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Visual Art Epistomology


Maria teixeira

on 31 January 2013

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Transcript of Visual Art Epistomology

Developing Technique in Visual Art Knowledge and Understanding Engage Students A visual artists eyes are the window of the soul Teaching students to see is very important. Observation holds the key to visual art. Artists see things in different ways and notice things in the world: Patterns & shapes, colours, light and shade, texture & form. QSA Visual Art Elements VISUAL ART Provide opportunities just “Doing” raises level of skill create projects & having them develop projects. Provide a subject matter for the skill to be learned and relates it to a bigger picture.

“It takes the wine press as well as the grapes to ex-press juice, and it takes environing and resisting objects as well as internal emotion and impulsion to constitute an expression of emotion” (Dewey, 1934/1989, p. 70). Theme a stimulus & link it to an artist. Dewy believed that “art is the most effective mode of communication that exists” (Dewy, 1999).
Express ideas, considering particular audiences and particular purposes, through images and objects. Working with factual, conceptual, procedural; metacognitive. Engage students, reflecting on arts practices, challenging students on philosophies and approaches.
Taking into account:school context and philosophy community context students’ aptitudes and interests, physical and financial resources
Teacher expertise principles of productive pedagogyartist-in-schools programs arts networks industry and community partnerships (ACARA). THE NATURE OF KNOWLEDGE AND HOW IT''S APPLIED
Both Plato and Aristotle both argued for and against the notion that we can learn from art.
“Can we learn from art?” Generally art arouses emotion or activities that create knowledge and understanding of the world and reality, helping to see the world in a different way. The art of knowing is that the artist knows there is no wrong or right. Through the prescription of freedom and expression a work of art comes to light. analyzing arts works to detect forms, content, purposes, points of view
target audiences.
students develop critical appreciation.
to clarify, interpret and make explicit their ideas and feelings through and about the arts.
Students may rework, transform existing ideas and works to produce something new and original. a knowledgeable person with deep understanding
a complex thinker
a responsive creator
an active investigator
an effective communicator
a participant in an interdependent world
a reflective and self-directed learner. (QSA) Within their range of abilities, they use visual, auditory and kinaesthetic symbol systems, languages,
acquisition of conceptual and theoretical knowledge,
developing processes and skills. ‘Knowing how’ is as important as ‘knowing about’ opportunities of chance discoveries are recognised and explored through art processes and products.
understand that arts works carry values, are constructions of reality and imagination
have the capacity to evoke responses
participating in and critiquing arts experiences reflecting and evaluating the role of art. accessing various sensory ways of knowing and thinking within arts activities.
opportunities to learn ways to manage their emotions in a safe and supportive environment.
Nurture identities in each student to express and communicate humanistic spirit and inner self.
The epistemology of art through the QSA provides students with opportunities to develop creative talent and skills that can be transferred to their working and recreational lives. Focusing on the senses, thinking and challenging the imagination. Art, Langer felt, is what humans use to express things they feet that resist reduction to ordinary “discursive” language--everyday speech and writing. We need art, in other words, as much as we need language because without it, we can’t express much of what we sense, perceive, or feel. 

“Freud . . . observed that in dreams speech has the same function as visual image.” Rick on Theatre ( 2010). Woof and Gardner, (1980) proposed 4 major stages of artistic development that corresponds to Piaget’s stages of development Diversity The introduction to concepts through a diverse range of:artworks (images and objects) and artists’ bodies of workrelated visual art contexts, philosophies and perspectives (including Indigenous Australian, Asian and multi-cultural)making, appraising and displaying skills, techniques and processes visual language, expressions and styles attitudes and values for making, appraising and displaying (QSA 2007). Implications Students learn at different rates and in different stages. Depending on each student’s rate of learning, not all of the content descriptions for a particular year level may be relevant to a student in that year level. Some students may have already learned a concept or skill, in which case it will not have to be explicitly taught to them in the year level stipulated. Other students may need to be taught concepts or skills stipulated for earlier year levels. (ACARA, 2008) Eisner, like John Dewey,  is clear that our ability to know is based in our ability to construct meaning from experiences (Eisner 1994, p44). The arts inform as well as stimulate, they challenge as well as satisfy. Their location is not limited to galleries, concert halls and theatres. Their home can be found wherever humans chose to have attentive and vita intercourse with life itself. This is, perhaps, the largest lesson that the arts in education can teach, the lesson that life itself can be led as a work of art. In so doing the maker himself or herself is remade. The remaking, this re-creation is at the heart of the process of education. (Eisner 1998, p 56). By Contrast "I'm absolutely opposed to strict standards, and I'm terribly interested in kids having confidence in their own vision," she says. "There is no right way to make art.“ (Hoey, 2013) Edutopia, Maxine Greene: The importance of personal Reflection.

http://www.edutopia.org/maxine-greene-daring-dozen-2008 Maxine Greene Greene strongly objects to education focused on world-class technical achievements rather than on creating a community of citizens. (Greene, p. 64). …being able to express oneself in a number of different "languages" – art, including imagery, music, dance (Greene, p. 57) Greene, M. (1995). Releasing the Imagination: Essay; on Education, the Arts, and Social Change San Francisco: Jossey-Bass Publishers What is important to teach and understand? Stolnitz (1992), argues art does not contribute to knowledge, there is no truth generated, art cannot provide facts or generate arguments, then we cannot learn from it.
Furthermore Stolnitz believes that art cannot be understood as a source of knowledge because it is not productive. Sarah E. Worth Email: Sarah.Worth@furman.eduFurman University Ways of working: It is a balance of
Seeing in art:
Developing the artists eye.
Doing art: Skills in art.
Creativity: Developing natural ability.
Knowing Art: The Knowledge and understanding of art and theory.
Planning and Differentiation
Opportunities to make progress The arts has is own developmental stages where students progress through levels of artistic development. Piaget and Vygotsky arrived at their theory that art is crucial to the mental and symbolic human development of students (Piaget, 1962 & Vygotsky 1971). Conclusion A symbol user
A craftsman
A critic and full participant in the artistic process.
The student as a direct communicator
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