The Messy Studio with Rebecca Crowell - Episodes Tagged with “Teaching”

Episode 218: About Teaching Workshops

Rebecca Crowell — Sat, 27 Aug 2022 13:00:00 -0500

Last week we talked about workshops from the point of view of artists taking them, what they look for, and how to make choices from the many options available. Today we want to talk about workshops from the perspective of workshop instructors. Many artists who have ideas and experience to share are drawn to workshop teaching. And teaching can be a very rewarding, interesting, and lucrative side job that fits well with an artist’s own studio practice. But it’s also a completely unregulated territory where success depends largely on personal reputation and endorsements, and where sometimes the best laid plans fall apart. What does it take to do well as a workshop instructor? What are some of the rewards of teaching workshops and what are some things to watch out for?

For those of you who are thinking of getting started with teaching workshops, it's important to carefully consider your own qualifications. You need to evaluate honestly whether you have the experience about the topic, and whether you have something original to contribute to your students. And no matter how developed you are as an artist, you may not know much about teaching itself. So, you also need to learn what you can about effective teaching methods, respond to feedback from students, and constantly evaluate and tweak your approaches.

There are many considerations for choosing what to teach, where to teach, the pay you want to receive, the number of students, and your own accommodations. And once you make these basic decisions, you need to be prepared with an accurate description of what you will teach, a detailed supply list, and if you are teaching outside your own studio, a list of what you would like the venue itself to provide.

Teaching workshops can provide not only a decent income, but there are also intangible benefits. Experiencing the fresh energy and perspective of beginners, and the sharing of tips and tools that often happens spontaneously in class, and hearing people's ideas and motivations is uniquely rewarding.

Going into teaching sometimes begins as a casual, gradual process among people you know, but once you are fully in you need to take its responsibilities seriously. Are you really serving your students in the best ways you can? Are you continually evaluating and revising your teaching agenda? You need to provide something important for your students and exhibit a basically generous and altruistic attitude. At the same time, it is also important to be treated well, and be well compensated for your time, experience, and dedication.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information.

Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon!

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a Tick Digital Media Production.

Episode 217: Navigating Workshop World

Rebecca Crowell — Sat, 20 Aug 2022 13:00:00 -0500

Workshops serve many purposes for artists, including learning new skills and information, connecting with other artists, and receiving feedback and critique. A workshop with the right instructor at the right time can provide an important breakthrough for your work. But attending a workshop can also be challenging on a personal level, involving travel, a commitment of time and money, and working in a group environment. And not all workshops are well organized or worthwhile. Today we will be talking about workshops from the perspective of artists who have taken them--what was gained, and what difficulties were encountered.

Taking a workshop is a big commitment of time and expense, so a basic question in deciding to take a workshop is to consider your reasons and motivation and if they are strong enough to take that leap. A desire for growth, development, and improving your work are all essential. Without these, you probably won't get enough out of the experience to be worthwhile. The opportunity for focused studio time or the desire to learn something very specific or work with a particular instructor also factor in.

With the range of options for workshops available, it can be hard to decide what to take, or if you want to take one at all. Important factors to consider range from finding a competent and inspiring instructor to deciding how much travel and expense you can afford. Venues can be anything from a crowded private studio to a purpose-built, fully equipped classroom.
The class may last only half a day or a week or more. You may be in a class with others at the same level of development as you, or you may be combined with people at very different levels. Social aspects of being in a group can be supportive and exciting. You can gain new friends and enjoy the sense of community that surrounds you. But sometimes being with a group can be challenging. To work outside your own studio and to be exposed to everyone else's work styles and personalities is not easy for everyone.

Many artists report things like a shift in perspective, a new confidence, excitement, insights, new ideas, or even bigger changes after a workshop. These are all the reasons to take workshops and are more likely to happen if you are careful about your choice, research the instructor and the venue, and at the same time go into with a flexible attitude, you cannot know or control all the variables when participating in a group activity. There are an incredible number of variables in workshop world. But overall, the number of artists who take at least one workshop a year speaks to the overall positive aspects of this type of learning,

Episode 197: How Praise Can Paralyze

Rebecca Crowell — Sat, 20 Nov 2021 14:00:00 -0600

When we think of the kinds of reactions to our work from other people that cause a block in creative flow, most people think first of negativity, indifference, or misunderstanding. All of these can undermine our self-confidence and cause us to feel incompetent, uninteresting, or simply off track. They can lead to anxiety and avoidance behavior towards our work. But what about the opposite—positive remarks of praise and admiration? These can create a blockage of a different kind that may be harder to recognize and acknowledge. Today we talk about the rather odd fact that praise can stall us as much as criticism.

Praise can certainly feel supportive and energizing, helping you see aspects of your work that were hidden from your own eyes and clarifying your ideas when you successfully communicate with another person through your work. And of course, praise brings about general good feelings relating to recognition and a sense of accomplishment.

But receiving praise can also be a complicated dynamic, with the potential to stall us in our progress in ways that may be hard to recognize and acknowledge. The basic issue is that art is subjective; although there are standards of good composition and design, and good use of media and visual elements, opinion also plays a big role when someone offers you feedback. When what you hear is positive, it can be harder to recognize its subjectivity. You may be steered towards aspects of your work that aren’t quite right for your own vision, but which the person viewing your work prefers.

This often happens in a classroom or workshop situation, meaning that those who teach need to be careful not to shut down students by only praising work of a certain type. But the detrimental effects of praise can also be a dynamic among friends and family. Many people find a role for themselves in advising and influencing others even when they know little about the subject. Their positive comments may be well meaning but be somewhat manipulative or controlling, in effect asking the artist to create according to their own preferences. You as the artist need to be strong enough in your own mind to recognize whether praise is truly applicable to your own intentions, and resist being steered in a direction that is not.

Learning to evaluate the feedback you receive allows you to gain from positive feedback that relates to your own intentions and to remove yourself from comments that are off track. Failing to do this can lead to losing your way or being blocked by inner resistance to fulfilling someone else’s desires for your work. Being self-reflective and in touch with your own ideas and intentions is key to understanding positive feedback and pulling from it what is useful and supportive to you.

www.messystudiopodcast.com/blick

Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium.

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Here is what a member named Sandy has to say about her own experience:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Episode 194: Our First Year: Reflections on Cold Wax Academy

Rebecca Crowell — Sun, 31 Oct 2021 22:00:00 -0500

A year ago, Rebecca and her teaching partner and co-author, Jerry McLaughlin embarked on a new project to meet the needs of artists during the time of Covid. With in-person workshops canceled, they turned to online teaching as a way to continue to offer instruction to artists interested in using cold wax medium and oils. Faced with this challenge of offering deep learning in a new format, Rebecca and Jerry developed a structured curriculum of online sessions for a worldwide audience of artists. Cold Wax Academy has evolved to be the leading online resource for mastery of both technical and artistic skills required for painting with cold wax medium.

Online teaching offers its own rewards and challenges, and Jerry and Rebecca reflect on its many aspects in this episode. Content for online sessions is prepared ahead of time with very specific focus, allowing for an in-depth exploration of various topics. Learning takes place in concise pieces of information, with time in between to process. When combined with actual workshop experience the impact of both foms of learning is especially noticeable.

With so many artists involved in online teaching and learning as a result of the pandemic, the advantages of online learning are becoming increasingly evident and to be involved in this new format is exciting. Cold Wax Academy membership provides deep, structured learning from two experienced, professional artists in the context of a supportive online community. If this sounds right for you, please visit www.coldwaxacademy.com.

Special Guest: Jerry McLaughlin.

Episode 189: Interview with Jim Scherbarth

Rebecca Crowell — Sat, 25 Sep 2021 12:00:00 -0500

James Edward Scherbarth was a dear friend, colleague, and teacher, and artist who developed profound and personal ways of working in just a few years following his retirement in his mid-60s. Today we share our interview with Jim near the end of his life in which he discusses his life, work, and teaching philosophy. Jim passed away a few days aftert this recording, on June 22, 2021. We are very honored to have had this opportunity to hear what he wished to share with our listeners.

www.messystudiopodcast.com/blick

Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up their Summer Quarter and have announced their lineup of topics for both the Fall Quarter and into 2022. Their weekly live, interactive sessions this Fall will focus on Techniques and Processes involved in developing a painting and on expanding ways of using cold wax in such areas as printmaking and photography.

All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists.

Special Guest: Jim Scherbarth.

Episode 126: Handling Critique

Rebecca Crowell — Sat, 23 May 2020 02:00:00 -0500

It can be very unsettling to put your work in front of someone else for a critique. We may fear harsh, judgmental comments. Yet the value of critique is exactly that, the chance to gain an outside perspective and insight, and very often criticism can be given and received in a supportive way. Today we’ll talk about the positive aspects of critique as well as handling negative criticism with regards to our work.

First, let's distinguish between the meaning of the words, critique and criticism. The definition of critique is “a detailed analysis”, or as a verb “to evaluate.” This implies an objective point of view, not an attempt to find fault. Criticism has two meanings, One is “the expression of disapproval of someone or something based on perceived faults or mistakes.” The second meaning is “the analysis and judgment of the merits and faults of a literary or artistic work.” This meaning when applied to an art form includes positive as well as negative aspects, with an emphasis on judghement on the part of the person delivering it.

The kind of criticism that hurts or stings, seems unfair, or completely off base is not likely to be of value. It probably springs from the other person’s ego or bias, or perhaps from a lack of understanding of your intentions. It is often one-sided and opinionated. Destructive criticism can have a powerful impact and unfortunately we tend to give negative comments more credit than the positive ones.

But if what someone tells you seems true on some level, and has a basis in objective observation, critique can be extremely helpful. And critique is not limited to simply passing judgement. It is a way to delve into what you want as an artist especially if you seek it out when you are ready to engage with it. In addition to pointing out problems, a knowledgeable observer of your work can enable you to see things in a new and exciting way.

Critique is best if it is a conversation and not a monologue in which you have no chance to respond and engage. It is also helpful if you establish some parameters ahead of time--deciding what you wish to show, setting the stage for a proper focus, and giving thought to what you hope to gain from the feedback. At the same time, being open and allowing a critique conversation to evolve and flow in accordance with the other person's thoughts may bring surprising and positive insight.

Today's Episode is Sponsored by Multimedia Artboard:
https://multimediaartboard.com/
Check out their Memorial Day Sale and use promo code GOPAINT at checkout for 30% off!

For more from The Messy Studio:
www.MessyStudioPodcast.com
www.facebook.com/MessyStudioPodcast

For more from Rebecca Crowell:
www.RebeccaCrowell.com
www.SqueegeePress.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 124: Voices Of Experience

Rebecca Crowell — Sat, 09 May 2020 13:00:00 -0500

If you have ever had a really good art class, whether in school or a workshop, you probably retained some real gems of wisdom from the instructor. These may be specific things that were emphasized, or their overall teaching philosophy. These positive ideas and words have the power to shape our studio practices for our entire creative lives. We reached out to some art instructors, all friends of the Messy Studio Podcast, to ask them to share their insights and approaches to teaching, as well as how they motivate and inspire students to find their own direction.

Teaching art is a work in progress, and most instructors see their messages evolve over time to be more supportive of students, as well as more challenging. The best art instructors have years of experience, and know what it takes to find a meaningful path because they have traveled that path themselves. Other instructors,however, have only enough experience to come up with something that works, and they teach in a formulaic way. They know what is true for them, but not how to help others find their own way.

Meaningful art comes from personal experience. Teaching individuals involves guiding them to draw from their own well of resources, and requires the instructor to understand approaches other than their own. Students do need basic nuts and bolts information. However, they also need a wider context that goes beyond a one-size-fits-all teaching style.

We asked several friends, colleagues, and former guests about their teaching approaches and advice and invite listeners to recall words of wisdom from their own art instructors.

For more from The Messy Studio:
www.MessyStudioPodcast.com
www.facebook.com/MessyStudioPodcast

For more from Rebecca Crowell:
www.RebeccaCrowell.com
www.SqueegeePress.com

Episode 112: Surrounded By Advice

Rebecca Crowell — Sat, 15 Feb 2020 15:00:00 -0600

As artists, we all want to grow and improve our own work, and we are often surrounded by the advice and opinions of other people. While some advice is helpful, it can sometimes undermine our unique, personal voice. It can be hard to sort the good advice from the bad. It is also important to realize that our own accepted opinions may need to be challenged in order for our work to advance. Unfortunately, we may hear more bad advice than good. A mentor of Ross’s once told him “if you follow the advice of 90% of the people you meet, you will end up where 90% of people end up”.

As teachers, awareness of these rules and dictates that we have accepted as fact is especially important. Unchallenged assumptions can be passed from one artist to the next very easily. These beliefs become inner voices that continue to influence an artist long after the words are spoken, and can hinder an individual’s critical thinking and ideas. For example, almost all of us were told at some point that it wasn’t possible to earn a living as an artist.

Those of us who attended art school often encountered instructors who gave completely opposite though well-meaning advice, and part of our learning process as students is developing a sense of what advice to follow. In art school, one teacher told Rebecca that “what is personal is Universal” and later, another found her work too personal and advised that “nobody wants to read your diary." Integrating these two ideas was eventually meaningful for her, so what seems opposing advice may also be different angles on the same idea.

Even purely technical advice can be examined in light of its usefulness and truth. For example, many painters are told to “never use black paint straight from the tube”. Rebecca has 35 years of professional experience in breaking this rule.

Oddly, even positive, or encouraging advice can be detrimental. You may find an instructor pushing you in a direction in which you are not particularly drawn. While exploring directions in your work other than your natural tendency can be helpful, you should always stay true to who you are. Becoming overly influenced by any one individual will make it difficult to discover your own personal voice.

So what does good advice sound like? Good advice tends to open doors, make you think, and produce insights. It may be strict or formulaic, such as rules about safety or best practices, but if so it should be supported with reason and established principles, not simply opinion. The more open ended and inclusive advice usually deals with individual voice and direction.

Always consider the source, and your own biases when giving advice to others. As you both receive and give advice, try to distinguish fact from opinion. Use critical thinking and challenge assumptions that seem arbitrary and unfounded. Don’t forget to be open to what is rational, and founded in principle. There is always a possibility that your existing opinions may not be correct.

For More Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For More Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Episode 110: Balancing Acts

Rebecca Crowell — Sat, 08 Feb 2020 15:00:00 -0600

We often talk about finding balance with aspects of the creative process that seem to be opposites. For example, finding the balance between working intuitively, and working with control and intention. The way each of us finds this balance between different approaches helps to develop the unique character of our individual work and process.

First of all, we should define what we mean by balance. Obviously, no approach is completely equal. An artist’s personal approach almost always demonstrates a preference for one tendency over another. You may have a strong personal preference, but developed work includes an element of the opposite as counter-balance. Even very intuitive, loosely painted work benefits from structure within the composition.

Often times friends, colleagues, and instructors will push their own preference. In a sincere effort to be helpful, they may insist that working with purpose and intention is the only way to create quality work, or example, or that work without spontaneity lacks emotional depth. Both approaches are equally valid, however.

All of this is part of the balancing act. How much should you pay attention to what other people tell you? This matters to those of us who teach, also. Try to be inclusive of various styles and ways of working. What is right for you may not be right for your student, but you must still be willing to push them to incorporate an opposing element.

Many of these opposing forces exist in our work and our lives. Are you spontaneous, or a planner? Do you prefer learning from an instructor or by figuring it out on your own? Even the most basic elements of design are defined by their opposite. By observing these opposing forces objectively, we can gain clarity. Very often these forces are not truly in opposition. They can work together, and each plays an important role.

The complexities and details of these balancing acts are up to each of us to address in our own work. It can be easy to disregard tendencies that don’t come naturally. We must attempt to incorporate elements and approaches that counterbalance these natural tendencies and provide contrast. At the same time, it is essential that you stay true to what feels right as an artist. This is perhaps the most important balancing act of all!

More Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

More From Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

Episode 14: Diving Into Abstraction, Part 2

Rebecca Crowell — Sat, 24 Mar 2018 01:00:00 -0500

Rebecca and Ross discuss various approaches to abstraction, transitioning into abstraction from realism, and what can be gained by pushing the boundaries of abstraction.

www.coldwaxbook.com
www.rebeccacrowell.com

The Messy Bulletin Board

Paula Roland...
Paula Roland is a Santa Fe, New Mexico artist known for her works in monotype and painting, for her teaching, and for developing the Roland HOTbox™, a heated palette and monotype/monoprint surface for encaustic.
Roland has also developed the Carbon Lab Mash-up, a workshop she teaches which includes carbon-based media such as graphite, big brushes and Ink. For information on this and other unique encaustic workshops, and the Roland HOTbox™please visit www.RolandWorkshops.com. See Paula’s personal work at www.PaulaRoland.com

Sean Pope...
Handcrafted, high quality painting panels for local artists available in Santa fe, NM: Made of Baltic Birch Plywood, these panels feature a full 1/4 " thick painting surface, with 3/4" baltic birch plywood cradles in 1.5 and 2" depths that are extremely resistant to warping and bending. Aluminum painting surfaces are also available. These are superior painting panels that will be appreciated by artists and their collectors alike.

Contact Sean Pope at sean@5cuplture.com or phone at 505-974-1735

Episode 9: All About Teaching, Part 2: The Workshop Experience

Rebecca Crowell — Sat, 17 Feb 2018 15:00:00 -0600

Rebecca and Ross continue their discussion on teaching. This episode focuses more on workshops, and the intense and highly focused personal interaction that takes place during a workshop. Ross and Rebecca clash over minimalism. During the discussion they shockingly confuse the work of one color field minimalist with another. The piece Ross was thinking of was "Red, Yellow, Blue II" by Ellsworth Kelly which can be seen at the Milwaukee Art Museum (http://collection.mam.org/details.php?id=8007), and not "Who's Afraid of Red, Yellow, and Blue IV" by Barnett Newman. It hangs at the Berlin Nationalgalerie and sadly, Ross has never seen it in person.

The Messy Bulletin Board!

James Scherbarth:

James Edward Scherbarth will be at Peninsula School of Art in beautiful Door County, WI this June.

Jim will be offering an introduction to Abstract Painting with Oil & Cold Wax Medium utilizing his Process-Purpose-Passion approach to meaningful abstract painting.

The class is June 11 – 14, 2018. Complete details and registration are available through both Jim’s website: www.jamesedwardscherbarth.com and the school’s website : www.peninsulaschoolofart.org see their workshop page.

Janice Mason Steeves:

Learn the principles of cold wax medium in a workshop with renowned Canadian artist Janice Mason Steeves. Translating her mastery of technique, composition, and design into an accessible format, Mason Steeves helps students nurture and develop their own creative voice.

She also accepts students for her online art mentoring program which offers honest, constructive, one-on-one feedback to help students and professional artists alike move their work forward.

Learn more at http://janicemasonsteeves.com

Ross Ticknor:

Many of you have commented that you love Ross' voice. If you would like to hear more of his buttery smooth vocalizations, check out one of the audiobooks he has narrated. They are available on Amazaon, Audible, and iTunes. His favorite is "Headhunters From Outerspace" by Brett McCormick, a mind bending interdimensional sci-fi adventure set in Alvarado, Texas.

Find it here: https://www.amazon.com/Headhunters-from-Outer-Space/dp/B06WWFTF86/ref=tmm_aud_swatch_0?_encoding=UTF8&qid=&sr=&dpID=51i4R-WHwEL&preST=_SX342_QL70_&dpSrc=detail

Episode 8: All About Teaching, Part 1

Rebecca Crowell — Sat, 10 Feb 2018 10:00:00 -0600

Rebecca shares her history as a teacher, both in a University setting and in workshops. She describes why an artist might consider a career as a teacher, and how to get started.

http://rebeccacrowell.com
https://www.coldwaxbook.com
https://www.facebook.com/MessyStudioPodcast/

Episode 5: Ballinglen Round Table

Rebecca Crowell — Sat, 20 Jan 2018 12:00:00 -0600

Rebecca hosts a round table discussion with Úna Forde and Randall Exon at the Ballinglen Arts Foundation in County Mayo, Ireland. Topics covered include the Ballinglen experience and thoughts on teaching workshops.

http://www.ballinglenworkshops.com

http://ballinglenartsfoundation.org

http://randallexon.com/home.html

http://rebeccacrowell.com

https://www.coldwaxbook.com

Special Guests: Randall Exon and Úna Forde.