We Believe Art Literacy...
Encourages students to think creatively and to problem solve, which prepares them for their futures.
Helps students to learn how to observe, something naturalists, climatologists, writers, and doctors need to know how to do.
Gives students the opportunities to form mental images, an ability chemists, engineers, architects, designers, and inventors use to think up new ideas.
Celebrates many perspectives. Students learn to value diverse views and cultures, which is ever important in a global society.
Communicates ideas and emotions of the human spirit, connecting us to our history, traditions, and heritage.
Provides an artistic platform for students to realize that there are many ways to see and interpret our beautiful world.
- Artists Teaching Students Online Lessons
- About Beaverton Art Literacy
- Art Gallery
- Art Literacy Volunteer Coordinators
- Art Literacy Yearly Timeline For Coordinators
- Save the Dates
We want to bring art lessons to your home during this difficult time.
Please click on the links below to see Art Literacy's new program, "Artists Teaching Students."
Through a slide deck, our students learn about different local artists, their art, how they create their work, their studios, childhoods, and how to become an artist.
All of the lessons are in our elementary and middle schools, adjusted for different grade levels. All of the lessons are also in audio read-along so all of our students can participate. They can learn about our artists as if they're being read a story!
We have painters, sculptors, children's book authors and illustrators, ceramicists, encaustic artists, a mouse designer, a bamboo artist, and even a monster maker. (The monsters aren't too scary, we promise!)
We hope you, and your children, enjoy and learn from these lessons.
THANK YOU to Oregon artists Karen Carman, Janel Pahl, Yong Hong Zhong, Nancy Coffelt, Maggie Rudy, Terresa White, Veronica Arquilevich Guzman, James DeRosso, Charissa Brock, Margaret Godfrey, Tierney Davis Hogan, and Kim Nickens for volunteering to bring art to Beaverton School District's students. We appreciate you!
Beaverton Art Literacy
The Beaverton School District is home to an exceptional, volunteer-staffed elementary and middle school art education program called Art Literacy. About 1,600 volunteers currently participate in Art Literacy in 48 Beaverton elementary and middle schools.
Art Literacy lessons are presented six times a year at the elementary level, from October to June, and three times a year at the middle schools, during regular school hours.
If you are a Community Volunteer, you are assigned a classroom at a school where there is a need. You may present the lessons/art projects to the students, or choose to act as an assistant to the presenter.
This is an opportunity for those who enjoy working with students in a teacher-like role. The classroom teacher remains with the class, but you are presenting or assisting with the lesson.
NO ART BACKGROUND IS REQUIRED AND ALL MATERIALS ARE PROVIDED.
Art Literacy volunteers need to attend a training meeting before each classroom presentation. The times and days for these are different at each school
At the training, volunteers receive a copy of the lesson they will be teaching. The Art Literacy coordinator will present the lesson/artist overview, the focus of the lesson, and then will teach the lesson as if in a classroom setting. The art project the students will be completing is demonstrated and explained. You, too, will complete the art project, so you will know how to best teach the students. All of the art supplies are provided by each school program.
Classroom assignments for volunteers are made at the beginning of the school year, and the presentations are scheduled with the teacher, by you or the coordinator, to take place during regular school hours.
The artists that are presented during the year are pre-selected according to a district-wide rotation that includes a painting, non-painting, 20th century artist, woman, minority or regional artist, as well as introducing art from another culture.
The program’s elementary curriculum is based on 72 artists and the middle schools' curriculum has over 40 artists.
The students study European masters, renowned American artists, some living and local artists, and cultural arts. For example, Marc Chagall, Bev Doolittle, Dale Chihuly, Claude Monet, Beatrix Potter, Grandma Moses, Faith Ringgold, Mary Cassatt, Deborah Butterfield, Rembrandt, Frank Lloyd Wright, the Canadian Inuit, Ancient Greece, and Korea, are all part of the curriculum.
You can see the rotations and a schedule of the artists month by month by looking at the Box Rotation section on this website.
Each year the rotation adjusts to bring a new set of artist lessons to the students.
Generally, each classroom lesson and art project takes a little over an hour. Total time commitment for each lesson is about three and a half hours, which includes training, classroom time, preparation and clean up.
Teaching Art Literacy is an extremely rewarding volunteer opportunity for both the volunteer and the students.
If you would like more information about volunteering for the Art Literacy program in the Beaverton School District, please contact Cathy Lamb at Cathy_Lamb@beaverton.k12.or.us. Thank you for volunteering in Beaverton Schools!
The Beaverton School District requires ALL volunteers to fill out and pass an online background check. Volunteers will also need to create a Volunteer Profile Account for signing in prior to volunteering in any school. Click on this link for more information... https://www.beaverton.k12.or.us/departments/communications-community-involvement/volunteer
Art Literacy Volunteer Coordinator
The Art Literacy Coordinator (or team) at each school site is responsible for:
1. Copying the Art Literacy lesson, Production, and Take-Home information for the volunteers for each artist/culture presentation, and buying all necessary art supplies for the lesson.
2. Studying and presenting each lesson and art production to the volunteers during training meetings throughout the year. Meeting times and number are to be determined by the coordinator(s) on a site by site basis. Follow up with volunteers who do not attend the training meetings.
3. Recruiting classroom volunteers, often in conjunction with the school Volunteer Coordinator, through Back To School Info, PTC meetings, school website, principal newsletters, etc.
4. Maintaining a master calendar for equipment check out and volunteer training meetings.Checking each month that all classes are scheduled (by you or by your volunteers in communication with the teachers) and following up with volunteers who are not scheduling or showing up to teach their lesson.
5. Maintaining a Roster of the Art Literacy volunteers at your school and confirming they have completed the district application/background check. Establish a volunteer sign in account.
6. Inventorying and exchanging the artist box materials with the schools in your assigned block, according to the monthly schedule.
7. Attending three district coordinator meetings a year. One each in September, January and May.
8. Communicating with the principal, teachers, school Volunteer Coordinator, parents and PTO groups as needed regarding scheduling, yearly funding and equipment needs.
9. Communicating with the two Art Literacy Volunteer Coordinators employed by the school district.
10. Displaying an Art Lit bulletin board in conjunction with each artist presentation. Make a project board for each Artist Box to explain, step by step, the production, if possible.
11. Thanking your volunteers. (And THANK YOU for all your time and efforts. The students at your school are lucky to have you.)
All of the lesson materials are supplied for each school including a PowerPoint presentation, lesson plans (K-2, 3-5 & middle school versions), bulletin board materials, production samples, artist biographical information, books, a laptop and a projector as needed.
Each site-based parent group (PTO, PTC, PTM) provides funds for the purchase of the art production supplies used by the students.
Thank you for coordinating Art Literacy at your school!
Listed below is a timeline for your Art Literacy Program that we hope will be helpful.
- Pick up your boxes from the Art Literacy Resource Coordinator.
- Plan recruiting strategies for volunteers. Create visibility and information at fall school events.
- Edit and copy the Art Literacy Volunteer Opportunity form to be sent home.
- Set your Training Meeting Schedule for the year.
- For meetings outside of the school day, visit the school district website and schedule on School Dude. Ask that the dates be added to the school master calendar.
- Put up your Art Literacy bulletin board before the first day of school. Buildings are open the week before school starts. Change monthly with the new artist bulletin board.
- Ask the school secretary for a list of teachers and number of students by grade level.
- Continue to recruit volunteers. Send home the Art Literacy Volunteer Opportunity form the week after school starts. Send email to volunteers from last year and being your volunteer list roster.
- Make sure that everyone completes the Beaverton School District volunteer profile.
- Compile returned volunteer forms and match volunteers and classrooms. If you do not receive enough volunteers, send a second notice out titled, We Need You.
- Purchase and organize the supplies for your first lessons.
- Create a master calendar for volunteers and staff to reserve the equipment/cart. Team Up or Sign Up Genius are both online calendars for groups.
- Inform teachers who their assigned volunteer is and include the volunteer's contact information.
- Prepare for your first artist training and notify volunteers of date, time and location. Send reminder emails a day or two before the meeting.
- Attend the Beaverton Art Literacy Coordinator’s Meeting this month.
- Hold your first training meeting at school for your volunteers. Teach the presentation/visual slides and have all volunteers create the art project. Stress the importance of attending ALL training sessions.
- Make sure all volunteers know how to use the technology and make sure they are sending home the Art Lit handouts home with the students.
- Check your presentation calendar and verify that all classes are scheduled and both teachers and volunteers know that date. If volunteers do not show up, contact them to go over the lesson and to make sure they are still volunteering.
- Check the art supplies on the cart weekly. Replenish and organize. Always leave a copy of the lesson on the cart. Copy all handouts for Art Lit to go home with the students.
- Save a sample of each of your productions to share at the January Coordinators’ Meeting.
- Buy supplies and present the next lesson to your volunteers.
- Create an Art Lit bulletin board/Project Board. See the art box for bulletin board ideas or the Bulletin Board tab above under Art Gallery.
- Return the School Status Report you received from the Art Literacy Volunteer Coordinator in September.
- Ask your volunteers for feedback from their first artist presentation and address any concerns if need be. Make sure all lessons were taught.
- Contact teachers to discuss any problems or concerns.
- Save a sample production for the January Coordinators’ Meeting.
- Note: November and December are combined for your second artist in the rotation.
- Inventory, clean, and exchange boxes with the other schools in your block before the school buildings are locked up for the break.
- Enjoy the season!
- Attend the Beaverton Art Literacy Coordinators’ meeting this month.
- Make sure all your volunteers are scheduled with their teachers for the next lesson.
- Buy supplies and present the next lesson to your volunteers.
- Create an Art Lit bulletin board/project board.
- Buy supplies and present the next lesson to your volunteers.
- Create an Art Lit bulletin board.
- Recruit school Art Lit coordinators for the next year if you will not be the coordinator
- Note: February and March are combined for your fourth artist presentation in the rotation.
- Inventory, clean, and exchange boxes with the other schools in your block before the school buildings are locked up for the break.
- Have a good Spring Break!
- Buy supplies and present the next lesson to your volunteers.
- Create an Art Lit bulletin board. Consider making a Project Board, as seen below.
- Check your school calendar for volunteer appreciation week and plan a “Thank You” for your volunteers.
- Buy supplies and present the next lesson to your volunteers.
- Create an Art Lit bulletin board.
- Contact the parent organization and request an adequate budget for the upcoming school year.
- Let your school Volunteer Coordinator know who will be the coordinator for the Art Literacy Program for the next year.
- Attend the Beaverton Art Literacy Coordinators’ meeting. This meeting includes an opportunity to see art productions from your rotation for the upcoming school year.
- Contact the teachers and ask for suggestions for improving the Art Literacy presentations in the classrooms.
- Turn in your artist boxes according to the schedule provided by the Art Literacy Resource Coordinator.
- Enjoy the summer! Thank you so much for being an Art Literacy coordinator. We appreciate all your time and efforts, as do the students and teachers.
A quick summary of what to do on a monthly basis...
- Plan, buy supplies, and present each Artist/Culture Lesson to your volunteers.
- Put up a bulletin board on each artist/culture. Encourage teachers to display the art work in classroom or hallways, or send home art work with the handout.
- Create an Art Literacy bulletin board.
- Submit a short newsletter update on each artist to your principal to be included in the school news, optional.
- Submit your receipts for supplies to the parent organization for reimbursement in a timely manner.
- When you pick up a box or pass it on to another school, be sure to do a complete inventory. (Inventory sheet located inside the cover of each artist notebook.)
- Thank your volunteers and show your appreciation whenever possible.
Contact Cathy Lamb, BAL Volunteer Coordinator, for questions about running your program and working with volunteers.
SAVE THE DATES
BEAVERTON ART LITERACY
2019 - 2020
|New Coordinators' Orientation||
Thursday, September 12, 2019
|Fall Coordinators' Meeting
BSD District Office
Friday, September 20, 2019
|School Status Reports Due||Friday, November 8, 2019|
|Winter Art Literacy Coordinator Party||TBA|
Winter Coordinators' Meeting
|Friday, January 31, 2020
9:00 - 11:00 a.m.
|Portland Art Museum Tour||Two Days, TBA, April 2020|
|Spring Coordinators' Meeting
BSD District Office
|Thursday, May 28, 2020
9:00 - 11:00 a.m.
|Artist Box Turn In Date||Monday, June 1, 2020|
|Last Day of School||Friday, June 12, 2020|
- Art Literacy Classroom Volunteers
- Art Smart Notebook
- Box Rotations
- The History of Beaverton Art Literacy (BAL)
- Engaging & Encouraging Students
- Art Literacy Volunteer Responsiblities
- Time Management in the Classroom
Thank you for teaching Art Literacy! Here are a few tips for managing students...
Smile. Introduce yourself and any other helpers to the class each time you teach a lesson. Students do not see you very often and students in the class may change. Tell them you are there to teach Art Literacy and mention the artist’s name/culture. They will be happy to see you to learn about and create art!
Let them know what you will do to get their attention. “When I ring this chime, it means I need you to stop whatever you are doing and listen. Talk with the classroom teacher to see what kind of listening or attention getting tools he/she uses in their classroom that the students already know and you may also use. For example, “One, two, three, eyes on me,” and they answer back, “One, two eyes on you,” etc.
Be ready to begin with the introduction piece from the lesson plan and then immediately begin the visual presentation/PowerPoint to focus students’ attention. This will help students transition from the activity they were previously engaged in to your Art Literacy lesson.
Take a brain break, or “get the wiggles out,” in between the PowerPoint presentation and beginning the art project, even if it’s just for a minute.
Use a non-verbal signal to recapture the students’ attention during the lesson. Volume begets volume, so raising your voice is almost never an effective tool. Ring a soft chime, rain stick, or other instrument as a signal to stop and listen. Or, stop talking completely and look directly at the students whose attention you are trying to receive until they notice no one is talking. They will then look to see what is going on. Smile. Thank them for listening.
Then say something along the lines of, “I really didn’t want you to miss this next image because it’s so interesting,” or, “I am looking so forward to seeing your art project, and I didn’t want you to miss out on the directions.” Then, immediately move forward in the lesson.
Distract-A-Kid. For the really challenging student, give him a responsibility or job. Often poor behavior is misdirected energy. Ask them to come up and look for some specific element or relationship in an art piece or to help you pass out supplies. If you need help with a child who will not stop disrupting others, ask the teacher.
Keep up the pace with your lesson plan. The best management of a classroom is to simply keep the students interested and engaged. Don’t expect all the students to sit quietly all the time. They’re young, they’re curious, and if they enjoy the lesson, and learn about an artist, that’s perfect!
Encourage the behavior you are looking for. When students come in, sit right down, and appear ready to listen, look directly at them, smile, and give them a compliment, “I like the way you came in, sat right down, and now you are ready to listen. Thank you!” Or, while you are waiting for students to give you their attention say, “Jose, great job. I can tell that you’re ready to learn. Thank you.” Or, “I am looking for tables who are ready to listen. This table is ready because they are all looking at me… this table is ready because no one is talking…thank you!”
Whatever message you are trying to convey may be communicated through a compliment to a student who is demonstrating the desired outcome. It is more effective than constantly reminding students what not to do. Keep it positive.
Praise the students while they work on their art production and help them remember the objectives of the piece they are working on. Verbally compliment a technique a student is using well. For instance, “I really like the way Melody is filling up all the space in her picture,” or, “I like the way Kayla is contrasting warm and cool colors.” Or, “I like all the unique textures in Jilly’s painting.”
State an outcome you are looking for in a positive way. “Be sure to remember to wash your brush out when you change paint colors,” instead of, “Don’t mix up the paint colors with a dirty brush.” Or, "I see that you are cleaning up your desk space and putting all your supplies away on the table," instead of, "Clean up and don't leave a mess."
Check with the classroom teacher beforehand to make sure it is ok to hand out rewards or tokens. Check to see if she/he has some reward system already set up you could tap into. Be creative – art stickers, an art token you created related to the artist you are studying etc. Handing out tokens or rewards, however, is NOT required. Do not hand out food or candy.
Complimenting intelligences. Students demonstrate a variety of intelligences. Replace the phrase, “You’re right,” with, “I can see that you understand exactly where the movement is in this piece,” or, “Yes, you have located one of the patterns in the painting. Can everyone see the pattern Marco pointed out?” Or, “I like that answer because it made me think.”
If you have enjoyed teaching, and the students have enjoyed learning, then your Art Lit lesson was perfect.
Art Literacy Volunteer Responsibilities
Thank you for volunteering to teach Art Literacy in Beaverton Schools.
Attend All Of The Training Meetings
Volunteers should be prepared to present each lesson. It is VERY important that the volunteer come to every training meeting. The volunteer coordinator will present a Powerpoint, the lesson, and the art project. All volunteers get to participate in the art project, making teaching the art project to the students so much easier.
And it's fun to create art!
If a volunteer is unable to attend a training meeting, it is their responsibility to obtain the lesson and prepare for it. There are several ways to do this:
Sit in on another classroom presentation prior to their own presentation.
Study the materials at home, or when they are not in use at school, and discuss the lesson/PowerPoint/project with the Art Literacy Coordinator in person, by phone, or email.
Although the job is voluntary, the commitment is professional. Volunteers are responsible for maintaining an attitude of mutual respect and kindness. Become familiar with school and classroom policies. Absolutely, positively do not disclose student, staff, or personal matters that come to your attention while volunteering to family, friends, etc. Working with the students, teaching staff, and other volunteers requires complete confidentiality, a friendly attitude, and flexibility.
Be Dependable And Punctual
Schedule each presentation in advance. Confirm each presentation date with the teacher and any other Art Literacy classroom volunteers. Arrive early. If you must cancel the presentation on the day it is scheduled, contact the office and leave a message for the teacher. Follow the procedure outlined by the school coordinator to reschedule a lesson.
Prepare For The Lesson And Production
Practice reading the lesson several times and complete the art project at the training meeting. The school coordinator will let volunteers know if there is any prep work for the lesson or production at the training meeting. Leave the materials organized for the next classroom volunteer. If there is a supplies/tech, etc. issue, the volunteer should contact their Art Literacy School Coordinator or designated materials manager. Make sure you send the Art Lit handouts home with the art project/students.
Know How To Use The Equipment
It is the volunteer’s responsibility to be familiar with the equipment/technology used for presenting the visual portion of the lesson. In turn, it is the coordinator’s responsibility to be sure the volunteer knows how to use it and all is in working order.
Work Collaboratively With Other Classroom Volunteers
It has always been the policy of the Art Literacy organization to allow all volunteers who want to participate in classroom presentations to be able to do so. Some options for accommodating more than one parent volunteer in the same classroom are:
- Alternate the presentation of the lessons between trained volunteers.
- Split the lesson into the visual and production portions, one person leading each.
- Act as a helper during the classroom presentation and art project.
Thank you for all of your time and efforts! The students of Beaverton Schools are lucky to have you!
Time Breakdown in the Classroom
There are two versions of each lesson Plan. The simpler K-2nd lesson version allows for differences in the learning abilities and objectives of younger students. These lessons usually have fewer images and simpler text.
The more detailed lesson developed for 3rd-5th grades includes additional images and information to meet the state requirements in art education for these grades and gives volunteers greater background information.
● The amount of time spent on the presentation should vary depending on grade level.
K to 1st grade students = 15 minutes for PowerPoint and 30-45 minutes for project set up, clean up
2nd to 3rd grade students = 20 minutes for PowerPoint and 30-40 minutes for project set up, clean up
4th to 5th grade = 25-30 minutes for PowerPoint and 30-35 minutes for project set up, clean up
6th-8th grades students = 25-30 minutes for PowerPoint and 25-40 minutes for project set up, clean up
A major goal for the visual portion of the lesson is to have students engaged in active participation and discussion.
Studies show we learn 10% of what we read, 20% of what we hear, 30% of what we see, 50% of what we both see and hear, 70% of what is discussed with others, 80% of what we experience personally and 95% of what we teach someone else. Including visual, auditory and kinesthetic opportunities for learning reaches a greater number of students.
Most of us agree that there is not enough art education in our schools today.
A large part of how Art Literacy is different from art done in the classroom is in the learning of new vocabulary, historical information, processes, materials, reasons for creating art, and how we feel about it.…and then once in a while, a masterpiece happens.
The Value of Art Literacy Lessons
In 2002-03, Beaverton Art Literacy (BAL) began to align its lessons to help BSD meet their Curriculum Learning Targets for the Visual Arts in grades K-8.
BAL also aligns with the School District's Pillars of Learning. We believe Art Literacy provides:
- EXCELLENCE in exposing students to well known art and artists of the world beginning in Kindergarten.
- INNOVATION in the use of Power Point presentations and cross-curriculum connections in art and core subjects.
- EQUITY in the inclusion of all students and the presentation of diversity in background, gender, and culture in the artist lessons.
- COLLABORATION in the essential relationships between staff, Art Literacy coordinators, parent and community volunteers who bring this program to the students.
The Contents of an Art Literacy Lesson
The Objectives section of the lesson state the learning outcomes for the four areas of History, Criticism, Aesthetics and Production (see below). The objectives are measurable and are tied to the vocabulary presented in the lesson. They align with the district’s Curriculum Learning Targets for the visual arts.
The vocabulary presented in the text of the lesson is determined by the objectives of the lesson. The vocabulary is chosen to help meet the specific Curriculum Learning Targets. It includes the elements and principles of art, artistic movements, and art terms. The vocabulary is imbedded in the lesson and is not recommended as an introduction to the material.
The Introduction section of the lesson is a way to engage students at the beginning of an Art Literacy presentation. It acts as a transition from any activity the students were engaged in, to the volunteer’s presentation. Volunteers may choose to use their own introduction or method of engaging the students as well.
Note to Volunteers
Notes to volunteers are scattered throughout the lesson to offer ideas and instructions on classroom management, required materials, and presentation tips.
FYI Text Boxes
Text/books in boxes may or may not be included in a lesson. If included, they contain additional information about the artist and/or art history. Generally, this information is not appropriate for the students and is included to enhance the learning of the adult volunteers.
History: Places an artwork in its art historical context.
Art history teaches students to value the expressions of all people and to understand the unique contributions of their own culture. It also gives students a sense of the past and helps them understand the times in which they live. Art history is the study of art, past and present, and its contributions to cultures and society. Art history tells us who?, what?, when?, where?, and why?
Additional history notes:
The titles, dates, media, museum locations and size information on the lessons and the Power Points are not meant to be read to the students. This is generally informational and in the case of the PowerPoint presentations, some of it is required for copyright permission. If you feel it is appropriate and the information adds something important to the discussion, or a question is asked regarding the information, then bring it into the conversation. Otherwise, skip giving this level of detail to students.
Criticism: Informed talk about art
Art criticism involves learning other criteria for judging art beyond our personal likes and dislikes. It sometimes helps us value art that we don’t necessarily, because we understand that the art communicates something important. Teaching students some techniques for looking at art, such as “scanning,” helps them become informed viewers who make informed judgments. A major component of the DBAE approach to teaching art is in learning to examine a visual image and recognizing the parts that create the whole. Information about art is gained through a process called Aesthetic Scanning, which includes the examination of four properties:
- Sensory Properties – What do you see (colors, lines, shapes, texture, value, space and form)?
- Formal Properties – How is it arranged (balance, emphasis, contrast, pattern, unity, movement and rhythm)?
- Technical Properties – What media, tools and techniques were used?
- Expressive Properties – What mood, idea or dynamic state does it express?
Aesthetics: Questions the nature, value and beauty of art
This area of the lesson deals with the “big questions” of art such as what is Art? Aesthetic discussions help the student gain insight into his/her own response to the visual world. These discussions also validate and deepen the “experiencing” of art.
Production: Creating art
Creating things which give expression to one’s thought and feelings is an essential human activity. Students learn how to use new materials and techniques so that they can more accurately express themselves. As they mature, students learn how to make complex decisions and judgments to achieve the effects they desire. In addition, through production, students learn about the artistic process and can therefore better appreciate the efforts of other artists. While not all students will become practicing artists, they will all be sojourners in a visual world. Art production is the presentation of ideas and feelings by creating expressive images.
Additional production notes:
- When it comes to art education the saying "it's the process, not the product" just about says it all.
- The overall aim of an Art Literacy production is not for a student to create a “masterpiece” or beautiful piece of artwork. Creating art is often as much about learning a new technique, process or media as having the chance to be expressive. Often a production is more about the process learned than the outcome of the work itself.
- Each student has different talents, skill level and interests. A student is successful in creating art if he or she meets the objectives of the production which are not based on artistic talent. For instance, did a student create a landscape using warm or cool colors? These are easily measured objectives. Evaluating artwork with this kind of criteria allows for all students to be successful.
- Sharing how the production objectives were met in each student’s artwork is an ideal follow-up after a lesson presentation. Time doesn’t usually allow this to happen, but if the opportunity presents itself, take it.
- One of the aims of the production is to tie together work of the artist with the vocabulary.
Additional Lesson Information
- BAL began using a lesson format known as Discipline Based Art Education or DBAE in the 1980’s. Simply stated, this format allows art to be taught with measurable outcomes in the four areas of History, Criticism, Aesthetics and Production (see above).
- There are two versions of each DBAE Lesson Plan. The simpler K-2nd lesson version allows for differences in the learning abilities of younger students and the differences in the Curriculum Learning Targets for grades K-3. The more detailed lesson developed for 3rd- 5th grades includes additional information to meet the requirements in the Curriculum Learning Targets for these grades and gives volunteers greater background information.
- The amount of time spent on the visual (PowerPoint/slide) presentation should vary depending on grade level.
- K to 1st grade students = 15 minutes
- 2nd to 3rd grade students = 20 minutes
- 4th to 5th grade = 25-30 minutes
- 6th to 8th grades students = 25-30 minutes
● A major goal for the visual portion of the lesson is to have students engaged in active participation and discussion.Studies show we learn 10% of what we read, 20% of what we hear, 30% of what we see, 50% of what we both see and hear, 70% of what is discussed with others, 80% of what we experience personally and 95% of what we teach someone else. Including visual, auditory and kinisthetic opportunities for learning reaches a greater number of students.
We all agree that there is not enough art education in our schools today.
A big part of how Art Literacy is different from art done in the classroom is in the learning of new vocabulary, historical information, processes, materials, reasons for creating art and how we feel about it.
DISCIPLINED BASED ART EDUCATION – DBAE
What is discipline based art education?
DBAE approaches art education as a course of study, in the same way that other subjects, such as mathematics or science, are approached. The four disciplines studied in a DBAE lesson, art history, art criticism, aesthetics and art production, are discussed in detail in the following pages.
How and why did DBAE originate?
The Getty Center for Education in the Arts, one of several programs run by the J. Paul Getty Trust, in Los Angeles, was established in 1982 to promote art education and to study issues confronting art educators. It adopted a concept, long held by art educators, that art needed to be studied in a systematic and sequential program. The same way other “serious” subjects are studied: also four art disciplines should be included in the study of art: art history, art criticism, aesthetics and art production. The term DBAE was coined in the early 1980s to describe this new approach to art education.
Why study art history?
Art is a form of communication unique to human beings. The study of art from many times and cultures is one valuable avenue for comprehending the human experience. When children study art history, they learn to value the expressions of all people, and to understand the unique contributions of their own culture. Art history gives children a sense of the past and helps them understand the times in which they live.
What does art history include?
Art history is the study of art, past and present, and its contributions to cultures and society. Art history tells us who?, what?, when?, where?, and why?
Why study art criticism?
Often, people look at art and make an immediate judgment without knowing why. Art criticism helps us slow down our judgment process and helps us understand why we respond the way we do. Art criticism involves learning other criteria for judgment beyond our personal likes and dislikes. It sometimes helps us value art that we don’t necessarily like, because we understand that the art communicates something important. Teaching children some techniques for looking at art, such as “scanning,” helps them become informed viewers who make informed judgments.
What is art criticism?
Art criticism is informed talk or writing about art. Information about art is gained through a process of looking called Aesthetic Scanning, which includes the examination of four properties: 1) Sensory properties, 2) Formal properties, 3) Technical properties, 4) Expressive properties.
Sensory Properties – What do you see?
Formal Properties – How is it arranged?
Technical Properties – What media, tools, and techniques were used?
- oil paint
- palette knife
- potter’s wheel
- paint strokes
- color mixing
Expressive Properties – What mood, idea, or dynamic state does it express?
Why study aesthetics?
Although few people could define the word “aesthetics,” people naturally engage in aesthetic inquiry when they consider the meaning and value of a piece of art. For example, people wonder what makes a particular object, say a vacuum cleaner, art, when it is mounted and displayed in a museum. This puzzle warrants an aesthetic discussion about the nature of art. Similarly, some people would say that a clay bowl is not art, while others would disagree. Here again is an aesthetic dilemma.
Aesthetic discussions are part of a DBAE lesson because such discussions help the student gain insight into his/her own response to the visual world. Sometimes people have a deep, emotional response to a work of art, and they may attempt to tell or write about the experience. This attempt to explain a response is characteristic of aesthetic discourse, and little children, as well as philosophers, will quite naturally try to describe why they like or dislike something they perceive. Teaching aesthetics validates and deepens this “experiencing” of art.
What does aesthetics mean?
Aesthetics is the inquiry into understanding the nature, beauty, and value of art. The inquiry deals with “big questions,” such as:
- What is art?
- Are all people creative?
- Does every piece of art deserve praise?
- Can something be art in one culture and not art in another?
Why study art production?
Creating things which give expression to one’s thoughts and feelings is an essential human activity. Children naturally engage in art production, and they enjoy learning how to use new materials and techniques so that they can more accurately express themselves. As they mature, children learn how to make complex decisions and judgments to achieve the effects they desire.
In addition to the satisfaction gained from producing art, children also learn through production about the artistic process. They can therefore better appreciate the efforts of other artists. While not all children will become practicing artists, they will all be sojourners in a visual world, and will benefit from their art production experiences in elementary and middle school.
What else is art production besides painting and drawing?
Art production is the presentation of ideas and feelings by creating expressive images. Here are some ways expressive images are produced:
- graphic design
- photography, film, video
- fashion design
For our Art Literacy Coordinators and Volunteers...
Would you like to learn more about art, artists, and cultures?
The Art Smart Notebook in each Artist Box is full of information about...
- The Time Lines of Art History
- Art and Culture Time Lines
- Overview of Artistic Periods
- Art Through the Ages
- Art Literacy Artists
For example, in the Time Lines of Art History section, art from the Stone Age to Estruscan Art to the Impressionists to Modern Art is shown chronologically, along with graphics, so one can easily learn about art around the world from 10,000 BC to the present time.
In the Art and Culture Time Line, learn about visual art and architecture, government, culture, science, music and world events from 5,000 BC to the present time.
In the Overview of Artistic Periods, we discuss Western and Greek art, the Byzantine Empire, the Romanesque period, Gothic Art, Italian Renaissance Art and Baroque Art, among others.
All of the Beaverton School District Art Literacy artists are listed, with brief explanations of who they were/are.
The Elements of Design - line, shape, form, value, texture, space and color - are discussed at length in the Art Smart Notebook, which is information that you will need for your volunteer training sessions.
The Principles of Design - balance, movement, rhythm, contrast, emphasis, pattern and unity - are also discussed and explained.
Ever wonder what a particular art term means? For example 'abstract' or 'cartouche' or 'linear perspective' or 'Louis XIV style'? The explanations are in the glossary of the Art Smart Notebook.
We hope all our coordinators will take some time to look through the information! It's very interesting and so helpful for you to know as you can pass on this knowledge to your volunteers, and your volunteers can pass it on to the students. (Plus, it's just plain fun to learn more about art.)
Take a look, learn a lot, love art even more.
A huge THANK YOU to our volunteer coordinators and our volunteers for teaching Art Literacy. We truly appreciate all the work you do and the time you spend to bring art to our students.
Currently, there are 33 elementary and 11 Middle school programs reaching over 24,000 students with over 1300 volunteers giving over 20,000 hours per year.
The BAL Resource Coordinator is Melody Ball. The Volunteer Coordinator is Cathy Lamb. Currently there are 48 elementary and middle schools participating in the program with over 1,600 volunteers.
References: Melody Ball, Cathy Bernhard, Jill Bogle, Margaret Eickmann, Jacqueline Fitzgerald, Louise Gustfson, Jori Hess, Sally Locanthi, Carla Ueki.
- BAL First Established Spring 1980
- Measure 5, November 1990
- BSD Employee Part Time Staff 2000
- Twentieth Anniversary 2000-01
- Twenty-Fifth Anniversary 2005-06
- Thirtieth Anniversary 2010-11
- Thirth-Fifth Anniversary 2015-16
- 1979 - 1980
- 1980 - 1981
- 1981 - 1982
- 1982 - 1985
- 1985 - 1993
- 1993 - 1995
- 1995 - 1999
- 2000 - 2002
- 2002 - 2005
- 2005 - 2007
- 2009 - 2010
- 2011 - 2012
- 2012 - 2016
The fall of 1979 led Louise Gustafson, a Chehalem Elementary School parent with previous experience in volunteer led art programs in Texas and Arizona, on a journey to begin a volunteer based art program in Beaverton Oregon.
The pilot, and later final format, for the Art Literacy program was developed in response to art being downsized in the Beaverton School District. Chehalem principal, Jack Kirby, supported Gustafson's efforts to create a volunteer based art program provided it was self-sustaining and viable for varied student populations. He proposed the pilot include both Chehalem and Aloha Park Elementary schools.
- The pilot consisted of four artist lessons presented January through April in the spring of 1980 at both Chehalem and Aloha Park. The artists were Vincent Van Gogh, Pieter Bruegel, Andrew Wyeth and Claude Monet.
- Based on her previous experience with volunteer led art programs in Texas and Arizona, Ms. Gustafson planned a six-year rotational program to include 48 artists (eight lessons taught each year) plus the original four pilot lessons, for a total of 52. Ms. Gustafson designed the program so the lessons were not chronological which allowed for many schools to participate in the program at any one time.
- Classroom volunteers were recruited and trained by volunteer coordinators at each school. Lessons were 45 minutes per month with volunteers presenting relevant artist biographical information, images of the artist’s work and an art activity.
- Art Literacy was suggested as the name for the program which elicited a positive response by supporting their two main goals: an emphasis on the creation of art as human expression and the ability to describe the creative process.
- Early supporters of the program included Joi Hess, Diane Fergus, Althea Pribyl, Dr. and Mrs. P.B. Van Weel, Amy Pearl, Judy Fox, Chehalem; Lynna Allen, Cooper Mt.; and Cathy Bernhard, Raleigh Park.
- A need for a district coordinator became evident and Ms. Gustafson accepted this position.
- Other elementary schools in the district immediately began requesting information about participating in the program. Participation also required acceptance by school parent groups to provide funding and help in recruiting volunteers.
- 1980-81 saw the completion of materials for the first three years (24) of the artist rotation. Through tireless volunteer efforts, new biographies were submitted, new schools sought admittance, new coordinators and volunteers were recruited, and new rotation schedules were developed to accommodate the growing program.
- In answer to the support for needed visual materials, BSD Curriculum Materials Center(CMC) librarian, Chole Poole, worked with Ms. Gustafson to create a delivery schedule of the materials. Ms. Poole began to purchase additional materials in support of the program. Check out and return of visual materials by the 28th of each month, was overseen by Ms. Poole through the CMC. Materials included slides, filmstrips, framed prints and sculpture.
- Additional volunteer support information in the form of a glossary of technical, literary, and historical art terms and a summary of grade level learning expectations and suggested activities for each grade level, was created by Ms. Gustafson to accompany the artist biographies.
- An informational brochure for interested schools and other districts was also created by Ms. Gustafson outlining the first six artist blocks and running of the program. She presented information to all interested schools the first few years.
- District support under Boyd Applegarth, BSD Superintendent, to complete the planned six- year program, came in 1982 in the form of $45.00 per artist/period stipends paid to volunteers and coordinators to finish the research.
- Site based school coordinators were recruited to address the needs of each school program. School coordinators received the artist biographies and visuals through the BSD interschool mail system each month. These copies were printed by the district in the BSD print shop and sent to Ms. Gustafson to be distributed to the schools.
- The name Art Literacy was copyrighted in 1981 and 1985.
- The program was replicated in Tigard, Newberg,and West Union School Districts as well as generated interest from other districts in and out of the state.
- By the end of 1982, there were 23 elementary schools using the Art Literacy materials rotating the materials through the CMC librarian.
- The remaining three blocks of eight artists each, plus the original four biographies, made a total of 52 artist biographies completed by the end of 1982 school year. This completed the first six blocks of artist materials.
- After the initial six blocks were developed and implemented, quite a few schools created material about their favorite artists and made them available to the program.
- A program at Mountain View Middle school began in 1982-83, but proved unsustainable and was not implemented at the middle school at that time.
- A district wide coordinator meeting began to be held during this time frame with each site based school coordinator attending.
- Louise Gustafason remained the district coordinator until 1983-84 when Lynna Allen took over the position.
- Ms. Gustafson moved from the area in 1985.
- In 1988, Carol Smith, Fine Arts Specialist for the Beaverton School District, began overseeing the Art Literacy program.
- Ms. Smith continued with a representative leadership group they called “Roman Arches." The group consisted of the volunteer Art Literacy coordinators from each school. They met during the year and helped to make decisions in regard to the direction of the program.
- A change was made during this timeframe from presenting eight artists during the school year, to presenting six artists. This created 10 blocks of six artists each.
- Cardboard banker’s boxes for each set of artist materials began to be assembled containing books (most of them the Time-Life Artist series) and a notebook with one copy of the biographical and other artist information. Slides were added to the boxes instead of being checked out each month from the CMC.
- The rotation of the materials also changed during this time. Schools were grouped geographically and began exchanging the boxes between them during the school year, rather than all of the materials going through the CMC librarian.
- BSD copied all the artist biographical information for each block which was delivered to the September Coordinator meeting. School coordinators left the meeting with their assigned six artist boxes for the year and a huge stack of biographies, a copy for each of their volunteers.
- Large prints, filmstrips and 3-D models were still available for check out from the CMC.
- The Discipline Based Art Education (DBAE) model for teaching art lessons was introduced. Bev Ecker, from Greenway School, was instrumental in developing many of these lessons and providing volunteer training.
- In 1990, Cooper Mt. coordinator Sally Locanthi, begin a newsletter for school coordinators highlighting school programs and events called “The Palette."
- New artists were added to the rotation and an alternate list began with volunteers beginning to add their own lesson plans and production ideas to the boxes.
- A consistent lesson plan format was introduced to coordinators around 1991 based on the DBAE model to begin to standardize the lesson information. Up until that time, each volunteer prepared their own lesson and then followed up with the coordinator suggested art activity.
- All materials were returned at the end of each school year. Over the summer, a team of volunteers reorganized and cleaned out the boxes. Judy Fox, a Cooper Mountain volunteer, oversaw much of this job.
- In 1993, the Fine Arts Specialist position in the district was eliminated. Carol Smith helped the Roman Arches group transition to an All-Volunteer board to take over running the program.
- Clarinda White-Hanson and Margaret Eickman, two Oak Hills coordinators, co-chaired the Board of Directors in 1993-94. Together they wrote the first Art Literacy Handbook for coordinators.
- Each board member was assigned a job to help run the program. Melody Ball volunteered to inventory the boxes at the end of each school year and began organizing the materials.
- Sally Locanthi was elected President and Melody Ball, Elmonica coordinator, was elected as Vice President of the board in 1994.
- The board began fundraising in 1994 to contractually hire a Resource Coordinator and a Volunteer Coordinator for the program. Each school sold art themed tee shirts and totes in schools. A portion of the funds remained at each school and the balance went to the BAL board to fund the Resource and Volunteer coordinator positons. Sally Locanthi spearheaded the fundraising effort.
- In the spring of 1995, Melody Ball was hired by the board as the Resource Coordinator and Carla Ueki (Raleigh Park) as the Volunteer Coordinator, both as part-time employees. Melody created an inventory sheet and organized the contents of the artist notebooks. Carla began keeping a roster of the school coordinators and tracking the number of volunteers in the program.
- BAL board received $4000 from the Beaverton Arts Commission in 1996 to refurbish the boxes and add the middle school artist boxes to the program.
- Middle schools were added to the rotation in the fall of 1996.
- The Roman Arches board became a non-profit 501(c3) organization in 1998, changing its name to Beaverton Art Literacy (BAL) and continued to work with the two employees.
- BAL held two large fundraising auctions in 1998 themed “Evening in Paris” and in 1999, “Wild About Art." Both fundraisers were organized and coordinated by the BAL board headed by Sally Locanthi. The events were widely supported by the community and schools.
- Jill Bogle, Greenway coordinator, was elected president in 1998.
- No Frills Fundraisers supported the program with straight dollar donations requested from programs at each participating school. A portion of the funds went to the district program and the rest to the school.
- Beaverton School District assumed responsibility for the salaries of the two part time employees after a presentation and request by Sally Locanthi and Jill Bogle.
- The BAL board contributes $10,000 to the district to help fund the positions.
- Melody Ball and Carla Ueki were hired to work part time by the school district to oversee the program as the continued Resource Coordinator and Volunteer Coordinator.
- Melody developed the Art Smart Notebooks for each artist box at this time. The notebooks contains a timeline, description of artist terms and periods, an illustrated explanation of the elements and principals of art, and a glossary of terms.
- Karen Bikel, Scholls Heights coordinator, is elected as the BAL president in spring of 2002.
- Committee was formed (Melody Ball, Carla Ueki, Denise Cooney, Jill Bogle) to begin work on development of a new lesson plan format.
- New lesson plans were designed to help meet the BSD Curriculum Agreements for the Visual Arts aligning with the Oregon State Visual Arts Standards.
- Lessons were assigned an art focus - the Elements of Art at the elementary level and Principles of Art at the middle school level.
- New lesson plan format was adopted in 2004 and rewriting of all lesson materials began. Melody Ball, Jill Bogle, Paige Clothier, Debra VanDetta, Erin Knolls, Denise Cooney and Michael Ball began rewriting them to fit the new format.
- Carla Ueki left the program in November of 2004 and Rebecca Duarte was hired as the new Volunteer Coordinator in January of 2005.
- Kodak Co. stops production of slide projectors in 2003 and announces it will stop support in 2011. This prompts a discussion by the BAL board to convert from slides to digital images.