Freedman states, "visual culture inherently provides context for the visual arts in its effects and points to the connections between popular and fine arts form" (p. 1). She goes on to explain that this includes all art forms not just traditional visual arts. I find it hard to incorporate such a large variety of content into my curriculum and cover it all like it deserves to be. As I teacher, I feel overwhelmed at times by the vast amount of art forms in the world. I try to use my best judgment and cover what is 'most' important. It is always a struggle for me to decide what can and cannot be left out. The section titled Interpretive Communities discusses "a classroom in which visual culture is made and discussed is part of an interpretive learning community" (p. 5). Students have the opportunity to make their own interpretations about works of art using their own knowledge and previous experiences. As I read about images being defined through related signs and previous knowledge, I thought immediately of the over used piece American Gothic, by Grant Wood. I would like to compare student reactions to the piece before the media began remixing it into all the thousands of varieties we see in the media and after. I believe the interpretations of the piece would vary greatly.
Freedman's section, Breaking Boundaries and Teaching Concepts, caught my attention as I was reading. The first paragraph on page 15 discusses "what student come to know and how they come to know breaks traditional boundaries" (p. 15). While reading this section I kept thinking back to the fall semester when I was taking Mary's VTS course. I used this strategy with a group of my students and was amazed by the information they were getting out of the images we viewed. Our "students are currently learning more from images than texts (p. 15) makes complete since to me. They are surrounded by images, art, graphs, charts, etc. in the classroom everyday. Are our students able to decipher, use, and learn the information presented in these images? VTS is on great tool for teachers to use to help our student gain these skills.
As I move on to discuss the reading from the Eisner text I will admit chapter one was hard to digest. I did grasp that schools "function as cultures in both senses of the term" culture, anthropological (shared) and biological (growing). Schools help shape our children into who they will become and it is the schools responsibility to provide experiences. The arts don't just provide pretty pictures and soothing music, they can provide a way of life, a culture (p. 3). The use of imagination is a vital part of an individuals development. It allows students to see different possibilities and have a chance to 'experiment' (p. 5). Children and Adults of all ages need to be given the opportunity to use their
imagination when performing tasks.
Eisner's chapter 2 Vision and version of Arts Education was much easier to read. Having had methods courses in undergrad made me much more familiar with the content. I loved the statement made by Eisner "In describing these various visions I do not imply that they are likely to be found in their 'pure' form (p. 25) because as a teacher I find myself using a variety of these methods and techniques in my classroom. I feel that a good curriculum combines these 'visions' as Eisner also states (25). DBAE is what my undergraduate art ed classes were based on with parts and pieces from other versions. With it alone it cover much of art education.
Integrated Arts...Integrated Arts....Really?!?!
I wasn't surprised nor did I learn anything new but it was a fabulous section to read and really shows what I work towards as an art teacher. Yes! The Arts will "help students understand a particular historical period" (39). Yes! "The arts...will help student identify similarities and differences." Yes! The arts will help students "identify a major theme or idea." Yes! "Problem solving" (pg. 40). Well I think/hope you understand my point. The arts help students develop and learn about a variety of content areas and develop needed skills as we continually fight, campaign and advocate for our subject.
And I will leave you with....
Eisner asks, "What, at this point in time, should art education try to achieve?" (p 42).
I am so glad that you are connecting these readings to your previous classes. I realize that because of the enormous content in visual arts teachers have to prioritize and make choices about what they deem important. It is important to be cognizant that decisions are being made and it is up to the teacher to insure a balance. I understand your view:" Students have the opportunity to make their own interpretations about works of art using their own knowledge and previous experiences. As I read about images being defined through related signs and previous knowledge, I thought immediately of the over used piece American Gothic, by Grant Wood. I would like to compare student reactions to the piece before the media began remixing it into all the thousands of varieties we see in the media and after. I believe the interpretations of the piece would vary greatly."
ReplyDeleteOne "eye opening" activity (excuse the pun) in my 4th grade curriculum for the last four years of teaching in Blue Springs included "VTSing" American Gothic; partly because it is so ubiquitous and frequently satired; partly to see if my students had ever really looked at it before. The constructed VTS narratives that resulted each time were amazing and students commented afterwards about how they had not noticed so many things in the painting before; beyond the homely lady and the "creepy guy with the pitchfork." I hope it motivated them to take lingering looks at other paintings that have entered their visual culture through commercialism and satire.
ReplyDeleteBecause historic and contemporary art content is so vast and the addition of visual culture to the mix makes it even more so, I think it is essential that we teach students to look, discuss, and make meaning from all visual forms through methods like VTS that they can employ without our help. In one article, Philip Yenawine explains his frustration as a museum educator that he could engage viewers with traditional lecture-format instruction about paintings but knew that, without him, his museum visitors could not do the same. I think as art educators, the best we can do is empower our students to continue significant and insightful dialogues about visual art and culture in our absence. We must toss that pebble into still water...
@Mary I think one of my hardest jobs it to teach students to have the 'significant and insightful dialogues about visual art and culture' because they are so used to a right answer. They feel uncomfortable when the teacher isn't leading the discussion in the direction it is 'supposed' to be going. I feel Yenawine's frustration...and yes, keep the pebbles going.
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