I am specifically discussing two of the sections from Freedman's text that I found intriguing the relevent to my current classroom situation. There are many points from the reading that I could relate to my current reality but not enough room in this post to discuss it all.
Time/Space
Using a timeline to teach art history is a common tool teachers use in the classroom. I emphasize to the student in my classroom that realism did not end in 1880 and Impressionism did not begin in 1881. I want them to realize, as Freedman discusses, that these two styles 'coexisted' in the art world with each other through a transition period. They acted and reacted to one another as artists created art. Fro some students is difficult to understand because they are used to WWII began in 1939 and ended in 1945. This concept of the "unknown" is different than they are used to.
Contexts and Quality
This is an interesting topic to discuss in the classroom. I really enjoy the discussion of Warhol and African Masks when we discuss production contexts and quality of artwork. Discussions about tribal masks lead to conversations about where the masks were created and when the creator was intending. The group I was a part of during our last class discussed artist intention when deciding if the objects were art or not art. I find myself pondering this concept because some do not intend for their creations to be art and would prefer them to not be taken from their original context.
I agree that artist intention became an almost universal criteria for the art/non art discussion last week and I am happy that you are connecting that concept to the discussion about cultural objects such as african masks. Please bring this up tonight as we deconstruct last week's activity again in light of this weeks readings about story and context in the Freedman text.
ReplyDeleteWhen I taught middle school I approached the teaching of Impressionism from the perspective of revolution and rebellion. I contrasted the Impressionists to the most avant garde contemporary artists and tried to demonstrate that the Impressionists were rebels and their work was a revolt against the status quo. They were stunned with this idea as you indicated that your students are too. They saw the Impressionists as painters of pretty scenes and not as risk takers who put their careers on the line for their beliefs about their artwork.