Working Papers in Art and Design

Whilst reviewing some of the Working Papers in Art and Design (accessed online http://sitem.herts.ac.uk/artdes_research/papers/wpades/index.html) I found a number of very interesting, relevant articles. There were a wide range of issues, concepts and viewpoints discussed and I shall briefly comment on some of these below.

Biggs (2002) discusses the concept of knowledge in art and design, contrasting the more traditional knowing - how with the knowing - that knowledge which comes through, and is evidenced in, arts practice. After outlining the validity and importance of ‘knowing - that’, he goes on to query “what is it that is discovered and advanced through practice that is of benefit to those who experience the outcomes?” and “what aspect of practice enhances knowing-that and how is that communicated through the artefact? (Biggs, 2002, n.p.). As an advocate of the art process and product as legitimate forms of research, I found this an interesting debate - how is this knowledge communicated to the benefit of others? Indeed, does it have to be in order to be valid?

Smith (2004) outlines the key difficulty in the artefact as being the product of research: “The problematic of the visual image is often placed in the possibility of multiple interpretations, the polysemic nature of the image. Indeed the informational matrix that is a "work" could be interpreted in many differing ways.” (n.p.). Biggs (2008) goes on to further illustrate the difficulties when he states that “The creative and performing arts produce "outcomes" that are consumed within a cultural context that changes their value.” (n.p.).

However, is this possibility for multiple interpretations one of the actual benefits to those who experience it? Perhaps knowledge is not so much communicated as constructed through interactive debate around individual interpretations. And perhaps one of the key benefits is not the actual knowledge within the artefact but the social and relational understanding developed though interactions around the artefact. I would like to consider these issues further before coming to a conclusion.

REFERENCES:

Biggs, M.A.R. (2002) Editorial: The Concept of Knowledge in Art and Design. Working Papers in Art and Design 2. [online] Available at: < http://sitem.herts.ac.uk/artdes_research/ > [Accessed 30/4/12].

Biggs, M.A.R. (2008) Editorial: The Problem of Interpretation in Research in the Visual and Performing Arts. Working Papers in Art and Design 5. [online] Available at: <http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol5/mbintro.html> [Accessed 30/4/12].

Smith, C. (2004) Critical objects :the practice of research through making. Working Papers in Art and Design 3. [online] Available at: < http://sitem.herts.ac.uk/artdes_research/ >[Accessed 30/4/12].

"Transformations" Pupil work

I was exploring the theme of transformation with my P7 - S2 class today (ages 10 - 13). I used a range of stimulus images as initial discussion material, a way to inspire pupils and to open up new possibilities. We focused on everyday, common materials and how these could be used in different ways and be transformed into artworks. We discussed what makes something art as apposed to it's component materials - it was an interesting discussion. In particular we focused on the contemporary artwork from the voice thread,  "Dusasa" and "I still use Brushes" from my earlier posts and the work of Numen / For Use. Numen / For Use is a very interesting artist / designer who often uses sellotape to create giant cocoon like sculptures that are big enough and strong enough to support people crawling through them.

I also used a range of other artworks / images that use everyday materials such as paper, card and fabric. I have gathered these images over a number of years so I do not have specific references for each. I have photographed a few so you can get an idea of the other stimulus images used in the lesson:

After discussion of the task, we decided that artworks should use materials transformationally by using them in an imaginative way to create something entirely new but that they could be 2D or 3D, abstract or representational and could use a range of found materials from inside the classroom or from the playground outside.

Pupils were highly motivated and there were some very original ideas. Many pupils were led and inspired by the materials that they found and these directed their work in an exploratory, playful way.

Here are some of the finished artworks / works in progress:

This is created from coloured pencils and portions of old footballs that were found in the playground:

This was created by folding common sugar paper into beautiful origami shapes. The pupil has also added leaves from the playground:

An interesting work created from art straws and leaves:

This was made by covering the protective card corners that come on IKEA picture frames with coloured matchsticks. When it is dry the pupil intends to thread the sections together and hang it vertically on the wall:

This is entirely made from cut / torn paper and art straws:

Wooden lollipop sticks, art straws, leaves and tree bark make up this grid construction:

This vase is made of smashed wall tiles, tree bark, flowers and paper:

REFERENCES:

1. Dorotic, I., 2010. Cocooned Structures. [online] Available at: <http://comeandcheck.it/design/cocooned-structures/> [Accessed April 2012].

2. Numen / For use, 2012. Numen. [online] Available at: <http://www.numen.eu/home/news/> [Accessed April 2012].

3. Sutton Lane, 2012. Camilla Low. [online] Available at: <http://www.suttonlane.com/artist.php?a=cl&p=home> [Accessed April 2012].

4. Modern Art, 2012. Karla Black. [online] Available at: <http://www.modernart.net/view.html?id=1,3,508> [Accessed April 2012].

5. Hamilton, A., 2012. Anthea Hamilton. [online] Available at: <http://antheahamilton.com/> [Accessed April 2012].

I took photogaphs of 'Dusasa' and 'I still use Brushes' while in the MOMA in NYC and the basic information noted above was copied whilst there. It can also be accessed online at http://www.moma.org/m#art_main  by searching the collection with the painting title.


You can also access my blog posts  about these works here:

http://jenga135.blogspot.co.uk/2012/04/i-still-use-brushes.html
http://jenga135.blogspot.co.uk/2012/04/dusasa.html

Phillips Exeter Academy

I recently travelled to Phillips Exeter Academy in New Hampshire, USA to give a presentation about using the iPad in my own art practice and as a teacher. You can read the school report here and some additional information from the Bates Russell professor who invited me over here.

Phillips Exeter is an interesting school and I very much enjoyed my visit. Some of their practice fits in well with the artist teacher philosophy - for example, all the art teachers are also working artists from a range of different art forms. This gives a really fresh, contemporary feel to the programmes of study and the work produced. Also, the work is very student directed rather than assessment led which lends itself to a much more experimental, playful and discovery based methodology. Lessons take place around what is called a 'harkness' table - this is an oval table which seats approx 12. Teaching takes the form of discussion round the table rather than direct teaching.

More information can be gained from the school website:

http://www.exeter.edu/

I still use brushes

I came across this artwork by Arman called 'I still use Brushes' (1969) when visiting the MOMA in NYC. It consists of many red paintbrushes embedded in plastic in an acrylic box and is 80" square in size. I was immediately struck by the colour, pattern and line as well as the interesting and striking use of everyday objects to create a very eye catching image. I think this would be a great starting point for collage or sculpture work using found objects and for opening up students' eyes as to what is encompassed by art.












I took photogaphs of the artwork while in the museum and the basic information noted above was copied whilst there. It can also be accessed online at http://www.moma.org/m#art_main by searching the collection with the painting title.

Mountains

I worked with the lines, colours and textures in this image to transform it.



I primarily used the digital palette knife to create the suggestion of mountains:

Blue reflections

I exeperimented with different colour washes and really liked the blue monochrome colours in this image:




It seemed very transitory and ephermeral to me and I felt it suggested an ethereal nature. It reminded me of a reflection in water that is so delicate and easily disturbed yet beautiful. I wanted to try to create this so I experimented it with some different effects. This was my favourite effect:

Outburst

I also really liked this painting called 'Outburst' at the Met museum of Art in NYC:




It is by Judit Reigl (French (born Hungary) 1923) and was painted in 1956. It is oil on canvas. I love the power and energy contained within and transmitted through the brushstrokes. It strikes me as a form of action painting but perhaps a much more deliberate choice of actions (in terms of desired emotional result) than Pollock. It would be interesting to explore the motivation for this with pupils.

I took photogaphs of the artwork while in the museum and the basic information noted above was copied whilst there. It can also be accessed online at http://www.moma.org/m#art_main by searching the collection with the painting title.

Dusasa

I came across this in the metropolitan museum of art in NYC and it really appealed to me. I liked the idea of a 'communal patchwork' and thought it would be interesting to use this idea in the classroom. Pupils could each bring / make something of personal significance and these could be incorporated into one giant communal piece.

El Anatsul, Ghanian, (b. 1944)

'Dusasa II’, 2007

Found aluminium, copper wire, and plastic disks.

El Anatsul, widely considered today's foremost African sculptor, assembles his wall hanging sculptures from found materials - thousands of aluminium caps and seals from liqueur bottles - that he flattens, shapes, perforated, and assembles with copper wire. While he considers himself a sculptor, he meticulously orchestrates his materials like a painter working with oil on canvas or the director of a tapestry workshop. His work is anchored in his traditional culture (Ghanian kente cloth); Western art (mosaic, tapestry, chain mail armour, the paintings of Gustave Klimt); and contemporary life (alcohol consumption, the detritus of consumerism). Dusasa may be translated as a 'communal patchwork made by a team of townspeople', like his assistants.









I took photogaphs of the artwork while in the museum and the basic information noted above was copied whilst there. It can also be accessed online at http://www.moma.org/m#art_main by searching the collection with the painting title.

Textured photos

I have been continuing to work on my photo images. I preferred the monochromatic / black and white style and have developed these further using a range of different photo editing apps and digital painting tools:

The Room 13 model

What was it about our seminar that either confirmed or contested the view that “Room 13 is the most important model for artistic teaching in schools that we have in the UK” [Nicholas Serota].

The Room 13 model for artistic teaching is undoubtedly a very significant one. In terms of whether this is what we want for our schools, it has caused me to ponder again exactly what we should be seeking to teach in art education - whether it is the technical skills or the development of creativity? However, perhaps before this can be answered, we should consider what kinds of skills one needs to be an effective worker in today’s world. Duncan-Andrade and Morrell, 2008, have also considered this question and conclude that “what we are seeing now is the need for workers who are creative, who are able to think for themselves, who are able to work with diverse teams to accomplish collective ends.” (p168)

Thus, in terms of adequate provision for life, the Room 13 model is indeed very important. It’s approach and practice clearly fit into the pedagogies of the ‘imagination’ or of the ‘possible’ strongly advocated by writers like Greene (Teacher College, Columbia University, 2008) and McLaren (2003, p92 -93).

In particular, on reflection of the seminar, the fact that the ownership and control of the learning process is given over to pupils is one of the most confirming aspects of Serota’s view: “‘What have I got to make it out of?’ he inquires. That he won’t be told, that he must decide for himself, is the first and fundamental lesson Room 13 teaches.” (Yarker, 2008, p. 372), “Users of Room 13 arrive when they choose and because they choose, to work in the ways they choose, on their own projects, by themselves or with friends, at their own pace” (Yarker, 2008, p. 368). In the Room 13 model, many of the traditional constraints are removed and pupils can direct their own learning. This engenders a strong sense of ownership and personal engagement in work that is undertaken out of a personal impulse: “Instead of external pressure, the mobilisation of intrinsic desire” (Yarker, 2008, p. 368).

This is perhaps the most significant result of the Room 13 model, that “it testifies, against the general stance of the mainstream, that the process of learning is not teacher-dependent, nor understood adequately when likened to meeting a quota or climbing a ladder. Less predictable in its course and motion, learning is a continuous innate power quickened by the felt and anticipated needs of the individual, by interest, opportunity, surroundings” (Yarker, 2008, p. 371). I feel that this realisation is desperately required by art educators today and that a more effective art education can only be implemented on this foundation.

REFERENCES:

Duncan-Andrade, J. M. R., and Morrell, E., 2008. The Art of Critical Pedagogy. New York: Springer Science + Business media B.V.

McLaren, P., 2003. Critical Pedagogy: A Look at the Major Concepts. In: Darder, A., Baltodano, M., Torres, R. D., eds., 2003. The Critical Pedagogy Reader. London: RoutledgeFalmer, pp.69-96

Teacher College, Columbia University, 2008. Maxine Greene: Towards Pedagogy of Thought & Imagination [educational lecture] 3rd November 2008. Available at: <http://blackboard.uws.ac.uk> [Accessed 26th March 2011]

Yarker, P., 2008. Lifting the Lid and Mucking about with Minds: the example and challenge of Room 13. Forum, 50 (3), [online] Available at: < http://www.wwwords.co.uk/pdf/validate.asp?j=forum&vol=50&issue=3&year=2008&article=15_Yarker_FORUM_50_3_web > [Accessed 25th March 2012].

Photos again

I am continuing to develop my flower images, this time I wanted to focus on colour: