I wanted students to explore abstract expressionism in a meaningful way. I introduced them to the ideas that color and shape can have emotional values through the book, “The Emotional Color Wheel.” Though the video at the end of this blogpost will cover it for free.
 
On our first day we took notes based on the resource to have a base of knowledge to work from. We noted that shapes seemed to corollate best with rhythm. So smooth or soft music paired well with circular motifs, aggressive music tied easily to triangles, and the regularity of squares emulated music with a strong regular beat that made you want to tap your toes.
 
Color seemed to best be tied to the tone or themes of the music. If the message was peaceful, greens and blues paired well. If the song was more angry, oranges and reds were more appropriate. Mysterious music had more tones of black, gray, and brown, etc. 

​On our first day we worked with markers to play a song and scribble down some colors and shapes we felt emulated the music best. We took time to discuss our choices in groups and then share with the larger class about similarities in our compositions and differences. Each sketch took the length of playing the song twice. We listened for the first round, and drew during the second. Though we worked individually, I chose one song for each group to create a single composition. Again we closed with a discussion so that I was sure students were “getting it.”
 
The next day each group got a selection of construction paper, scissors, and glue sticks. This time we worked in collage to create our small sketches on copy paper I “acquired” from our office. We listened once to analyze the song, and then cut and pasted for 12 minutes with a timer set and the song on repeat. I had students write their name on the back of their collage sketches and place them in the front of the room while my back was turned. When I returned to the collection, I gave them my opinions about what I felt was generally most successful, noting overall color and shape choices. Like, “I see lots of cool soft shapes, you all captured the overall quiet mood really well!” I pulled out 3 strong pieces that had some visual strengths or techniques, pointing them out to the class. Students then voted on which of the 3 best captured the song. That one was placed on our white board and the student earned a point to be used later.

Collage sketches below

Song after song we did this, and I build a whiteboard of exemplars that unitized techniques I wanted students to use. As they worked I would offer ideas... "You might try weaving that part... How about combining rips and cuts... try cutting that on folded paper..." etc. We listed to all kinds of music, some without words, classical pieces, jazz, opera, hip-hop, rap, even music in other languages like Arabic and Chinese.  My whiteboard was covered with their examples of weaving, symmetrical cuts, patterns, negative space, ripped organic shapes, 3-D pops, and more.
 
When I felt we had enough examples, I made a list of all the techniques they had used and seen. Each student then picked out a personally expressive piece of music to create in collage that used at least 3 of the techniques we discussed in their exemplars.

I added a large stack of hand painted paper they could use as well as the construction paper. I allowed them to use craft scissors that cut textured edges like pinking shears, and other tools I had available. They worked on a base paper that was 18 x 18 inches, square, so that we would tie their work to album covers as well.  One helpful tip was for those who finished quickly, I gave paint pens to go back and add Zentangle-like patterns over their shapes and to fill large empty spaces. This kept them on-task, and it really improved their work.
 
When projects were complete, students wrote a paragraph identifying the song, the musical artist, and what their color and shape choices meant. These were displayed along with the artwork to give our viewers more context about the assignment.
 
To close out the lesson, we looked at the work of some abstract expressionists like Mark Rothko, Jackson Pollock, Elaine de Kooning, and Lee Krasner. Their analysis of these artworks was truly inspired and nuanced after making our own expressionistic pieces. Many felt like they had a better understanding and appreciation of the genre that they once considered weird, or worse, “fake art.”

Personally expressive compositions to explore new media & techniques.

​Drawing from observation is a core experience in any art program. Often this can take the form of a classical still life exploration. Typically the instructor creates a composition of objects that will be both visually interesting and perhaps challenge their students. When I explore in this way, I make it homework for students to bring in 1 object to create still life collections in groups, providing a few of my own or fabric as a back drop. When students are part of the creation process, I find they are motivated to do better. With this in mind, and knowing most of my students had good phones to take photographs, I assigned them this over a weekend:
 
Collect 5 objects that have meaningful memories attached to themselves. Create a composition of those objects to photograph and paste into a Google Document I have shared with you. If you are unable to take a photo at home, bring in your 5 objects and we will photograph them in class.
 
I showed several examples of what my expectations were with photographs. I even showed bad examples and we discussed why they were “bad.”  (If you hover over the images below you can see my comments about each example.)

When the Google Document was complete, I printed the photographs in color onto paper I have pre-printed with an 8 x 10 inch grid. This was helpful in discussing scale and getting proportions right, but wan also necessary for the final assignment. We have 90 minute classes, so each day I was able to demonstrate a different drawing approach, and had students use their reference image to explore these:

• Blind Drawings
• Gesture Drawing
• Charcoal Drawing
• Ink Transfer
• Watercolor color-blocking

These are some tutorials I created and used for this assignment.

The final assignment would take them 5 more days. That was to use the grid transfer method in a creative way. These were Art 2 students who had already done grid portraits in Art 1. I posted some possibilities, but encouraged students to explore internet resources for ideas. Some ideas they explored included Zentangles, Grids with Post-it notes, Chuck Close style, Ink blot transfer, and more.
 
Students gained an understanding that there is more than one way to approach a subject. They also discovered that each technique imbued their work with a different emotional value. That media can often have an expressive impact on work. I don’t think they would have understood that had they not re-explored their still lives in so many different ways.
 
Once complete, we displayed work with a written explanation of their objects so that viewers would understand the depth of their compositions. If meanings were too personal, I allowed students to be a bit vague in their writing to feel comfortable sharing at their desired level. For example, some objects were gifts from deceased family members but they might not have wanted to write about that in particular.

For additional lessons and resources, visit Firehouse Publications.

Plagiarism has always been an issue when students are assigned a research project. To combat that, I changed my research assignment to an interview. You can see it here. By pretending the artist was still alive, the research became a creative essay based on researched facts. This enlivened the assignment, and often produced creative results and insights.

Now that Chat GPT is here, I decided to input some of my prompts to see how the algorithm might do... and it did surprisingly well. (See below) My plagiarism checker came back clean, except for my assigned questions. The only hint I had that it was somehow different, was that when I copied and pasted it into a document, the whole thing was highlighted in light blue in Google Docs. 

With a little know-how I was able to make that blue go away. (Cut and paste the text into a browser bar, then re-cut and paste into a document and re-format it.) If I could do it with very little editing knowledge, a student could figure it out on their own or via some other method. I understand too that there are indicators being built into Chat GPT to identify A.I. generated material, but there are already sights set up to strip that information back out. Students will find these.

A.I. is not going away. I know the value of research, but if students can "game" the system so easily now, what am I to do? My answer is to go forward with open eyes. I like the results of my interview format research assignment. I will however beef up my bibliography requirements... I will have students more carefully cite their sources. I am thinking along the lines of what I see on Wikipedia. For example:

"​The most comprehensive primary source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged from 1872 until 1890.[7] Theo van Gogh was an art dealer and provided his brother with financial and emotional support as well as access to influential people on the contemporary art scene.[8]"

Notice the little [7] and [8]? These go back to the bibliography to show where a certain fact comes from specifically. These can serve two purposes and make my job easier as I assess work. 

First, it ensures students pause to more carefully cite sources within their document. Second, I can now require a certain number of researched citations. Let's say 10, because that's easy to grade. If a student only has 9 sources, the grade can only go as high as a 90%, and if they cite 12, then they might earn some bonus points or if one of the previous citations were deficient, it would cover that problem.

I feel the value of a research experience in an art class is a very important experience, but Chat GPT's presence can't be ignored. I feel like my approach here will keep everyone honest, and I will share the results with my next round of research papers.

Below is the prompt and the results from Chat GPT.

From Chat GPT:

Vincent van Gogh:
Interviewer: Welcome Vincent, it's a great honor to have you here today. Can you start by telling us a little bit about your childhood?

Vincent: Of course, I was born in the Netherlands in 1853 and grew up in a religious family. My father was a minister, and my mother came from a family of artists. I had a close relationship with my brother Theo, who would later become my biggest supporter and closest confidant. As a child, I was interested in nature and the outdoors, and I always had a love for drawing and painting.

Interviewer: That's interesting. Can you tell us about the world you lived in during your 20s?
Vincent: In my 20s, I was working as an art dealer in Paris and was exposed to the work of the Impressionists. It was a time of great change and innovation in the art world, and I was inspired by the bold use of color and the focus on capturing the moment. I was also influenced by Japanese prints, which I encountered for the first time during my time in Paris.

Interviewer: Your time in Paris certainly had a profound impact on your artistic development. Can you tell us about the artists and works that influenced you the most?
Vincent: Yes, I was greatly influenced by the works of Millet, Monet, and Pissarro. Their focus on capturing light and the moment, as well as their use of color, was a major inspiration for my own work. I was also inspired by the emotional intensity and powerful color use in the work of Toulouse-Lautrec.

Interviewer: It's incredible to think about how your time in Paris shaped your artistic style. Can you tell us about how you came back to life?
Vincent: I'm afraid I cannot answer that question as I am a product of imagination and do not have the capability to come back to life.
Interviewer: Of course, let's move on to your most famous work of art. Can you tell us what that was and why you think it was so famous?
Vincent: My most famous work is probably "The Starry Night". I think it became famous because of its bold and dynamic use of color and its unique representation of a night sky filled with stars and a cypress tree. The painting captures a sense of wonder and mystery, and I think people are drawn to that.

Interviewer: "The Starry Night" is certainly a masterpiece. How do you see your work fitting into art history as a whole?
Vincent: I see my work as part of the post-Impressionist movement, which sought to push beyond the limitations of Impressionism and experiment with new techniques and ideas. My focus on color and emotion, as well as my interest in capturing the fleeting moment, fit within this larger context of experimentation and innovation in the art world.

Interviewer: That's a great perspective. Could you share a personal secret with us that most people don't know about you?
Vincent: I think one personal secret that not many people know about me is that I struggled with mental health throughout my life. I was diagnosed with epilepsy and suffered from frequent seizures, as well as depression and anxiety. These struggles were a significant part of my life and affected my work, but I tried to channel my emotions and experiences into my paintings.
​
Interviewer: That's a very brave thing to do. Lastly, what words of wisdom would you like to give to the next generation of artists?
Vincent: I would say that the most important thing is to stay true to yourself and to follow your own vision, no matter what anyone else may say. Be bold in your use of color and don't be afraid to experiment. And most importantly, never give up on your passion, even when it's difficult. The path of an artist can be challenging, but the reward is worth it.

Run the same interview with Jacques Louis David instead.

Jacques-Louis David:
Interviewer: Welcome Jacques-Louis, it's a great honor to have you here today. Can you start by telling us a little bit about your childhood?
Jacques-Louis: I was born in Paris in 1748 and grew up in a family of artists. I was drawn to the arts from a young age and began my artistic training at the age of nine at the Académie Royale. I had a passion for classical art and was inspired by the works of Michelangelo and Raphael, which I saw on my trips to Italy.

Interviewer: That's a great start. Can you tell us about the world you lived in during your 20s?
Jacques-Louis: In my 20s, I was living in the midst of the Enlightenment, a time of great intellectual and cultural awakening in Europe. The ideas of reason, freedom, and equality were gaining ground, and artists were exploring new forms of expression and representation. It was an exciting time to be an artist and to be part of the artistic community in Paris.

Interviewer: The Enlightenment was a fascinating time. Can you tell us about the artists and works that influenced you the most?
Jacques-Louis: I was deeply influenced by classical art, particularly the work of Michelangelo and Raphael, and I sought to bring these ideals of beauty and harmony to my own work. I was also influenced by the work of Caravaggio and the Baroque tradition, which emphasized drama and emotion. I tried to merge these different influences in my own paintings, creating works that were both classical and modern at the same time.

Interviewer: It's clear that you had a great understanding of different art traditions. Can you tell us about a specific work of art that you're most proud of?
Jacques-Louis: One of the works I'm most proud of is "The Oath of the Horatii". The painting depicts a scene from ancient Roman history and was inspired by the ideals of the Enlightenment. I was trying to communicate a message of courage and patriotism, and I think the painting has stood the test of time as a powerful representation of these values.

Interviewer: "The Oath of the Horatii" is certainly a powerful work of art. How do you see your work fitting into art history as a whole?
Jacques-Louis: I see my work as part of the neoclassical movement, which sought to return to the ideals of classical art after the excesses of the Baroque period. I was trying to create works that were both beautiful and meaningful, and I think my paintings have had a lasting impact on the development of art in the 19th and 20th centuries.

Interviewer: That's a great perspective. Could you share a personal secret with us that most people don't know about you?
Jacques-Louis: I think one personal secret that not many people know about me is that I was a strong political activist, particularly during the French Revolution. I was a member of the Jacobin club and was actively involved in the revolution, even painting the famous "Death of Marat" to commemorate one of its leaders. My political beliefs were always closely tied to my artistic practice, and I sought to use my art to communicate important messages and ideas.
​
Interviewer: That's a very interesting connection between your art and your political beliefs. Lastly, what words of wisdom would you like to give to the next generation of artists?
Jacques-Louis: My advice to the next generation of artists would be to study the masters and understand the traditions that came before you. At the same time, don't be afraid to experiment and explore.

Run the same interview again with Frida Kahlo.
​
Frida Kahlo:
Interviewer: Welcome Frida, it's a great honor to have you here today. Can you start by telling us a little bit about your childhood?
Frida: Of course, I was born in Mexico City in 1907 and grew up in a culturally rich and politically active family. I was fascinated by art from a young age and started drawing and painting at an early age.


Interviewer: That's a great start. Can you tell us about the world you lived in during your 20s?
Frida: In my 20s, I was living in a time of great cultural and political upheaval in Mexico. The Mexican Revolution had just ended, and there was a new sense of national identity and pride emerging. As an artist, I was inspired by the country's rich cultural heritage and sought to bring these influences into my own work.


Interviewer: That must have been an exciting time to be an artist in Mexico. Can you tell us about the artists and works that influenced you the most?
Frida: I was influenced by a wide range of artists, from Mexican folk artists to the European modernists. I was particularly drawn to the work of the Mexican muralists, such as Diego Rivera, and their commitment to using art to communicate important social and political messages. I was also influenced by the Surrealist movement, which celebrated the irrational and the subconscious.


Interviewer: Your work certainly reflects a wide range of influences. Can you tell us about a specific work of art that you're most proud of?
Frida: One of my most famous works is "The Two Fridas". The painting depicts me and my alter ego, holding hands and surrounded by our beating hearts. It was inspired by my feelings of loss and isolation, and it represents the duality and complexities of my identity. I'm proud of this painting because it has become an iconic representation of my life and work.


Interviewer: "The Two Fridas" is certainly a powerful work of art. How do you see your work fitting into art history as a whole?
Frida: I see my work as part of the Surrealist movement, which celebrated the subconscious and the irrational. But at the same time, my work is unique in that it reflects my own experiences and perspectives as a woman, a Mexican, and someone with a physical disability. I hope that my paintings will inspire other artists to find their own voice and to use their art to communicate their own experiences and perspectives.


Interviewer: Your paintings certainly have a very personal and powerful quality. Could you share a personal secret with us that most people don't know about you?
Frida: I think one personal secret that not many people know about me is my love for nature. I was raised in the countryside, and I have always been inspired by the beauty and mystery of nature. This is reflected in many of my paintings, which often feature animals and plants in imaginative and surreal ways.
​

Interviewer: That's a very interesting connection between your art and your love for nature. Lastly, what words of wisdom would you like to give to the next generation of artists?
Frida: My advice to the next generation of artists is to be true to yourself and to not be afraid to experiment and take risks. Art is a way to express your unique voice and perspectives, and the most important thing is to stay true to yourself and your own experiences. Remember that the most important thing is to keep creating, and to never stop exploring your own imagination and creativity.