pam pulley on mon 27 dec 99
I have been teaching pottery for the last 5 years at our coop studio and
feel I do a fairly good job of teaching beginners, motivating intermidiates
and challenging the advanced studdents to refinements,etc with their work,
but I feel when it comes time for that last critique, of their work, that
last night of class that I just don't do my students justice in dealing with
their pots. Maybe I am too hard on myself with this, but I do feel there is
a need for me to grow in this area and be able to help my students grow. We
do discuss work as they go.
Where do I go or what ideas are there to help me develope this area?
(nothing like putting one self on the line, so please be gently with me).
Pam in Michigan, finally getting to listen to my christmas music after
having the family here yestereday.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
elizabeth priddy on tue 28 dec 99
I handle it this way. It is simple,
but it initiates good conversation.
On the first night, I have the students
pull a good pot and a bad pot from anywhere
in the studio and we go over what makes them
choose each. this sets the criteria for the
class. I generally steer them toward the idea
that the pot has to have a good foot, body,
AND rim/lip and serve its function.
On the last night, we do the same thing, but
from the work the students made during the
course. It completes the thought over the
class and allows them to see it with new
experienced eyes. We evaluate the work with
a disregard to who made it. I de-personalize
their attitudes towards evaluating work over
the duration of the class by focusing on
technique rather than expression, the
expression happens anyway, btw.
At the end of the final crit, we talk about
their feelings about the pots and how the best
and worst examples didn't necessarily co-incide
with the best made and worst made, etc. In
general, the critique has to happen all along
for it to go well at the end, you can't spring
it on them at the end and expect a good result.
A good crit is not a blessing of the pots,
by the way. I think a good crit gives the
students some praise and also something to
work on. Be kind, but don't be too nice.
Good luck. The fact that you try is better
than some learning situations and you should
be proud of yourself for taking on the task
in the first place.
---
Elizabeth Priddy
email: epriddy@usa.net
http://www.angelfire.com/nc/clayworkshop
Clay: 12,000 yrs and still fresh!
On Mon, 27 Dec 1999 19:01:45 pam pulley wrote:
>----------------------------Original message----------------------------
>I have been teaching pottery for the last 5 years at our coop studio and
>feel I do a fairly good job of teaching beginners, motivating intermidiates
>and challenging the advanced studdents to refinements,etc with their work,
>but I feel when it comes time for that last critique, of their work, that
>last night of class that I just don't do my students justice in dealing with
>their pots. Maybe I am too hard on myself with this, but I do feel there is
>a need for me to grow in this area and be able to help my students grow. We
>do discuss work as they go.
>
>Where do I go or what ideas are there to help me develope this area?
>(nothing like putting one self on the line, so please be gently with me).
>
>Pam in Michigan, finally getting to listen to my christmas music after
>having the family here yestereday.
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Pottery by Dai on wed 29 dec 99
For those interested in learning how to "critique", and who have time for
another engrossing "hobby", I would recommend Toastmasters---these clubs
teach invaluable "evaluation" techniques (read "critiquing" techniques), as
well as giving you the tools to become at ease speaking in front of a group
of people, large or small. I certainly agree with Elizabeth's technique
that runs from the beginning of the classes to the end; it teaches the
student how to assess different aspects of the pot, not just wait for an
assessment from the teacher. And, by all means, be kind! A pottery teacher
in this area (I have a few of her adult students now) is known for her harsh
critiques that devastate students ("Now, this is a really ugly pot!" - that
student never went back; and, "This isn't good enough!" as she picked up a
beginner's first coil pot and smushed it up into a ball - this student also
never went back, and it took her 2 years to get up the courage to register
for a class at our studio). We have to remember that the majority of adult
students are doing this as an enjoyable, relaxing hobby; they are not going
to be making their living at pottery; they want to make some nice things
that they are happy with, within the limits of their expertise. We can also
help them learn to appreciate "good" pottery, and how it got to be "good",
but if they don't ever achieve that level of "goodness" it isn't our job to
knock them down. Sorry if this sounds like a rant---I get kind of wound up
thinking about some of the horror stories I've heard from students!
A happy New Year to all!
Dai in Kelowna, B.C.
potterybydai@home.com
I started out with nothing, and I still have most of it left.
Lois Ruben Aronow on wed 12 jan 00
During an informal critique, I heard a teacher ask someone "Did you have fun
making it?". The potter (who, I think, was a beginner) gave an enthusiastic
"YES!". The teacher simply said "Well, that's what it's all about". She then
moved on to the next person. The teacher had the knack to be able to tell who
needed a swift kick (or praise) and who needed gentle enthusiasm. This same
teacher also started each critique or discussion asking the student what they
liked - and didn't like - about their pot, and used that as a jumping off
point. I learned an awful lot about my pots in that class.
She was a great teacher. Thanks Imogene!
> I certainly agree with Elizabeth's technique
> that runs from the beginning of the classes to the end; it teaches the
> student how to assess different aspects of the pot, not just wait for an
> assessment from the teacher. And, by all means, be kind! A pottery teacher
> in this area (I have a few of her adult students now) is known for her harsh
> critiques that devastate students ("Now, this is a really ugly pot!" - that
> student never went back; and, "This isn't good enough!" as she picked up a
> beginner's first coil pot and smushed it up into a ball - this student also
> never went back, and it took her 2 years to get up the courage to register
> for a class at our studio). We have to remember that the majority of adult
> students are doing this as an enjoyable, relaxing hobby; they are not going
> to be making their living at pottery; they want to make some nice things
> that they are happy with, within the limits of their expertise. We can also
> help them learn to appreciate "good" pottery, and how it got to be "good",
> but if they don't ever achieve that level of "goodness" it isn't our job to
> knock them down. Sorry if this sounds like a rant---I get kind of wound up
> thinking about some of the horror stories I've heard from students!
> A happy New Year to all!
> Dai in Kelowna, B.C.
>
> potterybydai@home.com
> I started out with nothing, and I still have most of it left.
Jennifer Boyer on tue 18 jan 00
This discussion of students who _don't get it_ has me chuckling
, at myself. I(potter for 25 years) have 2 children: Jessica,
23, is all visual: good at everything she does with her hands, a
wonder at making herself, her room, her plate, her photos, her
art, her life look wonderful. Tim, 15 doesn't have a friendly
relationship with his hands when it comes to small motor
coordination. Learned to button a shirt when he was 10. He can't
lift a cup of liquid without spilling it. Can't draw ANYTHING
and has no interest at all in how things look in his life, other
than loving the lime green (with black trim :^/) tux jacket he
found to wear to the formal dance.. I gave up on the artistic
side of him when he was 3.....felt terrible but he seemed
hopeless. Now when it comes to a basketball or a tennis ball or
a frisbee: he becomes a master....go figure. SO, I figured I'd
encourage him to get his art credit for high school out of the
way in the pottery class. He'd never shown much of an interest
in my studio, but I figured he might have more fun than in the
DRAWING class! And at least he'd know more about what I do. But
I hoped that the teacher, who is a friend, wouldn't have overly
high expectations of the poor guy, even with his breeding. Well
guess what. He gets it. He's a pretty good thrower! Took to
centering right
away! Hates hand building, just like his Mom! Who wudda thunk it....
Jennifer
--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer jfboyer@sover.net
Thistle Hill Pottery
Vermont USA
http://www.vermontcrafts.com/members/ThistleHill.html
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Hank Murrow on wed 19 jan 00
>----------------------------Original message----------------------------
>That's not surprising. I have found that students who have
>good eye-hand coordination from learning other things - sports,
>surgery, carpentry, instrumental music, doesn't seem to matter,
>-are quickest to learn at the wheel. More than we know have started college
>on a football scholarship and wound up potters/artists (Val Cushing,
>Mel Jacobson, others). There is a generalization effect that happens
>in the brain, learning in one area often enhancing learning in
>another.
>The quickest at the wheel in my own teaching experience were
>both farriers. They just sat down, watched me for a couple of
>minutes, nodded, and went at it. Learned so quickly that I was
>just entranced.
>regards
>Dannon Rhudy
>potter@koyote.com
Dear Dannon; That book I mentioned by Frank Wilson called,"The Hand", has
wonderful stories from magicians turned mathematicians, magicians turned
surgeons, all seemed to have early 'real work' with the hands which
patterned their brains for later learning. I wonder if any of us out there
was raised as an ASL 'signer', whether deaf or not; and could report their
experience in using the wheel? I suspect that signing profoundly and
positively affects the structuring of the brain. Thanks for your post, Hank
in Eugene
Dannon Rhudy on wed 19 jan 00
At 09:46 AM 01/18/2000 EST, you wrote:
>----------------------------Original message----------------------------
>This discussion of students who _don't get it_ has me chuckling
>
Tim, ....15 doesn't have a friendly
>relationship with his hands when it comes to small motor
>coordination.... He'd never shown much of an interest
>in my studio, .... at least he'd know more about what I do. .
>guess what. He gets it. .....
--------------------------------------------------------------
That's not surprising. I have found that students who have
good eye-hand coordination from learning other things - sports,
surgery, carpentry, instrumental music, doesn't seem to matter,
-are quickest to learn at the wheel. More than we know have started college
on a football scholarship and wound up potters/artists (Val Cushing,
Mel Jacobson, others). There is a generalization effect that happens
in the brain, learning in one area often enhancing learning in
another.
The quickest at the wheel in my own teaching experience were
both farriers. They just sat down, watched me for a couple of
minutes, nodded, and went at it. Learned so quickly that I was
just entranced.
regards
Dannon Rhudy
potter@koyote.com
elizabeth priddy on wed 19 jan 00
>The quickest at the wheel in my own teaching experience were
>both farriers.
the fastest learners I have had were either
children (who I frequently have spin around
with their arms out until they are dizzy to
help them get "spinning") or people who have
done work with lathes. Carpenters seem to
take to hand building very fast also.
The funnest to watch learn at the wheel are
science types who know all about rotational
dynamics until you add water and clay!
---
Elizabeth Priddy
email: epriddy@usa.net
http://www.angelfire.com/nc/clayworkshop
Clay: 12,000 yrs and still fresh!
On Wed, 19 Jan 2000 13:55:38 Dannon Rhudy wrote:
>----------------------------Original message----------------------------
>At 09:46 AM 01/18/2000 EST, you wrote:
>>----------------------------Original message----------------------------
>>This discussion of students who _don't get it_ has me chuckling
>>
>Tim, ....15 doesn't have a friendly
>>relationship with his hands when it comes to small motor
>>coordination.... He'd never shown much of an interest
>>in my studio, .... at least he'd know more about what I do. .
>>guess what. He gets it. .....
>--------------------------------------------------------------
>
>That's not surprising. I have found that students who have
>good eye-hand coordination from learning other things - sports,
>surgery, carpentry, instrumental music, doesn't seem to matter,
>-are quickest to learn at the wheel. More than we know have started college
>on a football scholarship and wound up potters/artists (Val Cushing,
>Mel Jacobson, others). There is a generalization effect that happens
>in the brain, learning in one area often enhancing learning in
>another.
>
>The quickest at the wheel in my own teaching experience were
>both farriers. They just sat down, watched me for a couple of
>minutes, nodded, and went at it. Learned so quickly that I was
>just entranced.
>
>regards
>
>Dannon Rhudy
>potter@koyote.com
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Lois Ruben Aronow on wed 19 jan 00
So I guess all my years of playing (and winning) Nintendo will make me a better
potter. ;-)
> That's not surprising. I have found that students who have
> good eye-hand coordination from learning other things - sports,
> surgery, carpentry, instrumental music, doesn't seem to matter,
> -are quickest to learn at the wheel. More than we know have started college
> on a football scholarship and wound up potters/artists (Val Cushing,
> Mel Jacobson, others). There is a generalization effect that happens
> in the brain, learning in one area often enhancing learning in
> another.
>
Diane Schanz on thu 20 jan 00
Alisa:
Having been a teacher (kids and adult pottery), and finished the first
year of occupational therapy grad. school (years ago-I'm a confirmed potter
now), I might shed some insight on this predicament of yours.
People learn through several different methods: visual, auditory,
kinetic, repetition (which can involve several methods), etc. Whichever
method(s) is used is NOT an indicator of intelligence, although in our
society we like to think so. The only thing that's obvious in your situation
is that you haven't hit upon the method that this woman needs to learn to
throw.
Now, it's possible that the 170th time you tell her something, the
dendrites and axons will have developed, neurons will finally fire and the
lightbulb will go on. It's also possible that she'll never get it, and
neither one of you will ever know why.
I suggest:
A) Find out if she can keep anything in a fixed position on the wheel.
i.e., keep a needle tool on the same line on the side of a cylinder or the
face of a plate (slab). If she can't do this, you may need to come up with a
bracing system for her. She may lack "trunk stability" and is simply not
able to keep her upper body in a fixed position. Some people are just born
that way. There are exercises/treatments, but that's outside the scope of an
art teacher. (Thank the gods!)
B) Allow her to work on her own for periods of time. Sometimes it just
takes time, or some weird thing to happen and she'll start to get it.
C) Allow her to ask other students for tips (if it's appropriate, not
disruptive, etc., etc., blah, blah).
D) Do introduce her to handbuilding. If she has a physical problem
that's causing her "off-centeredness" her handbuilding will also show it.
I'm sure you can think of plenty of nice handbuilding projects. Showing her
books of handbuilt works will help her gain enthusiasm. If you've not been
exposed to it, handbuilding can seem a bit second class. (No motors, no
speed, no pots flying across the room! Insert Tool Man grunts here).
People's brains process information differently and at different speeds.
(That ol' learning curve and more.) The wheel may simply be too much going
on at once for her. Her brain may simply be overwhelmed by too much
information coming in at the same time (speed of the wheel changing,
thickness/height/stability of pot changing, her own body position changing,
trying to remember instructions, what she did the last time, oops! that
wasn't right, etc.) and is unable to track everything that quickly and
respond to it in the fraction of a second that is necessary to keep the pot
centered.
On top of all that, there are learning disabilities, attention deficit
disorder (which is not always connected with hyperactivity and not "just a
kid's problem), and probably a whole truckload of other things I've not
mentioned here or don't know about.
Don't let it make you question your skills as a teacher TOO much.
Obviously, you already have questioned yourself, and it's good for all
instructors to think about what they're doing and how they're doing it. The
fact that she's still coming to class and laughing is a tremendous reflection
on you and your personality. The other students will have to reflect on your
skills as a throwing instructor ;-). I hope that some of this helps you and
your student.
Diane in Tucson, where the doves start cooing at 75 degrees
PS. (No, I didn't flunk out of grad school, I was doing extremely well. I
simply came to my senses and came back to clay. I add this because I've been
stunned at the number of people who just assume I wasn't bright enough. Also
to let you know that I did actually read all those books and "larned me
somethin'.")
Joyce Lee on thu 20 jan 00
I suspect Joyce A. is a fine teacher and somehow didn't quite
communicate what she meant......(ever done that? I have...just about
every day.) I recall well my feelings four years ago when I took my
first pottery class and hadn't caught on yet to having to be in class
very early in order to claim an electric wheel... and always winding up
on the kickwheel... when I should have been the last person allowed on
that big ol' Lockerbie. I think the teacher (my friend of many years)
would have actually saved an electric for me in order to avoid his own
agony at watching my attempts to coordinate all parts... except I'd
taught or in some way been associated with almost every "regular"
student in my class and he didn't want to be misinterpreted as showing
favoritism. I first kicked in the wrong direction...finally got that
part down...but then used wrong leg to kick in the right
direction.....try that twisty trick sometime. Then I got the wheel under
control, but THREW in the wrong direction......eventually got it
together...just in time to have a young man tell me he much preferred
the Lockerbie and would LIKE to swap with me for his electric. Later my
teacher told me that actually I seemed to be learning to throw as well
as any student even though I was making all the "wrong" moves... but
that he couldn't bear watching ...sort of like a fingernail on the
chalkboard. I think I could have continued progressing even though doing
everything the "wrong" way, but once I learned how easy the electric was
for me, it was too late to change back... easy because I didn't have to
make so many decisions. Later, of course, I realized it was all because
I have (like 70% of the women out there and about 35% of the men)not a
coordination problem, but a directionality disability... nothing to do
with small eye/hand motor coordination........ nor with being dumb or
smart...... we just seldom know exactly where we are in the world
without landmarks and/or maps... or kind and gentle friends who
continually re-orient us.
Joyce
In the Mojave thankful for the friends who've helped me when I've driven
in L.A., Chicago or New York City or London or Edinburgh or
Dublin (last three all directionality nightmares for yanks, anyway) by
keeping their eyes on the road and reminding me of left/right etc.
Problem was they did apparently somehow associate this with "not quite
bright", as evidenced by statements about where to stop for light, how
to make a left, when to brake etc......when I was the one elected to
drive, in the first place, because they were afraid to drive in big city
traffic. Ring bells out there? Such stories usually do. There are many
of us about, as confirmed by clayarters in the past.
Joy Holdread on thu 20 jan 00
In a message dated 1/20/00 5:47:51 AM US Mountain Standard Time,
hmurrow@efn.org writes:
> That's not surprising. I have found that students who have
> >good eye-hand coordination from learning other things - sports,
> >surgery, carpentry, instrumental music, doesn't seem to matter,
> >-are quickest to learn at the wheel. More than we know have started
> college
> >on a football scholarship and wound up potters/artists (Val Cushing,
> >Mel Jacobson, others). There is a generalization effect that happens
> >in the brain, learning in one area often enhancing learning in
> >another.
> >The quickest at the wheel in my own teaching experience were
> >both farriers. They just sat down, watched me for a couple of
> >minutes, nodded, and went at it. Learned so quickly that I was
> >just entranced.
> >regards
> >Dannon Rhudy
> >potter@koyote.com
>
> Dear Dannon; That book I mentioned by Frank Wilson called,"The Hand", has
> wonderful stories from magicians turned mathematicians, magicians turned
> surgeons, all seemed to have early 'real work' with the hands which
> patterned their brains for later learning. I wonder if any of us out there
> was raised as an ASL 'signer', whether deaf or not; and could report their
> experience in using the wheel? I suspect that signing profoundly and
> positively affects the structuring of the brain. Thanks for your post, Hank
> in Eugene
>
I seem to center my mind doing my books, playing Dominoes, figuring out
percentage of sales for each line as well as each outlet. Although I wasn't
a math whiz in school I do feel better, more focused after "playing with
figures".
Joy in Tucson
James L Bowen on fri 21 jan 00
------------------
Here is a quote I would like to share on the subject.
=22During my life I have met a number of artists, who frightened and =
disconcerted
by the prospect of failure, unfamiliar with the chemistry of colors and =
their
difficult preparation, gave up the fight, without realizing their dreams =
saying:
=22 I also could have made ceramics=22. As for myself I had the good =
fortune not to
know the disappointments of the beginning. These are the only ones to be
feared, because this art is so attractive that when one has tasted it one =
cannot
escape its facination.
I will consider that my object has been reached, if I can help newcomers =
in
this charming craft to avoid these times of trial and discouragement.
>From Grand Feu Ceramics by Taxile Doat (ca.1905)
Richard Ramirez on fri 21 jan 00
Alisa,
Enjoyed reading your post. I'm sure your schooling in occupational therapy
grad school must of given you some insight on narrowing on some of the
problems students of clay have.
What I really like is some of that insight. Are there any books or
resources that you could suggest. Thanks kindly, Richard G. Ramirez
| |
|
