Anchors (teaching Phlosophy)

Teaching Philosophy

Visual Arts Practical Courses

IN THE NAME OF IMAGINARY LEARNING

"Logic will get you from A to B. Imagination will take you everywhere." -Albert Einstein.

Extreme enthusiasm will shine a long experience in the class by applying the efficient distribution of knowledge, which based on a balanced approach to a creative outcome. Practical collaboration through Visual Arts convinces I to build a strong bridge to link the enthusiasm and knowledge to students and help them to create a concept of creation. Having a suitable approach to the outcomes and following the subjects of a course need a definite philosophy that I am going to explain:

I believe in mutual learning. Through 25 years of teaching experience in subjects of art, I have discovered that the students and I have equal potential for creativity. However, I give a wide lens with a different angle for finding new ideas, and they give potential ideas for visualizing. I give the techniques of visualization, and they give creations. Therefore, I do less with the knowledge and more with the attitude towards the students. Desire to learning stimulates the students to be more eager for learning. I have learned many new ideas and discovering from the learners. Every single person could be a source of unlimited ideas and creativity for himself and others. When one conceives teaching as learning, then, building knowledge becomes a collective endeavour of mutual benefit.

I start by creating a complete frame of teaching-learning for the class. An ingenious teacher is a person who knows 3 WH tips: why am I in this class (plan), when am I going to end this class (subjective), and where am I going to go (outcomes). Regards to these 3 WH tips, I used to be real and relevant to the subject. As an art teacher, I am continually looking for opportunities to improve the subject knowledge and pedagogical skills while I am discovering new ideas in an atmosphere of Learning-Center school. I know a developed teacher can have a developed classroom. Being up to date and up to grad is key to developing. For example, the course that I attended, (College Teacher Training for Internationally Educated Professionals) at George Brown College, taught me no matter how many times I have been walking through this path, I have to be aware of different ways of learning. Quality matters.

Most of the students who are seeking art are inherently motivated. I, as an art teacher, know that I must keep this motivation forward. I use some punctual subject-matter motivation strategies occasionally during the class to help students remain motivated all the time. For example, I start with some exceptional questions at the beginning of the class because I know an uncommon teacher has a phenomenal question. What does an art teacher can do? Have they ever thought that they are a potential artist? Besides, I know if I desire to have creative students, I must have a creative method of teaching. The methods of teaching allow the students to use all five senses, which stimulate class curiosity and let them be active. I believe that if I wanted to motivate the student's enthusiasm, I must always share new ideas with them and by them. For this reason, I need to respect the student's ideas and opinions. If they feel safe and secure, they will share the idea simultaneously. It is an excellent classroom filled with creativity, inventions and innovations. Stimulates a student's creation needs a motivated teacher who is not only a source of knowledge but also a warm and welcoming source of energy, enthusiasm, and care.

I know that I have no impact and impression on the students if I cannot be able to find the best way of communicating. For example, choosing a dialogue instead of monologue, building a classroom with a sense of community, and establishing a sense of belongings by assessing discussion-making and group work. Every student feels that she/he belongs to this small community where she/he can rely on not only the teacher but also the entire class. They feel that they have endless opportunities to express themselves. For instance, they create several sketches, and each sketch receives feedback from peers and from teacher to perfect the works. In this sense, students apply art principles on themselves and others provided there is a safe environment for such a construction. Giving feedback, assessing the tasks moderately along with a clear rubric, will help students to find the personal value of themselves. distributing a positive and open atmosphere in the class and helping them to feel like a valued member of the class can also make a productive and friendly quality. I try to remember that learning always has a relationship with others and with the item of the materials.

I know that every person has an unlimited ability to creation, discovering, and observing the phenomenon and the concepts behind them. As there is no absolute definition for art, we cannot limit the area of creation. I believe everyone can learn and create, yet one has to dedicate some time to get to know where students are coming from and what their sources of curiosity and imagination are. Productive people always have a suitable bed to sleep on their ideas. Tapping into those sources with support and accessibility strategies make a classroom a welcoming space for ALL. For example, I will try to find the best appropriate strategy for struggling students individually. I will help them how to learn through some actions step by step.

I have thought since I started teaching about how to promote student’s success? This is the question that I ask myself every term. These few methods have served me well over the years: 1- Advocating for democratic learning-teaching in art education (e.g. different style or critical thinking). 2-allowing students to return from active participation in society (e.g. volunteering jobs). 3-allowing students to explore through various thoughts, styles, and materials (e.g. museum, galleries, art communities exploring). 4-having backup knowledge of changing the lesson strategy, especially in some practical courses in case of emergency (e.g. for struggling students). 5-adopting a supportive style of listening (e.g. response appropriately) allows students to go through this path smoothly and calmly.

I want to conclude this teaching philosophy by reviewing the learning circle of a practical subject of art. First, I start to get to know the students and their areas of interest. Second, I explain the 3 WH tips and the methodology of teaching-based learning. Furthermore, what do I expect them to do during the course? By hunting the ideas, observing the nature of the contemporary phenomenon, nature observation, matching the ideas with the area of interest, visualizing, matching material with the visualized ideas, applying the principles of the visual arts, they can create an artwork.

“You are not a drop in an ocean,

You are the entire ocean in a drop.”

-Rumi

Reza Hosseiny / 2019

Teaching Philosophy

Theory of Art

IN THE NAME OF ETERNITY

"A generation which ignores history has no past and no future." Robert Heinlein

I always used to rushing to class and getting some peace behind the lectern, especially when the course was starting, and I was not familiar with the students, and it was like a corps to protect self-doubt behind and achieve a relative calm. But, as time went on, I came to a time when I could find peace and confidence when I could interact with my students. Furthermore, this happened when I did not find myself in front of the students, but I felt alongside them, so I continued to work with students and encourage them to participate in the class, and it was a remembrance time that I felt how much can I learn from them when I am not lecturing. Although learning outcomes are essential, how effective is the class, and how can I carve a permanent beneficial experience in the student's mind are further.

The first step of walking in a classroom starts by getting to know the students and their area of interest. I might have different students from different backgrounds, and they might want to continue their major in various fields of art. The goal is to guide them on how they can apply the outcomes in their interest.

Art theory and history of art are foundational courses. For this reason, the second step would be contextualizing the history of art and make a reliable bridge to connect history to the present by using examples and some other activities like comparative brainstorm to find similarities and differences. These activities motivate the students to find themselves in history. In this sense my class is like a time machine!

Questions are the way learning gets started and the way to involving students in the class. It is one of the best strategies for involving students in the class. A big question creates a big idea, and a big idea is closer to an expected outcome. For example, can they visualize and compare the age that we are working on with the former and next age? How does it look? Can they place themselves at that age? Questions can motivate students' curiosity. They can combine different abstract ideas with their actual knowledge of the subject through analyzing artifacts of the age.

Bringing some historical knowledge to contemporary life is one of the most critical parts of the study of history. The students work hard to find their talents and their field of interest. From here I provide timely feedback as I encourage them to provide insights for each other. During their learning process students produce and present their work reflectively and systematically considering the diverse feedback they receive.

Using technological devices is one of the critical parts of some of the theoretical classes as they can help both students and teachers to be motivated all the time and also, this is the best way of delivering the objectives of the class instead of lecturing all the time. I encourage the students as well to use presentation technology to have a powerful influence on their other classmates.

The best exciting step of this process is when students are applying their achievements in their area of interest. I might have a different student from graphic design to fashion and from multimedia to film study. I will let the students apply their research and reflection by presenting the outcomes in the form of a piece of a production that can be an essay, a design, a documentary video or a piece of handicraft. It would not happen unless they recognize, understand, visualize, imagine, image, and create their outcomes.

Reza Hosseiny / 2019

KEY RELATED COMPETENCIES

University + Vocational Instructor and former head of the university art department.

Independent artist in fine arts, specializing in ceramic arts.

Extensive experience working with children, youth and adults.

Proven experience in instructing ceramic, visual creativity, crafts, and art history.

Managed two multipurpose art and cultural institutes.

Researcher and publisher in the fields of art history and visual arts.

Designed environmental graphic and urban arts for private and governmental clients.

Provided professional consultative services to government, universities and private institutions.

AERA of INTEREST & EXPERTISE

Research Interest:

Contemporary arts

Environmental and urban arts

History of arts and handicrafts

Naive art and culture

Teaching Interest:

Visual arts fundamentals (form & color)

Art Foundation

Crafts: ceramic (hand-building and wheel throwing), mosaic, and mixed media

Comparative art history

History of Islamic art

Geometrical and floral drawing

Expertise & Skills:

Visual arts fundamentals and handicrafts

Art history and contemporary art (with a focus on conceptual arts)

Critical theory and research

Ceramic, mosaic, and mixed media

History of Islamic art and handicrafts

Ceramic: wheel throwing, hand-building

Mosaic: ceramic, stone, glass, and other composite materials

Graphic design (urban & environmental)

EDUCATION

2019-2020 College Teacher Training, George Brown College, Toronto, Canada

1994-1998 Masters of Art History (Art Research), Thesis: The role of the Silk Road in the evolution of Islamic pottery and ceramics, Art University, Tehran, Iran

1988-1993 Bachelors of Applied Arts, (Handicrafts), Thesis: Primitive pottery making in contemporary Iran, Art University, Tehran, Iran

APPOINTMENTS

2019-present Ceramic, (hand-building & Wheel Throwing), Bowmanville, Ontario, Canada

2017-2019 Ceramic, (hand-building & Wheel Throwing), City of Oshawa, Oshawa, Ontario, Canada

2016-2017 Ceramic, (hand-building & Wheel Throwing), Markham Museum, Markham, Ontario, Canada

Instructing hand-building and wheel-throwing pottery to a class of 15 art students from various age, ethnic, and professional backgrounds.
Coordinating with the education department on the workshop, lesson plan, laboratory and kiln assignments.

2001-2015 History of Art-Visual Art Fundamentals-Ceramic (theory & studio art), Sepand Honar, Art & Cultural Institute, Tehran, Iran

2007-2013 History of Art-Graphic Design- Geometrical Drawing-Islamic Art and Architecture-Marketing and Advertising-Research Method (theory & studio art), University of Applied Science and Technology, Tehran, Iran

2010-2011 History of Iran and Global Art, Criticize and Analysis of Graphic (theory), Shahid Rajaee University, Tehran, Iran

2010-2011 Persian Traditional Design-Human_Nature_Drawing (studio art), University of Science and Culture, Tehran, Iran,

2002 & 2009 Islamic Art and Civilization-Geometrical Pattern (theory & studio art), Art University, Tehran, Iran

2001-2009 Introduction to Contemporary Art, Introduction to Graphic Art, Principals for Presentation of Artwork, History of Oriental Painting, Visual Art Fundamentals (theory & Studio art), Tehran Technical College of Dr. Shariati, Tehran, Iran

2002-2003 History of Art, Research Methods (theory), Shahed University, Tehran, Iran

Instructed academic courses to undergraduate and graduate students using a systematic educational plan consisted of lectures, demonstrations, discussion groups, workshops and seminars.
Conducted research and directed research programs for graduate students and provided consultations on research matters.
Developed and planned course content, prepared teaching materials and outlines for various courses.
Conducted sessions, discussion groups and laboratory assignments.

PROFESSIONAL EXPERIENCE

2011-2015 Founder & Art Director, Spide Jaam Honar, Art & Cultural Institute, Tehran, Iran

Hired, trained and supervised the staff of 8 administrators, instructors, and operations staff in an empowering manner to create a cohesive and effective team.
Provided consultations to Tehran Municipality with cultural initiatives, aesthetic aspects of urban planning, and public art campaigns.
Executed 24 urban projects, such as environmental graphic design, plinth rebuilding, square lighting, mural design, relief design, and monument design.
Increased public awareness of local artists by the implementation of urban art projects.
Managed a $200,000 USD annual budget; including maintaining books, payroll, expenses, obtaining credits, sponsorship, and donations in a fiscally responsible manner.

2007-2010 Dean of Art & Graphic Department, University of Applied Science and Technology, Elm-Gostar & Campuses Number 11, Tehran, Iran

Planned department’s curriculum for new courses in cooperation with faculty members.
Held specialized meetings with teachers of educational workshops in order to direct education in art production and entrepreneurship.

Supervision and control of educational activities and preparing the course report in order to present to the relevant organization.
Served on faculty committees to oversee budgets, curriculum revision, courses and other requirements.
Advised students on program curricula and career decisions.

2001-2010 Art Supervisor-Reviewer-Editor, Marlik Publishing Company, Tehran, Iran

Oversaw revision and compilation of more than 50 books in various fields of art and science.
Conducted market research on in-demand subject materials, such as art history, fashion design and multimedia.

1999-2007 Head of BOD & Curator of Visual Arts Department, Sepand Honar, Art & Cultural Institute, Tehran, Iran

Executed Board of Directors’ strategic initiatives; including supporting local artists with business and educational planning, and providing consultations to the government on urban art projects.
Ensured effective delivery of cultural programs through proficient coordination of staff, volunteers, instructors and students, resulting in smooth operations, and high satisfaction rates.
Supported 10-25 local artists annually with entrepreneurial support in the form of business planning and internship programs to foster successful start-ups.

1992-1993 Manager of Public Relations, Office of Cooperatives of Hormozgan province, Bandar Abbas, Iran

1990-1995 Advertising & Graphics Specialist, Institute of Art and Idea, Tehran, Iran

SELECTED SOLO EXHIBITIONS

1993 Aboriginal Pottery, Solo Pottery Exhibition, Art University Gallery, Tehran, Iran

SELECTED GROUP EXHIBITIONS

2020 Group Show, Clarington Mayer Foundation Ceremony, Courtice, Ontario

2015 Group exhibition, 4th urban sculptures, Qasr Museum, Tehran, Iran

1996 Group exhibition, 5th Iranian Pottery Artists Association, Khaneh Farhang Saba, Tehran, Iran

SELECTED CURATED EXHIBITIONS

2003 Student Group Exhibition, Visual arts & Makeup Mask, Sepend Honar, Art & Cultural Institute, Tehran, Iran

2005 Emerging Artists Group Exhibition, Calligraphy & Graphic Arts, Sepend Honar, Art & Cultural Institute, Tehran, Iran

2009 Student Group Exhibition, Islamic geometrical Pattern & Crafts, University of Applied Science and Technology, ElmGostar campus, Tehran, Iran

COMMISSIONS

2014 Municipality of Tehran, Lightening Design Project, Tehran, Iran

2013 Municipality of Tehran, Relief Project, using Kufic calligraphy, Ferro Concrete, Tehran, Iran

2013 Municipality of Tehran, Plinth Rebuilding Project (Hor Square), Ferro Concrete, Tehran, Iran

2001 T.V 1 Broadcasting, Interior Design Project, Tehran, Iran

1998 Municipality of Tehran, Mural Design Project, Tehran Iran

ACCOLADES & AWARDS

2010 Certificate of Appreciation, University of Applied Science and Technology, Tehran, Iran

2008 Certificate of Appreciation, 8th Festival of Printing Industry, Tehran, Iran

2005 Certificate of Appreciation, Sepand Honar Art & Cultural Institute, Tehran, Iran

1994 Merit Scholarship (full funded), MA, Art History (Art Research), Art University, Tehran, Iran

1988 Merit Scholarship (full funded), BA, Applied Arts, (Handicrafts), Art University, Tehran, Iran

ARTIST RESIDENCIES

2013 Sepand Honar Art & Cultural Institute, Research for compilation of a book on the modern graphic in Iran, Tehran, Iran

2005 Ministry of education, Art Director of cinematography of the best teaching and management models’ festivals, Arak, Iran

1997 Cultural Heritage, Handicraft and Tourism Organization, Traditional hand-woven in Shahrood, Semnan, Iran

SELECTED PUBLICATIONS

2014 Graphic through the ages, Marlik Publishing Company, Tehran, Iran

2013 The challenges of Iran’s contemporary graphic: an interview with Reza Hosseiny, Iran’s book news agency (IBNA)

2012 History of painting in Iran, Marlik Publishing Company, Tehran, ran

2012 The History of painting in Iran’s book, an interview with Reza Hosseiny, Iran’s book news agency (IBNA)

2009 History of art and architecture in Iran and the world, Marlik Publishing Company, Tehran, Iran

2009 Multiple choice questions of art, Marlik Publishing Company, Tehran, Iran

2009 Diagnosing the art education system, University of Applied Science and Technology, Campus number 6

2007 Introduction to graphic art, Marlik Publishing Company, Tehran, Iran

2007 General knowledge of art, Marlik Publishing Company, Tehran, Iran

2005 General knowledge of art: brief history of art and architecture in Iran and the world, learning to the traditional art (Handicrafts), Sepand Honar Art & Culture Institute, Tehran, Iran

1997 Traditional hand-woven in Shahrood, Cultural Heritage, Handicraft and Tourism Organization, Tehran, Iran

MEMBERSHIPS AND AFFILIATIONS

2018-present Oshawa Art Association, Ontario, Canada

2017-present The Ontario Clay & Glass association, Ontario, Canada

2011-present Permanent writer member, Iran Book House Organization, Tehran, Iran

2010-Present Permanent artist member, Iranian Association of Visual Arts, Tehran, Iran

2008- 2012 Test compiler, National Organization of Educational Testing (NOET), Tehran, Iran

VOLUNTEERING

2019-present Board Member & Program Director, Oshawa Art Association, Oshawa

2017 Council Member, Cultural Leadership Council, Town of Richmond Hill

2015-2016 Tour Guide and Visitor Service Assistant, Aga Khan Museum

2016 Children Pottery Instructor, Withchurch-Stouffville Museum

2016 Event Assistant, Big Brother and Big Sister Of York

2016 Info Team Member, 10th Luminato Festival, Toronto

2015 Info Team Member, Emergence Symposium, Toronto Art Council & Neighborhood Art

Network

Resume

PROFESSIONAL SUMMARY

Experienced visual arts, art history, and crafts teacher with over 15 years of international lecturing/instructing. With a master's degree in art history, possessed a holistic understanding of art, culture, and education rooted in the desire to enhance the artistic, cultural, and educational life of communities.

AREAS OF EXPERTISE AND KNOWLEDGE

Art History-Contemporary Art (with a focus on Conceptual Arts)
Art Fundamentals (elements & concepts)
Critical Theory & Research
Ceramic Art, Handicrafts & Mosaic
Islamic Art-Architecture & Handicrafts

Graphic Design Management (urban, environmental)

PROFESSIONAL HIGHLIGHTS

Instructed academic courses to undergraduate and graduate students using a systematic educational plan consisted of lectures, demonstrations, discussion groups, workshops and seminars.
Supervised and directed students' research programs and provided consultations on research matters.
Assisted students to develop a personal creative style using a variety of motivational strategies such as exceptional questionings, brainstorming, thinking-sharing-pairing, influential videos, etc.
Created comprehensive lesson plans incorporating various methods of teaching to ensure students are actively engaged and understood the materials and the outcomes.
Provided different learning strategies and techniques to identify and cover students’ needs such as democratic learning, group learning, using five senses for learning, nature observation, etc.
Developed different programs according to different students learning level/ability.
Evaluated students' performance and projects and provide professional on-time feedback.
Planned, designed, and administrated re-enforce assignments, projects, quizzes, and exams.
Developed and introduced enrichment programs for students who were not quite equipped to move on to the next level.

ACADEMIC TEACHING EXPERIENCES

Sepand Honar Art & Cultural Institute, Tehran, Iran 2001-2015
University of Applied Science & Technology, Tehran, Iran 2007-2013
Shahid Rajaee University, Tehran, Iran 2010-2011
University of Science & Culture, Tehran, Iran 2010-2011
University of Art, Tehran, Iran 2002-2003 and 2008-2009
Tehran Technical College of Dr. Shariati, Tehran, Iran 2001-2009

Shahed University, Tehran, Iran 2002-2003

RELATED WORK EXPERIENCE

Pottery Instructor 2016-Present Markham Museum, City of Oshawa, Visual Art Center of Clarington, ON. Reviewer, Editor & Art Supervisor 2001-2010

Marlik Publishing Company, Tehran, Iran

Chair of Visual Arts Education Department 2007-2010 University of Applied Science & Technology, Elm-Gostar Campus & 11th Campus, Tehran, Iran

Planned department’s curriculum for new courses in cooperation with faculty members.

Held specialized meetings with teachers of educational workshops to direct education in art production and entrepreneurship.
Supervision and control of educational activities and preparing courses report.
Served on faculty committees to oversee budgets, curriculum revision, courses and other requirements.
Advised students on program curricula and career decisions.

EDUCATION

College Teacher Training, George Brown College, Toronto, Ontario 2019-2020
Master of Art History(validated), Art Research, University of Art, Tehran, Iran 1994-1998

Bachelor of Applied Arts(validated), Handicrafts, University of Art, Tehran, Iran 1988-1993

VOLUNTEERING

Program Director, Oshawa Art Association, Oshawa 2019-present
Council Member, Cultural Leadership Council, Town of Richmond Hill 2017

Tour Guide and Visitor Service Assistant, Aga Khan Museum 2015-present

Children Pottery Instructor, With-church –Stouffville Museum 2016-2017

Event Assistant, Big Brother and Big sister Of York 2016-present
Info Team Member, 10th Luminato Festival, Toronto 2016
PUBLICATIONS
Hosseiny, S. R. “Graphic Through the Ages,” Marlik Publishing Company,2014
Hosseiny, S. R. “History of Iranian Painting,” Marlik Publishing Company, 2012
Hosseiny, S. R. “History of Iran and Global Art,” Marlik Publishing Company,2009
Hosseiny, S. R. “Multiple Choice Questions of Art,” Marlik Publishing Company,2009
Hosseiny, S. R. “Introduction to Graphic Art,” Marlik Publishing Company, 2007
Hosseiny, S. R. “General Knowledge of Art,” Marlik Publishing Company, 2007
Hosseiny, S. R. “General knowledge of Art: brief history of art and architecture in Iran and the world, learning to the traditional art (Handicrafts),” Sepand Honar Art & Culture Institute,2005
Hosseiny, S. R. “Shahrood Traditional Hand-Woven,” Cultural Heritage, Handicraft and Tourism Organization, 1997

EDUCATION

2019-2020 College Teacher Training, George Brown College, Toronto, Canada

1994-1998 Masters of Art History (Art Research), Thesis: The role of the Silk Road in the evolution of Islamic pottery and ceramics,

Art University, Tehran, Iran