Slideshow
About this Exhibit: Learning to Read, A Soldier’s Story
www.heartlandconnection.com This exhibition illustrates the plights of the Colored Infantry Soldier during the Civil War. During this time military leaders had to redefine boundaries it placed on the value of learning for all of its soldiers, including the Negro. Colored soldiers were expected to fight, defend and take up arms with their white counterpart on the field of battle. Although many white soldiers were also illiterate, those within the Noncommissioned Officer and Officer Corps did have basic literary skills; but the colored soldiers had none at all. The military understood that for clear and effective communications within the command structure, its leadership must be able to effectively communicate, or simply put “they must possess the ability to read.” Company commanders were aware of this dilemma and most formed learning and reading sessions for their colored soldiers. A goal for promotion set by these commanders was that after one year the soldier had to be able to read at a certain level. These soldiers overcame educational adversity, and many of them “Learned to Read.” When they returned home with this learning tool, many started private institutions of higher learning for their families with the money they saved from the war. Remember that when they did return home, it was still illegal to teach a colored person to read or write. With this information we can understand why many Historical Black Colleges and University all have a founding dates that correlate with the end of the Civil War. Example: Lincoln University of Jefferson City, Missouri; Founded in 1866 by freed slaves of the 62nd and 65th Colored Infantry. The educational message that Mr. Garner and his family want us to understand is a simple one. It’s not where and how you start in life that counts, but how and where you finish. For Sabee.
Guardsmen bring history to life through paintings
HEARTLANDCONNECTION.COM
JEFFERSON CITY, MO -- The Missouri National Guard announces in recognition of African American history month, the Museum of Missouri Military History is hosting the "Learning to Read, a Soldier's Story" exhibit at the Ike Skelton Training Site this month. The display features six paintings portraying what it was like for African American Soldiers learning to read during the Civil War.
The artist, Essex Garner and a group of Lincoln University college students kicked off the opening with a visit to the exhibit Tuesday.
"This exhibition is about life lessons, a celebration of Family, military service, the importance of a good education, and a tribute to the men of the 62nd and 65th United States Colored Infantry," said Garner, a Art professor in the Visual and Performing Arts Department at Lincoln University, also a Graduate Student at the University completing his third degree in Art education and a Missouri National Guard retiree.
Garner worked with a select group of volunteers who were photographed in reproduction period uniforms and painted on canvas by him. Two of the subjects who participated, Master Sgt. Leo Lewis and Sgt. Bruce Shockley, are Missouri Army National Guard members who work full-time at ISTS.
"People back then were very selfless," said Shockley. "They had specific goals that they wanted to achieve. So it's amazing to be a part of something that reenacts that."
In appreciation for taking the time to volunteer, Garner gave the two Soldiers a gift.
"Mr. Garner gave us printouts of the paintings," said Shockley. "I gave mine to my father and he has it hanging on his wall."
Garner carefully chose who he used as subjects for his paintings.
"I didn't want to use just anybody for these images," Garner said. "When I started asking people, I made sure I asked people who I had served with or who are currently in the military. This way, the paintings have an honorary connection to the military and they could hold their own weight. But when put together, they can tell a story."
One painting within Garner's display shows an Army chaplain teaching a Soldier how to read.
"This picture is trying to illustrate exactly what the guys would look like," said Garner. "I wanted it to look like a dignified man."
African American Soldiers serving in the Civil War couldn't read. At the time, it was illegal to teach African Americans how to read and write. The military realized having illiterate men among its ranks could be an issue, so white officers started reading classes for their troops.
"A lot of unit commanders came out with unit standing operation procedures that said you have to read at certain levels to reach certain promotions," said Garner.
Later, black enlisted Soldiers of the 62nd and 65th United States Colored Infantries founded Lincoln University. The school would benefit freed African Americans.
The last painting in Garner's display shows two African American Civil War Soldiers on present-day Lincoln University campus.
"I wanted to bring those Soldiers forward 150 years, to the place that they started," said Garner.
The Ike Skelton Training Site is the second stop on a four stop tour for the display. From here, the paintings will be on display at the Gains/Oldham Black Culture Center at the University of Missouri. The final stop will be at Lincoln University.
A student at the showing, Johnell McGee, a senior at the University studying studio art, talked about his observations following the exhibit.
"I think all of the works that I see are breathtaking. It's really motivating me to work harder at my craft and think more about the ties and connections than the art itself," said McGee, a Chicago native. "I like how he didn't just pick anybody; he used recent Soldiers and that kind of ties it into the history of the Soldiers from back then."
Garner's wife, Larna, is writing her second children's book and Garner's paintings will be the featured images for story tale.
Garner spent more than half of his 25 years in the Army as an illustrator, artist, and draftsman. He started out in the Active-duty Army and later joined the Missouri Army National Guard, where he retired in 2003.
The exhibition will run through February 29. The paintings will be on display outside the Fallen Warrior Memorial Auditorium in the main building at Ike Skelton Training Site. Visitation is free and open to the public during regularly scheduled business hours Monday through Friday.
Supporting photos can be downloaded from Flickr: http://www.flickr.com/photos/missouriguard/sets/72157629131658505/
Incomplete Pre and Post Testing Assessment, Revisiting Elizabeth Olds Skating
In following the instructions for the Pre VTS and then Posttest VTS Assessments these are my results:
I reviewed the data that I collected from the first time this image by Elizabeth Olds was assigned for pre-assessment purposes. As I stated before my fifth grader “Princess” was at orchestra practice with the Jefferson City Children’s orchestra that particular evening during my initial session. This was why she was not an initial participant during this particular assignment. I ask would she be willing to participate again and submit her thoughts, she agreed, and these are those results:
After reading the instructions I made sure that my eldest daughter was able to see the image clearly on a wide monitor screen. She was the only person viewing this image, so there were no unique accommodations. She was given a notebook with writing material. I informed her that this was one of the images we looked at a couple of months ago in reference to the artist Elizabeth Olds. I introduced the image and gave the assessment prompt: “Please take a minute to look at this work of art. Then, write down what you think is going on in the picture. You may take as much time as you need to write. I’m not looking for right or wrong answers. I’m not asking for perfect spelling. I just want you to tell me what you think is going on in this picture?”
Summary analysis of findings pre-VTS baseline data and formative “post-VTS” data collection and my thoughts about my pretest and posttest results to include possible implications. As I looked back through Grace’s data findings, I would say that Grace was more interested and involved, although Princess was not able to attend the initial session because of Cello practice, this comparison was noted.
- I did not see hard evidence of any elaborate narratives finding their way into the discussion especially on the part of Princess, but there was a closer artistic dialogue after the assignment was concluded. I asked Princess why didn’t she put those thoughts down on paper, she just looked at me.
- In the areas of Increased use of adjectives noticeable deviations and assertions with or without evidence to include usage of conditional language, for Grace I can say normal, but for Princess definitely not. My suggestions on varying or possible various outcomes are limited. In the area of word count I expected a smaller count from Grace but I was disappointed of the word count from Princess. I don’t like defending her word count, but I truly think that she was becoming frustrated with me wanting her to look at the same picture again. Her mental list or interpretations of what she noticed about the images are attached and inserted here. The word count on her pre-test was a dismal eighteen and half that amount on the post test. (See attached sheet).
I reviewed the data that I collected from the first time this image by Elizabeth Olds was assigned for pre-assessment purposes. As I stated before my fifth grader “Princess” was at orchestra practice with the Jefferson City Children’s orchestra that particular evening during my initial session. This was why she was not an initial participant during this particular assignment. I ask would she be willing to participate again and submit her thoughts, she agreed, and these are those results:
After reading the instructions I made sure that my eldest daughter was able to see the image clearly on a wide monitor screen. She was the only person viewing this image, so there were no unique accommodations. She was given a notebook with writing material. I informed her that this was one of the images we looked at a couple of months ago in reference to the artist Elizabeth Olds. I introduced the image and gave the assessment prompt: “Please take a minute to look at this work of art. Then, write down what you think is going on in the picture. You may take as much time as you need to write. I’m not looking for right or wrong answers. I’m not asking for perfect spelling. I just want you to tell me what you think is going on in this picture?”
Summary analysis of findings pre-VTS baseline data and formative “post-VTS” data collection and my thoughts about my pretest and posttest results to include possible implications. As I looked back through Grace’s data findings, I would say that Grace was more interested and involved, although Princess was not able to attend the initial session because of Cello practice, this comparison was noted.
- I did not see hard evidence of any elaborate narratives finding their way into the discussion especially on the part of Princess, but there was a closer artistic dialogue after the assignment was concluded. I asked Princess why didn’t she put those thoughts down on paper, she just looked at me.
- In the areas of Increased use of adjectives noticeable deviations and assertions with or without evidence to include usage of conditional language, for Grace I can say normal, but for Princess definitely not. My suggestions on varying or possible various outcomes are limited. In the area of word count I expected a smaller count from Grace but I was disappointed of the word count from Princess. I don’t like defending her word count, but I truly think that she was becoming frustrated with me wanting her to look at the same picture again. Her mental list or interpretations of what she noticed about the images are attached and inserted here. The word count on her pre-test was a dismal eighteen and half that amount on the post test. (See attached sheet).
- I truly believe that for Princess the “assessment prompt statement” was a self-defeating preamble at best. I believe in her mind when she heard the assessment prompt, the assignment became scholastically benign. To say to a student: “Write down what you think is going on in the picture.” Then, in the next sentence say “there is no right or wrong answers,” and then say you are not looking for perfect spelling either, for some, and I don’t mean all children, these statements of purpose manifests into a self fulfilling providence.
Deconstructing Participant Behaviors.
Initially, I noticed that my youngest daughter and her friend were enthusiast about discussing anything relating to art or an artist. When I ask them questions “yes” their responses were a bit slower, but their interest levels were high. As I interpret my preliminary and post findings in reference to my older daughter, I firmly believe the assessment prompt statement for her led to this self-profiling prophecy of “we do the minimum!” I watched her after I made the statement, and I watched her cybernetics nodes shut down, which led her to really writing not much at all. The reason why I emphasis this statement to be associated with possibly being her intellectual nix or associated with her responses or assessment in this area is this:
I watched Princess over the last couple of years earned her way into high marks in the areas of Science, Literature and Mathematics at her school. This semester she was one of only seven students in her entire fifth grade to rise to the level of “Math Master.” During the same time span she has continued to be a practicing member of the Children’s Orchestra here in Jefferson City, Missouri “her instrument of choice “Cello.” For the last three years she has been accepted as a member of the Jefferson City Children’s Choirs, and practice’s regularly. She is also a member of the Cedar Hill Elementary Arts Club, and practice’s regularly, although I may have had something to do with that one. My wife and I push our children to be the best that they can be; you might remember this concept from those old Army commercials. Parents are not perfect, but this young lady has advanced a tenacious developmental learning curve and is inspired by an academic challenge, usually forwarded from her mother “a teacher”, her grandmother “a teacher” or I. I truly believe that when she heard there were no real expectations from the Elizabeth Olds VTS image, “my pre-and post assessments” she turned off what learning might have come after that, and wrote down exactly what she understood what was excepted of her; “Very little.” Someone said that education starts in the home, but every time I am notified to come to school assemblies to watch for my children receive awards, I have yet to be notified of any awards that refer to their under achievement, or meeting minimum standards. Our children will rise to the academic levels of expectations that are deductively or verbally inductively placed on them by people they aspire to be like, or they will try, if asked.
Looking back and moving forward through my Visual Thinking Strategies (VTS) Environment
My summative reflections of this course and it’s content in reference to my students and the many experiences throughout this course is laced with some humor and many points of personal and professional analysis. This class started with readings from Eric Jensen’s book, Art with the Brain in Mind, and ended with a sequence of videos from my VTS experiences that culminated the latter part of the semester. Jensen describes how the visual arts and its associated developmental strategies have transformed how educators are making omni-directional connections of visual thinking “artistic thinking” with how our brains operate. Our brains are really nothing more than a large system of neurological peptide nodes that synthesis synaptic information within a system of visual stimulus which informs us about the world outside “omni-directional.” Art or the visual arts operate and are align themselves along many of the same fundamental and foundational principles. When we familiarize ourselves with space, time, motion and the sounds of our environment we can draw a clearer picture of our non-esoterical past, present, and sometimes future. What cannot be understated within this educational transformation is the visual concept “visual thinking” that is affixed to concrete analysis of how the mediator reinforces learning through query. Sounds simple enough; ask a question, get an answer, but within the VTS format it is more complicated obviously for me. How and when a query is presented is in some cases more relevant, and can generate a more open ended dialogue and or feedback when appropriately used.
Because the text for this class is cored from the elementary through secondary levels in art education, I had difficulty finding age appropriate, grade appropriate students. So, I had to start thinking of a study group for these exercises to begin this visual retooling of my didactic persona or personality. It took me about five seconds to figure out whom I was going to use for this learning experience, of course, my daughters and their little small esoterical social order. Although first, I needed to develop a strategy in unplugging them from their personal media devices to the more improved version of this VTS format. The main problem I faced was that my kids have a lot of digital devices already, so my work was cut out for me. I now understand the divine logic why stages of cognitive development within elementary education are separated by age and grade levels; my children were about to demonstrate that logic to me. Essex believed that he could bring a second, third and firth graders together on common ground and in civil discourse to conduct these sessions I needed to undertake for this class. Because they are my children was my rational, I was going to make this educational integration happen, and film these discoveries for the world to see. My wife Larna, a second grade school teacher of more than eighteen years just looked on with, OK, she just looked on. I truly enjoyed working with my daughters and learning how their minds work visually and watching their thought processes come alive, but… I must confess that a smaller more personal audience is what my youngest daughter wanted all along, and towards the end of this process demanded. Shortly after the first couple of sessions with my children, I found it more productive to use my Introduction to Art adult class for further study that you can watch on this Blog.
This VTS experience did bring me closer to my children. They are more open to bringing me their drawings now, they want to paint and draw more, and for me that is a beautiful thing. In a way through talking about other artist and the messages these artist are trying to relay made my girls understand their father better. I also drew a more comprehensive connection back to Viktor Lowenfeld’s creativity assessments that relate to his stages in artistic development and cognitive growth. I found pictures that my Grace had drawn from years ago, and compared them with those of today as possibly a direct correlation of this VTS experience, and the artistic message was good. Her maturation developments were clearer and more informative to me, and I could tell that she is now looking at the world around her through a more optic lens of visual maturity. Yes, these events may have happened by proxy, or an after effect of having a dad as a practicing artist, but I’m sure VTS helped the process further along. Looking back I also believe that my questioning approach has improved, “in my opinion.” It may not have improved by the exacting standards put forth through the VTS format, but it has improved. It’s a critical moment watching your self on a video monitor, hearing how you really sound, seeing how you actually look to others. The camera doesn’t lie, it can be altered and filtered somewhat, but the core of you and your persona is usually pretty clear. Giving people my opinion is probably one of the hardest things that I have to do, and you would think because the VTS process is an open-ended format, this shouldn’t be a problem, “wrong!” Hence the quote, “you are your own worst critic.” One high point for me through this process was meeting each person in this class and listening to the different stories about what brought each of us to this respective place and time. I would have enjoyed meeting each of you in November although that did not happened.
Because the text for this class is cored from the elementary through secondary levels in art education, I had difficulty finding age appropriate, grade appropriate students. So, I had to start thinking of a study group for these exercises to begin this visual retooling of my didactic persona or personality. It took me about five seconds to figure out whom I was going to use for this learning experience, of course, my daughters and their little small esoterical social order. Although first, I needed to develop a strategy in unplugging them from their personal media devices to the more improved version of this VTS format. The main problem I faced was that my kids have a lot of digital devices already, so my work was cut out for me. I now understand the divine logic why stages of cognitive development within elementary education are separated by age and grade levels; my children were about to demonstrate that logic to me. Essex believed that he could bring a second, third and firth graders together on common ground and in civil discourse to conduct these sessions I needed to undertake for this class. Because they are my children was my rational, I was going to make this educational integration happen, and film these discoveries for the world to see. My wife Larna, a second grade school teacher of more than eighteen years just looked on with, OK, she just looked on. I truly enjoyed working with my daughters and learning how their minds work visually and watching their thought processes come alive, but… I must confess that a smaller more personal audience is what my youngest daughter wanted all along, and towards the end of this process demanded. Shortly after the first couple of sessions with my children, I found it more productive to use my Introduction to Art adult class for further study that you can watch on this Blog.
This VTS experience did bring me closer to my children. They are more open to bringing me their drawings now, they want to paint and draw more, and for me that is a beautiful thing. In a way through talking about other artist and the messages these artist are trying to relay made my girls understand their father better. I also drew a more comprehensive connection back to Viktor Lowenfeld’s creativity assessments that relate to his stages in artistic development and cognitive growth. I found pictures that my Grace had drawn from years ago, and compared them with those of today as possibly a direct correlation of this VTS experience, and the artistic message was good. Her maturation developments were clearer and more informative to me, and I could tell that she is now looking at the world around her through a more optic lens of visual maturity. Yes, these events may have happened by proxy, or an after effect of having a dad as a practicing artist, but I’m sure VTS helped the process further along. Looking back I also believe that my questioning approach has improved, “in my opinion.” It may not have improved by the exacting standards put forth through the VTS format, but it has improved. It’s a critical moment watching your self on a video monitor, hearing how you really sound, seeing how you actually look to others. The camera doesn’t lie, it can be altered and filtered somewhat, but the core of you and your persona is usually pretty clear. Giving people my opinion is probably one of the hardest things that I have to do, and you would think because the VTS process is an open-ended format, this shouldn’t be a problem, “wrong!” Hence the quote, “you are your own worst critic.” One high point for me through this process was meeting each person in this class and listening to the different stories about what brought each of us to this respective place and time. I would have enjoyed meeting each of you in November although that did not happened.
Another thing that I came away with from this course was looking at art from the perspective of being back in a museum or gallery. I slept and lived out of a couple of galleries over my lifetime, so galleries don’t appeal to me today for that reason, but a visit to the museum is a much better venue than electronic signals over the air or linked in hyperspace. It’s easier to tell what the artist was thinking within a particular medium, and or how they observed life in real time. The same holds true when looking at artwork in the round while visiting gallery spaces or even a sculpture garden. Not taking anything away from the VTS video process, but an in person up close interview of a work of art is always the better venue “in my opinion.” When we were at the Museum of Art & Archaeology, and I was conducting the VTS on the Beulah Ecton Woodard's work only reinforces this point. As I said before, I was not really sure if any of you actually understand the emotions that I felt while conducting this particular VTS session. But having people present so I could explain the connection that this name (Woodard) is my biological father’s last name made the difference. Also the fact that I never had a chance to meet my father can be better understood. In many ways my last show “In My Father’s House” was about those memories, or the lack of those memories. In the same way I tried to make the similar connections through the soldiers Embarkation by Thomas Hart Benton, simply put it’s a different atmosphere at the Museum. One of my students told me a couple of weeks ago about a visit she made to the Kansas City Nelson Atkins Museum of Art during the latter part of this semester. She informed me that because of the images we watched in class this sparked her interest, and her understanding of Auguste Rodin’s work, the Assyrian figurine and many other started to make sense for her. She really got my attention because she made me remember, and for those moments she knew that she was connecting with me on a level of understanding that only a person who has been there, and done that can appreciate. Everyone will experience VTS in a different way, but the message is received, and that is what matters, and art lives to fight another day.
There is a book that I have come to appreciate and understand better of the true nature of it’s title; written by Paul Zelanski and Mary Pat Fisher call the Art of Seeing. Besides the fact that I've been reading and rereading this publication for a number of years, its title has started to hit home, as the eighth editions goes. Not to pun on the title, seeing is an art, and those who are better at framing ideas or concepts from concrete visual information will inevitably be at the controlling helm of our society. The mediator of these concepts is the teacher, and in today’s high states educational environment the visual aid (VTS) by proxy more than likely will be its assistant is. Which leads us right back to the books title, learning is developed through the art of seeing. Where will I go from here concerning the probabilities and potentials of the scope of VTS, I really don’t know or want to predict. My inhibitions, especially of late regarding this technological being linked in all of my developmental learning gives me no reason for pause or concern. Mediators have been using this type process of query of trial and error open-ended statements from the beginning, its simply called VTS today. We are talking about learning through art and it visual coherency to the things around us, and how it makes us understanding that space and all the other principled related foundations. I will more than likely use this VTS in the same format soon, but I don’t see myself sticking to a specific linear script.
Concerns: I fear this more than anything within the context of this visual learning practices for me and me only. Let’s not become so enveloped with artistic data analysis, cognitive visual feedback, verbal retooling and the categorization of that data that it leads us to a kind of scholastic paralysis. I pattern my teaching, thinking process and life and sometimes-intellectual prowess from a quote made by my favorite scientific spokesman: The USS Star Trek Enterprise chief engineer, Montgomery Scott AKA "Scotty." He asserts “the more they overhaul the pluming, the easier is to stop up the drain!” This kind of thinking got me through a pretty successful military career and enabled me to try and simply relay a message and connect feedback of that message “quickly” of my men. Art teachers only have 50 minutes or less. I suspect it may work the same for anyone else, as it relates to his or her particular circumstances. In looking back, it only seems proper to lean forward to see what’s ahead, that’s the future. That is where art and this visual thinking process normally takes me, and I learn from each step. Learning from those successes and my mistakes always guides me, and believe you I have made my share of them. VTS will be parts of that future, as I have come to understand it. Good luck to everyone, but remember luck is when preparation meet "Opportunity."
Opportunity, Oil on Canvas, by Essex Garner, 2004, Oil 48" x 58"
The next time opportunity knocks; just run right in.
References:
Beulah Ecton Woodard (American, 1895–1955) Maudelle ca. 1937-38.
Fired terracotta painted brown with white and green addition.
(2007.40). University of Missouri, Museum of Art & Archaeology
Bloom, B.S. (Ed.). (1956-1964). Taxonomy of Educational Objectives.
New York: David McKay Company Inc.
Eisner, Elliot (2002). The Arts and the Creation of Mind. The Role
of the Arts in Transforming Consciousness & unlocking the power
of possibilities, Yale University Press/New Haven & London
Fisher, M, P. & Zelanski, P. (2011). The Art of Seeing, 8th ed. Art of
Ancient Cultures, Part Four, Chapter 15. Prentice Hall, Lake
Upper Saddle River, NJ
Garner, Essex (2011). The Art of Essex, Art and Developmental
Lesson, Jaywalking Art VTS, and related VTS materials. Retrieved
on November 26, 2011. From: http://essexgarner.com/Jaywalking%20Art.htm
Housen, A. & Yenawine, P. (2000). VTS, Visual Thinking Strategies,
Learning to Think and communicate Through Art, Basic Manual
grades 3-5. Visual Understanding in
Education. New York, NY
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