During late April, St. Croix Educational Complex High School art students recently enjoyed the fruits of their creativity during a Virgin Islands Centennial themed art exchange excursion to St. John. Twelve National Art Honor Society and SCEC Art Club students traveled along with SCECHS Visual Arts educator, Danica David, and four parent chaperones. Before traveling, the group sold many Virgin Islands Cultural Contributors Calendars to raise monies for the trip. The Virgin Islands Cultural Contributors Calendar Project is a collaborative project devised during fall 2017 by Ms. David and fellow St. Croix Educational Complex Drama and Speech educator Sayeeda Carter. Ms. David’s students created artwork, while Ms. Carter’s students interviewed and wrote biographies about the selected participants. The calendar project is an interactive learning experience for SCECHS students and participants in the community who are actively contributing to Virgin Islands culture.
Several months before the calendar project began, Priscilla Hintz Rivera Knight and husband David Knight Jr. the owners of Baja El Sol Gallery invited Ms. David and St. Croix Educational Complex art students to display artwork in their “100 Years Of... A Centennial Transfer Reflection Exhibition”. The Knights are actively involved in developing the arts on St. John
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Croix Educational Complex students spent two days on the island of St. John partaking in art related and other historical education activities. They attended Julius Sprauve School Industrial Art educator, Kurt Marsh Jr.'s class. Mr. Marsh .demonstrated how to transform a mahogany slab into a bowl on a lathe. SCECHS students were actively engaged. Zaquira Carti , a senior said "Mr. Marsh sparked my interest in industrial arts. I would love to learn more about it when I go to college.” Mr. Marsh is the great-nephew of world-renowned artist and wood turner Avelino Samuel. Mr. Marsh is a second generation artist and wood
“Cleveland Museum of Art: Building,” Cleveland Art, Cleveland Museum of Art, 2013. Web. 25 March, 2014.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
University of Virginia, VA: National Art Education Association, 1992. Print. Gilbert, Jonathan P and Rachel Mills. Michelin Green Guide California.7 ed.
The show’s organizers, Teresa A. Carbone (the museum’s curator of American art) and Kellie Jones, did an exceptional job of strategically placing the artwork in relevance and relating topics to one another. When I arrived, the exhibit was empty and I actually had the opportunity to meet Ms. Carbone, who was on hand at the museum’s entrance.
The presence of the past is everywhere. One does not have to look very far to realize that the past has quite an influence on the present. In fact, there are a few examples of modern works of art at the University of California, San Diego, that bring to mind architectural works of the past. One such example is the La jolla Project, which is a collection of stone blocks on top of a hill on the Revelle College lawn south of Galbraith Hall. The isolated groups of blocks refer to architectural elements such as columns, posts, lintels, windows, and doors; but the collection, as a whole, resembles a modern reconstruction of Stonehenge. The La Jolla Project and Stonehenge differ from each other in many ways, but they also share some striking silmilarities that are constant reminders that the past is very much a part of modern life.
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
Turbide, Anne F. "Why Art Programs Are Beneficial to Students." The Synapse. N.p., 15 May 2015. Web. 10 May 2016.
For my Cultural Plunge, I participated with Project Excell (Extending College Education for Lifelong Learning). This is a group that meets on campus, in the union, every Saturday morning from 9:00-11:00 AM. Each participant has a developmental disability and they come from various places around Manhattan. Project Excell offers around 4 different classes for the participants to choose from, which range from dancing/theatre to the history of Nigeria. After completing a “session,” the participants go through a graduation ceremony and then begin a different type of class for the next few weeks. I joined this group as a student ambassador, who assists the classroom teachers while building relationships with and tending to the needs of the participants.
Although Puerto Rico is relatively young artistically, it has gone through major cultural changes, first with the Spanish conquest, and then with the United States and other immigrant groups. The artistic production of painters and craftsmen, through these not yet five hundred years, reflect these cultural shocks.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
...e able to use this in a classroom and teach the students how to create these bracelets and how they are originally made. I could use this activity in the classroom by sharing the information that I received from the members of the First Nations Educational and Cultural Center. A lot of this information would be extremely helpful when talking to my students about Native Americans it gives information from the perspective of a Native American. My thoughts after this activity was how friendly and welcoming the members of this group are. I was also amazed on how much I actually learned there not only about beading but also about weaving and the Native American culture. From talking about different Native American tribes to the dances and outfits worn for these dances. I definitely would like to attend either another craft night or an event held by this cultural center.
Lewis, R., & Lewis, S. (2008). The Power of Art. Connecticut, United States: Cengage Learning.
White, Kit. 101 Things to Learn in Art School. Cambridge, Mass.: MIT Press, 2011. 28 March
It took me eighteen years to realize what an extraordinary influence my mother has been on my life. She' s the kind of person who has thoughtful discussions about which artist she would most want to have her portrait painted by (Sargent), the kind of mother who always has time for her four children, and the kind of community leader who has a seat on the board of every major project to assist Washington' s impoverished citizens. Growing up with such a strong role model, I developed many of her enthusiasms. I not only came to love the excitement of learning simply for the sake of knowing something new, but I also came to understand the idea of giving back to the community in exchange for a new sense of life, love, and spirit.
Although The Institute of Contemporary Arts (ICA) of Boston was the only place dedicated to contemporary art for more than 50 year, it is having trouble growing into a pillar of the art industry (Reavis, 2010, pg.1). The main problem is the organization’s powerless leadership. According to Peter Northouse (2015), leaders must possess an effective influencing power in order to motivate followers (pg.47). The leaders prior to Jill Medvedow failed to get the local community fondly interested in contemporary art or an environment that showcases it. Therefore, there are no investors, donors, or patrons breaking down the door to fund or see the exhibits presented in the old