stories of heartbreak. Glitter Chariot’s “Entertainment Art”, is a combination of musical performance, visual art, and design. Stages and costumes become sculptural objects, and musicians become characters in a love story. The universality of heartbreaking relationships overcomes racial, socioeconomic, and political divides, while replacing identities with re-envisioned iconic characters (i.e. Burt and Ernie). The familiarity of a popular love song being performed can potentially lower the viewers guard, allowing the artists to take more visual risk and push the unexpected conceptually.