Erica
is a natural teacher: nurturing, professional, visionary, competent in
the processes and content of arts education, who wants to make a
difference through quality art education...Donalyn Heise - Art Education Professor/Advisor
(I do so love when others have nice things to say about me!)
I am an artist by nature, art educator by trade, and a stay-at-home mama for now by choice.
I earned my BFA in Art
Education at the University of Memphis in May 2010. Creating art is my passion and creating art-based projects to enhance learning, develop senses, promote social understanding, and for the sake of simply creating something is my reason for being.
I am so thankful to have this opportunity to stay at home with my toddler and plan to continue on this road until he is school-age. In this time, I am also preparing for my future career as an Art Educator by compiling lesson plans and developing a curriculum that fulfills the requirements of a school system and will help to develop the minds, hearts, motor skills, and creativity of the kids I will be serving and. I will also be practicing on my own child and teaching summer art camps. While I am happy where I am at this point in time, I look forward to the time I begin teaching as a career.
Resume
Erica Glover Edwards
CERTIFIED ART EDUCATOR (K-12)
Dedicated art educator that will be eager to begin a full-time teaching career in 2015. Offer eight years of prior business experience curating art events, a passion for education, and a commitment to optimizing student and school success.
EDUCATION & CREDENTIALS
BACHELOR OF FINE ART: Art; Concentration: Art Education K-12
University of Memphis - Memphis, TN - May 2010
ASSOCIATE OF FINE ART: Art; Concentration: Painting
Northwest Mississippi Community College – Senatobia, MS – May 2000
Cumulative GPA: 3.33
LICENSURE: Tennessee state licensure for Art Education K-12 upon beginning of job search
PROFESSIONAL AFFLILIATION: National Education Association (NEA), National Arts Education Association (NAEA), Tennessee Education Association (TEA), Tennessee Arts Education Association (TAEA)
AWARDS/HONORS: University of Memphis Donalyn Heise Art Education Leadership Award, Presidential Scholarship
CORE COMPETENCIES
— Creative Lesson Planning
— Curriculum Development
— Instructional Best-Practices
— Experiential Learning
— Learner Assessment
— Classroom Management
CRAIGMONT MIDDLE SCHOOL, Memphis, TN
Student Teacher (Intern), March 2, 2010 to April 30, 2010
— Created and taught six weeks of art lesson plans for Sixth through Eighth grades.
— Graded student work based on coordinating rubrics and used MCS grading system to record grades.
— Worked collaboratively with other teachers to achieve mutually enriching lessons for the Spring 2010 Think Show
Student Teacher (Intern), January 05, 2010 to February 26, 2010
— Developed and implemented seven weeks of art lesson plans for Kindergarten through Fifth grades, monitored student progress, assisted students before and after school, and attended school events.
— Taught art to classes ranging in size from six to thirty students including individuals with learning challenges both in mainstreamed, inclusive settings and a separate CDC class.
— Earned high marks in creating lesson plans, teaching strategies, student and self assessment, and classroom management.
UNIVERSITY OF MEMPHIS, Memphis, TN
Practicum Teacher, 120 hours/4 placements - February 2008 – April 2009
— Designed and taught a variety of art lesson plans for K-5th grade students at W.H. Brewster Elementary, 6th-8th grade students at Davis Community Center, 9th-12th grade students at Central High School, and adult students with limitations and disabilities at Martha’s Manor and Kennington Pointe.
YOUNG REMBRANDTS, Memphis, TN
Arts Instructor, November 2007 – July 2008 (Part-time)
— Taught month-long art making units in an after-school art program within the private elementary school system.
— Led one-week art making summer camp sessions for preschool age children.
ADDITIONAL EXPERIENCE
Eyewear Architect/Optician/Art Curator, ECLECTIC EYE, Memphis, TN
March 2003 – September 2005 and February 2007 – October 2010
Sales Account Manager, HI-LIGHT USA, INC., Memphis, TN
September 2005 – October 2006
“...is a natural teacher, nurturing, professional,
visionary, competent in the processes and content of arts education, who
wants to make a difference through quality arts education...” Dr.
Donalyin Heise, Art Education Professor /Advisor
Philosophy of Art Education
Students
who study the arts seriously are taught to see better, to envision, to
persist, to be playful and learn from mistakes, to make critical
judgments and justify such judgments. (Hetland, 2007)
I
believe that every child has the potential to be great. I believe that
Art Education helps students achieve that greatness. I assist my
students in realizing their potential by believing in their individual
capabilities. I help them to discover themselves by valuing their
opinions and nurturing their ideas and creativity. I structure my
classroom around respect, acceptance, and embracing and celebrating the
differences amongst us. Classrooms should be a safe space for students
to test ideas and possibilities. My classroom is an equitable and
democratic environment based on trust and caring, while maintaining a
reasonable level of order for an art class. Students are encouraged to
be responsible for themselves and their own learning, giving them the
tools to believe in themselves and ultimately leading them to achieve
health, respect, prosperity, and fulfillment in their lives.
In my opinion, the art teacher’s role is to facilitate learning and growth academically, ethically, personally, and artistically. As an educator, I am equipping students with the tools necessary for success. I understand that every class offers a unique array of learners, varying in abilities and learning styles. I teach to the needs of each student, ensuring an environment in which every child has opportunity to feel capable and successful. By nurturing and supporting students’ individual talents and abilities, I help to build student self-esteem and encourage life-long skills. I will design an art curriculum based around problem solving and creative learning, encouraging my students to connect visual knowledge to other subjects matter and to respond to innovation, understanding, flexibility, and imagination. I believe that learning should be fun and involve student interests. I incorporate multidisciplinary units and projects (Suraco, 2006), individual work, group work, and hands-on learning into lessons that promote relevant, active learning. (Brooks, 2001)
In choosing to become an educator, I have made the commitment to myself, my students, and my profession to be the best role model I can be academically, ethically, personally, and artistically. I openly show my passion for the visual arts and for sharing them with others. I will continually seek more knowledge in the fields of education and art. I provide an honest, comprehensive education to every student. I strive to achieve a mutually enriching teaching career through continuous open communication with my students, their parents, the community, and my peers.
References:
Brooks, J. &. (2001). In Search of Understanding: The Case for Constructivist Classrooms. Alexandria, VA: Association for Supervision and Curriculum Development.
Hetland, L. W. (2007). Studio Thinking: The Real Benefits of Arts Education. New York, NY: Teachers College Press.
Suraco, T. (2006). An Interdisciplinary approach in the Art Education Curriculum. Atlanta, GA: Georgia State University.
In my opinion, the art teacher’s role is to facilitate learning and growth academically, ethically, personally, and artistically. As an educator, I am equipping students with the tools necessary for success. I understand that every class offers a unique array of learners, varying in abilities and learning styles. I teach to the needs of each student, ensuring an environment in which every child has opportunity to feel capable and successful. By nurturing and supporting students’ individual talents and abilities, I help to build student self-esteem and encourage life-long skills. I will design an art curriculum based around problem solving and creative learning, encouraging my students to connect visual knowledge to other subjects matter and to respond to innovation, understanding, flexibility, and imagination. I believe that learning should be fun and involve student interests. I incorporate multidisciplinary units and projects (Suraco, 2006), individual work, group work, and hands-on learning into lessons that promote relevant, active learning. (Brooks, 2001)
In choosing to become an educator, I have made the commitment to myself, my students, and my profession to be the best role model I can be academically, ethically, personally, and artistically. I openly show my passion for the visual arts and for sharing them with others. I will continually seek more knowledge in the fields of education and art. I provide an honest, comprehensive education to every student. I strive to achieve a mutually enriching teaching career through continuous open communication with my students, their parents, the community, and my peers.
References:
Brooks, J. &. (2001). In Search of Understanding: The Case for Constructivist Classrooms. Alexandria, VA: Association for Supervision and Curriculum Development.
Hetland, L. W. (2007). Studio Thinking: The Real Benefits of Arts Education. New York, NY: Teachers College Press.
Suraco, T. (2006). An Interdisciplinary approach in the Art Education Curriculum. Atlanta, GA: Georgia State University.
Mrs. Edwards Art Room Rules
1. Be RESPECTFUL of teachers and other school personnel, of ourselves, of each other, of the classroom, of the supplies, and of the artworks.
2. Enter the art room QUIETLY and LISTEN for the daily DIRECTIONS.
3. TRY! TRY! TRY! TRY! TRY... Did I mention TRY?
4. Practice SAFTEY in the art room.
5. CLEAN UP OUR MESSES.
Procedures
2. LOOK for posted NOISE LEVEL SIGNS:
a. ZONE RED = NO TALKING
b. ZONE YELLOW = WISPERING
c. ZONE GREEN = REGULAR INSIDE VOICES
There will be times when INDIVIDUAL CONCENTRATION is necessary and the class will remain in ZONE RED for the duration of the class.
If ZONE YELLOW or ZONE GREEN becomes too noisy, the privilege of talking will be taken away.
3. Please DO NOT TOUCH materials until ALL INSTRUCTIONS have been given.
4. Clean-Up and End of Class Procedures – I will give the signal two to ten minutes prior to the end of class to let students know that it is time to put their names and sections on the back of their artworks, stack the works and arrange materials on their tables, and help with any required clean-up. Assigned helpers will come around and collect artworks and materials and put them away in designated places.
5. Classes will line up by table with a “Ticket-Out-The-Door” activity.
Classroom Management
Rewards & Consequences
Positive:
2. You will be allowed to use special materials or to create special projects in class.
3. The class as a whole can receive a golden ticket. The class with the most golden tickets at the end of the six/nine weeks will get a free art day or an art party.
4. Call or note home to parent(s) or guardian(s) about your wonderful attitude, your amazing work ethic, your fabulous artwork, etc…
Negative:
2. Second Time – (1) Conduct point, move and work by yourself, one-on-one conversation about issue, classroom teacher informed.
3. Third Time - (2) Conduct points, may be asked to put materials away and work on a written assignment related to the lesson, parents/guardians will be contacted so that we can all work on solving the problem together.
4. Forth Time – (3) Conduct points, write-up and detention will be given.
5. Fifth Time – (4) Conduct points, will be sent to the office, parents will be called, possibly ISS or suspension.
If a student makes a very poor choice in behavior (fighting, destruction of property, inappropriate language or behavior, etc…), the student will skip above consequences and go directly to the office.
Younger students and/or students with certain challenges: May receive two initial warnings and be allowed to return to seat and work after a period of time of individual work. Otherwise, students will have the same consequences listed above, minus some or all of the conduct points.
Differentiation of Instruction
Most classrooms are filled with students
performing at various learning levels: some of them struggling, others
performing well beyond grade-level expectations, and the rest falling
somewhere in between. (Tomlinson, 2000) Within each grouping of
students, are individuals of varying “racial, ethnic, cultural, and
socio-economic backgrounds; physical, emotional, and academic abilities;
different dominant languages; with different degrees of parental
support, learner styles and preferences, and interests.” (Heise, 2007)
It is up to the teacher to maximize the learning that is taking place in
their classroom by providing differentiated instruction that includes,
involves, and inspires all learners.
The art classroom is a natural place for
differentiated instruction. Art is produced in all races, ethnicities,
and cultures; it is an intrinsic part of the human experience. Art can
be used to open discussions about race and ethnicity that may seem
taboo in other subject areas, connect us cross-culturally, and allow us
to see and comprehend differing perspectives. Learners with limitations
whether physical, emotional, or academic have an opportunity to create
and find success through art and art processes. Art is a visual
language that transcends much of the word-barrier and allows ESL and
non-English speaking students to more-fully participate in learning.
And as a matter of course, art uses multiple modes of learning providing
ample opportunity to reach every student, to connect art to each
student, and to connect learning across the school curriculum.
In differentiating instruction for the
classroom, a teacher must consider focusing on content, process,
products, and learning environment:
— In art education, content can be varied using demonstration and step-by-step instructions, art prints, supplementary texts, student choice, curriculum compacting, learning contracts, technology, and internet resources.
— Processes and activities can be differentiated by the art teacher to engage the student and make learning relevant. This means involving the learner by providing choices of art media and processes, creating centers that encourage exploration, using tiered activities “through which all learners work with the same goals, understandings, and skills, but proceed with different levels of support, challenge, or complexity,” and varying the length of time students spend completing tasks.
— Art educators can vary products, projects, and lessons to give students the chance to demonstrate, apply, or extend their learning. Students may be given options of how to communicate ideas and express knowledge. The teacher will use rubric guided lesson planning to match and extend student’s varied skill level. Students will spend time working independently, in small groups, as a class, and as a school to create products.
— The art room learning environment altered to accommodate a number of differing objectives. The art teacher can achieve a class-setting that is safe, engaging, and encouraging by setting clear guidelines, promoting respect and encouraging civil dialogue in critique and as a general rule, fostering inclusiveness, providing cross-cultural and cross-curriculum focuses, and appropriating areas for students to create visually stimulating art, and quiet areas for students that may need less distraction. (Tomlinson, 2000), (Heise, 2007)
An art education program that uses
Howard Gardener’s Multiple Intelligence as a base for creating varied
learning experiences can help all students achieve in art and across the
entire school curricula. We all have preferred learning styles and
appealing to as many as possible can only strengthen our knowledge sets
both in art and across the curricula.
— Art will naturally appeal to students excelling in visual/spatial intelligence. They are visual thinkers and tend to enjoy viewing art and perform well at creating visually stimulating artworks. The art teacher may provide activities including: gallery visits (actual and/or virtual), art prints in the classroom, and observational art activities.
— Verbal/linguistic learners can be stimulated in the art room through visual story-telling, narration, class discussion, critique, and writing about art. Having the students maintain journal/sketchbooks, holding critiques of art prints and class work, and using art prints to have students explain what they see are things that can be done to involve these students.
— Students that are primarily logical/mathematical thinkers can be engaged with lessons that offer opportunities to see and create patterns, measure, identify and create visual weight and balance, work with geometric shapes, and use mathematical drawing and building like architectural design.
— In the art classroom, Bodily/kinesthetic learners have opportunity to develop and use their hand-eye and hand-mind coordination through all art-making activities, experience hands-on creating, act out art works, and express emotions through color and symbolism.
— Students favoring musical/rhythmic learning will have great success with creating art to music and identifying and using visual rhythm in art.
— Interpersonally intelligent students will be given the chance to identify and discuss multiple perspectives, understandings, emotions, intentions, and motivations in the arts; and work in group settings developing art skills and relate the arts to other subject matter.
— Students that are intrapersonal thinkers can be engaged through art-making lessons that allow them to use their knowledge of themselves, their hopes and dreams, and their strengths and weaknesses to create artworks that are self-reflective and deeply personal.
— And students with an inclination for naturalist intelligence will have opportunity to explore the world around them through environmental art activities, including: collecting and organizing objects from their own environments, outdoor art-making sessions, and observational activities. (Armstrong, 1994)
The key to achieving differentiation of
instruction in the classroom is to develop a curriculum that considers
the diversity, needs, and preferences of ALL students; allow for
self-guided learning experiences; and provide options for content,
process, or products. (Heise, 2007)
References
Armstrong, T. (1994). Multiple Intelligences in the Classroom, 2nd Ed. Alexandria, VA: Association for Supervision and Curriculum Development.
Heise, D. (2007). Differentiation In The Artroom. NAEA Advisory , 2.
Tomlinson, C. A. (2000). Differentiation of Instruction in the Elementary Grades. ERIC DIGEST , 2.
Sample Lesson Plan
Title: Every Child is an Artist – Picasso/Cubist Self-Portraits
Curriculum Connections 3rd Nine Weeks Length of Lesson 2 days
Curriculum Guide Objective (TLW):
Explore artworks by Pablo Picasso.
Identify facial proportions of both frontal and profile view.
Find, recognize, and describe geometric shapes in the artwork of Pablo Picasso, and understand the basic concepts of Cubism.
Analyze geometric patterns in real-life forms, and develop visual descriptions of them.
Use 2 of the studied color theories to create balance and areas of emphasis.
Develop hand/eye coordination and improve observational drawing skills.
TCAP/Gateway Objectives:
SPI (State Performance Indicators (3-8) Gateway Indicators(s))
Standard 1.0 Media, Techniques, and Processes - Students will understand and apply media, techniques, and processes.
Standard 2.0 Structures and Functions - Students will use knowledge of structures and functions.
Standard 3.0 Evaluation - Students will be able to choose and evaluate a range of subject matter, symbols, and ideas
Standard 4.0 Historical and Cultural Relationships - Students will understand the visual arts in relation to history and cultures.
Standard 6.0 Interdisciplinary Connections - Students can make connections between visual arts and other disciplines.
Guiding Questions:
Painting: Girl with a Boat, Female Portrait, Portrait of Marie-Thérèse Walter, and Portrait of Man in a Hat all by Pablo Picasso
How do you usually expect a portrait to look? When you look at these
paintings, what do you see? What style did Pablo Picasso use? How
could you rearrange faces to make them look more interesting? Do you
see any sort of pattern that he seems to have used in these paintings?
Why do you think he chose to represent his figures in this manner?
What Picasso did that was so amazing and different is he drew and
painted multiple views of the same thing for us to see them all at the
same time and simplified the pieces into simple geometric shapes. No
one had done that before. He created the Cubist movement of the 20th
century. Pablo Picasso was the most famous artist not only of his time
but ever to that point while still alive.
Over the past month we have discussed primary, secondary, and
tertiary colors, warm and cool colors, complementary colors, and
analogous colors. What would happen if you mixed all of the colors
together? You would make neutrals. Predict what will happen when we
mix white with a color. That is called a tint. If you mix black into a
color, what will occur? That is called a shade.
Game: Color Theory Bingo. (Example game sheet at end of lesson plan)
Concepts: Color, Cubism
Vocabulary:
Primary – Yellow, Red, and Blue; colors that cannot be made by mixing; 1st colors
Secondary – Orange, Purple, and Green; colors made by mixing 2 primary colors together; 2nd colors
Tertiary – Yellow-Orange, Red-Orange, Red-Violet, Blue-Violet,
Blue-Green, and Yellow-Green; compound word colors created when you mix
a primary and secondary color; 3rd colors
Tint – A color made lighter by adding white
Shade – A color made darker by adding black
Neutrals – Blacks, Whites, Grays, and Browns; what happens when you mix complementary colors or all of you colors.
Warm – Colors that remind us of summer time and fire (Red, Orange, and Yellow)
Cool – Colors that remind us of winter time and the cold (Green, Blue, and Purple)
Analogous – 3 or 4 colors that are next to each other on the color wheel
Complementary – Colors that are across the color wheel from each
other; opposite color pairs; when put next to each other they make both
colors look brighter and stand out more
Cubism – Art made by breaking the subject up into shapes and reassembling them
Pablo Picasso – One of the most influential artists of the 20th
century, the founder of cubism, changed the direction of art, had more
fans of his artwork while he was alive than anyone else before him.
Motivation
Type of Student Participation:
Direct Instruction, Q&A, discussion, art game, hands-on art making, guided practice, independent
Relate to Previous Learning:
Students will use their previous knowledge of color mixing and practice simplifying images into geometric shapes.
Relate to Student Experience:
Students will explore different ways of seeing things and how things change at different angles.
Strategies/Activities/Distributed Practice/Intervention
— Students will look at artworks by Pablo Picasso and participate in discussion about how the art was created using views from different angles and simplification of the shapes seen. We will do a group demo of making a Picasso style face/head on Mr. Picassohead.com. Students will receive a sheet of white paper and a pencil. They will lay their head on their paper and have a table-mate trace the outline of their profile. Then they will draw an oval/around their profile to create a frontal view. Students will add eyes, nostrils, and a mouth from both perspectives. They will add clothes, accessories, and a patterned background. The first lesson will end there. The second lesson will begin with a review of the color theories we have been studying over the past month. Students will receive their drawings back. They will need to decide which color theory(s) (limited to 2) that they want to use and write them on the back. Each table will get oil pastels. They will outline their drawings with black. Students are expected to create balance and emphasis through their color choices.
— Students will look at artworks by Pablo Picasso and participate in discussion about how the art was created using views from different angles and simplification of the shapes seen. We will do a group demo of making a Picasso style face/head on Mr. Picassohead.com. Students will receive a sheet of white paper and a pencil. They will lay their head on their paper and have a table-mate trace the outline of their profile. Then they will draw an oval/around their profile to create a frontal view. Students will add eyes, nostrils, and a mouth from both perspectives. They will add clothes, accessories, and a patterned background. The first lesson will end there. The second lesson will begin with a review of the color theories we have been studying over the past month. Students will receive their drawings back. They will need to decide which color theory(s) (limited to 2) that they want to use and write them on the back. Each table will get oil pastels. They will outline their drawings with black. Students are expected to create balance and emphasis through their color choices.
— Direct instruction, Q&A, class discussion, technology presentation, art game, guided practice, independent work, hands-on art making, word wall
— Discussion, guided practice
Closure
Remind students to put names and class period on back of artwork,
countdown to stopping point, and put supplies away/cleanup. Each table
will have a printed question to answer on their desk the entirety of
the class. During open discussion time, they will be able to come up
with a group answer. This lesson’s questions will be those listed in
the above assessment. They will write their answers on the back of
their artwork or I will call on tables that are clean and ready to line
up to answer their question as a group. They will then be dismissed
to line up.
Extend and Refine Knowledge
— Students will discuss Cubism and how their artworks used multiple views and geometric abstraction.
— Students will demonstrate their knowledge of color organizing by using appropriate color theories to create balance and emphasis.
— Students that work quickly will be expected to show a strong understanding of this by displaying all qualities of neat work that meets/exceeds objectives.
— TTW walk around assisting students individually to make sure they understand the process and help with any technical difficulties
— Students will discuss Cubism and how their artworks used multiple views and geometric abstraction.
— Students will demonstrate their knowledge of color organizing by using appropriate color theories to create balance and emphasis.
— Students that work quickly will be expected to show a strong understanding of this by displaying all qualities of neat work that meets/exceeds objectives.
— TTW walk around assisting students individually to make sure they understand the process and help with any technical difficulties
Assessment/Student Products and Performances/Technology
— Students will create a Picasso/Cubist Self Portrait using multiple views and geometric simplification.
— Students will use their knowledge of color theories to organize their color choices and create balance and emphasis within their artworks.
— Students will be able to discuss Cubism and Pablo Picasso’s contribution to the art world.
— Students will create a Picasso/Cubist Self Portrait using multiple views and geometric simplification.
— Students will use their knowledge of color theories to organize their color choices and create balance and emphasis within their artworks.
— Students will be able to discuss Cubism and Pablo Picasso’s contribution to the art world.
Assessment
— Teacher observation.
— Question students on how their portraits were created and have them explain how their artworks are like those of Pablo Picasso. Question their color choices and have them explain.
— Did the student follow directions? Does the artwork show an understanding of Cubism/Geometric Abstraction? Their color theory(s) of choice? How?
— Rubric
— Teacher observation.
— Question students on how their portraits were created and have them explain how their artworks are like those of Pablo Picasso. Question their color choices and have them explain.
— Did the student follow directions? Does the artwork show an understanding of Cubism/Geometric Abstraction? Their color theory(s) of choice? How?
— Rubric
Materials
— White or Manila Paper
— Pencils/Erasers
— Oil Pastels
— White or Manila Paper
— Pencils/Erasers
— Oil Pastels
Resources
2nd and 3rd Grade – Picasso/Cubist Self Portrait
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| Demonstrate an understanding of multiple perspectives and geometric abstraction | |||||
| Apply knowledge of color theories | |||||
| Artwork is original and creative | |||||
| Progress of artwork shows growth of process | |||||
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| Use and care of materials | |||||
| Participation and Effort | |||||
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| Art Education Online Resources: |
Arts education strengthens student problem-solving and critical thinking skills, adding to overall academic achievement, school success, and preparation for the work world.
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