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Come learn about the artist within you.

Elaine Cimino  will be speaking about the the Born to Draw Children’s and Adult Drawing Program, as part of the Spirit, Mind and Body Month Series program at the HB Horn YMCA 4901 Indian School Rd. NE March 14th 2012 at 6 PM

Come listen, learn and experience the Born to Draw program.  Children, Parents, Teachers all adults are invited.

Elemental Vortex

For more information visit the website at www.elaineciminostudios.com or www.BorntoDraw.com

or call 505 604-9772

When Life serves you Lemons... is the title of the piece for the Sawmill land trust art action to be held on April 24th at the Hotel Albuquerque 5-8 pm

 

This is the painting I just finished today called, “When life serves you lemons…” I am working on it in a corner of my kitchen. It is for a fundraiser for the Sawmill Land Trust art auction they picked 25 artists and will have a reception April 6th and the Art Auction will be held at the Hotel Albuquerque April 26th 5-8pm. The painting is a homage to Henri Matisse and a painting that should sell. It is painted on a door slab 30″ x 80 ” painted in oils. it is up to the buyer of the painting to use as an artwork or a door.

By Noreen S. Ahmed-Ullah, Chicago Tribune reporter

5:33 PM CST, February 28, 2012

Born to Draw A Childrens Drawing Program iBook

Arts programming was a factor leading to improved standardized test scores at three schools in Chicago over three years, according to a report released today by the educational arts non-profit Changing Worlds and Loyola University.

The study is just the latest calling for more arts education in Chicago Public Schools. With the district moving to a longer school day next year, the Chicago Teachers Union and parent groups like Raise Your Hand have called for more time devoted to enrichment classes like music and art and less time devoted to test preparation.

Researchers at Loyola University’s Center for Urban Research and Learning tracked test scores of 95 children enrolled in Englewood’s Goodlow Elementary Magnet School, Pilsen’s Whittier Elementary and Rogers Park’s Boone Elementary. The students were all participating in Changing Worlds’ Literacy and Cultural Connections program.

Goodlow had a predominantly African-American student body, Whittier was largely Latino, and Boone had many ethnicities within the school building.

The study found that fourth graders who started with the program in 2009 saw an 11.5 percentage point gain in composite test scores meeting or exceeding state standards by the time they finished the arts program in sixth grade in 2011. They also scored on average more than 11 percentage points higher than fourth through sixth graders at the same school who did not take part in the program, according to the study.

“As it relates to the expanded school day, the need for the arts is critical,” said Mark Rodriguez, executive director of Changing Worlds. “It’s a fact that there’s still schools within the district where art is not a common experience for all young people. But if you look at the research we’ve done and others have done, engagement in the arts has a greater impact on student academic outcomes.”

As part of its program in a dozen CPS facilities, Changing Worlds provided a literacy specialist and art teacher to each school. The art program, which lasted up to 15 weeks per year, began with students exploring their own identity and culture, then interviewing community residents and relatives, and finally delving deeper into world cultures. Along with producing visual art, dance and drama from their findings, students also submitted written pieces.

CPS says 82 percent of schools have a dedicated arts teacher, but arts advocacy groups argue that many are not certified art teachers and the arts programs offered in some schools can be as little as a once-a-year field trip.

In adopting the longer school day, CPS officials have suggested that 140 minutes should be devoted to enrichment activities like the arts, physical education and intervention or acceleration programs for first and second graders. The district has not stipulated how much extra time needs to be devoted to art and music, however, CPS recommends that time be dropped to 90 minutes for third through fifth graders and then bumped up to 120 minutes for middle schoolers.

CPS spokeswoman Becky Carroll said schools will have the discretion to use the extra time in a way that best meets the needs of their student body, which is why those decisions are being left to school leaders.

CPS has offered $100,000 grants to schools that come up with innovative ways to fill the extra 90 minutes of instruction. Rodriguez said two schools have approached his group about using Changing Worlds to add and assess arts programs within the school.

nahmed@tribune.com www.chicagotribune.com/news/education/ct-met-cps-arts-20120228,0,2307593.story chicagotribune.com Copyright © 2012, Chicago Tribune

“No Place Like Home”

is the theme of Sawmill Community Land Trust’s upcoming Door Show and Auction. The Show will take place on April 6th on St. Clair Winery /Bistro’s East Patio and the auction occurs on Thursday April 26th, 2012 at Hotel Albuquerque. participating artists will create their vision of the theme on 32″ x 80″ interior slab doors. The doors are intended to be blank canvases and the donors will end up with the option to hang them as art pieced of transform them into doors.

A door is a symbol of new opportunity, hope and promise.

“No place like home”

Follow the progress on Www.ElaineCiminosSudios Website as she creates the work in progress and participates in the auction.

The donations for this event goes to the Sawmill Community land Trust which is a nNGO that works to break the cycle of poverty and revitalize neighborhoods through the creation of quality, affordable housing and sustainable economic opportunities for low -to moderate income individuals and families in Bernalillo County.

We invite you to read the NYT article by Nicolas Kristof. There have been other studios that Elaine Cimino Studios has been working with who have seen the Born to Draw iBooks and have commented on the environmental aspects of the books and said they would not want to stress these type of issues in their children’s educational programming. I am glad to see that this article was published and that it gives others the courage to teach sustainability in their classrooms.

I am teaching children how to draw by shape relationships emphasizing aesthetic valuing, perception and creative expression. Showing children the historical and cultural context of how different peoples come to their beliefs systems enables children to grasp the world around them and prepares them for their uncertain futures. The affects that climate change will have on future generations is substantial and they will have their challenges to overcome because our generation will have failed them by not raises our voices to the problems all humanity faces.

Yes! we can change the world by changing our communities right where we live and teaching our children they do have a voice. There is nothing so radical as teaching a child how to draw a Koala Bear, Bottle-nosed Dolphin, or African Elephant! After Recess: Change the World By NICHOLAS D. KRISTOF

A BATTLE between a class of fourth graders and a major movie studio would seem an unequal fight.

So it proved to be: the studio buckled. And therein lies a story of how new Internet tools are allowing very ordinary people to defeat some of the most powerful corporate and political interests around — by threatening the titans with the online equivalent of a tarring and feathering. http://www.nytimes.com/2012/02/05/opinion/sunday/kristof-after-recess-change-the-world.html?_r=1

Lorax image print as creative commons license all right reserved by Dr Seuss

Take Ted Wells’s fourth-grade class in Brookline, Mass. The kids read the Dr. Seuss story “The Lorax” and admired its emphasis on protecting nature, so they were delighted to hear that Universal Studios would be releasing a movie version in March. But when the kids went to the movie’s Web site, they were crushed that the site seemed to ignore the environmental themes. → Read more

I completed my presentation to the schools, teachers and parents and now working on collateral materials. When the new Web site is finished this will be a stellar art education website that will hopefully be of value to teachers, students and parents. Please follow me on Twitter @ciminostudios and on our Facebook page. Elaine Cimino Studios and on www.borntodraw.com and Facebook Born to Draw Children’s Art Education. And where ever you can please like us to your Facebook Friends. Thanks for your support.

http://www.youtube.com/watch?v=eWMoEZVB1uU

Rethinking Street Art

Jan 28, 2012

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G. James Daichendt to speak on ‘Rethinking Street Art’ Jan. 31 1/26/2012

G. James Daichendt, a professor of art history at Azusa Pacific University in California, will present the lecture on Tuesday, Jan. 31, at 6:30 p.m. in Shemin Auditorium in the Dorothea Ilgen Shaffer Art Building. The free, public lecture is sponsored by the art education program as part of the Department of Art’s Visiting Artist Lecture Series in the College of Visual and Performing Arts (VPA).

Wall Mural

Daichendt’s presentation will feature a discussion on the phenomenon of more than 50 legal murals along with dozens of gallery and museum shows, blogs and news sites that have taken the Los Angeles art scene by storm in the last two years. While institutionally the commitment to art education has been faltering, it is thriving outside the professionalized field. Based upon interviews with more than 40 members of this art-making community, Daichendt’s presentation will highlight what artists and educators can learn from this idealistic and counterintuitive movement. He will also discuss the nuances involved in working in the cross sections of art criticism, art history and art education.

Daichendt is the author of the books “Artist-Teacher: A Philosophy for Creating and Teaching” (Intellect, 2010) and “Artist Scholar: Reflections on Writing and Research” (Intellect, 2011) and is currently working on a third book that focuses on street art in Los Angeles. He is the principal editor of the academic journal Visual Inquiry: Learning and Teaching Art and is the arts and culture editor for the magazine Beverly Hills Lifestyle. A regular contributor to a variety of arts journals, including Teaching Artist Journal, Art Education and the International Journal of Art & Design Education, Daichendt also contributes art criticism for Artillery: Killer Text on Art and ArtScene. He holds a doctorate from Columbia University and graduate degrees from Harvard and Boston universities.

For more information about the lecture, contact James Haywood Rolling, dual associate professor of art education and teaching and leadership, at 315-443-2355 or jrolling@syr.edu.

When the Egyptian artist Ganzeer called for international artists to support Egypt’s revolution, Polish artists were among the first to rise to the graffiti challenge Ati Metwaly, Saturday 21 Jan 2012

11 / 16Gallery

Michał Klimczyk, detail, picture courtesy of the artist

“From January 13 to 25, the streets of Egypt will see an explosion of anti-military street art. If you are a street artist elsewhere in the world, please do what you can in your city to help us. If you’re a comic book artist, a musician, or filmmaker, whatever artistic talent you have can be of big help. If you can do something before the designated date, please do! We need all the help we can get.” — Ganzeer’s blog.

When on 20 December 2011 Egyptian graphic designer and artist Ganzeer (Mohamed Fahmy) posted on his blog “Mad Graffiti Week: An Appeal to Artists Everywhere,” the news spread like wildfire. Artists from Germany, the Czech Republic, Australia, among other countries, joined the initiative. Equally, Polish artists from all around the country expressed their solidarity in creating graffiti, stencils, posters, drawings, and comics, adding their voice to Egypt’s cause.

→ Read more

Photo: AP A woman looks at Mexican painter Diego Rivera's 'Indian Warrior' displayed during a preview at New York's Museum of Modern Art, November 8, 2011.

Carolyn Weaver | New York Voice of America Creative Commons license

A woman looks at Mexican painter Diego Rivera’s ‘Indian Warrior’ displayed during a preview at New York’s Museum of Modern Art, November 8, 2011.

In 1931, the fledgling Museum of Modern Art chose Mexican muralist Diego Rivera for its second major show, inviting him to New York to create “portable” murals onsite. Now, some of the works he created in six feverish weeks are again on display at MoMA.

They are aggressive and vibrant, testimony to Rivera’s fascination with Mexican history and his loathing of capitalism.

A communist, Rivera created fiercely political works picturing Mexico’s colonial past and the struggles of indigenous peoples. Indian Warrior, for example, illustrates his anger at Spain’s conquest of Mexico in the 1600s. An Aztec warrior wearing a fearsome Jaguar costume uses a stone knife to cut down a conquistador who lies dead, still encased in his armor.

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Rivera also painted scenes of what he saw as capitalist oppression in the U.S. and the struggle for workers’ rights in a rapidly industrializing America.

“He made pictures that made us think about what our society is like, about labor and class, and the inequities of our modern world,” MoMA curator Leah Dickerman said. She points to the mural, Frozen Assets, a depiction of New York City, in 1931, in the depths of the Great Depression. The mural has several tiers, with New York’s new skyscrapers towering above what looks like a subterranean morgue.

“In the top tier of the painting, you see all the most recent landmarks of modern architecture,” Dickerman says. “Under that, you see the shelter for unemployed men that was on East 25th Street. Then under that, you see a bank vault where the city’s richest citizens are waiting to count their assets.”

Rivera was already famous when he and his wife, artist Frida Kahlo, arrived in New York for the MoMA commission. Born in 1886, Rivera had studied painting in Europe in the early 1900s.

There he developed, then abandoned, an interest in Cubism in favor of realistic frescoes – paintings on wet plaster – focusing on Mexico’s revolution. At the time, murals were Mexico’s leading public art form.

The show also includes watercolors from a visit to Moscow in 1927-1928, where Rivera celebrated the tenth anniversary of the Soviet revolution.

Visitors have packed the show since its opening in November. Art historian Anna Indych-Lopez said that’s because Rivera’s message remains relevant.

“This work speaks to people today for obvious reasons,” she said. “If we just open up the newspaper and look at the events surrounding Occupy Wall Street, these are issues that have not gone away.”

“What he was showing, really, was his interest in the uprising of the common people,” says visitor Lenore Zarin. Paula Santos, also visiting the show, said as a Mexican American, she was touched by Rivera’s dedication to “people you don’t usually see, indigenous people.” “It was really poignant for me,” she said, “that even today, he could have painted those frescoes.”

The MoMA show also includes a sketch for one of Rivera’s most famous works, although few people ever saw it.

Man at the Crossroads was the title of the work commissioned in 1933 by New York’s Rockefeller family, for one of its Rockefeller Center buildings. It was supposed to illustrate the progress of “civilization” on a grand scale. But a controversy erupted in the press over Rivera’s insertion of a small portrait of Lenin. The artist refused the Rockefellers’ request to remove it, and he was dismissed. The mural was covered up and later destroyed.

Indych-Lopez, an expert on Rivera, said the artist’s radical politics, typical among Mexican artists of the time, was indulged by his patrons, including MoMA founder Abby Aldrich Rockefeller.

Indych-Lopez said the management of Rockefeller Center, charged with leasing office space in the building, strongly objected.

“They believed they had to make a public stand against this very overt visualization of communism, the fact that this was a public gesture that would have faced workers entering into the heart of capitalism day in and day out,” she said.

Dickerman and Indych-Lopez also cite reports that the Rockefellers were offended by the inclusion of a portrait that appeared to be the teetotaling patriarch, John D. Rockefeller, holding a drink, during the period of prohibition.

In the ensuing furor, Rivera lost a commission to paint at the World’s Fair in Chicago. Undaunted, he returned to Mexico City and created an almost identical mural for the Palacio De Bellas Artes.

The show at MoMA is on view until mid-May 2012.

Twenty-five years later, Sir Ken Robinson’s efforts on creating creative futures through education reform resonates in educational political discourse.

“The report develops five themes:

The Challenge for Education: Education faces challenges that are without precedent. Meeting these challenges calls for new priorities in education, Introduction and Summary NACCCE report 6 including a much stronger emphasis on creative and cultural education and a new balance in teaching and in the curriculum.

Creative Potential:  Creativity is possible in all areas of human activity, including the arts, sciences, at work at play and in all other areas of daily life. All people have creative abilities and we all have them differently. When individuals find their creative strengths, it can have an enormous impact on self-esteem and on overall achievement.

Freedom and Control: Creativity is not simply a matter of letting go. Serious creative achievement relies on knowledge, control of materials and command of ideas. Creative education involves a balance between teaching knowledge and skills, and encouraging innovation. In these ways, creative development is directly related to cultural education.

Cultural Understanding: Young people are living in times of rapid cultural change and of increasing cultural diversity. Education must enable them to understand and respect different cultural values and traditions and the processes of cultural change and development. The engine of cultural change is the human capacity for creative thought and action.

Systemic Approach: one that addresses the balance of the school curriculum, teaching methods and assessment, how schools connect with other people and resources and the training and development of teachers and others.”

The UK National Advisory Committee on Creative and Cultural Education report makes recommendations for provision in formal and informal education for young people to the age of 16: that is, to the end of compulsory education. Their inquiry coincided with the Government’s planned review of the National Curriculum.

The first of several reports and books includes specific recommendations on the National Curriculum. It also includes recommendations for a wider national strategy for creative and cultural education. I believe this is an insightful report and guided for art education association national and international standards and core curriculum objectives to be engaged within the k-12 core curricula.

All Our Futures: Creativity, Culture and Education

In 1998, Ken Robinson led a national commission on creativity, education and the economy forthe UK Government bringing together leading business people, scientists, artists and educators. His report, All Our Futures: Creativity, Culture and Education (The Robinson Report) was published to huge acclaim. The London Times said: ‘This report raises some of the most important issues facing business in the 21st century. It should have every CEO and human resources director thumping the table and demanding action.’

A downloadable PDF version of the All Our Futures is available: Here