INSTRUCTIONS FOR BLUEPRINTING
Contemplate your impressions of art education, enfolding past, present, and future: What have you seen, heard, created, imagined?
Seek objects, phrases, and other matter for blueprinting.
Explore compositions that blur and skip like poems made from bodies, objects, movements, light, shadow, memory, and other matter.
Expose to light according to qualities of the weather.
Create a record of matter/ing in a collaborative catalogue.
Repeat as desired.
What speculative epistemologies do preservice art teachers bring to bear as they begin learning to teach? How are art classrooms, former teachers, family perceptions, histories of art and design, art materials, class projects, and learning environments remembered, embodied, and imagined? This visual essay theorizes blueprinting as a generative process of layering, enfolding, and dynamically reconfiguring preservice impressions of art education. Drawing on Karen Barad’s (2007) notion of intra-action, I theorize the cyanotype photographic printing process as an intra-active creative practice— as sunlight, shadow, time, paper coated with potassium ferricyanide and ferric ammonium citrate, chance, time of day, matter, air, weather, water, peroxide, artist, intuition, and intention co-produce the evocative, deep-blue images that the cyanotype process yields. Blueprinting is offered as a more-than-human conceptual practice that exposes the enmeshing of memories, materiality, stories, and insights of becoming art teachers so that we might move productively towards a new ontology.
about the book
Unfolding Afterglow examines professional learning in the contemporary milieu of public education, considering the impact of No Child Left Behind and Race to the Top on such encounters for art educators. Drawing from prominent scholars of philosophy and education (Greene, Dewey, Gadamer), aesthetic experiential play is theorized as a catalyst for teacher renewal through the embodied intensities (Merleau Ponty, Deleuze) it prompts: an aesthetic swell and afterglow. The swell is conceptualized as a movement that unmoors teachers as learners, setting them adrift towards unanticipated, surprising possibilities. Afterglow is an illuminated space that unfolds with a commitment and openness to move in swell towards the ever expanding new. This text invites readers into the findings of a qualitative research inquiry by unfolding a yearlong correspondence of letterpress printed postcards and hand rendered letters exchanged between the author and a cohort of K-12 art teachers. The innovative epistolary form evokes the relational and arts-based educational research methodologies that informed this lively aesthetic inquiry, providing new directions and possibilities for both art educators and arts researchers to explore. Advocating for more complex understandings regarding how educators become renewed as artists and as teachers, this poetic and pictorial text provokes an expanded vision for what counts as professional learning, and the processes by which teacher renewal is nourished and experienced.
Praise for Unfolding Afterglow:
Brooke Hofsess’ book is a gift. It invites. It welcomes. It gently provokes. Theorists, pedagogues, methodologists and researchers, alike, will find themselves in aesthetic play as they experience the flows, swells, and intensities that Hofsess beautifully crafts. Each embodied letter, image, engagement with theory, introduction of a participating teacher, and parcel is careful and thoughtful, but not presumptuous. Hofsess moves with humility, assuming that you the reader will bring yourself to this invitation in equally thoughtful ways. Her invitation is smart, respectful, and curious. A brilliant piece of art. - Mark D. Vagle, Associate Professor (The University of Minnesota) and Author of Crafting Phenomenological Research
By doing arts-based thinking, Brooke Hofsess’ Unfolding Afterglow provides a lucid example of the post-qualitative turn in educational research. She leads us into a poetic reimagining of the purposes and outcomes of arts education through sustaining the living presence of the art teacher in the classroom—not for expedient, objectively designed understandings, but for the long-term aesthetic renewal of both teachers and students. She refocuses our attention to what really matters in education: how, as Elliot Eisner said, the teaching of art is more than the teaching of art. - Richard Siegesmund, Professor of Art + Design Education (Northern Illinois University) and Co-editor of Arts-Based Research in Education: Foundations for Practice
Unfolding Afterglow is truly a representation of living aesthetic inquiry, as the sensitive craft of the letterpress postcards that prompted honest letters from art teachers illuminates the challenges and possibilities of maintaining transformative experiences in the everyday practice of K-12 art education. - Tracie Costantino, Dean of Faculty (Rhode Island School of Design) and Co-editor of Essays on Aesthetic Education for the 21st Century
P-16 COLLABORATION | PRESERVICE TEACHERS (CHILD AS A CULTURAL CONSTRUCT) & HIGH SCHOOL STUDENTS (DIGITAL ART)
high school provocation: collage + digital media + installation
What is socially, culturally, environmentally, politically, and/or personally contaminating your world?
See Hofsess, B. & Thiel, J. (2016). Curatorial Impulses as Living Aesthetic Analysis. Paper presented at the 12th International Congress for Qualitative Inquiry: University of Illinois at Urbana-Champaign. Urbana-Champaign, IL.
pigmented abaca + silk thread
iris + cotton + wheatgrass
P-16 COLLABORATION | PRESERVICE TEACHERS (INTRO TO ART ED) & HIGH SCHOOL STUDENTS (AP ART)
high school provocation: dualistic self-portraits inspired by the exquisite dissonance in Kehinde Wilhey's work
What differences manifest between how we view ourselves and how others view us? How do perceptions of others inform perceptions of self? And, how might these differences and perceptions become embodied through markmaking? In other words, how can markmaking evoke emotional and symbolic meaning? Lastly, how can foreground and background be used distinctly to represent a sense of dualism in a self-portrait?
*images are secondary art students' responses to provocation (in-progress work, in-process critique, and finished works)
STUDENT WORK | MATERIALS + PROCESSES
Employ a mirror to disrupt something you view everyday.
Employ a mirror to explore a human or more-than-human body.
Employ a mirror to expose a social or political issue.
Employ a mirror to examine an idea you hold about yourself.
As an emerging artist-teacher, how do you mirror teachers (or ways you were taught) through making and/or teaching art?
What issues and ideas do contemporary artists working with mirrors employ?
How might contemplating these acts of mirroring evoke new possibilities for art education curriculum and pedagogy?
ABSTRACT How might the action orient of aesthetic experiential play point art educators and arts-based researchers towards innovative approaches, practices, and commitments? This question is explored in and through unfolding letters and interview conversations from the author’s dissertation research. In doing so, two swells of implications are followed: the significance of a Deleuzian pedagogy that invites art teacher educators/researchers to practice an ethic of do with me rather than do as I do (Deleuze, 1968/1994) and how actions inspired by such an ethic become generative in a multiplicity of doing. As such, this paper presents an entanglement of pedagogical implications for art education and methodological significance for arts-based educational research.
ABSTRACT How might we move onward in art teacher education toward a more fluid sense of possibility in preparing teachers for careers in schools, community arts settings, and beyond— into livelihoods and vocations we have yet to imagine? This paper contemplates such a question by dwelling in the pages of a visual verbal journal kept by a pre-service artist-teacher during an introductory art education methods course. The author, an art teacher educator, follows a curatorial impulse, thus creating a series of rhizomatic maps. Through this arts-based methodological approach, these maps generate an assemblage of true places, or lines of resonance and connection educators create between themselves and their anticipated vocation. These mappings seek to invite others to wonder how the journal keeper’s insights and reflections might offer new directions and possibilities for art teacher preparation.
image: rhizomatic mapping of student visual-verbal journal
STUDENT WORK | SECONDARY METHODS IN ART EDUCATION
middle school provocation: free writing + projection + performance
If every word you spoke became written on your skin, how would you reconsider what you said?
STUDENT WORK | MATERIALS + PROCESSES
middle school provocation: dream journaling + book arts + silkscreen + fiber arts
What sounds, secrets, dreams, imagery does your pillow know?
Artistic literacy involves multimodal capacities moving beyond the visual, challenging humans to respond to an ever-changing world with feeling, intuition, playfulness, resilience, and imagination. This collaboration involves how we, as art teacher educators, use social media in innovative ways that stretch and strengthen multimodality in lesson design. Specifically, we explore our process of using the popular blog site Tumblr as a format to design what we have termed “tumbling lessons” with preservice art educators. Our approach to teaching-learning lesson design was inspired by Tumblr’s use of seven distinct modalities: text, photo, quote, link, chat, audio, video.
What might occur if each of these icons became an opportunity to play within the structure of a lesson design? How might preservice teachers begin to engage with difficult to grasp educational constructs, like multimodality, in generative and creative ways? When used as curricular prompts, the Tumblr icons provide a concrete way to think through the varied and complex possibilities inherent in multimodal lesson design. Further, documentation and assessment need not be limited to photography or text-- instead, videos or online chats that recap conversation snippets can energize our thinking.
What might become if teachers were asked to view themselves as curators? And in turn, in what ways might curatorial work draw attention to how analytic spaces are continuously created as teachers and teacher educators move through pedagogical and research processes? This paper extends an invitation for readers to engage with curatorial impulses (Hofsess, 2015) as a living inquiry by remixing a series of constructs and technologies explored by a cohort of preservice teachers. The authors hesitate to cull this project together as a methodological process, as it is neither governed by rules or procedure. Instead, they grapple with how curatorial impulses might set up “conditions of possibility” (Barad, 2007) that offer a new way to engage in the theoretical work of qualitative inquiry-- a way that begins to invite the student, the art material, the political, the affectual, etc. into the entanglement of theorizing from the beginning because we know they were always, already there to begin with.