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Postmodern Principles: In Search of a 21st Century Art Educa
Transcript of Postmodern Principles: In Search of a 21st Century Art Educa
The Foundation of the 20th century art curriculum was written by Arthur Wesley Dow, an art teacher and an artist.
He thought art "should be approached through composition rather than imitative drawing" (p.3).
Harmony is created from the use of line, notan, and color according to Dow. Notan is the balance of dark and light and is Japanese Concept.
The first generation of American Modernist where influenced by Dow and through his artwork he brought Eastern and Western Art together.
Gude, O. (2004). Postmodern Principles: In Search of a 21 Century Art Education. Art Education, 57(1), 6-14. http://www.jstor.org/stable/3194078
Dow, A. W. (1920/1997). Composition: A series of exercises in art structure for the use of students and teachers. Berkeley: University of California Press
Gude, O. (2004). Postmodern Principles: In Search of a 21st Century Art Education. Art Education, (Projects for Postmodern Principles) Retrieved from https://naea.digivation.com/omg/Postmodern_Principles
Olivia Gude, is an artist and educator in Chicago. At the School of Art and Design at the University of Illinois.
She questions why the foundations of the art curriculum of the 20th century are still by many considered to be the foundations of the 21st century art curriculum.
Appropriation- the use of objects or materials that already exist to create a piece of art.
Juxtaposition- the putting together of objects or images that are random happenings or that intentionally clash.
Recontextualization- is using a familiar image and placing symbols, text, or pictures that are not associated.
Layering- is the placing of images one on top of the other.
Interaction of Text and Image- the text and the image do not clarify each other.
Gazing- using a traditional image and pairing it with more stereotypical additions.
Hybridity- is incorporating multimedia to investigate their theme or subject.
Representin'- is a slang word for extolling one's identity and one's affiliations.
Artwork in the past was viewed using the elements and principles of design and the students did not learn the value of the artist who created the artwork or the communities where they were created.
Dow believed his system for art education would give students " an increase of creative power" (1920/1997, p. 65).
Today we should follow Dow's lead with setting goals and probing questions to be able to study art of today.
Gude list the following questions in her article:
"What do our students need to know to understand the art of many cultures, from the past and the 21st century?
Today, what knowledge do students need to stimulate and increase their creative powers?"
Gude planned her first Saturday Spiral Workshop for teens in Chicago and the University of Illinois.
She gave the faculty guiding principles, which did not include the elements and principles of design.
Gude wanted the students exposed to and art education program that taught them to recognize cultural issues related to them and to society.
Three criteria came from the curriculum: the curriculum was based on generative themes to where the students could relate this to themselves and their communities; art projects in the studio based on diverse practices that relate to traditional and contemporary artmaking; and art as an investigation where they had and understanding of their own art and the artmaking of others.
Gude was appointed a Great Cities Faculty Scholar at the University of Illinois.
Her vision of art education in a democratic society was implemented when she introduced teachers at an in-service the philosophy of the Spiral Workshop.
Gude surveyed 5 years of the curriculum of the Spiral Workshop and 25 projects.
Fifteen principles for artwork and contemporary art practices were identified by Gude.
Due to overlapping , Gude consolidated the list to eight postmodern art making practices.