AP DRAWING
Height: 10”, Width: 9” | Idea(s): Social media deceivingly welcomes thoughts of sincere self-expression, fostering a space of naivety. | Material(s): IPad, Procreate, Apple pencil. | Process(es): Utilize warm pastels and childhood toys to create a sensation of naivety in which wonder reigns. | Citation(s): Selfie taken by me. | Curatorial Note: A playful yet pointed commentary on the influence of social media, this work satirizes the process of crafting a selfie through smartphone filters while also exploring the tension between authenticity and curated identity.
STUDENT STATEMENT
How did you bring together different ideas, influences, or inspirations in this artwork?
I reflected on what it felt like to first receive an iPhone. Feelings of excitement came up when I reflected, so I exaggerated those sensations. I also felt it was necessary to illustrate my lack of awareness to judgmental people online due to my naivety. With these core ideas down, I noted objects and words in correlation with naivety: teddy bears, childish phone charms, and so on. I also thought about the colors I wanted to utilize to further evoke naivety. As a result, I chose very pastel and warm colors to enhance the idea of the seemingly safe space my social media provides. All these ideas came together with ease because I was able to identify what it was I wanted to communicate.
How did synthesis in this artwork make it more meaningful or impactful for viewers?
The synthesis of all my varying ideas in relation to naivety and social media in turn made my artwork much more impactful for the viewers. I feel this way because I believe when works are synthesized properly that they illustrate the depth, time, and intention an artist has put into their work. When all these valuable ideas are applied, we make artworks that cause viewers to ponder the intricate details found within the piece. Now, in regard to my piece, I felt that because of my commitment to my artwork I was able to highlight lots of hidden details within my piece, which are only made clear when we apply what we know about the title and context of the piece. This can be seen in my choice to make the piece digital, my choice to add toys to the bulletin board, and the filter I chose. All these important choices as a result of synthesis in turn made my art that much more impactful.
Material(s): Sketchbook pages, markers, color pencil, graphite pencil, iPad, Apple Pencil. | Process(es): The blissful nature of naivety explored through means of self-reflection, color, and composition. | Digital Tool(s) used: Procreate (digital brush-6B pencil). | Citation(s): Selfie by me.
I wanted to investigate how social media platforms disrupt the way I perceive myself and my surroundings in an age where I confuse fallacy for reality.
How did you decide which artworks to include in your Selected Works submission, and what qualities made them stand out?
I selected artworks that really exemplify my range (different art styles and mediums) as an artist and my most complex and meaningful pieces (pieces that I found myself to be most proud of). Pieces that filled these requirements that I had set for myself allowed me to easily and confidently select them for my Selected Works section.
What do your Selected Works show about your growth as an artist?
My Selected Works really convey my experience and understanding of the AP Drawing assessment itself. My Selected Works illustrate how my narrative has progressed and changed to better suit my vision of what my Sustained Investigation was. With each piece selected, I challenged myself, whether that involved using mediums not typical to me or pushing perspective. In all these ways, my growth as an AP artist can evidently be seen within my Selected Works.
What did you learn about yourself as an artist in the process of creating synthesis and curating your Selected Works, and how will you use that learning in the future?
The main thing that I learned about myself as an artist is that art is nonexistent without discipline. What I mean by this is that sometimes I grew tired of a piece and was frustrated that it wasn’t coming together in the way that I envisioned. I had to learn that it’s okay to take a step back but to still continue to create. It’s better to draw something bad and come to it later to revise it rather than not do anything at all. This motto was really challenging to stick to, but I truly believe it’s what made me successful throughout the process. I will definitely apply this endurance and discipline in my future higher education and in my animation job.
TEACHER STATEMENT
Catherine Theilen Burke
Teacher
Lowell High School
How often did your class meet?
Our class meets four times a week, including one 90-minute block and three 50-minute classes.
Is AP Art and Design taught at your school as a separate course, or is it combined with other art classes?
The AP Art and Design course includes mixed-level classes (10th through 12th grade). Students have the option of 2-D, 3-D, or Drawing.
How did you guide students in developing and refining their inquiry statements and portfolio direction during their Sustained Investigations?
Our art classes are based on developing our ideas through inquiry and exploration. We use mind mapping, free association, and the creation of iterative idea trails to guide the work. We draw responses to other artwork and the world around us in Art 1 and 3. Mining your own experiences for ideas for artwork becomes a central theme. The work in AP is determined by the individual work and coaching. Formulating the initial Sustained Investigation statement is the most important work and must be refined throughout the process of developing the portfolio. A teacher’s job is to coach and guide, but the students themselves have to make their own connections and drive the work. I am thankful to the art teachers who came before me in elementary and middle school who gave students exposure to ideas and techniques—that is key. Jacqueline Ibarra developed digital skills at the encouragement of her middle school teacher, resulting in her ability to render her ideas and bring them together for her piece.
How did you help students strengthen technical skills and apply design knowledge (elements and principles) while also developing creative problem-solving habits?
Ideas and concepts are at the core of the work; students have to find meaningful subjects that motivate them to portray their vision. If they find a relevant topic, that is the hook that drives acquisition of technical knowledge. I explain that each time students do a piece of art they are problem-solving and gaining skill, so that next time they want to do that same kind of artwork, it will go much faster. Elements and principles of design are useful tools for describing artwork, but the art world is not limited to the use of these techniques and tools. Exposure to current art movements is key to generating ideas because contemporary art is global and inclusive and accessible to students. Jacqueline was experimental in her approach and had many starts and stops in her process, quickly regrouping and forging ahead.
How did you use critiques and peer interaction to support growth in both sustained investigations and preparation for Selected Works?
We use several methods of peer interaction and critique for the student work. I explain that feedback from peers is important in revision and can guide their process. One of the hardest things to do as an artist is to share your work and put yourself out there. Getting used to doing critiques and share-outs are critical pieces of becoming an artist. For a critique, students will put out artwork and then write a question about revision or refinement on a piece of paper, inviting students to give specific feedback on an artwork. For example, students will ask about motifs, contrast, color choices, and subject matter. Students will then respond giving their opinion. Then the student looks at the responses and may get new ideas on how to develop a piece. Also used is a “shout-out” format to celebrate an aspect of an artwork they liked in an encouraging and supportive way. Speed sharing and “interview” forms are used to vary the type of feedback. Then the student also submits a reflection about the feedback, evaluating the ideas other students have given them. Although Jacqueline Ibarra was quiet in her approach, getting feedback was integral to her artistic development.
How did you manage classroom resources and materials to support art making?
Students are allowed to use any material in the classroom, and much of the work is connecting students to possible materials. We have a tour of the classroom and storage areas and explain how to access and care for the supplies. I encourage exploration of found materials and elements found in nature. Part of the curriculum is making your own “paintbrushes” and mark making. I visit the local reuse art depot to collect potential art supplies donated by companies who don’t want the materials anymore, like excess paper, industrial discards, fabric, notions, and books. We have a tool storage area built up over the years, adding possibilities. Every day we expand the definition of art materials. This year we are doing a project using materials found on our beaches to bring attention to plastics in our environment. Making our own paints and inks and finding wild clay is on this year’s list of explorations. Jacqueline Ibarra was able to bring in her digital skills to create her artwork and is working on character design this year; the freedom to choose media and materials allows for individual growth.
In what ways does your school leadership support AP Art and Design students and the
broader art program?
Our school has a strong AP program supported by a team of dedicated leaders, including an AP coordinator and teacher leader. The school has a history of having an expansive art and music program that draws students to the school. The school supports seeing art as supporting other content areas as well as being a core academic subject. The visual arts team works collaboratively and is currently creating rubrics for curriculum alignment as a project. The California Visual and Performing Arts Standards are aligned with the National Visual Arts Standards, and we quickly adopted them, shifting to creative inquiry as a basis for acquiring skill. The arts are supported by our parent–teacher–student association and alumni association, and we are grateful for their support in partnership with the school administration to build our arts programs. Jacqueline Ibarra benefited from our school’s strong writing and academic orientation; her work skills were developed in many classes, as well as art. It takes a village!
What advice would you offer to other AP Art and Design teachers?
We all believe the art is the most important part of the portfolio, but what drives the work is the writing.
PRINCIPAL STATEMENT
Jan Bautista
Principal
Lowell High School
What makes you most proud of your school’s AP Art and Design program and its impact on your students and teacher(s)?
I am so proud to have such inspiring teachers supporting our students in exploring different mediums and engaging in storytelling in such creative ways. It is a joy to see their work in our halls and exhibited at other events in the city.
What actions or priorities have you implemented to strengthen visual arts programming at your school?
We as a school ensure that students are provided opportunities to study art all four years at Lowell, and we support our teachers in providing avenues for our students’ works to be displayed and for classes to go on trips to see and appreciate art themselves.
What advice would you share with other school leaders about building and sustaining strong AP Art and Design programs?
Hiring talented teachers who are willing to support students in building amazing portfolios and who are exceptional at inspiring students to explore and express themselves in art is tantamount to having a strong AP Art and Design program. The second is celebrating the art community in your school and reminding students that advanced courses can span from math and physics to the arts.
Jacqueline Ibarra
