Reading Four: What Makes a "Really Good" Art Lesson?
September 21, 2014
Summary
Stewart and Walker (2005) believe an important decision the art educator needs to consider is what they want their students to retain and understand about art long after they have left the classroom. Although many art educators believe the selection of artworks and artists is the most important decision to make when preparing art curriculum, Stewart and Walker disagree. They believe art curriculum should be guided by elements from a list of key art understandings. These art understandings include: “art is a purposeful human endeavor; art attains value, purpose, and meaning from the personal, social, and cultural dimensions of life; art raises philosophical issues and questions; artworks are objects for interpretation; and change is fundamental to art” (Stewart & Walker, 2005, p. 42). By combining a framework of the above key art understandings with an inquiry approach derived from art criticism, art history, artmaking, and aesthetics, units can be developed that benefit the “depth and breadth of the art curriculum and will avoid a hit-or-miss approach to art learning” (Stewart & Walker, 2005, p. 59).
Examples of Inquiry Approaches
Stewart and Walker presented an example of an inquiry approach derived from art criticism in which students studied the enduring idea of human suffering. In this unit students discussed, sketched, described, and interpreted the meaning of sculptor Kenneth Treister’s Holocaust Memorial (1990). When presenting their interpretation, the students were asked to use evidence to back up their explanations. To deepen their understanding and knowledge of the historical period, students also viewed and discussed a video about Holocaust prisoners and their strategy to stay alive. A final discussion covered “society’s moral obligation to respond to persecution and the artist’s ethical responsibility to create works that reflect such persecution” (Stewart & Walker, 2005, p. 45). By the end of the unit students were exposed to the social purposes of artworks and the social role of artists, while also experiencing a deeper understanding of human suffering.
Another example shared by Stewart and Walker involved an inquiry approach from art history. During this unit students contemplated the enduring idea of the sense of place, while studying the artwork of local artist, Will Henry Stevens. During the unit, they sought to answer the question: Why are the works of this artist the way they are? The unit involved: listing unique characteristics of the student’s hometown; listing Japanese design elements; viewing Will Henry Stevens’ artwork at a museum; exploring his family history; and interviewing one of his former students. As the students progressed through the unit, they learned “that artworks are shaped by artistic, philosophical, religious, and intellectual ideas; artworks can be explained in terms of an artist’s biography; and, most important for Steven’s work, artworks are shaped by location, time period, and cultural context” (Stewart & Walker, 2005, p. 50).
A third example in the reading explored an aesthetic inquiry approach. In this unit sixth graders explored how art acquires value. They began by examining a diverse range of monuments and monumental sculpture including: Stonehenge; a contemporary version of the same monument, Carhenge by Jim Reinders; a collection of Egyptian and Greek sculpture from the British Museum in London; and Torn Notebook by Oldenburg and Van Bruggen. Each artwork was studied within the context of the time, place, and culture of their creation. Ample philosophical discussion took place regarding the purposes of art, public monuments, and monumental sculpture. The use of a diverse and large variety of artwork encouraged deep thinking and investigation, while raising philosophical questions and concepts such as: How does art acquire value? Is one more significant or of more value than another? Do we consider some more significant than others because they represent religious and spiritual connections? With this unit the authors do include that “studying philosophical questions and issues in the context of specific works is highly effective but…demands the ability to recognize such opportunities” (Stewart & Walker, 2005, p. 52).
Personal Reflection
The units presented by Stewart and Walker in this chapter are well thought out and developed. I have units that my students love and enjoy; nonetheless, they often lack the element of having essential questions that point toward key art understandings. As I gradually work through my curriculum I intend to make adjustments, additions, and deletions. I would like to apply a variation of the unit that focuses on the enduring idea of the sense of place. Instead of Will Henry Stevens I could present artists A. E. “Beanie” Backus and the Florida Highwaymen. We could discuss the unique characteristics or our area, visit the A. E. Backus Museum and Gallery in Fort Pierce, and possibly have one of the surviving Highwaymen speak with our students. I think the students would gain insight into Backus’ and the Highwaymen’s artwork, as well as, a better understanding of the fact that artworks are shaped by location, time period, and cultural concept.
References
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 37-61). Worcester, MA: Davis Publications, Inc.
September 21, 2014
Summary
Stewart and Walker (2005) believe an important decision the art educator needs to consider is what they want their students to retain and understand about art long after they have left the classroom. Although many art educators believe the selection of artworks and artists is the most important decision to make when preparing art curriculum, Stewart and Walker disagree. They believe art curriculum should be guided by elements from a list of key art understandings. These art understandings include: “art is a purposeful human endeavor; art attains value, purpose, and meaning from the personal, social, and cultural dimensions of life; art raises philosophical issues and questions; artworks are objects for interpretation; and change is fundamental to art” (Stewart & Walker, 2005, p. 42). By combining a framework of the above key art understandings with an inquiry approach derived from art criticism, art history, artmaking, and aesthetics, units can be developed that benefit the “depth and breadth of the art curriculum and will avoid a hit-or-miss approach to art learning” (Stewart & Walker, 2005, p. 59).
Examples of Inquiry Approaches
Stewart and Walker presented an example of an inquiry approach derived from art criticism in which students studied the enduring idea of human suffering. In this unit students discussed, sketched, described, and interpreted the meaning of sculptor Kenneth Treister’s Holocaust Memorial (1990). When presenting their interpretation, the students were asked to use evidence to back up their explanations. To deepen their understanding and knowledge of the historical period, students also viewed and discussed a video about Holocaust prisoners and their strategy to stay alive. A final discussion covered “society’s moral obligation to respond to persecution and the artist’s ethical responsibility to create works that reflect such persecution” (Stewart & Walker, 2005, p. 45). By the end of the unit students were exposed to the social purposes of artworks and the social role of artists, while also experiencing a deeper understanding of human suffering.
Another example shared by Stewart and Walker involved an inquiry approach from art history. During this unit students contemplated the enduring idea of the sense of place, while studying the artwork of local artist, Will Henry Stevens. During the unit, they sought to answer the question: Why are the works of this artist the way they are? The unit involved: listing unique characteristics of the student’s hometown; listing Japanese design elements; viewing Will Henry Stevens’ artwork at a museum; exploring his family history; and interviewing one of his former students. As the students progressed through the unit, they learned “that artworks are shaped by artistic, philosophical, religious, and intellectual ideas; artworks can be explained in terms of an artist’s biography; and, most important for Steven’s work, artworks are shaped by location, time period, and cultural context” (Stewart & Walker, 2005, p. 50).
A third example in the reading explored an aesthetic inquiry approach. In this unit sixth graders explored how art acquires value. They began by examining a diverse range of monuments and monumental sculpture including: Stonehenge; a contemporary version of the same monument, Carhenge by Jim Reinders; a collection of Egyptian and Greek sculpture from the British Museum in London; and Torn Notebook by Oldenburg and Van Bruggen. Each artwork was studied within the context of the time, place, and culture of their creation. Ample philosophical discussion took place regarding the purposes of art, public monuments, and monumental sculpture. The use of a diverse and large variety of artwork encouraged deep thinking and investigation, while raising philosophical questions and concepts such as: How does art acquire value? Is one more significant or of more value than another? Do we consider some more significant than others because they represent religious and spiritual connections? With this unit the authors do include that “studying philosophical questions and issues in the context of specific works is highly effective but…demands the ability to recognize such opportunities” (Stewart & Walker, 2005, p. 52).
Personal Reflection
The units presented by Stewart and Walker in this chapter are well thought out and developed. I have units that my students love and enjoy; nonetheless, they often lack the element of having essential questions that point toward key art understandings. As I gradually work through my curriculum I intend to make adjustments, additions, and deletions. I would like to apply a variation of the unit that focuses on the enduring idea of the sense of place. Instead of Will Henry Stevens I could present artists A. E. “Beanie” Backus and the Florida Highwaymen. We could discuss the unique characteristics or our area, visit the A. E. Backus Museum and Gallery in Fort Pierce, and possibly have one of the surviving Highwaymen speak with our students. I think the students would gain insight into Backus’ and the Highwaymen’s artwork, as well as, a better understanding of the fact that artworks are shaped by location, time period, and cultural concept.
References
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 37-61). Worcester, MA: Davis Publications, Inc.
