EDAR516 Assignment 3: Reading Summary

ARTISTS WHO TEACH- JUDITH CARROLL

  • This paper explores what it means to teach art for both the student and educator, whether there should be strict guidelines while teaching students how to create artworks, whether art is something that can be taught in a classroom or only technique can be taught and also what defines a true artist.
  • Carroll has conducted studies to explore the teaching practices within an art classroom. Carroll begins by stating Walter Gropius’ opinion that “art cannot be taught” and that only technique can be taught. Carroll then goes on to state that from research she has conducted, it is apparent that people still feel the same way about teaching art as they did in the mid 20th century.
  • It was a prevalent belief between Australian and American academics that someone can’t learn to be an artist and that it must come naturally. In saying that, many people believed that although art is something that can apparently not be taught, teaching theory and technique can aid teachers in inspiring students to refine and push their artistic practice further.
  • Carroll’s research discovered that many teachers in tertiary institutions believe that art theory is not necessary but an advantage. Another belief is that for students to truly understand art, they must be educated so that they can understand the fundamental principles of art and not just the technical side of it.
  • Another question asked of those that Carroll studied related back to their own teaching practice aside their personal artistic practice and how they insert their own beliefs into the way they teach students to create art. One respondent claimed that although she allowed her beliefs to shape her motives, she veiled them.
  • Many still believe that “art teaching is an acceptable/justifiable occupation for an artist and it is important that art be passed onto the next generation of students. Others use art teaching as a way of personal development and reinforce their ideas about art. Art teaching can also be seen as a way of developing friendships and a way of developing a stronger identity in the art world.
  • The next point in Carroll’s article relates back to how it should be taught and how work should be assessed. It seems that many artists stick to the belief that an artist’s artwork and intentions need to be justified and related in order to make the artwork relevant and true. All students should have different goals in order to make the work personal.
  • Carroll goes on to briefly discuss outcome based assessments and whether a criteria should be used to teach students the fundamentals of art. It is essential to discuss the ways in which artists/teachers teach curriculum, and how they assess student achievement to ensure that art is being taught correctly and fairly in schools throughout not just Australia and America, but worldwide. 

DISCUSSION SUMMARY

Who agrees with Gropius and why?

  • “If you have the ability to be an artist, you will be able to learn art.”
  • “You can create art from nothing, so who says you can’t teach kids to at least refine and ‘look’.”
  • “Art is essential to life”

 

Can someone be a practicing artist and a teacher at the same time?

  • “Yes. It is a way of life so therefore you can definitely be an artist and teacher at the same time.”
  • “One is not mutually exclusive. Who says you have to be one thing and not another.”
  • “Someone can’t say that you can’t be a teacher if you’re an artist or cant be an artist if you’re a teacher.”

 

What makes someone an artist, and who should decide if someone is an artist or not?

  • “This woman is just trying to validate herself and put a label on people”
  • “Anyone can be an artist, as long as they are able to justify why they have created it”
  • “Art doesn’t always need justification”
  • “If the students have an intention, they need to justify it”
  • “Art is expression and doesn’t need justification. Even if you don’t know the purpose, its still an expression”

 

Can anyone think of ways that we could, as art teachers, teach art rather than just technique?

  • “Art should be taught from an initial idea”
  • “As long as they are learning to express something, they are learning more than technique”

 

 

Overall, the class discussion was fantastic. Nearly the entire class was involved and had an opinion regarding the questions that the article raised. As we’re all training to be art teachers, no one agreed with Judith’s comments and it raised a lot of arguments as to what art is, what it means to be an artist teaching art and how to teach art and not just technique.

EDAR518 lecture replacement task

LESSON 1: Perspective names (Making)

The ‘big question’: In this lesson, students will develop the skills needed to create a one point perspective drawing and will understand the theory behind it. Students will develop an understanding of positive and negative space, and how colour can be used to show perspective.

Overview and values: In this lesson, students would create a drawing of their names in one and two point perspective. They begin by drawing their name in blocked letters, and from there, adding in the perspective aspect of it. This assignment teaches students to think artistically as well as numerically, as it involves scales, proportion and with the two-point perspective, balance.

Australian Curriculum links:

  • “Develop and refine techniques and processes to represent ideas and subject matter”
  • “Manipulate materials, techniques, technologies and processes to develop and represent their own artistic intentions”
  • “being imaginative when applying a personal aesthetic, for example, when planning to manipulate and/or appropriate images, objects and spaces into new contexts and meanings”

upperel_perspective_name2 

LESSON 2: Weave Drawing (Making and Exploring)

The ‘big question’: The point of this assignment is to get students to improve their drawing skills as well as employing a range of elements and principles within their artworks.

Overview and values: Students will choose a specific theme that is relevant to their interests and develop a drawing by weaving images into one another on the page in a grid format. They will then replicate that image by sketching the individual squares and combing it into a single composition. The students will learn to apply elements and principles and also learn to draw from looking at an image and attempting to replicate it using greylead pencils. This lesson is more technical, as the success of the final product depends on their accuracy and attention to detail. 

Australian Curriculum links:

  • “Develop and refine techniques and processes to represent ideas and subject matter”
  • “developing representations by combining and adapting materials, techniques, technologies and art making processes”
  • “using selected techniques, technologies and processes to explore personal representation of a theme, concept or subject matter”
  • “deconstructing and reconstructing a range of images, objects and/or spaces to synthesise viewpoints, concepts, purposes and/or meanings”
  • “developing technical proficiency in the resolution of designed, fabricated and constructed artworks, using safe and sustainable practices
  • “developing an individual focus for a series of artworks based on a given theme, concept or subject matter”

  kenweave11

LESSON 3: Typographic Illustrations (Making and Exploring)

The ‘big question’: The big idea of this lesson is that students will have to explore varying elements and principles in order to make this image visually pleasing. It requires a lot of analysis of type so therefore students will develop skills in many areas such as numeracy and literacy, as well as aesthetics. 

Overview and values: Students will use Photoshop to recreate an image using a typographic composition. Throughout this lesson, students will not only develop ICT skill and research skills, they will have to think mathematically and really consider what type to use in each area to make the image look proportionate and harmonious.

Australian Curriculum links:

  • “developing representations by combining and adapting materials, techniques, technologies and art making processes”
  • “exploring and applying ideas inspired by the style of other artists in their own artworks
  • experimenting with digital and virtual technologies in their artworks to enhance intended meaning”
  • “using selected techniques, technologies and processes to explore personal representation of a theme, concept or subject matter”
  • “using innovative thinking as they explore the capabilities of digital and virtual technologies to resolve design and planning problems”

 Audrey_Hepburn

LESSON 4: Islam and Religious Art (Exploring)

The ‘big question’: This assignment was created to introduce students to alternative art forms that aren’t explored very often in Australian schools. The lesson looks to inspire students and make them look at deeper aesthetical details rather than just the picture as a whole. They will analyse the works according to the religious aspects, rather than just the cultural or technical.

Overview and values: During this lesson, the students will look at and explore artworks that the teacher has chosen and discuss as a group, the religious meanings behind the artworks as well as the aesthetical. They will give their own opinions and try and decipher what the artist’s intentions were when creating the artwork, and how their time or culture could have effected that. This task will allow students to look further into the works, and more into the meaning behind it, rather than just what they see on the page. It will assist them in exploring both their own faith and contrast it with the Islamic, Christian and Muslim faith.

Australian Curriculum links:

  • “Considering viewpoints – meanings and interpretations: For example – Has the artist used visual metaphors to express meaning and persuasion? What metaphor/s could you use to express your ideas about persuasion?”
  • “investigating the practices, techniques and viewpoints of artists from different cultural groups and their use of persuasive, communicative or expressive representation
  • “analysing the role of visual arts as a means of challenging prevailing issues of traditional and contemporary relevance, for example, the availability of resources for future generations”
  • “identifying how visual arts professionals embed their values and beliefs, and how audiences react and interpret the meaning and intent of their artworks differently”

 

LESSON 5: Art History Timeline (Exploring)

The ‘big question’: The major learning that will come from this lesson will be to understand art history and the sequence in which art has developed over time.

Overview and values: Students partner up with a fellow classmate, research facts for three art movements and develop three slides from the research. Students will learn to work together and will use effective research techniques to produce the slides. They must develop ICT skills as well as analyzing the aesthetical values of artworks from different eras.

Australian Curriculum links:

  • “reflecting, adjusting, modifying and evaluating their own artwork through consistent critical assessment, and refining intentions and viewpoints when making, responding to and displaying artworks”
  • “Considering viewpoints – histories: For example – How did one artist influence the work of another? What is your favourite art style? When and where did it originate?”
  • “comparing and contrasting different representations and interpretations of Country/Place from a range of viewpoints and contexts, for example, researching and comparing the representation of Aboriginal and Torres Strait Islander Peoples and colonists in artworks from and about 1788
  • “researching widely to find the most appropriate sources of information about visual arts skills, use of materials, traditional and contemporary styles, display options, and sources for ideas when developing their own artwork

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LESSON 6: International Cover Art for Harry Potter Lesson (Exploring)

The ‘big question’: This lesson is based purely on the analysis of other peoples work. Students will explore a range of artworks from a range of different times and countries, and try and decide why that artwork was chosen specifically for that country.

Overview and values: Students will be split into groups and then required to research a variety of international covers from the Harry Potter Series (of just one book per group and one country per students) and then compare and contrast the cover art of the international versions of the story. The students will also discuss how the covers relate to the time they were created in and how it relate the story within that particular novel. They will then discuss their discoveries to the class and create their own cover for a Harry Potter book of their choice in the next lesson, using the research from this lesson. Students will have to work as teams to collate their discoveries and also have to discuss what they know about the content of each novel. They will also have to share their understanding of each country they are assigned so that they can make accurate assumptions while using appropriate artistic language relating back to the elements and principles.

Australian Curriculum links:

  • “critically analysing an artist’s intention for an artwork and their use of visual conventions
  • “Considering viewpoints – cultures: For example – How do artists from different cultures represent the concepts of Place/Country? Compare examples of street art found in Australia to street art from another country.”
  • “visiting and critiquing a physical or virtual exhibition of art, craft or design, and reviewing how artists have used visual conventions in their artworks”
  • “comparing and contrasting different representations and interpretations of Country/Place from a range of viewpoints and contexts, for example, researching and comparing the representation of Aboriginal and Torres Strait Islander Peoples and colonists in artworks from and about 1788”
  • “respecting cultural practices and sensitivities as they research, analyse and examine the way an artist’s cultural experiences have influenced the representation of their artworks”
  • “recognising how different factors contribute to the ways in which visual artworks are judged to be meaningful by an audience
  • “analysing how visual arts practices and processes and use of available technologies shape the practices of art, craft and design”

 

REFERENCES

Lesson sequence proposal

EXCURSION RATIONALE

Gallery: Sophie Gannon Gallery

Exhibition: Michael Muir- Corner Shops

Class: Year 9/10 in Visual Arts

 

From this exhibition, I want my students to gain an understanding of colour, space, balance and the ways in which artists can create a composition without having to use literal imagery. I want the students to be able to draw links between what they are seeing and why the brain is able to comprehend the composition, when there is very little formal structure to any of his works.

 

While consulting with the museum educator, I will explain to him/her that I would love if they could talk about Muir’s intentions behind creating the artworks and explain why it is important to recognize that he has used no lines, just colour. The gallery educator should give the students some background on Muir and explain where he sources his inspiration. I will also expect the elements and principles to be discussed, as well as some of the aesthetical qualities of the artworks.

 

OBJECTIVES FOR LESSON SEQUENCE

Excursion extension activities: Go home and write a brief profile on Muir and reflection on exhibition.

 

Lesson 1: Discussion on artwork elements and principles from exhibition make sure students understand the style. Compare and contrast with other artists of similar style such as Howard Arkley. Basic experimentation with colour mixing, blending eitc. Give students half an image, get them to complete other half of it in style of Muir and Arkley.

Extension activities: Take photos of exterior of your house/ Print at A4.

 

Lesson 2: Trace over images lightly into folios. Start experimentation with colour’s using drawings/ explore shapes and space and to find out which methods work best to create interesting and realistic artworks.

Extension activities: Further experimentation with paint.

 

Lesson 3: Introduce facial exploration task. Class discussion and question time. Continue with last weeks task, more detail and refinement/ explore shading and tone using darker shades of paints (rather than blacks or greys.)

Extension activities: Take photo of themselves or important family member- experiment with light on face to change look of image. Print photo.

 

Lesson 4: Trace image into book/ split face into sections using different light areas. Start working towards creating a final composition.

Extension activities: Work more on facial artwork; start to choose what the final outcome will look like.

 

Lesson 5: Get students to do a 2-3 minute presentation to each other in small groups to gather feedback and advice on artworks. Get students to justify why they have made the artworks the way they have/ why colours are placed in certain spots etc. Refinement of artworks and time for questions with teacher. Choose one artwork to do as final.

Extension activities: Finalise choice of artwork, write annotations as to why it was chosen (colour choice and use of tone within artwork). Start working on final by drawing onto separate A3 page.

 

Lesson 6: Finish painting artwork. Write 100 word summary as to why it was painted the way it was using artistic language, including elements and principles.

Extension activities: Finalise folio for submission.

 

LINKS TO CURRICULUM

AUSVELS- The Arts- Level 9/ 10- Learning focus

muir-head_up-xlg muir-keep_on_chasing-xlg

Image resource

Gannon, S. (2014). 2014 mar – michael muir: corner shops – current exhibitions. [online] Retrieved from: http://www.sophiegannongallery.com.au/exhibitions/view/1601/2014-mar-michael-muir-corner-shops [Accessed: 10 Mar 2014].

 

Proposal

NGV assignment

Here is my contemporary art assignment from our visit to the NGV Australia.

EVALUATING CONTEMPORARY ART

 Gallery: The Ian Potter Centre: NGV Australia

 Curator: Tony Ellwood

 Type of gallery: Public art museum

 Exhibition: Melbourne Now

 Artist: Polixeni Papapetrou

 Title: Magma Man

 Year: 2013

 Format: Photograph

Asking the students to gather the basic information behind the artworks allows them to interpret it according to its correct format, time and cultural background.

Size

This print is 120 x 120 cm. It was very large while up on the wall and was positioned so that someone who is short like me can view it at eye level. This print was positioned between two other artworks and on its own wall. The print could be easily viewed from front on and it made no difference whether you changed positions as it is well light and was sitting on a neutral coloured wall.

An artworks size alters how the viewer interprets it; therefore it is important for the students to understand the size, as a large artwork can seem intimidating, while a small artwork can seem insignificant when placed next to other artworks in a gallery.

Format

This photograph is printed with pigment ink and placed within a white frame. It was printed on a matte surface and the image has been taken with a digital slr camera.

Having this information allows the students to compare the production method to those of other artists and also make a decision as to what method they themselves may prefer to use and explore.

What can be seen?

This image has been taken at a beach, within a set of algae covered, wind worn rocks. The figure in the middle seems to be covered in seaweed and at first glance, the viewer may not even notice it within the composition. The grey and green on the camouflage suit matches that of the rocks behind and stands so solitary that it looks as though it moulded onto the rock beneath it.

Getting the students to describe the composition allows them to explore the artwork and focus on the individual aspects within it. Each student will notice something different, so it is important to ask this question so that they can describe what they see and feel more familiar with it. It also allows the students to thoroughly interpret what the story behind the image may be.

Elements & principles

Texture and tone are two elements that are highly prevalent within this image. The texture of the rocks contrasts with the smooth ground stones and the softness of the sky. The natural grey and green of the rocks, allows the sky to be a focal point within the image as it so bright over the darkness of the stones. Emphasis has been placed on the blue of the sky to create a hard line for the eye to follow over the shape of the rocks.

The elements and principles are important for students to understand as they make up the entire image. Without elements and principles, the image would have no substance and no particular part of the artwork would have any significance. It is essential for students to understand this; otherwise they will never be able to use ‘art language’ in a sophisticated and comprehensive way.

Mood

This image has a very unusual, sombre mood. It’s hard to interpret exactly what Papapetrou wanted to achieve by taking this image. The solitary figure makes me feel as though they are watching me and it makes the entire image feel uncomfortable.

Each student will get a different feeling from an artwork, therefore it essential for this question to be explored as it will broaden the students mind and also when the answers are shared, will allow the students to realise that no two people or images are the same, and that is the greatest thing about exploring art.

Artwork references & inspirations

When I first saw this image, I thought of Sigmund and the Sea Monsters. It seems as though it would be very much based on fantasy, as the camouflaged figure looks like a sea monster. Papapetrou has a unique style that is unlike any other artist that I have seen recently. It appears that much of Papapetrou other works have been inspired by artists such as Bill Henson and a lot of fiction novels also, so maybe that is where she drew the inspiration from for this collection of images. Majority of Papapetrou’s images feature human figures, making this a different style to what she has been using for the past 20 years.

Understanding the artist is the first step to understanding the artwork, so every student that is doing an assignment like this and is being asked similar questions should research why an artist has created the work and what inspiration/ references they used.

Issues within artwork

This image is quite tame compared to some of Papapetrou’s other work. I think with this collection, she may be trying to present a more mature and content aspect of herself and in her work. By placing the roughly textured figure within the smooth landscape, Papapetrou may have been trying to draw links between what is seen as beautiful within society and how that can be altered by the use of art and photography.

Asking this question such as this, allows students to explore what is seen and what can be assumed. They will think outside the box and look for meanings that cannot be physically seen. It is important for students to have an open mind while viewing art, and asking them to explore the issues, themes and ideas within an artwork can help them to achieve this.

Bibliography

– Papapetrou, P. (2014). Polixeni papapetrou // works // the ghillies 2013. [online] Retrieved from: http://www.polixenipapapetrou.net/work.php?cat=The_Ghillies_2013&img=3 [Accessed: 11 Mar 2014].

– Papapetrou, P. (2014). Polixeni papapetrou. [online] Retrieved from: http://www.polixenipapapetrou.net/index.php %5BAccessed: 13 Mar 2014].

– Papapetrou, P. (2014). Magma man. Pigment Ink Print. Melbourne: NGV Australia.

Magma_Man_2013 photo

Image source

Papapetrou, P. (2014). Polixeni papapetrou // works // the ghillies 2013. [online] Retrieved from: http://www.polixenipapapetrou.net/work.php?cat=The_Ghillies_2013&img=3 [Accessed: 11 Mar 2014].

CariWarn ECAA

MY ARTISTIC PRACTICE

In order to inspire my students, I won’t just be showing them work by accomplished artists, but also my own personal work. This will give them an understanding of what is expected at university level. I will show them evidence of the creative process and I feel like it will also be a good way of introducing myself to my students in a professional format. Below are some examples of my work from my undergraduate Communication Design degree.

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