Sunday, October 21, 2007
Tuesday, October 2, 2007
Visual Arts @ StH
Artmaking at St Hilda’s encourages best practice with 21st Century approaches, techniques and technologies while valuing all forms of wisdom in the search for meaning.
The idea that Art is another way of knowing and communicating is at the heart of programmes from Years 7 – 12. With its focus on visual literacy, students are constantly challenged to find their own ‘voice’ through the artmaking process by experimenting with ideas, new and traditional media and a wide range of techniques to allow them to evolve a personal aesthetic. To this end the curriculum is constantly revised and evaluated.
Learning is a process of solving problems and making sense of the world, there isn’t one right answer that stands forever and a day – not in our own lives, not in science. Learning is a process of unfolding meaning through an ever-deepening process of understanding. On a purely physiological level, it is the creation of networks in the brain, a process made visible through new technology of brain imaging.
The art vision, like the literary one, is unique and the so called geniuses are the ones who unpack this unique vision in their own way. In this philosophy THERE ARE NO FORMULAS.
The idea that Art is another way of knowing and communicating is at the heart of programmes from Years 7 – 12. With its focus on visual literacy, students are constantly challenged to find their own ‘voice’ through the artmaking process by experimenting with ideas, new and traditional media and a wide range of techniques to allow them to evolve a personal aesthetic. To this end the curriculum is constantly revised and evaluated.
Learning is a process of solving problems and making sense of the world, there isn’t one right answer that stands forever and a day – not in our own lives, not in science. Learning is a process of unfolding meaning through an ever-deepening process of understanding. On a purely physiological level, it is the creation of networks in the brain, a process made visible through new technology of brain imaging.
The art vision, like the literary one, is unique and the so called geniuses are the ones who unpack this unique vision in their own way. In this philosophy THERE ARE NO FORMULAS.
Philosophy
Making Art is like entering a labyrinth: it is a conscious decision to begin the process of evolution in the knowledge that it is only by travelling inward that we can hope to make sense of the external. It is both a physical and a spiritual endeavour and must be engaged with as a purposeful process.
All artmaking provides an opportunity to dive deeper into life, to discover territories on and below the surface. If we see the self initially as a surface and as material to work with, it is possible to mine that surface in the same way we mine the surface of an artwork. Things can be understood on ‘other’ levels, explored and developed, delved into and synthesised.
We begin with the material of self as we do with the physical materials of armaking – the media, the equipment, the blank paper surface, the initiating idea. The tactile manipulations of raw materials (light, form, object) that engage the sensual inquiries of making, experimentation, development, resolution, are identical with the initiating processes of the labyrinth journey. It is in the making, the doing and the reflection on the conscious process that we are given entry to the deeper realms of meaning and the making of meaning.
In this light the making of art becomes the embodiment of the search for self and understanding – a process, that in the first instance engages the physical, but carries a great deal more in its potential. In the end artmaking provides access to levels of spiritual realisation if you chose to engage fully with the opportunities.
We enter on the surface, using the tools of the sensory world to negotiate the first layer. Here, we learn about the images, symbols, systems etc that equip us with the necessary schema to allow us to recognise the signs presented on other levels.
As artists, this is the level of raw materials; visual language, paint, pencils, knowledge of composition and history, etc.
Below this layer, we find things equated with the subconscious, the things that drive us, attract, fascinate and beguile. At this the level the artist is drawn by the need to express and conceptualise. This is where the things learned on the first layer are put into a purposeful form – an artwork a tangible object. Below this level are many more.
At the end of this process what we find is not a product or even a series of pieces or even a body of work but a mapping of a journey.
The initial engagement is an invitation to continue the process. Hopefully, it becomes a life long process, like life lived – the products are tangible evidence of the process only, the whole is viewable only at the end.
As an art student, having made the choice to enter the labyrinth at whatever level, for whatever reason – I hope you will take up the challenge and in so doing, find a key to a much greater understanding of yourself and of the world. You see, artmaking contains within it processes, like gateways to opportunities to seek and find both purpose and meaning.
As a teacher I see my role as a facilitator – there are things to teach, some basic learning equipment that it is easier to give you than expect you to discover for yourself though many artists have done just this. But this information/knowledge is not an end in itself – these things are merely the tools to aid you in a much greater undertaking. My purpose in this is as one side of a partnership with each individual student. If you can help me to know your interests, directions, needs, ideas, then I can join with you in the process, empathise and aid in the journey through the labyrinth. This is one part of the purpose of your Visual Diary; when I see and read, I gain insights into both your conscious and subconscious, even unconscious directing forces.
Artmaking, like the process of living, is a purposeful seeking, it makes tangible the struggle to find meaning out of what is essentially a journey full of awe-inspiring insights, unexpected detours and often horrible pitfalls. But, unless we are willing to ‘go there’, to look at what is presented, what we discover, what is offered, we can only ever expect to live a half-life, on the surface. As Einstein said
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed."
Albert Einstein
And so, art at St Hilda’s offers you a rare invitation in this life – it is offered openly, with a great deal of love and an infinitely unselfish purpose. All I ask is that you invite me to travel through the labyrinth with you and a willingness to accept my limitations and gifts as I will accept and welcome yours. This is the essence of the contract you make with yourself as much as with me – what more is there? I can honestly tell you, there will be few other invitations of this kind so openly offered.
All artmaking provides an opportunity to dive deeper into life, to discover territories on and below the surface. If we see the self initially as a surface and as material to work with, it is possible to mine that surface in the same way we mine the surface of an artwork. Things can be understood on ‘other’ levels, explored and developed, delved into and synthesised.
We begin with the material of self as we do with the physical materials of armaking – the media, the equipment, the blank paper surface, the initiating idea. The tactile manipulations of raw materials (light, form, object) that engage the sensual inquiries of making, experimentation, development, resolution, are identical with the initiating processes of the labyrinth journey. It is in the making, the doing and the reflection on the conscious process that we are given entry to the deeper realms of meaning and the making of meaning.
In this light the making of art becomes the embodiment of the search for self and understanding – a process, that in the first instance engages the physical, but carries a great deal more in its potential. In the end artmaking provides access to levels of spiritual realisation if you chose to engage fully with the opportunities.
We enter on the surface, using the tools of the sensory world to negotiate the first layer. Here, we learn about the images, symbols, systems etc that equip us with the necessary schema to allow us to recognise the signs presented on other levels.
As artists, this is the level of raw materials; visual language, paint, pencils, knowledge of composition and history, etc.
Below this layer, we find things equated with the subconscious, the things that drive us, attract, fascinate and beguile. At this the level the artist is drawn by the need to express and conceptualise. This is where the things learned on the first layer are put into a purposeful form – an artwork a tangible object. Below this level are many more.
At the end of this process what we find is not a product or even a series of pieces or even a body of work but a mapping of a journey.
The initial engagement is an invitation to continue the process. Hopefully, it becomes a life long process, like life lived – the products are tangible evidence of the process only, the whole is viewable only at the end.
As an art student, having made the choice to enter the labyrinth at whatever level, for whatever reason – I hope you will take up the challenge and in so doing, find a key to a much greater understanding of yourself and of the world. You see, artmaking contains within it processes, like gateways to opportunities to seek and find both purpose and meaning.
As a teacher I see my role as a facilitator – there are things to teach, some basic learning equipment that it is easier to give you than expect you to discover for yourself though many artists have done just this. But this information/knowledge is not an end in itself – these things are merely the tools to aid you in a much greater undertaking. My purpose in this is as one side of a partnership with each individual student. If you can help me to know your interests, directions, needs, ideas, then I can join with you in the process, empathise and aid in the journey through the labyrinth. This is one part of the purpose of your Visual Diary; when I see and read, I gain insights into both your conscious and subconscious, even unconscious directing forces.
Artmaking, like the process of living, is a purposeful seeking, it makes tangible the struggle to find meaning out of what is essentially a journey full of awe-inspiring insights, unexpected detours and often horrible pitfalls. But, unless we are willing to ‘go there’, to look at what is presented, what we discover, what is offered, we can only ever expect to live a half-life, on the surface. As Einstein said
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed."
Albert Einstein
And so, art at St Hilda’s offers you a rare invitation in this life – it is offered openly, with a great deal of love and an infinitely unselfish purpose. All I ask is that you invite me to travel through the labyrinth with you and a willingness to accept my limitations and gifts as I will accept and welcome yours. This is the essence of the contract you make with yourself as much as with me – what more is there? I can honestly tell you, there will be few other invitations of this kind so openly offered.
Resources
art elements
colour
Hue, value and intensity are the makn characteristics of colour. Colour is a visual sensation and can be represented realistically or artists can deliberately alter colour for emotional or subliminal effects. Harmonious colours are similar and are close together on the colour wheel. Complementary colour schemes, such as red-green, purple-yellow, are opposite on the colour wheel and produce vibrant, clashing effects.
form
While shape is two-dimensional, form is three-dimensional
line
A mark made by (eg) a pointed tool, brush, pencil or pen. It is often defined as a ‘moving dot’. A line has several uses and meanings in art. It may be the meeting edge between shapes or it may divide space. If repeated, it can make patterns, define a shape (outline), indicate mood or be used to created texture and tone. By varying a line’s width and direction an artist can create movement or weight and suggest emotions. A jagged, bold dark line can suggest anger; a gently curved line can suggest calm and happiness. Every line has a thickness, direction and rhythm. It is the most commonly used art element.
movement
Movement can be actual, as in video and installations, or created, as in the illusion of speed or activity created in an artwork. Diagonal direction and repetition are two easy ways to suggest movement. They can be used to direct viewers around the artwork, often to a focal point. Movement can be created with line, colour edges or shapes.
shape
An area contained within an implied line, or defined by a change in colour or tone. Shapes have two dimensions: width and breadth. They an be free-form and organic (asymmetrical) or geometric in nature (symmetrical)
sound
Can be heard as noise, words or music and is usually found in contemporary art, such as videos. It may be a component of installations or multimedia or interactive works. It is used to add meaning, mood and involve the audience on another level than just the visual.
space
In a painting, space is the illusion tat creates a sense of depth. It can be the area around or between objects or shapes. In a sculpture or designed object, it is an actual area of air (negative space) defined by its part or full enclosure (positive space).
surface
The outer face or outward appearance. A painting may have a rough surface through the use of impasto or may be created by layering of paint. Collage can also add interest to an artwork’s surface. A sculpture can have a rough textural surface of stone or a highly polished smooth surface.
texture
The surface quality, from smooth to rough, that can either be felt or observed. Texture can be simulated or actual. Application of paint with a dry brush suggests roughness while heavy application of paint mixed with impasto can create raised ridges of actual texture. A surface is said to be tactile if it makes you want to touch it.
tone
The degree of lightness or darkness. Tone can increase a sense of reality or three-dimensionality, or it can add a sense of drama if tonal contrast is used. Some words to describe tone include: harsh, subtle, gradual, dramatic, chiarocuro.
art principles
abstraction
Non-representational art, separate or apart from reality.
balance
The distribution of visual weight in a work of art.
composition
The arrangement of subject matter and the organization of art elements within an artwork.
contrast
Differences in tone, colour, texture, shapes and other ele3ments, used to draw attention or to make the work dramatic. For example, the strongest contrast is that of white with black. Colours opposite to each other on the colour wheel are also contrasting, eg red / green etc.
cropping
Cutting down or selecting a particular part of a whole image; usually in photography to focus on a particular area of an image for emphasis. Cropping can be an effective tool when making decisions about composition. eg Degas used cropping effectively to make dynamic compositions.
distortion
Put out of place, twist or change the usual perspective.
emphasis
Used to create dominance, to draw attention to or focus on something; enlarge or make more obvious.
harmony
An agreement of aspects within an artwork; a pleasing arrangement or combination; congruity, a feeling of rightness or balance in an artwork
juxtaposition
Placement of often unrelated or contrasting elements in close proximity within the same composition to create a new meaning, eg Surrealist artists such as Dali, Magritte etc often used this device.
pattern
Use of art elements in planned repetition to enhance the surface or add a decorative effect.
proportion
Comparison or relationship of parts, the connection between parts and the whole, particularly with reference to the human body; one part compared with another; the ratio or comparative sizes of objects
relationships
How one thing interacts / reacts near another
repetition
Replicate or copy an art element again and again, for example, a repetition of line can cause a pattern, or suggest movement, a time sequence, or can be used, as in Andy Warhol’s art, to suggest mass production.
rhythm
The repetition of visual elements creating a sense of movement (as in musical beats); movement in a pattern, the relationship of parts to the whole. Different types of rhythm include flowing, regular, alternating, progressive and random.
scale
Relative size of one part to another; comparison of sizes as in a ratio, often to show perspective – eg the receding scale of telegraph poles create a sense of distance.
sequence
The following of one thing after another, the order or series; can help to create a narrative or cumulative emotional effect.
symmetry / asymmetry
Symmetry is where each side is equal, or corresponding in size and shape (mirror image); assynnetry is where sides are unbalanced, not equal nor the same
tension / Release
Tensionis the feeling of excitement, pressure, or forces fulling against each other release is the feeling of going away, a relaxation of tension (can relate to emotions or art elements and is often employed in film)
unity
The oneness or cohesive quality, a feeling of completeness, often creating a sense of balance, calm or harmony in an artwork.
variation
To create slight differences or alter the rate of change, eg a drawing is more expressive if variation is used in the thickness of the lines. Variation in tones when painting an object produces a greater sense of solidity.
colour
Hue, value and intensity are the makn characteristics of colour. Colour is a visual sensation and can be represented realistically or artists can deliberately alter colour for emotional or subliminal effects. Harmonious colours are similar and are close together on the colour wheel. Complementary colour schemes, such as red-green, purple-yellow, are opposite on the colour wheel and produce vibrant, clashing effects.
form
While shape is two-dimensional, form is three-dimensional
line
A mark made by (eg) a pointed tool, brush, pencil or pen. It is often defined as a ‘moving dot’. A line has several uses and meanings in art. It may be the meeting edge between shapes or it may divide space. If repeated, it can make patterns, define a shape (outline), indicate mood or be used to created texture and tone. By varying a line’s width and direction an artist can create movement or weight and suggest emotions. A jagged, bold dark line can suggest anger; a gently curved line can suggest calm and happiness. Every line has a thickness, direction and rhythm. It is the most commonly used art element.
movement
Movement can be actual, as in video and installations, or created, as in the illusion of speed or activity created in an artwork. Diagonal direction and repetition are two easy ways to suggest movement. They can be used to direct viewers around the artwork, often to a focal point. Movement can be created with line, colour edges or shapes.
shape
An area contained within an implied line, or defined by a change in colour or tone. Shapes have two dimensions: width and breadth. They an be free-form and organic (asymmetrical) or geometric in nature (symmetrical)
sound
Can be heard as noise, words or music and is usually found in contemporary art, such as videos. It may be a component of installations or multimedia or interactive works. It is used to add meaning, mood and involve the audience on another level than just the visual.
space
In a painting, space is the illusion tat creates a sense of depth. It can be the area around or between objects or shapes. In a sculpture or designed object, it is an actual area of air (negative space) defined by its part or full enclosure (positive space).
surface
The outer face or outward appearance. A painting may have a rough surface through the use of impasto or may be created by layering of paint. Collage can also add interest to an artwork’s surface. A sculpture can have a rough textural surface of stone or a highly polished smooth surface.
texture
The surface quality, from smooth to rough, that can either be felt or observed. Texture can be simulated or actual. Application of paint with a dry brush suggests roughness while heavy application of paint mixed with impasto can create raised ridges of actual texture. A surface is said to be tactile if it makes you want to touch it.
tone
The degree of lightness or darkness. Tone can increase a sense of reality or three-dimensionality, or it can add a sense of drama if tonal contrast is used. Some words to describe tone include: harsh, subtle, gradual, dramatic, chiarocuro.
art principles
abstraction
Non-representational art, separate or apart from reality.
balance
The distribution of visual weight in a work of art.
composition
The arrangement of subject matter and the organization of art elements within an artwork.
contrast
Differences in tone, colour, texture, shapes and other ele3ments, used to draw attention or to make the work dramatic. For example, the strongest contrast is that of white with black. Colours opposite to each other on the colour wheel are also contrasting, eg red / green etc.
cropping
Cutting down or selecting a particular part of a whole image; usually in photography to focus on a particular area of an image for emphasis. Cropping can be an effective tool when making decisions about composition. eg Degas used cropping effectively to make dynamic compositions.
distortion
Put out of place, twist or change the usual perspective.
emphasis
Used to create dominance, to draw attention to or focus on something; enlarge or make more obvious.
harmony
An agreement of aspects within an artwork; a pleasing arrangement or combination; congruity, a feeling of rightness or balance in an artwork
juxtaposition
Placement of often unrelated or contrasting elements in close proximity within the same composition to create a new meaning, eg Surrealist artists such as Dali, Magritte etc often used this device.
pattern
Use of art elements in planned repetition to enhance the surface or add a decorative effect.
proportion
Comparison or relationship of parts, the connection between parts and the whole, particularly with reference to the human body; one part compared with another; the ratio or comparative sizes of objects
relationships
How one thing interacts / reacts near another
repetition
Replicate or copy an art element again and again, for example, a repetition of line can cause a pattern, or suggest movement, a time sequence, or can be used, as in Andy Warhol’s art, to suggest mass production.
rhythm
The repetition of visual elements creating a sense of movement (as in musical beats); movement in a pattern, the relationship of parts to the whole. Different types of rhythm include flowing, regular, alternating, progressive and random.
scale
Relative size of one part to another; comparison of sizes as in a ratio, often to show perspective – eg the receding scale of telegraph poles create a sense of distance.
sequence
The following of one thing after another, the order or series; can help to create a narrative or cumulative emotional effect.
symmetry / asymmetry
Symmetry is where each side is equal, or corresponding in size and shape (mirror image); assynnetry is where sides are unbalanced, not equal nor the same
tension / Release
Tensionis the feeling of excitement, pressure, or forces fulling against each other release is the feeling of going away, a relaxation of tension (can relate to emotions or art elements and is often employed in film)
unity
The oneness or cohesive quality, a feeling of completeness, often creating a sense of balance, calm or harmony in an artwork.
variation
To create slight differences or alter the rate of change, eg a drawing is more expressive if variation is used in the thickness of the lines. Variation in tones when painting an object produces a greater sense of solidity.
Visual Arts Faculty Review
Curriculum Review
VISUAL ARTS FACULTY
1. Why should Visual Arts be included in the curriculum P – 12?
It is the supreme art of the teacher to awaken joy in creative expression and knowledge.
Albert Einstein
The Visual Arts hold a unique position in the school curriculum in that the processes engaged in by the student of Art come closest to the processes they engage with in living a life.
It is a creative process, with an extensive body of knowledge associated with its learning and doing. The making, reflection on, and resolution of artworks require the student to engage in Experimentation, Development of ideas and various approaches to a range of media, Reflection, Analysis and Synthesis, in ever more complex forms. The process leads the student into richer and more personal adventures and calls upon them to engage in sensory, emotional, intellectual and spiritual investigations.
All Visual Art Programmes are designed to be sequential, are process and concept driven, they encourage a love of learning because students are asked to investigate a personal purpose and fine individual responses, they instill an awareness of the importance of individual endeavour and encourage individual responsibility for learning, as well as allowing for a range of outcomes.
Students Research, Develop, Reflect upon and Resolve images and written work, maintaining a balance between theoretical components and the seeing and doing of art making and appreciation. The learning experiences they are offered are age appropriate but allow for a range of emotional and intellectual maturity levels.
“….personal development is based on what happens to us in the two worlds in which we live. One is the external physical world of things and events; the other is the inner world of senses, feelings and meanings. Art activities are important because they form a bridge of communication and interaction between these two worlds. (Czurles 1977, p.5)
The Visual Art Curriculum
- truly embraces a Holistic approach to education
- aims to extend all students to their fullest potential
- has a significant Spiritual component; facilitating the search for Self as well as helping students to form connection with Other in ever widening circles of connection. The curriculum also assists the student in finding and appreciating their unique gifts
- gives all students opportunities for success at their own level (problem solving, applying skills, developing conceptual depth etc) while endeavouring to extend, challenge and invigorate their search for meaning
- is not just about the study of art and artists, but about being a visual artist, a person who makes meaning using visual language *
- honours Multiple Intelligences and Multi Literacies
- encourages holistic approaches to education and life long learning.
- respects other ways of knowing that extend beyond verbal/linguistic skills
- is not purely skills based but engages the creative thinking process in ever more sophisticated ways
- Provides opportunities for self reflection and communication by beginning a dialogue between Self and Other and providing opportunities for the enrichment of this dialogue over time.
- activities are sequential, not only in skills acquisition but in ‘unfolding a sense of self’
- offers rich tasks that encourage depth in individual and group learning over time
- encourages independent learning – from investigation and research, to development and resolution of ideas.
- links the ‘doing’ with meaning; meaning-making, and it contextualises these meanings across cultures and time.
- encourages respect for other cultures and ways of knowing
- The Visual Arts encourage awareness/heightened awareness of the environment
- encourage the development of a personal aesthetic
- develops critical awareness
2. What do we see as the 5 strongest areas of the Visual Arts Programme? Why are these areas of excellence and strength
All programmes in the Visual Arts are designed to encourage personal growth, develop skills with the aim of deepening the student’s engagement with the making of meaning, and to encourage commitment to a process. In this light all assessment items are layered. They aim to address the acquisition of skills in vocabulary and terminology, familiarity with techniques (often the same techniques and process are repeated and made more complex over the course of P-12)
The following 5 examples are in no particular order of merit but exemplify the depth and richness of tasks offered across the Visual Art Curriculum.
1. Compulsory Middle School Programme eg
Visual Art Programmes are designed to be sequential, process and concept based, encourage a love of learning with a personal purposeful, to instill the individual endeavour and individual responsibility for learning,
Year 7 – Musical Landscapes. This unit explores the phenomenon of Synaesthesia. Students gain an understanding of the use and application of visual language through a process of finding forms for expressing sensory information through colour, shape, line, movement etc.
2. Year 9 Elective, Semester - 1 Handbag Unit, based on the exploration of personal symbols for Self related to gut feelings, the values and ideals
Semester 2 - Out of Time and Space, based on an exploration of societal issues using collage and etching as the medium of expression
3. Year 10, Semester 2, Wearable Art Unit
4. Year 11 and 12 Semesters 1 – 4, based on the concept of the Labyrinth as a journey to the centre of self and the return. Units such as: Alchemy and Emerging from the Labyrinth with essay topics such as ‘The Spiritual in Art’, ‘Art as Process’.
5. One of the major tools in this process is the use of the Visual Diary in all year levels. The Visual Diary is far more than a ‘sketchbook’, it is a site for developing a personal philosophy. It is used to record nformation and develop ideas from all areas of the course using any form – images, writing, video tape, audio tape, found objects etc. The Visual Diary is both a resource for information and a means for recording research, accumulating developmental ideas that lead to resolved pieces of work. It is the beginning point for appraising the student’s own work and that of other artists. Students are encouraged to collect information and images about:
areas of interest that may lead to ideas for works, research concepts, reflect on song lyrics / poems or ideas from literature as stimulus, collect notes, phrases, paragraphs, ideas from art books that stimulate thought, record insights gleaned from class discussions, videos or handouts, collect examples of artworks by a range of artists across a range of media and times, experiment with exercises conducted in class, collect examples showing the development and extension of ideas, do analysis and evaluation of visual art forms, include media experiments and process information, show a progression of ideas including: influences - other artist’s work etc. "think in images", make preliminary drawings, collages etc. document alternative ideas for work in progress, evaluate your work and its progress, demonstrate the unfolding of your resolving works in: media experiments, visual design exercises to resolve compositions, photographs of works in progress, digitally manipulated 'possible alternative composition solutions'. The diary is a communication point between teacher and student and it does not require words – it communicates visually. The diary is dense and alive with ideas, thoughts, possibilities, its value comes from the depth of insights and searching engaged with by the student. IT SHOULD DEMONSTRATE THE ESSENCE OF THE STUDENTS SEARCH FOR MEANING AND THE UNFOLDING OF THEIR PHILOSOPHY
6. Introduction of Multimedia Course and facilities for use by Art Students in general will better facilitate the development of new approaches to artmaking in the school. It is our aim to make St Hilda’s the bench mark for excellence in new media in the Visual Arts on the Gold Coast if not in Queensland. The writing of a new syllabus for Visual Art will begin in a year or two and it is our aim to incorporate a ‘4D Installation’ unit into the work programme. This will involve the use of 2, 3 and 4 dimensional (time based) art work.
3. What areas do we identify for development?
- continue the process of creating a seamless curriculum in Visual Art across the 3 schools with an individual, age relevant focus in each school:
Junior School P – 4 Focus– Learning through the senses, Sensory, Perceptual development, experiential, learning by seeing and doing with the aim of raising awareness
Visual symbol: the Spiral
Middle School– Focus on emotional growth, self awareness and problem solving
Visual symbol: the Mandala
Senior School – Focus on Spiritual and Intellectual development.
Visual symbol: the Labyrinth
- continue development of a new work programme for P – 4 Art
- continue development of Multimedia course and the use of multimedia in the Middle and Senior Art programme. Adapt the Photography Darkroom to a fully working animation studio and theatrette with a lighting rig, data projector and screen – this could be used by all year levels to screen own works and those of artists, and as an installation space. We would also require the expansion of computer facilities within the new space to keep pace with industry standards.
- When the Multimedia programme is running effectively (ie after teething problems have been solved) I would like to initiate a Film Festival – perhaps a competition between schools on the coast. Ben Andrews has some ideas on this.
- Interstate Art Visit to Galleries – leave Friday evening back Tuesday evening.
- Art Students-in-residence at Shoalhaven in NSW – Arthur Boyd’s old residence an acreage now set aside for art residencies
- Development of Special Programme Days – utilise artist-in-residence possibilities, masterclasses, exhibitions etc
- Need for a gallery – for both student work and ‘borrowed’ pieces from the local gallery.
- Enhance liason with local galleries. Virginia Rigby at the GCCAG. Virginia is eager to initiate programmes with the school – P – 12. Lorraine Pilgrim, Schubert Gallery Marina Mirage is also eager to visit the school and have students visit the gallery.
- continuous evaluation, assessment and updating of present of programmes – always ongoing.
- Utilisation of Flying Arts Group to visit the school and conduct masterclasses across P – 12 groups
4. How can we undertake this development?
Streamlined Curriculum
- the implementation of this would be facilitated by common criteria across schools
- time for discussion re needs, particularly in Junior School
Multimedia
- Industry visits and excursions for students
- Work experience opportunities for students
- Inservice opportunities
- Continual upgrade of facilities to keep pace with industry standards
- Setup of Theatrette (easy installation of data projector, screen, carpet squares for seating)
- Setup of lighting rig for animation table.
Special Programme Days
- Need for blocks of time to facilitate
Need for a gallery space for student and other artists work
- find a suitable space and availability
Interstate Art Visit to Galleries/Shoalhaven
- this could be another offering as an alternative to a camp or could be run in the holidays
- it could be part of Foundational Studies for Year 10
5. What additional resources are needed to initiate this development?
TIME The majority of undertakings re curriculum development, require time. They are ongoing projects and at present, holidays are the only time I have to work on them. However, the P – 4 programme needs liaison time with Junior School Teachers and Middle and Senior School projects require more regular and formal Faculty Meeting time for discussion.
Planning time with teachers, P – 11
Specialist Art Teacher P – 4 has long been identified as a priority. This would more easily facilitate the development and implementation of curriculum by steamlining communications between myself and those teaching the programme. At present there is little understanding of content, skills, techniques, pedagogy etc in the Junior School and this impacts on the Middle and Senior School.
Multimedia
– need for continuous access to professional development opportunities, industry experience (Kim has already undertaken one session in the first week of her Dec. holidays)
- access to Ben Andrews as support person. At time of writing the new computers for the multimedia course, the imaging of the hard drives, decisions about software etc are not finalised. Kim has not had the opportunity to work with the software and hardware she will be using.
- I would like Ben Andrews to undertake a post grad course in Education to allow him to teach aspects of this course in the future.
6. To teach the ideal Visual Arts Programme we identify the following needs.
This is covered above
The major requirement is Time:
Time for development, meetings, discussions and planning.
PARTICULARLY RELEVANT TO SENIOR ART is time for excursions to galleries, attendance at Masterclasses, visiting lecturers, exhibitions etc. Class time cannot be used for such things as we are not meeting the 55 hours contact required by the QSA each semester.
7. Time allocation
- Combine Year 5 and 6 Art with Year 5 and 6 D&T to allow 2 hours / week of combined projects taught by the art teacher as successfully tried in previous years.
- Year 11 and 12 – 8 periods / cycle PLUS time for special programme days, excursions, masterclasses etc
8. Other matters for concern in the Visual Arts as part of the curriculum review.
We would like initiate an Art Fair(by another name) – whole day or whole week of activities for whole school focused around the Visual Arts or The Arts. It could be a revisiting of the format of the old Festival of Arts but with invited workshop opportunities etc. Susan Sanburg is planning one for Years 5 and 6 this year.
*Of interest:
Both art and physics are unique forms of language. Each has a specialized lexicon of symbols that is used in a distinctive syntax. Their very different and specific contexts obscure their connection to everyday language as well as to each other. Nevertheless, it is noteworthy just how often the terms of one can be applied to the concepts of the other. “Volume,” “space,” “mass,” “force,” “light,” “color,” “tension,” “relationship,” and “density” are descriptive words that are heard repeatedly if you trail along with a museum docent. They also appear on the blackboards of freshman college physics lectures. The proponents of these two diverse endeavors wax poetic about elegance, symmetry, beauty, and aesthetics. While physicists demonstrate that A equals B or that X is the same as Y, artists often choose signs, symbols, and allegories to equate a painterly image with a feature of experience. Both of these techniques reveal previously hidden relationships.
Leonard Shlain, U.S. surgeon, author. Art & Physics: Parallel Visions in Space, Time, & Light, ch. 1, Morrow (1991).
Receptors of the human senses
Type: number of receptors:
Vision . . . . . . . . . . . . 126.000.000
Smell . . . . . . . . . . . . . 10.000.000
Taste . . . . . . . . . . . . . 10.000.000
Pressure . . . . . . . . . . . 500.000
Pain . . . . . . . . . . . . . . . 300.000
Cold . . . . . . . . . . . . . . 100.000
Hearing. . . . . . . . . . . . 35.000
Warmth . . . . . . . . . . . . 10.000
VISUAL ARTS FACULTY
1. Why should Visual Arts be included in the curriculum P – 12?
It is the supreme art of the teacher to awaken joy in creative expression and knowledge.
Albert Einstein
The Visual Arts hold a unique position in the school curriculum in that the processes engaged in by the student of Art come closest to the processes they engage with in living a life.
It is a creative process, with an extensive body of knowledge associated with its learning and doing. The making, reflection on, and resolution of artworks require the student to engage in Experimentation, Development of ideas and various approaches to a range of media, Reflection, Analysis and Synthesis, in ever more complex forms. The process leads the student into richer and more personal adventures and calls upon them to engage in sensory, emotional, intellectual and spiritual investigations.
All Visual Art Programmes are designed to be sequential, are process and concept driven, they encourage a love of learning because students are asked to investigate a personal purpose and fine individual responses, they instill an awareness of the importance of individual endeavour and encourage individual responsibility for learning, as well as allowing for a range of outcomes.
Students Research, Develop, Reflect upon and Resolve images and written work, maintaining a balance between theoretical components and the seeing and doing of art making and appreciation. The learning experiences they are offered are age appropriate but allow for a range of emotional and intellectual maturity levels.
“….personal development is based on what happens to us in the two worlds in which we live. One is the external physical world of things and events; the other is the inner world of senses, feelings and meanings. Art activities are important because they form a bridge of communication and interaction between these two worlds. (Czurles 1977, p.5)
The Visual Art Curriculum
- truly embraces a Holistic approach to education
- aims to extend all students to their fullest potential
- has a significant Spiritual component; facilitating the search for Self as well as helping students to form connection with Other in ever widening circles of connection. The curriculum also assists the student in finding and appreciating their unique gifts
- gives all students opportunities for success at their own level (problem solving, applying skills, developing conceptual depth etc) while endeavouring to extend, challenge and invigorate their search for meaning
- is not just about the study of art and artists, but about being a visual artist, a person who makes meaning using visual language *
- honours Multiple Intelligences and Multi Literacies
- encourages holistic approaches to education and life long learning.
- respects other ways of knowing that extend beyond verbal/linguistic skills
- is not purely skills based but engages the creative thinking process in ever more sophisticated ways
- Provides opportunities for self reflection and communication by beginning a dialogue between Self and Other and providing opportunities for the enrichment of this dialogue over time.
- activities are sequential, not only in skills acquisition but in ‘unfolding a sense of self’
- offers rich tasks that encourage depth in individual and group learning over time
- encourages independent learning – from investigation and research, to development and resolution of ideas.
- links the ‘doing’ with meaning; meaning-making, and it contextualises these meanings across cultures and time.
- encourages respect for other cultures and ways of knowing
- The Visual Arts encourage awareness/heightened awareness of the environment
- encourage the development of a personal aesthetic
- develops critical awareness
2. What do we see as the 5 strongest areas of the Visual Arts Programme? Why are these areas of excellence and strength
All programmes in the Visual Arts are designed to encourage personal growth, develop skills with the aim of deepening the student’s engagement with the making of meaning, and to encourage commitment to a process. In this light all assessment items are layered. They aim to address the acquisition of skills in vocabulary and terminology, familiarity with techniques (often the same techniques and process are repeated and made more complex over the course of P-12)
The following 5 examples are in no particular order of merit but exemplify the depth and richness of tasks offered across the Visual Art Curriculum.
1. Compulsory Middle School Programme eg
Visual Art Programmes are designed to be sequential, process and concept based, encourage a love of learning with a personal purposeful, to instill the individual endeavour and individual responsibility for learning,
Year 7 – Musical Landscapes. This unit explores the phenomenon of Synaesthesia. Students gain an understanding of the use and application of visual language through a process of finding forms for expressing sensory information through colour, shape, line, movement etc.
2. Year 9 Elective, Semester - 1 Handbag Unit, based on the exploration of personal symbols for Self related to gut feelings, the values and ideals
Semester 2 - Out of Time and Space, based on an exploration of societal issues using collage and etching as the medium of expression
3. Year 10, Semester 2, Wearable Art Unit
4. Year 11 and 12 Semesters 1 – 4, based on the concept of the Labyrinth as a journey to the centre of self and the return. Units such as: Alchemy and Emerging from the Labyrinth with essay topics such as ‘The Spiritual in Art’, ‘Art as Process’.
5. One of the major tools in this process is the use of the Visual Diary in all year levels. The Visual Diary is far more than a ‘sketchbook’, it is a site for developing a personal philosophy. It is used to record nformation and develop ideas from all areas of the course using any form – images, writing, video tape, audio tape, found objects etc. The Visual Diary is both a resource for information and a means for recording research, accumulating developmental ideas that lead to resolved pieces of work. It is the beginning point for appraising the student’s own work and that of other artists. Students are encouraged to collect information and images about:
areas of interest that may lead to ideas for works, research concepts, reflect on song lyrics / poems or ideas from literature as stimulus, collect notes, phrases, paragraphs, ideas from art books that stimulate thought, record insights gleaned from class discussions, videos or handouts, collect examples of artworks by a range of artists across a range of media and times, experiment with exercises conducted in class, collect examples showing the development and extension of ideas, do analysis and evaluation of visual art forms, include media experiments and process information, show a progression of ideas including: influences - other artist’s work etc. "think in images", make preliminary drawings, collages etc. document alternative ideas for work in progress, evaluate your work and its progress, demonstrate the unfolding of your resolving works in: media experiments, visual design exercises to resolve compositions, photographs of works in progress, digitally manipulated 'possible alternative composition solutions'. The diary is a communication point between teacher and student and it does not require words – it communicates visually. The diary is dense and alive with ideas, thoughts, possibilities, its value comes from the depth of insights and searching engaged with by the student. IT SHOULD DEMONSTRATE THE ESSENCE OF THE STUDENTS SEARCH FOR MEANING AND THE UNFOLDING OF THEIR PHILOSOPHY
6. Introduction of Multimedia Course and facilities for use by Art Students in general will better facilitate the development of new approaches to artmaking in the school. It is our aim to make St Hilda’s the bench mark for excellence in new media in the Visual Arts on the Gold Coast if not in Queensland. The writing of a new syllabus for Visual Art will begin in a year or two and it is our aim to incorporate a ‘4D Installation’ unit into the work programme. This will involve the use of 2, 3 and 4 dimensional (time based) art work.
3. What areas do we identify for development?
- continue the process of creating a seamless curriculum in Visual Art across the 3 schools with an individual, age relevant focus in each school:
Junior School P – 4 Focus– Learning through the senses, Sensory, Perceptual development, experiential, learning by seeing and doing with the aim of raising awareness
Visual symbol: the Spiral
Middle School– Focus on emotional growth, self awareness and problem solving
Visual symbol: the Mandala
Senior School – Focus on Spiritual and Intellectual development.
Visual symbol: the Labyrinth
- continue development of a new work programme for P – 4 Art
- continue development of Multimedia course and the use of multimedia in the Middle and Senior Art programme. Adapt the Photography Darkroom to a fully working animation studio and theatrette with a lighting rig, data projector and screen – this could be used by all year levels to screen own works and those of artists, and as an installation space. We would also require the expansion of computer facilities within the new space to keep pace with industry standards.
- When the Multimedia programme is running effectively (ie after teething problems have been solved) I would like to initiate a Film Festival – perhaps a competition between schools on the coast. Ben Andrews has some ideas on this.
- Interstate Art Visit to Galleries – leave Friday evening back Tuesday evening.
- Art Students-in-residence at Shoalhaven in NSW – Arthur Boyd’s old residence an acreage now set aside for art residencies
- Development of Special Programme Days – utilise artist-in-residence possibilities, masterclasses, exhibitions etc
- Need for a gallery – for both student work and ‘borrowed’ pieces from the local gallery.
- Enhance liason with local galleries. Virginia Rigby at the GCCAG. Virginia is eager to initiate programmes with the school – P – 12. Lorraine Pilgrim, Schubert Gallery Marina Mirage is also eager to visit the school and have students visit the gallery.
- continuous evaluation, assessment and updating of present of programmes – always ongoing.
- Utilisation of Flying Arts Group to visit the school and conduct masterclasses across P – 12 groups
4. How can we undertake this development?
Streamlined Curriculum
- the implementation of this would be facilitated by common criteria across schools
- time for discussion re needs, particularly in Junior School
Multimedia
- Industry visits and excursions for students
- Work experience opportunities for students
- Inservice opportunities
- Continual upgrade of facilities to keep pace with industry standards
- Setup of Theatrette (easy installation of data projector, screen, carpet squares for seating)
- Setup of lighting rig for animation table.
Special Programme Days
- Need for blocks of time to facilitate
Need for a gallery space for student and other artists work
- find a suitable space and availability
Interstate Art Visit to Galleries/Shoalhaven
- this could be another offering as an alternative to a camp or could be run in the holidays
- it could be part of Foundational Studies for Year 10
5. What additional resources are needed to initiate this development?
TIME The majority of undertakings re curriculum development, require time. They are ongoing projects and at present, holidays are the only time I have to work on them. However, the P – 4 programme needs liaison time with Junior School Teachers and Middle and Senior School projects require more regular and formal Faculty Meeting time for discussion.
Planning time with teachers, P – 11
Specialist Art Teacher P – 4 has long been identified as a priority. This would more easily facilitate the development and implementation of curriculum by steamlining communications between myself and those teaching the programme. At present there is little understanding of content, skills, techniques, pedagogy etc in the Junior School and this impacts on the Middle and Senior School.
Multimedia
– need for continuous access to professional development opportunities, industry experience (Kim has already undertaken one session in the first week of her Dec. holidays)
- access to Ben Andrews as support person. At time of writing the new computers for the multimedia course, the imaging of the hard drives, decisions about software etc are not finalised. Kim has not had the opportunity to work with the software and hardware she will be using.
- I would like Ben Andrews to undertake a post grad course in Education to allow him to teach aspects of this course in the future.
6. To teach the ideal Visual Arts Programme we identify the following needs.
This is covered above
The major requirement is Time:
Time for development, meetings, discussions and planning.
PARTICULARLY RELEVANT TO SENIOR ART is time for excursions to galleries, attendance at Masterclasses, visiting lecturers, exhibitions etc. Class time cannot be used for such things as we are not meeting the 55 hours contact required by the QSA each semester.
7. Time allocation
- Combine Year 5 and 6 Art with Year 5 and 6 D&T to allow 2 hours / week of combined projects taught by the art teacher as successfully tried in previous years.
- Year 11 and 12 – 8 periods / cycle PLUS time for special programme days, excursions, masterclasses etc
8. Other matters for concern in the Visual Arts as part of the curriculum review.
We would like initiate an Art Fair(by another name) – whole day or whole week of activities for whole school focused around the Visual Arts or The Arts. It could be a revisiting of the format of the old Festival of Arts but with invited workshop opportunities etc. Susan Sanburg is planning one for Years 5 and 6 this year.
*Of interest:
Both art and physics are unique forms of language. Each has a specialized lexicon of symbols that is used in a distinctive syntax. Their very different and specific contexts obscure their connection to everyday language as well as to each other. Nevertheless, it is noteworthy just how often the terms of one can be applied to the concepts of the other. “Volume,” “space,” “mass,” “force,” “light,” “color,” “tension,” “relationship,” and “density” are descriptive words that are heard repeatedly if you trail along with a museum docent. They also appear on the blackboards of freshman college physics lectures. The proponents of these two diverse endeavors wax poetic about elegance, symmetry, beauty, and aesthetics. While physicists demonstrate that A equals B or that X is the same as Y, artists often choose signs, symbols, and allegories to equate a painterly image with a feature of experience. Both of these techniques reveal previously hidden relationships.
Leonard Shlain, U.S. surgeon, author. Art & Physics: Parallel Visions in Space, Time, & Light, ch. 1, Morrow (1991).
Receptors of the human senses
Type: number of receptors:
Vision . . . . . . . . . . . . 126.000.000
Smell . . . . . . . . . . . . . 10.000.000
Taste . . . . . . . . . . . . . 10.000.000
Pressure . . . . . . . . . . . 500.000
Pain . . . . . . . . . . . . . . . 300.000
Cold . . . . . . . . . . . . . . 100.000
Hearing. . . . . . . . . . . . 35.000
Warmth . . . . . . . . . . . . 10.000
YR 7 Unit 1: Micro Macro
Level statement 4 Micro Macro Semester 1 Year 7
Students purposefully apply visual art and design elements of line, shape, texture and colour through additional concepts of proportion, symbolism, composition, depth, abstraction, representation and non-representation. Students make, display and appraise images and objects. They work individually and collaboratively to deconstruct and reconstruct images and objects to manipulate meaning and communicate their experiences, feelings, ideas and observations. Students understand the role and function of audience and analyse own and others’ images and objects from a diverse range of societies across time.
Weeds are flowers too, once you get to know them
A. A. Milne Eeyore from Winnie the Pooh
Core content
Forms
• selecting from and combining: drawing, design, painting, printmaking, sculpture, ceramics, installation, performance art, fibre arts, photographic art, film and video art and electronic imaging
Materials
• various surfaces
• wet and dry media
• found and made objects
Elements
• colour
• line
• shape
• texture
Concepts
• abstraction
• composition
• depth
• non-representation
• proportion
• representation
• symbolism
Processes
• analyse
• deconstruct images and objects
• reconstruct images and objects Display and exhibition
• purpose of audience Functions
• symbolism
Micro Macro – Exploring the Natural Environment – drawing and relief printmaking
VA 4.1 Students deconstruct and reconstruct images and objects to manipulate meaning through explorations of elements and additional concepts.
Make images and objects:
Students use materials and apply processes to explore the art elements of texture, line, form, positive and negative space, and concepts of representation, composition and abstraction for purposes such as personal expression, substitution, narration, embellishment and symbolism
Students use magnifying glasses to examine the micro level of natural environment looking for patterns that are repeated in the macro world ie repetition of patterns such as the spiral.
Students make paper clay leaf/spiral forms as part of mobile/pendant/
Deconstruct and reconstruct:
• take apart by undoing, cutting, unravelling, dissecting an artwork or idea The natural environment.
• reconstruct an artwork or idea by reinventing and rearranging to make something new. Composing a black and white relief print based on a folio of drawings make from observation
• analyse artworks by describing, identifying, interpreting and comparing elements, concepts, ideas, feelings, experiences and observations.
Elements:
• line — descriptive, directional
• shape — negative and positive
• texture — actual, invented, transferred and simulated (looks exactly like).
Additional concepts:
• abstraction — moves away from objective reality, expressive, non-subjective
• composition — combining and composing elements, concepts, parts and the whole design
• depth — shading, hatching, overlapping objects, linear and aerial perspective
• proportion — size, relationships, subject to background, near or far, part to whole
• symbolism — visual metaphors, secret and hidden messages, codes and feelings
• representation — substitutes reality, realism
• form in 3 D – form in Nature Students may:
• explore the element of texture using a variety of drawing materials (wet and dry) apply simulated textures with paint, glue., gloss medium and so.
• combine and compose elements and concepts with the intention of creating balanced, harmonious compositions
• deconstruct an artwork by analysing its meaning. What is the artwork about? What would happen if you changed (the proportions)? Does it change the meaning?
• demonstrate control of applicators and skills when manipulating materials and processes with purposeful intent
• substitute images with symbols to create hidden messages
• create abstract images from their observations by dissecting and rearranging parts
• mix, blend and control the use of tone to create contrast in abstract prints
• take photographs of natural shapes in their environment that focus on negative spaces and positive shapes and show the effects of light and dark.
VA 4.2 Students make and display images and objects, considering purposes and audiences.
Make and display images and objects:
• deconstruct and reconstruct known images and objects to make new meaning for a specified context – sculpture and lino printing
• explore feelings — how the artwork makes you feel
• communicate experiences — recent or remembered
• observations of, and making images and objects for, natural and built environments.
Consider purposes and audiences:
• select own and others’ images and objects for a particular display space and audience
• formal and informal settings
• to communicate intentions through display and demonstrate understandings of constructed meaning. Students may:
• consider functions such as personal expression, substitution, narration, embellishment and symbolism when designing and making images and objects for particular display spaces or places
• identify and discuss with peers and teachers how meanings are conveyed in displays and exhibitions, considering:
− the setting (environment) — informal, formal
− audience — who is the viewer and what is the cultural context
− marketing, media text
− political climate
− the artist’s purpose or intent
• vary the visual settings in which made images and objects are placed to change the readings of the works.
VA 4.3 Students analyse elements and additional concepts evident in images and objects from a variety of cultural and historical contexts.
Analyse images and objects:
• identify, describe and compare visual art and design elements of colour, line, shape and texture
• refer to additional concepts of proportion, symbolism, composition, depth, abstraction, representation and non-representation
• analyse the forms, materials and processes used
• describe and compare ideas, feelings, experiences and observations
• identify, describe and interpret subject matter
• analyse their own and others’ images and objects.
Cultural and historical contexts:
• own and others’ images and objects from various cultural and social contexts, considering the representation of cultures within the classroom and community
• analyse images and objects from the very distant past.
Students may:
• communicate ideas about images and objects that have been created in the classroom, viewed in texts or seen in community or public gallery/museum contexts by:
− analysing visual art and design elements and concepts, where they are placed and how they have been used e.g. This shape is bigger than that one and it balances that darker shape in the lino print. This print has the same sort of shapes but they are overlapping so they look like they are behind each other.
− identifying, describing, comparing and analysing the forms, materials and processes used e.g. This painting is abstract. It doesn’t look like anything but it has lots of interesting colours and ‘unreal’ textures. This painting is more ‘real’ — you can see people but not their faces. Both of the paintings look like they have been painted with watercolours.
− interpreting ideas, feelings, experiences and observations of their own and others’ images and objects e.g. I thought the sculpture was really good because you could walk around it and see different things depending on where you were standing.
− using language appropriately to analyse made and everyday images and objects e.g. The proportions of the person in that picture are all wrong. When we drew people we looked closely at how they looked. Maybe this artist made the legs really long for a reason.
Resources
Relief Printing is the oldest form of printmaking Definition: In relief printing the image to be transferred to paper (or other surface) is raised above the surface of the printing plate. Ink is applied to the raised surface then rolled or stamped onto the substrate. The relief printing process is similiar to using an inkpad and stamp.
http://www.connectworks.co.uk/printeurope/petecrel.html
http://www.flemings.u-net.com/h_relief.htm
ARTISTS
Karl Blossfeldt http://www.masters-of-photography.com/B/blossfeldt/blossfeldt.html
Georgia O’Keefe http://www.okeeffemuseum.org/visit/current.html
Corn 2, 1924
Black Iris III, 1926, oil on canvas, The Metropolitan Museum of Art, NY
National Print Gallery NGA http://www.australianprints.gov.au/Exhibitions/PlaceMade/Default.cfm
William Robinson:
William ROBINSON Creation landscape - Man and the Spheres
http://www.australianprints.gov.au/Exhibitions/PlaceMade/Detail.cfm?IRN=125561
Deborah KLEIN Snakes and Ladders Linocut
http://www.australianprints.gov.au/Exhibitions/PlaceMade/Detail.cfm?IRN=126047&BioArtistIRN=14258&MnuID=1
Margaret Preston
http://www.nga.gov.au/preston/index.cfm
Margaret Preston born Australia 1875, died Australia 1963 West Australian banksia c.1929
woodblock print 44.2 x 38.0cm Collection of the National Gallery of Australia, Canberra
Margaret Preston Australia Waratahs (1925) woodcut, hand-coloured Margaret Preston, Australia 1875-1963
Australian rock lily c.1933 Hand-coloured woodcut on paper 46.5 x 47cm Purchased 2001. Queensland Art Gallery
Alick Tipoti Torres Strait Islander Australia b.1975 Kobupa thoerapiese 1999 Linocut on paper ed. 4/98 99 x 65.5cm
http://www.qag.qld.gov.au/collection/indigenous_australian_art/alick_tipoti
Visual Art + Multiple Intelligences
Take the test: 
Learn more about Gardner:
Visual Art & Gardner’s Theory of Multiple Intelligences
Traditionally schooling has focused on two dominant learning styles – Linguistic and Logical/Mathematical however research lead by Gardner since the early 1980’s, has exposed the limits of this old paradigm. Gardner’s theory has opened up for scrutiny the many ways people engage with and learn from the world around them that extends beyond this narrow configuration. Over the past decade the Visual Art Faculty has embraced this alternative way of viewing what is learned, how it is learned and how meaning is made with a particular emphasis on how girls can benefit from this broader approach. Visual Art programs across Middle and Senior School employ Gardner’s theories as a scaffolding device to enable both a greater awareness of how learning can be tailored to individual needs and also, to broaden the notion of ‘success’ for all students. When a student understands their particular gifts and recognises how they can be applied in the classroom environment to explore the learning experiences provided, they often enjoy a sense of success that may have eluded them previously. Naturally, the confidence gained from this experience can lead to a deeper engagement with, and responsibility for, their own learning and a greater enjoyment of the education process as a whole. Gardner begins with the premise that each of us has an array of intelligences, each of equal value but differently developed, with which we make meaning of the world. For many people, the narrow perspective of the old IQ mentality may have ‘doomed’ them to believe that their way of engaging with the learning experience is inferior because they approach things from ways other than the linguistic/logical model in the first instance. Gardner’s Theory opens the view by giving credence to, those who find other ways to communicate, eg visually or musically. This is not to say that Art at St Hilda’s focuses only on visual expression. We employ an academic approach to the subject but we take many paths to achieve this. A visit to the Art Display in Rosemary Hughes Room on Open Day should convince you of this. “MI provides not simply a justification for art in schools, but a framework for teaching art in a more comprehensive way in order to reach a greater range of students”. (Eisner, 1998, Does experience in the arts boost academic achievement? Art Education 51 (1) 7 - 15) Units of work, such as the Musical Landscapes task in Year 7 approach artmaking as a tool of exploration and meaning making. Students are invited to find visual forms through which to communicate sensory experiences. The senses of smell, touch, hearing, taste and sight are viewed through the lens of visual language to allow students the opportunity to appreciate other ways of giving form to experience. Students make visual responses to the information and then find ways to articulate and translate the visual response in writing and the spoken word, reflecting on how they understand the information provided by the senses. In this unit students listen to a variety of music and respond visually to the layers of sound, in the tradition of Kandinsky and de Maistre. They also smell and taste, touch and see various stimulus items, and discover a language of colour, line and layers of shapes through which they can give form to their particular way of understanding what is presented. In discussions about the art pieces made in this way, students have the opportunity to recognise a commonality of expression that embodies nuances of individual interpretation, leading to a deeper understanding of ‘artistic style’ and personal aesthetics. For background information on this unit and its links to the concept of synaesthesia visit this website http://home.vicnet.net.au/~colmusic/maistre.htm What is seen from this experience is that there is no ‘right way’ other than a deep endeavour to find a personal way to communicate a unique way of ‘seeing’ and a refinement of the skills and processes to better articulate the understandings reached. Engagement with the process of looking, interpreting, and developing ideas through visual means builds confidence that there are other valued ways of knowing and engaging with the world. Guided experiences, familiarity with materials and their limitations, information gained from self-directed research are all tools for understanding. Processes and techniques form the raw materials of perception to give expression to unfolding concepts about the world and the individual’s place within it. Gardner has made many things possible; his theories have opened up a new and rich way to appreciate difference. Einstein failed traditional education – by all accounts, he ‘saw’ the world differently and had the vision to say "Vision is the art of seeing what is invisible to others."
a multiple intelligences profile looks like this
Learn more about Gardner:
Visual Art & Gardner’s Theory of Multiple Intelligences
Traditionally schooling has focused on two dominant learning styles – Linguistic and Logical/Mathematical however research lead by Gardner since the early 1980’s, has exposed the limits of this old paradigm. Gardner’s theory has opened up for scrutiny the many ways people engage with and learn from the world around them that extends beyond this narrow configuration. Over the past decade the Visual Art Faculty has embraced this alternative way of viewing what is learned, how it is learned and how meaning is made with a particular emphasis on how girls can benefit from this broader approach. Visual Art programs across Middle and Senior School employ Gardner’s theories as a scaffolding device to enable both a greater awareness of how learning can be tailored to individual needs and also, to broaden the notion of ‘success’ for all students. When a student understands their particular gifts and recognises how they can be applied in the classroom environment to explore the learning experiences provided, they often enjoy a sense of success that may have eluded them previously. Naturally, the confidence gained from this experience can lead to a deeper engagement with, and responsibility for, their own learning and a greater enjoyment of the education process as a whole. Gardner begins with the premise that each of us has an array of intelligences, each of equal value but differently developed, with which we make meaning of the world. For many people, the narrow perspective of the old IQ mentality may have ‘doomed’ them to believe that their way of engaging with the learning experience is inferior because they approach things from ways other than the linguistic/logical model in the first instance. Gardner’s Theory opens the view by giving credence to, those who find other ways to communicate, eg visually or musically. This is not to say that Art at St Hilda’s focuses only on visual expression. We employ an academic approach to the subject but we take many paths to achieve this. A visit to the Art Display in Rosemary Hughes Room on Open Day should convince you of this. “MI provides not simply a justification for art in schools, but a framework for teaching art in a more comprehensive way in order to reach a greater range of students”. (Eisner, 1998, Does experience in the arts boost academic achievement? Art Education 51 (1) 7 - 15) Units of work, such as the Musical Landscapes task in Year 7 approach artmaking as a tool of exploration and meaning making. Students are invited to find visual forms through which to communicate sensory experiences. The senses of smell, touch, hearing, taste and sight are viewed through the lens of visual language to allow students the opportunity to appreciate other ways of giving form to experience. Students make visual responses to the information and then find ways to articulate and translate the visual response in writing and the spoken word, reflecting on how they understand the information provided by the senses. In this unit students listen to a variety of music and respond visually to the layers of sound, in the tradition of Kandinsky and de Maistre. They also smell and taste, touch and see various stimulus items, and discover a language of colour, line and layers of shapes through which they can give form to their particular way of understanding what is presented. In discussions about the art pieces made in this way, students have the opportunity to recognise a commonality of expression that embodies nuances of individual interpretation, leading to a deeper understanding of ‘artistic style’ and personal aesthetics. For background information on this unit and its links to the concept of synaesthesia visit this website http://home.vicnet.net.au/~colmusic/maistre.htm What is seen from this experience is that there is no ‘right way’ other than a deep endeavour to find a personal way to communicate a unique way of ‘seeing’ and a refinement of the skills and processes to better articulate the understandings reached. Engagement with the process of looking, interpreting, and developing ideas through visual means builds confidence that there are other valued ways of knowing and engaging with the world. Guided experiences, familiarity with materials and their limitations, information gained from self-directed research are all tools for understanding. Processes and techniques form the raw materials of perception to give expression to unfolding concepts about the world and the individual’s place within it. Gardner has made many things possible; his theories have opened up a new and rich way to appreciate difference. Einstein failed traditional education – by all accounts, he ‘saw’ the world differently and had the vision to say "Vision is the art of seeing what is invisible to others."
a multiple intelligences profile looks like this
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Appraising
Using the Inquiry-Based Approach
Feldman’s Formula
Appraise the work using the following framework:
• describe what you see ie the subject matter
• analyse the use of elements and principles of art and design for definitions and examples of
the elements and principles see this site: http://www.educ.kent.edu/vlo/design/index.html
• interpret the meaning of the work
• judge whether you think the artist was successful in conveying meaning
The Art Critiquing Process is a method of organizing the facts and your thoughts about a particular work of art. In some ways it is similar to the Scientific Method – ie looking to raise awareness.
The Art Critiquing Process is broken down into FOUR areas
The FOUR steps are Description, Analysis, Interpretation and Judgment.
Each area specifically looks at a particular aspect of the work. ie description = subject matter, analysis = visual language, interpretation = meaning, judge = synthesis. Each section must be covered in order, beginning with Description but do not write under headings. This order helps you to organise your thoughts and to make intelligent and educated statements about a work of art.
It is very important that you are familiar with the Elements of Art http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ElementsMain.htm and the Principles of Design http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/PrinciplesMain.htm as they will provide you with the vocabulary and knowledge necessary to critique art intelligently.
ESSENTIAL READING This information is from an outstanding site that explains the process beautifully and has interactive links: http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
Making Notes in the Research Phase - use a simple three word formula as a starting point for understanding an artwork: media, image, ideas. Begin by considering the media (or materials) used to make the work: are they traditional or innovative? what associations do they bring to mind? have they been worked with traditional techniques? why did the artist choose these media or techniques? Then consider the imagery: is it representational or non-representational? where have you seen images like this before? how have they been presented? what parts of the form (e.g. colours, lines, shapes, etc.) predominate? Why were these particular images selected? Let the answers to these questions lead you to consider the work's ideas: What associations and ideas come to mind when looking at the work? Why did the artist use these media and images? What do they mean? Why was the work created?
In your responses to each section you are required to use art-relevant terms/vocabulary etc.
The orange words are hyperlinked to examples of each part of the process.
Describe Tell what you see. Talk about the subject, the medium and any information you have gotten from reading the Credit Line, if there is one. This is NOT the place to add your opinions. You must be objective, like a detective who is surveying the scene of a crime and writing down only what she sees
Analyse Here is the section where you will express your thoughts about what the message of the artwork is. What idea does this work represent? This section relies on your knowledge of the Elements Of Art and Principles of Design to articulate in an intelligent manner the information or clues you see in the work
Interpret Here you are invited to express your opinions about what you think the artist meant. Now you have the opportunity to discuss what this work means to you based on the EVIDENCE you have gathered from the first 2 steps.
Evaluate What do you think about this piece of work? Is it successful? Do you like it? You should be able to give some reasons as to why you like or do not like a work of art. Again, you must base this on the evidence as in the interpretation, giving reasons for your judgement.
FURTHER TO FELDMAN: Perceiving/Responding/Reflecting
• identify, describe, reflect, analyse, interpret, and make judgements about how ideas, thoughts, feelings, or messages are communicated in a variety of others' art works
• examine your emotions/feelings about the work
• what atmosphere is created by the work – does the work have a ‘personality’, how has the artist created this
• look for hints or clues about the meaning of the work – sometimes this is as simple as considering the title or looking at other works by the artist.
Suggested Strategies to help you gain confidence in Appraising ANYTHING …
• observe and respond to a number of artworks by well-known artists (examples from a variety of periods and styles might be used)
• discuss the messages and context for each artwork examined
• discuss the elements and principles of the disciplines and how they are used in each artwork to support the message or content
• relate the elements and principles of each discipline to the others
• select and research the background or context of artworks relating to a topic
• choose an artwork they feel exhibits excellence and then explain or defend their choice
• discuss artworks, relating the cultural context of the artists to the points of view they express in their works
• create an original work of art to address a chosen topic
• describe the importance of the safe and proper use of the media and tools needed to create their artwork
• practise the skills needed to produce an artwork
• refer to the work of historical or contemporary artists after making their own work, and have them analyse how and why they feel the chosen style is appropriate for their topic
• relate their own works to those of historical or contemporary artists and have them analyse those relationships
• record their personal ideas and reflections on the development process, their work in progress, and any works observed
• discuss the influence of their own culture, bias, and background on their own developing work
Resources
http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
http://www.educ.kent.edu/vlo/design/index.html
http://www.sanalmuze.org/arastirarakogrenmekeng/okuma_projesi.htm
Feldman’s Formula
Appraise the work using the following framework:
• describe what you see ie the subject matter
• analyse the use of elements and principles of art and design for definitions and examples of
the elements and principles see this site: http://www.educ.kent.edu/vlo/design/index.html
• interpret the meaning of the work
• judge whether you think the artist was successful in conveying meaning
The Art Critiquing Process is a method of organizing the facts and your thoughts about a particular work of art. In some ways it is similar to the Scientific Method – ie looking to raise awareness.
The Art Critiquing Process is broken down into FOUR areas
The FOUR steps are Description, Analysis, Interpretation and Judgment.
Each area specifically looks at a particular aspect of the work. ie description = subject matter, analysis = visual language, interpretation = meaning, judge = synthesis. Each section must be covered in order, beginning with Description but do not write under headings. This order helps you to organise your thoughts and to make intelligent and educated statements about a work of art.
It is very important that you are familiar with the Elements of Art http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ElementsMain.htm and the Principles of Design http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/PrinciplesMain.htm as they will provide you with the vocabulary and knowledge necessary to critique art intelligently.
ESSENTIAL READING This information is from an outstanding site that explains the process beautifully and has interactive links: http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
Making Notes in the Research Phase - use a simple three word formula as a starting point for understanding an artwork: media, image, ideas. Begin by considering the media (or materials) used to make the work: are they traditional or innovative? what associations do they bring to mind? have they been worked with traditional techniques? why did the artist choose these media or techniques? Then consider the imagery: is it representational or non-representational? where have you seen images like this before? how have they been presented? what parts of the form (e.g. colours, lines, shapes, etc.) predominate? Why were these particular images selected? Let the answers to these questions lead you to consider the work's ideas: What associations and ideas come to mind when looking at the work? Why did the artist use these media and images? What do they mean? Why was the work created?
In your responses to each section you are required to use art-relevant terms/vocabulary etc.
The orange words are hyperlinked to examples of each part of the process.
Describe Tell what you see. Talk about the subject, the medium and any information you have gotten from reading the Credit Line, if there is one. This is NOT the place to add your opinions. You must be objective, like a detective who is surveying the scene of a crime and writing down only what she sees
Analyse Here is the section where you will express your thoughts about what the message of the artwork is. What idea does this work represent? This section relies on your knowledge of the Elements Of Art and Principles of Design to articulate in an intelligent manner the information or clues you see in the work
Interpret Here you are invited to express your opinions about what you think the artist meant. Now you have the opportunity to discuss what this work means to you based on the EVIDENCE you have gathered from the first 2 steps.
Evaluate What do you think about this piece of work? Is it successful? Do you like it? You should be able to give some reasons as to why you like or do not like a work of art. Again, you must base this on the evidence as in the interpretation, giving reasons for your judgement.
FURTHER TO FELDMAN: Perceiving/Responding/Reflecting
• identify, describe, reflect, analyse, interpret, and make judgements about how ideas, thoughts, feelings, or messages are communicated in a variety of others' art works
• examine your emotions/feelings about the work
• what atmosphere is created by the work – does the work have a ‘personality’, how has the artist created this
• look for hints or clues about the meaning of the work – sometimes this is as simple as considering the title or looking at other works by the artist.
Suggested Strategies to help you gain confidence in Appraising ANYTHING …
• observe and respond to a number of artworks by well-known artists (examples from a variety of periods and styles might be used)
• discuss the messages and context for each artwork examined
• discuss the elements and principles of the disciplines and how they are used in each artwork to support the message or content
• relate the elements and principles of each discipline to the others
• select and research the background or context of artworks relating to a topic
• choose an artwork they feel exhibits excellence and then explain or defend their choice
• discuss artworks, relating the cultural context of the artists to the points of view they express in their works
• create an original work of art to address a chosen topic
• describe the importance of the safe and proper use of the media and tools needed to create their artwork
• practise the skills needed to produce an artwork
• refer to the work of historical or contemporary artists after making their own work, and have them analyse how and why they feel the chosen style is appropriate for their topic
• relate their own works to those of historical or contemporary artists and have them analyse those relationships
• record their personal ideas and reflections on the development process, their work in progress, and any works observed
• discuss the influence of their own culture, bias, and background on their own developing work
Resources
http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
http://www.educ.kent.edu/vlo/design/index.html
http://www.sanalmuze.org/arastirarakogrenmekeng/okuma_projesi.htm
Thursday, September 6, 2007
APPRAISING ~ an approach for JS
Appraising Approach for Junior School Visual Art Classes
Visual Comprehension and Expression – can be used with all year levels
Students draw/paint/collage/ make objects/find images and objects etc to create visual responses to picture story books and their own stories.
1. Read a story to the class – students create an artwork/sketch etc of their interpretation of the story/character/event
2. Students discuss various interpretations. Uncover diversity in the responses. Each is valid – each has something to contribute to creating the big picture. None is right or wrong
3. Tell the story again – this time with pictures and compare artist’s pictures with student interpretations. Look for similarities and differences and discuss possible reasons.
Ask age-specific questions
Feldman’s Formula
Appraise the work using the following framework:
• describe what you see ie the subject matter
• analyse the use of elements and principles of art and design for definitions and examples of
the elements and principles see this site: http://www.educ.kent.edu/vlo/design/index.html
• interpret the meaning of the work
• judge whether you think the artist was successful in conveying meaning
The Art Critiquing Process is a method of organizing the facts and your thoughts about a particular work of art. In some ways it is similar to the Scientific Method used in your science classes. The Art Critiquing Process is broken down into FOUR areas. Each area specifically looks at one section. The FOUR steps are Description, Analysis, Interpretation and Judgment. Each section must be covered in order, beginning with Description. This order helps you to organize your thoughts and to make intelligent and educated statements about a work of art. It is very important that you are familiar with the Elements of Art and the Principles of Design as they will provide you with the vocabulary and knowledge necessary to critique art intelligently.
ESSENTIAL READING This information is from an outstanding site that explains the process beautifully and has interactive links: http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
Use a simple three word formula as a starting point for understanding an artwork: media, image, ideas. Begin by considering the media (or materials) used to make the work: are they traditional or innovative? what associations do they bring to mind? have they been worked with traditional techniques? why did the artist choose these media or techniques? Then consider the imagery: is it representational or non-representational? where have you seen images like this before? how have they been presented? what parts of the form (e.g. colours, lines, shapes, etc.) predominate? Why were these particular images selected? Let the answers to these questions lead you to consider the work's ideas: What associations and ideas come to mind when looking at the work? Why did the artist use these media and images? What do they mean? Why was the work created?
Use all of your senses to "read" the artwork. Your sense of touch can help to explore the tactile sensations of the work such as its texture, weight and solidity - even if you can't actually touch it. Your sense of smell can help to learn more about its technique, age, or location. Your hearing can help with a work's media, density, or context. And of course your sense of sight can tell the rest - just give it the time to really look.
Begin with an art work you are interested in. Look at it carefully and consider the associations it raises in your mind. Then compare it to another artwork close by (or if none is available, compare it to another artwork you know well.) Build a description of how the two works are similar and different; compare them in terms of media, technique, imagery, form, and style. Decide whether they are more similar or different, and consider why the artists created them in this way. What did the artists intend? What do they have in common? How do their differences affect your interpretations of the objects?
Take a playful approach to interpreting art. Create a story or a poem that relates to aspects of the work. Link the work to music, a play or a book you have experienced. Step into the artist's shoes and imagine the process he/she went through to make the work. Or imagine that the object you are viewing has been sent to earth by an alien life form and you've been asked to figure out where it came from and why it's here.
Have children choose a favourite piece to write a story about. The artwork can either depict the opening or closing scene, or act as an illustration for a part of the story. Tie to a history unit by asking students to select artworks from a specific historical period or culture being studied. Also try flipping this around - tie to a language concept by asking them find an artwork which symbolizes a story being read by the class.
Divide the class into a number of teams. Expose each team to the same artwork to look at for a limited amount of time (e.g. one minute): posters, slides or postcards of detailed artworks work well, or if available, original objects. After the time has elapsed cover the artwork and ask each team to describe the artwork in as much detail as possible, either verbally or in written form. The team with the most complete description wins the "ownership" of the work to add to their "art collection"; the team with the largest collection at the end of the game is declared the winner. This exercise helps to build visual memory and inspires students to look closely at the details of artworks.
In your responses to each section you are required to use art-relevant terms/vocabulary etc.
The orange words are hyperlinked to examples of each part of the process.
Describe Tell what you see. Talk about the subject, the medium and any information you have gotten from reading the Credit Line, if there is one. This is NOT the place to add your opinions. You must be objective, like a detective who is surveying the scene of a crime and writing down only what she sees
Analyse Here is the section where you will express your thoughts about what the message of the artwork is. What idea does this work represent? This section relies on your knowledge of the Elements Of Art and Principles of Design to articulate in an intelligent manner the information or clues you see in the work
Interpret Here you are invited to express your opinions about what you think the artist meant. Now you have the opportunity to discuss what this work means to you based on the EVIDENCE you have gathered from the first 2 steps.
Evaluate What do you think about this piece of work? Is it successful? Do you like it? You should be able to give some reasons as to why you like or do not like a work of art. Again, you must base this on the evidence as in the interpretation, giving reasons for your judgement.
Perceiving/Responding/Reflecting
• identify, describe, analyse, interpret, and make judgements about how ideas, thoughts, feelings, or messages are communicated in a variety of others' art works
• examine the tensions between public acceptance and personal expression in the art discipline being studied
Suggested Instructional Strategies
Have students:
• observe and respond to a number of artworks by well-known artists (examples from a variety of periods and styles might be used)
• discuss the messages and context for each artwork examined
• discuss the elements and principles of the disciplines and how they are used in each artwork to support the message or content
• relate the elements and principles of each discipline to the others
• select and research the background or context of artworks relating to a topic
• choose an artwork they feel exhibits excellence and then explain or defend their choice
• discuss artworks, relating the cultural context of the artists to the points of view they express in their works
• create an original work of art to address a chosen topic
• describe the importance of the safe and proper use of the media and tools needed to create their artwork
• practise the skills needed to produce an artwork
• refer to the work of historical or contemporary artists after making their own work, and have them analyse how and why they feel the chosen style is appropriate for their topic
• relate their own works to those of historical or contemporary artists and have them analyse those relationships
• record their personal ideas and reflections on the development process, their work in progress, and any works observed
• discuss the influence of their own culture, bias, and background on their own developing work
Suggested Assessment Strategies
• Have students use response sheets (Describe, Analyse, Interpret) to focus their observations of artworks by well-known artists and peers.
• Use self, peer, and teacher evaluation.
• Keep records of students' progress in a variety of ways (e.g., audio tapes, videos, anecdotal notes, portfolios).
• Assess students' contributions and commitment to individual and group experiences.
• Interview students about their arts experiences using Outcomes as guides. Assessment criteria may include whether students:
o relate class learning to their own work in progress and to completed works
o have learned about themselves, and the social or personal issues researched
o react appropriately to the work of others
o contribute to the collective effort of the group or class
o understand the connections among the arts and how they relate to social or personal issues
• Evaluate the same work at various stages of its development. Assessment criteria may include:
o a demonstration of increased technical skill
o the integration of personal expression with students' understanding of the elements and principles
o a demonstration of the development of ideas through creative problem solving
o originality
• Evaluate students' understanding of how context influences the artworks of themselves and others. Assessment criteria may include the extent to which students:
o are able to identify the points of view expressed in artworks
o make connections among knowledge of the artist, the artist's style, and the message of the work
o make reasoned guesses about an unknown artist from observation of their work
o demonstrate an awareness of personal biases and influences on their own work
• Evaluate students' documentation of their personal ideas and reflections. Assessment criteria may include the extent to which students:
o are able to recognise their own strengths and weaknesses
o reflect on the choices they made in their own works
o consider what makes a work successful or unsuccessful
Resources
http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm
http://www.educ.kent.edu/vlo/design/index.html
http://www.sanalmuze.org/arastirarakogrenmekeng/okuma_projesi.htm
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