Use art to explore feelings of power and powerlessness and the structures that shape our lives.
Learners were invited to consider contemporary art practices and the media, and materials that contemporary artists use to make art. On each classroom table was an object or material (e.g., a large animal bone, a piece of chewed bubble gum, a cup of water, a skein of yarn, a jar of processed cheese spread, and a jute rope). First, they worked as a team to carefully examine each object or material, noting their observations. They then worked as a group to collect associations we have with that material and record their notes in their sketchbooks (e.g., a bone might be something leftover after a big meal; bones are what make our bodies strong and mobile; bones are a symbol on bottles to indicate that substances are poisonous; phrases like “cut to the bone” or “skeletons in your closet” have negative connotations; bones might represent decay, death, or the mortality and transience of human existence). Learners found that, although artists may use “neutral” materials like paint, clay, canvas, or paper to create art, many contemporary artists use materials that already are imbued with meaning and significance to an audience, and use this to their advantage. Ms. K then showed the learners three examples of learner sculptures that make use of such “found” materials, and the class discussed how the materials used change an audience’s reception of the pieces.
Through slides and short videos, Ms. K introduced learners to the work of seven contemporary artists who work in a variety of contemporary media (e.g., sculpture, textiles, performance, installation, video/web-based work, photography, and conceptual art) and whose works investigate power and power structures (see additional information for examples). In seven separate table groups, learners looked carefully at the works and collaborated to build their understanding of the ideas being explored by the artists. They compared their thinking and discussed two questions: “How does this artwork relate to power or power structures?” and “How does the medium the artist used change our experience of the artwork?” Ideas were shared as a large group. Learners developed the understanding that the materials or media that an artwork is made from can significantly impact a viewer’s experience of the work and the contextual and conceptual connections they are able to make. For example, a performance piece where the artist’s body is taking up space and moving in the room with the viewer feels intimate and vulnerable. Creating a video piece allows an artist to use time as an element in their design work; the video can loop, can be a narrative, can make use of sound and light in communicating a message, and so on.
Learners were then challenged to consider their own relationships to power. Through a journal entry, audio recording, or in-person interview with Ms. K, learners discussed their answers to the following two questions: “When do you feel most powerful or in control?” and “When do you feel most powerless or out of control?” Learners discussed the layeredness and complexity of power—how, because of their age (teenagers), they are seen as incapable or helpless, but many feel a great sense of empowerment, and that power can be used for good or evil. Some learners reflected about times when they have felt oppressed or forced into subservience, and some described their feelings of agency and/or self-control.
Learners were challenged to design an art project that explores the theme of power in a personal way, using a contemporary art practice. To encourage learners to take risks and experiment with new ways of making, the final project was limited to performance, installation, textile-based work, work in any digital medium (e.g., photography, video, sound, animation), or any combination of those.
With support and mentorship from Ms. K over the next week, learners began documenting their thinking. Some learners researched visual artists using the Internet and artist books in the classroom, some began sketching and planning, and some journalled about power and its role in their lives. Some learners easily settled on a topic (e.g., trans rights, the resilience of nature, being diagnosed with autism, how to survive breakups, the foster care system in Canada, the history of the hijab, colonialism) and then initiated research, collecting information and visual stimuli to inspire their ideas. Some learners played with ways of representing their ideas visually, and some learners dove into practising skills with a new way of working (e.g., stop-action animation, operating a sewing machine) where time spent learning the technical skills allowed them to discover the potentialities of the medium. In some cases, learners identified skills they already had (e.g., embroidering, video editing, knitting) and put those to use.
Through one-on-one meetings over the course of two weeks, all learners developed a working plan for a personal project and selected media most appropriate to communicate their ideas. They began working through the creative process, where they planned, sought feedback from classmates and the teacher, and adjusted their plans as necessary.
In the final week on the project, Ms. K invited those learners who felt comfortable sharing their work to engage in a class critique. The artists did not speak about their work during the critique, but recorded viewers’ comments, questions, and thinking either digitally or on paper as the other learners looked carefully, analyzed the visual choices made by the artist (design, media, etc.), and engaged in making connections to their own experiences and understanding.
After a lesson on titling works, all learners were taught how to create a short artist’s statement that would accompany their work. This was handed in to the teacher privately for assessment. Those learners who were comfortable with having their work displayed were able to do so in a school display case, end-of-year art show, or on their art class Instagram.
Contemporary artists whose work investigates power and power structures include the following:
