Overall, this class has been super eye-opening and has pushed me past my comfort zones that I had before taking this class. My advisor wanted just that for me when she encouraged me to take this class as one of my last electives during my time at Agnes Scott. Although I am still not entirely convinced art is for me, I have grown a greater sense of appreciation for it.
This final assignment was one that I had higher expectations going in as to what my final product would be. While I am not entirely satisfied, I think I am proud of myself for completing the work. I engaged with the theme and got good feedback from my classmates during the critique. My theme was about three of my biggest fears surrounding my eleven year old sister.
The first picture I did was the one on gun violence. I really wanted to do a collage or like newspaper style for that one. If I were to redo it, I would probably make the person in the middle smaller and then really fill the page with more headlines. I did end up going back over the black ink with the grey compressed charcoal to give it more texture. I wanted it to look like a newspaper that had been crumpled, or at least possess that textured quality. I don’t think was entirely achieved, but it was interesting to see how the wet and dry material interacted.
The second drawing I did was inspired by my sister being an “iPad kid,” but also because she’s at the age where online bullying and addiction to likes and comments on social media really begins. Out of all three of my pieces, this is the one I like the most. I finished the stippling, which took forever, but I think it was worth the final product. I wanted it to look like a mix between TV static and hypnosis.
The final picture was the one representing climate change. I wish I had drawn the gas mask at an angle. However, I think that the textures that I was able to get with this drawing were probably the most successful of all of them. I wish I had spent more time on the trees in the eye lenses, but I got too frustrated with that part of it. However, I did enjoy drawing the smoke. I used white conte on top of black charcoal, which came out really interesting in my opinion.
Overall, this project and class have really expanded my artistic abilities, but also my appreciation. My favorite part of the class was getting to watch other people’s processes and final products.
In the last few days of art class, we are working on our final projects. For my project, I’ve chosen to do biggest fear as my theme. My biggest fear is something bad happening to my little sister, so I’ve chosen her as the central figure for my drawings. I also decided that I wanted to use collage in my drawings. When I went to get inspiration from real artists, I found an issue of the Contemporary Art Issue that featured twenty-five artists that have used collage.
After doing this, I started to think about which fear surrounding my sister I wanted to showcase in my three pieces. The three I chose were gun violence, the affects of social media/too much technology use, and climate change. I began to compile pictures and inspiration images to help me through my process.
I chose gun violence as this one hits close to home right now with the recent shooting in Nashville that occurred not too far from where my sister currently goes to middle school. I really focused on the collage for this piece and wanted to newspaper headlines to be central. I am not entirely happy with the final product, so if there if time I will most likely go back and re-do or just add to it.
This is the piece as it looks today.
This is the inspiration and sketching I did for this piece.
The second piece that I am still working on is the one focused on technology. I am using stippling to get the tv/hypnosis affect. The iPad was done in vine charcoal. The collage piece is with the apps and messages seen on the image. I am definitely happier with this one so far, but it still needs some work.
This is what the piece looks like right now.
This is the inspiration and sketching for the second piece.
Finally, I just started working on the third piece that is going to be focused on climate change. I haven’t figure out the entire composition of the piece yet, but I did start sketching and gathering more images for it last class. I want the focus of that piece to be a gas mask, but possibly with a utopia in the eyes of the gas mask. I think either this or the background is where the collage aspect will come into play.
This is the sketching I was working on in class.
Overall, I think I am in a good place with my project and am excited to continue to work on it during the last two weeks of class.
When we were first assigned this our next assignment, I was a bit overwhelmed because I didn’t know where to begin. I wanted to keep things as simple as I could as to not overwhelm myself, but still wanted to push myself to try new techniques. When trying to decide on my objects, I couldn’t figure out how I wanted to formulate them, but knew I wanted to keep it to things that I see or use all the time. This is why I chose the four objects (i.e. coffee up, mask, agenda, and pencil pouch) that I did because I use them all the time and they all had shapes that I thought I would be able to draw.
This was the resource image I ended up with
After choosing my photos, I did some larger thumbnails to figure out the composition of the objects, make sure I was hitting all four edges, and working to draw the shapes. These thumbnails can be seen in the images below. I really enjoyed working on the coffee cups in particular, but, overall, I felt like I was able to create a good composition out of the objects.
After completing the thumbnails, I worked on the texture study to try to culminate some of those texture drawing skills before I tried to transfer my thumbnail to larger paper to work on as my final product.
This is the texture study I completed
Although I was apprehensive, after I completed my texture study, it was time to work on my final product. I first worked to get my composition of my objects right on the bigger paper, which took several tries. After I finally got them where I wanted them, I started to work on the back wall. I knew I wanted to do stippling because it reflected the dotted texture seen on the wall. I used the charcoal and mars pencils on this part. This took a lot more patience than I anticipated, but I was able to get, especially the corner, to look how I wanted. If I could go back, I would probably add a bit more to the lighter side, but I also wanted to get a highlight there and was struggling to keep it lighter. After the back wall, I used the india inc to create the tiled texture. I very much enjoyed this process, as it made me feel like a little kid in art class. However, I did have to go back in with a sharpie afterwards to clean up the edges. After this, I worked on the pencil pouch, which was probably my least favorite object. I used the ebony pencil and the mars pencil, but it just didn’t turn out like I anticipated with the texture. I used brown paper to create the mask and the cup holder because I wanted some 3D texture to be present in my piece. I used the orange conte on the agenda. Originally I tried to draw flowers, but it wasn’t working out and trying to erase it was messing with the india inc of the tiles, so I just decided to make it solid orange. Finally, I used the vinyl charcoal to do the coffee cup. I think this was my most successful use of shadows and highlights in this work, and so it looks the most realistic, which is why I am most proud of it. The rest of the background at the top needed to be tied into the piece, so I decided to use the brown paper there as well.
My final piece!
Overall, I am proud that I was able to complete this piece. I am decently happy with the way it turned out and that I was able to learn to use new skills in the process.
Coming into Art 160, I had not been in a true art class since elementary school… so a whopping eleven years. I tried to convince myself several times to drop the class, but here I am. This first project was extremely intimidating to me because, at least as first, I felt like I had no idea what I was doing. I tried to go into it with an open mind, but found myself incredibly frustrated. The first several days of the assignment, I tried to doodle and play to “loosen up.”
I tried a blind contour to try to get in the right head space and was happy with how it came out!
I also tried several thumbnails to get a feel for what I was doing.
It went okay, but I still wasn’t satisfied with that I was able to do! I was too focused on the product instead of the process.
When it was time to start drawing, I was incredibly nervous. I could sort of draw the shapes, but felt like I was struggling to figure out how to use the materials “correctly.” I personally think that in my first two pieces, you can see my frustration in trying to do this. However, completing both of these two drawings, although I was not in love with them, was incredibly fulfilling.
In this drawing, I mostly started with the ebony pencil, but ended up filling in the shading with the graphite stick and the compressed charcoal.
In the second drawing, I focused on the spacing of the shapes and attempted a contrast by shading with the charcoal pencil, mars pencil, and black conte stick.
Both of these are not my favorites because I just wasn’t super happy with how they turned out.
With my second two drawings, I think I got more comfortable with the materials and was able to use a wider variety of the materials on the two pieces. I also think I took contrast and shadows/highlights more into consideration with the second two pieces. I moved past just trying to only use the pencils and be less in control with the other materials. I enjoyed using the vine charcoal on my fourth piece more than I thought I would be. Although it was hard to control, it was fun to play with and interesting to see how its values came across.
This was my third piece, I was really proud of how the wood of the shelf turned out, although some of my proportions were off with the objects.
This is all four of my pieces together! I was happy to have completed this project!
I like specific parts of my second two pieces. My favorite thing to draw was probably the metal contraption from my fourth piece.
I was incredibly nervous for critique day because I have the tendency to harshly compare myself to others. However, everyone was incredibly kind and insightful. Seeing everyone’s unique perspective of the same objects was so interesting. Overall, I was happy to have successfully completed the four drawings using all of the necessary materials. In the future, I just want to continue to “loosen up” and be more confident in my abilities, but also my eraser. I am realizing it is okay to make mistakes, as long as I am trying.
In the beginning of the semester in my first essay, “Personal Leadership Narrative,” I wrote that in my opinion, three of the top leadership characteristics that people in today’s society can have are active listening, self-confidence, and self-awareness. As I have now reached the end of this Leadership 101 course, while I still agree with this, I have a better understanding of why those characteristics are important. Leadership is a complex ideal that is understood differently by every individual person. As William Cronon indirectly argues in his essay, “Only Connect…,” leadership is more of a strivable ideology that is intangible. However, leadership becomes tangible in looking at its effectiveness. To qualify my original argument, I would now argue that active listening, self-confidence combined with self-awareness, and passion are the most effective leadership characteristics.
The very first quality on Cronon’s list of someone who embodies a libreal education is “they listen and they hear.” When a leader is able to actively listen to other people’s stories, perspective, and opinions, they are better able to mold their leadership in a way that is more suitable for their beneficiaries, whomever that may be. Leaders failing to do this, can lead to Patricia Hill Collins’ concept of “outsiders within” (Smooth, 36). This is the notion that leaders find themselves present in places where they would and should have the ability to make changes, but for various reasons are not included on the “inside.” This is why, even within power groups or groups of leaders, the quality of active listening is so important for a leader to have in order to be most effective.
Stacey Abrams embodies the idea of “outsiders within,” in her book Lead From the Outside, and writes that leaders must “understand the urgency of self-confidence coupled with self-awareness” (Abrams, xxviii). What she means by this is that in order for leaders to be most effective, while they must have confidence in themselves, they cannot become complacent or over-reliant on their own abilities. For example, when Anita Hill decided to stop fighting for a continuation of her hearing, she was displaying this self-confidence coupled with self-awareness. While Hill was confident in her sexual harassment accusations against Clarence Thomas, she became self-aware that a continued hearing was going to do more harm than good, and that it didn’t mean she had lost or that she was defeated. She was able to effectively lead by becoming a conversation starter.
Finally, the last characteristic of effective leadership is passion. If a leader is not passionate about what they’re doing, it will be hard to be effective. An example would be Alice Paul, who was one of the leaders during the end of the First Wave of Feminism. Without passion, Paul wouldn’t have been as effective as she was. She turned her passion into action with picketing, written work, and acts of civil disobedience. Although many deemed her as a radical, through her passion she was more effective with her ability to persuade people to help her cause. This shows that leaders that are passionate are more effective because they have a stake in their cause and what they’re fighting for.
Overall, in my opinion, because of leadership’s wide variety of definitions and its individuality in nature, it’s more important to analyze and understand how leadership is most effective instead of looking for a concrete definition of what it is or is not. For me, leadership is about leading from behind, and nurturing the next generation. I want to do this by becoming a teacher and helping students find their place in history, but also in their futures. By becoming a teacher I will have the opportunity to actively listen to students, have self-confidence, but also increase my self-awareness, and be passionate about what I’m teaching.
Works Cited
Abrams, Stacey. Lead from the Outside: How to Build Your Future and Make Real Change. Picador, 2019.
Cronon, William. “Only Connect…” The American Scholar, Volume 67, No. 4, Autumn 1998.
Smooth, Wendy. “Intersectionalities of Race and Gender and Leadership.” Gender and Women’s Leadership: a Reference Handbook, by Karen O’Connor, SAGE, 2010.
When looking at leadership and for leaders, it is easy to look towards the front lines to the loudest, most out-spoken individuals, but in the process people tend to overlook others. The ones they overlook may not be the loudest or use their voices at all, but instead use other platforms or forms of leadership. This is especially prevalent with leadership during the Civil Rights Movement. When most think of leaders during the Civil Rights Movement, they think of Martin Luther King, Jr., Rosa Parks, The Little Rock Nine, and Malcolm X, among others. They also tend to think of acts of leadership being found in the Montgomery Bus Boycott, Sit-Ins, Freedom Rides, and the various marches, including the March on Washington. However, there were other leaders that led during the time.
The Civil Rights Movement combatted a lot of evil and harm that blacks faced in the United States. Within segregation and Jim Crow, the idea of “separate, but equal” was widely spread by whitw conservatives that believed that blacks shouldn’t be in the same places they were and it became the public “norm.” Blacks were forced to endure longer waits, horrid conditions, and underrepresentation within their daily lives as a part of this “norm.” In order to overcome these horrors, many found communities that supported them and fought to make a difference. Another approach that people of color used to combat the oppression and violence that they were facing was through the Arts. There had always been influential people of color in the Arts, but there was an influx of new content and talent during the mid-1940s that lasted through the Civil Rights Movement into the 1970s. Within the Arts, written works and literature became a popular way to write about what was happening, either directly or indirectly. Through their work in the Arts, leaders began to emerge. One of those leaders was Gwendolyn Brooks.
Gwendolyn Brooks was born in Topeka Kansa in 1917, but soon after moved to inner-city Chicago where she was raised and remained for the majority of her life (“About Gwendolyn Brooks”). Brooks’ parents encouraged her and her brother to always “read and take an interest in culture” (Watkins, 53). Because of this, she became educated and began to write at a very young age. She was thirteen when she published her first poem and was frequently publishing in the Chicago Defender, a local newspaper, by age seventeen (“Gwendolyn Brooks”). As to what she wrote about, she once said, “I wrote about what I saw and heard in the street. I lived in a small second-floor apartment at the corner, and I could look first on one side and then the other. There was my material” (Watkins, 51). She graduated in 1936 from Wilson Junior College in Chicago, only ever receiving an Associates Degree (The Editors of Encyclopaedia Britannica). She grew up during the time of the Great Depression, which affected her ability to afford college. There also wasn’t a huge emphasis on women getting an education at that time and most women began starting families early on. Even though Brooks decided to get married and raise children, fulfilling the traditional female role at the time, she continued to write through it all.
In 1946 she published her first collection of poems, A Street in Bronzeville, which gained some traction, but not an overwhelming amount (“About Gwendolyn Brooks”). Three years later she published her next collection, Annie Allen, which won the 1950 Pulitzer Prize (Watkins, 51). Winning the Pulitzer Prize was significant in itself, but on top of the award, she became the first Black author to do so. Brooks and her husband were struggling financially when she heard that she had won and she later wrote, referring to the Pulitzer Prize, that “It is a smile” (“Gwendolyn Brooks At 100,” 31-32). After this, she became a more prominent writer in both the Black and White literary communities. She continued to write and went on to publish more than twenty books of poetry along with a handful of books (“About Gwendolyn Brooks”).
An example of Brooks work is The Bean Eaters in which she published one of her most famous poems, “We Real Cool.” In order to understand Brooks’ choices within the poem, one must first understand the social and cultural implications of the time period. This poem was written during the Jim Crow Era. However, there was a rise in the Civil Rights Movement in 1954, with the success of the Brown v. Board of Education Supreme Court Case. Within the case, the ideology of “separate, but equal” became unconstitutional under the 14th amendment. However, even during the desegregation of schools, the black community faced more verbal and physical oppression and violence. A line in Brooks’ poem reads,“We Left school,” (Brooks) which can be interpreted that the boys in the poem simply left after the school day or year, or that they dropped out. This is significant to the time period because there was approximately a five to ten percent difference in the enrollment rate of black and white students in high school (Snyder, 8). Additionally, only fifteen percent of black males twenty-five years and older had completed all four years of high school (Snyder, 7). Brooks alludes to these problems in her poem because of how relevant and critical at the time and how much of a turning point the decision of education was for these young individuals.
Brooks encompasses themes of isolation, discovery, and adolescence in her poem, which can be seen throughout her works. Brooks created the poem for the adolescence during the time period and to display their ability to distinguish and choose the direction that they wanted for their lives. Each line of the poem displays some form of choice that one may have to make during adolescence that can either be interpreted in a positive or negative connotation. The negative decisions seem to win in the end with the last line “die soon,” (Brooks) which comments on the oppression that young black people were faced with. Within the poem, Brooks utilizes repetition by repeating the word “we” at the beginning of almost all the phrases in the poem. By using the personal pronoun “we”, while it refers to the pool players, it also relates to the black community as a whole during this time. By doing this, Brooks creates a sense of trust with her audience. Finally, Brooks uses a somber tone to further hint at the realities of the time. With phrases like “real cool” and “die soon,” she starts and ends the poem in an offsetting, almost uncomfortable way. Overall Brooks leaves the interpretation up to the reader and lets them inflict their own experiences and choices onto it, affecting what they may or may not get out of it.
Brooks’ works have been widely read, interpreted, and analyzed. Brooks, herself, has also done much work within her life to help educate and represent those who were impoverished or marginalized. Brooks won numerous awards and honors throughout the course of her life. In addition to being the first black author to win the Pulitzer Prize, she was the first black woman to hold the position of poetry consultant to the Library of Congress (“Gwendolyn Brooks”). In 1968 she was named poet laureate for the state of Illinois (“About Gwendolyn Brooks”) and in 1976 she became the first black woman elected to the National Institute of Arts and Letters (Watkins, 54). These are just a few of the positions and honors she received during her career.
However, as much as Brooks was greatly celebrated, she was just as much criticized. She was primarily criticized by white literary critics and black civil rights activist for not being more open and speaking publicly on race relations and political problems. After she won the Pulitzer Prize in 1950, she was asked and “declined lecturing on race relations,” (“Gwendolyn Brooks At 100,” 32). Many people in the black community saw this as her denying her responsibility by not using her platform to help promote progression. Over the years as she gained more of a status, she began to use her voice more publically, but continually said that she was “not writing poems with the idea that they are to become social forces” (Stavros, 7) or with “preaching in mind” (Stavros, 14). Her critics tried to make their interpretations of her work the only or primary one. However, as Houston Baker eloquently puts it, “the critic (whether black or white) who comes to her writing seeking only support for his ideology will be disappointed… she has ever spoken the truth. And truth, one likes to feel, always lies beyond the boundaries of any one ideology” (Baker, 31). This speaks to Brooks’ essence and the way that she was able to write for a wide range of people and scenarios. Her work is able to resonate more deeply because readers are able to use their own personal experiences in order to gain meaning.
Instead of being at the front lines, Brooks worked from the bottom up, from behind the curtains. She once said that her “greatest interest is being involved with young people” (Watkins, 54). She believed strongly in providing opportunities for marginalized youth. She wanted them to be supported and to be given a chance to choose their destiny. When she became the poetry consultant to the Library of Congress, she often visited local schools and made sure to do what she could to support their writing programs. She also “began a poetry workshop in her home that included members of a Chicago street gang” among other at-risk youth (Watkins, 53). She firmly believed that writing was important for young people as a healthy way for them to express themselves. She also went to prisons to recite her own poetry and have them recite theirs. She once said that she would go to any prison she was invited to “because those people are truly glad to see you” (Brown, 50). Brooks believed in people and in humanity as a whole, but didn’t see her leadership role as something that was supposed to be in the public eye.
Overall, Brooks was not the loudest leader or the most out-spoken. However, she used her platform on her own terms to support underrepresented communities. Although she was criticized, she still found ways to lead in her community and promote change. She supported at-risk youth and communities in an attempt to nurture them to their full potential. Brooks did so in a way that wasn’t for publicity, or fame, but because she actually believed in their abilities and wanted to provide opportunities for them. Leadership does not have to look or sound a certain, stereotypical way. Brooks used her written work to help build a network that support at-risk and under supported young people. This is how she led, quietly, but powerfully.
Works cited
“About Gwendolyn Brooks.” Poets.org, Academy of American Poets, 2019, poets.org/poet/gwendolyn-brooks.
Baker, Houston A. “THE ACHIEVEMENT OF GWENDOLYN BROOKS.” CLA Journal, vol. 16, no. 1, 1972, pp. 23–31. JSTOR, www.jstor.org/stable/44328475.
Brooks, Gwendolyn. “We Real Cool.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poetrymagazine/browse?contentId=28111.
Brown, Martha H., et al. “GLR Interview: Gwendolyn Brooks.” The Great Lakes Review, vol. 6, no. 1, 1979, pp. 48–55. JSTOR, www.jstor.org/stable/20172474.
Smith, Tabathia. “Gwendolyn Brooks.” Umoja Sasa, vol. 5, no. 7, 1979, pp. 1–5. JSTOR, www.jstor.org/stable/43690415.
Snyder, Thomas, editor. 120 Years of American Education: A Statistical Portrait. US Department of Education, 1993, National Center for Education Statistics , https://nces.ed.gov/pubs93/93442.pdf.
Stavros, George. “An Interview with Gwendolyn Brooks.” Contemporary Literature, vol. 11, no. 1, 1970, pp. 1–20. JSTOR, www.jstor.org/stable/1207502.
Tinkham, Charles B. “For Gwendolyn Brooks.” Phylon (1960-), vol. 29, no. 1, 1968, pp. 18–18. JSTOR, www.jstor.org/stable/274079.
The Editors of Encyclopaedia Britannica. “Gwendolyn Brooks.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 3 June 2019, www.britannica.com/biography/Gwendolyn-Brooks.
Watkins, Mel. “Gwendolyn Brooks (1917-2000).” Black Scholar, vol. 31, no. 1, Spring 2001, p. 51. EBSCOhost, doi:10.1080/00064246.2001.11431124.
My top five StrengthsQuest themes are context, learner, discipline, arranger, and communication.
I will be able to apply my knowledge of these strengths in the classroom because I now have a better understanding of what I bring to the table. All of my five strengths are integral parts of teamwork. The context and learner themes help guide me through preliminary research and any outside information that a course or project may need. Discipline, arranger, and communication all work together to help me make sure that everything that I am supposed to do is done, but also help others keep track of time and progress. Unfortunately any strengths can have their downfalls. Without people to help balance my qualities, my strengths can turn into taking over projects and trying to do everything myself. However, by recognizing this fact and sharing it with team members, I am becoming more self-aware and can bring the positive, hard-working side of my strengths to help contribute to the overall success of the group, which in the end, is what’s most important.
