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EDF2127 Assignment 2

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Sheridan Dudley

on 26 May 2015

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Transcript of EDF2127 Assignment 2

EDF2127 Assignment Two
Studio Thinking Framework
Envision
The students were able to picture mentally what colours they were going to use for their iPhone covers before beginning their work. When asking students, what colours they were going to use and why, they were able to describe the possible colours that they were imagining using.
The examples that we had also provided, including covers that we as a group had created and laminated artworks were specifically designed to assist and direct the students in their artworks. Using pieces of scrap paper that we had also provided, assisted students in creating shades, which in turn, assisted in picturing their iPhone cover.
Engage & Persist
We utilised an object of personal relevance to engage the students in this lesson. By asking them to create an iPhone cover we were providing a connection for the students to the project in the hopes that this would encourage them “persist in their work” (Hetland et al., 2007, p. 42) for the lesson’s duration. The students appeared excited at the prospect of designing a cover to reflect their personalities and interests. Using an interesting format for presentation and materials that allowed for self expression without to much discipline was motivation that engaged the students and encouraged them to persist.
The students practiced using tools and materials – such as paintbrushes, water colour and Posca pens – to learn about the “artistic convention” (Hetland et al., 2007, p. 6) of colour mixing. Shanai demonstrated the correct way to use these items (technique) and provided instruction on how to avoid damaging or ruining them (studio practice). The success of this Studio Habit of Mind was reflected in the colourful pieces the students created and in their correct and appropriate use of the tools and materials we provided.
Develop Craft
Express
The students were able to talk about their ideas in their works, and then covey these ideas in their iPhone covers.
Observe
The students developed their observations on a deeper level and were able to observe the element of the use of colour to express emotion in famous, their own and their peers art works to observe what could be described as “otherwise invisible” (Hetland et al., 2007, p.58). This is seen in the video when describing Picasso's painting from the blue period.
Reflect
As seen in the video, the students were allowed time to present their work, and as a class we discussed the mood they were portraying using the observational skills they had just learnt (question and explain).
Some students achieved an array of shades of one colour to create an emotion as instructed however, some students failed to follow instructions concisely and began using multiple colours using the paints and Posca pens provided instead of utilising the one colour to portray their emotion (evaluate).

Understand Art World
The students engaged in art history by engaging in art works using colour to portray moods from artists such as Monet, Van Gogh etc. Utilizing the information grasped from the art work they related it to modern day art by creating iPhone covers using the practices of water colour (domain). The students engaged with each other and shared ideas on their own artworks and the famous art works. They worked harmoniously sharing water colours and other materials (communities).
Sheridan Dudley - 23426195
Caitlin Lucas - 24158267
Courtney Douglas - 24167312

Introduction
Assignment 2 for Art Fundamentals saw us teaching art to a group of year 5 students from Elsternwick Primary School. The six of us from Monash designed a lesson around the AIR (Art Imagination Research) project, using the concept of colour as a base. Adopting the Studio Thinking Framework pedagogical approach to direct our lesson, we explored the role of colour in conveying emotion and mod through art. Our experiences during both the planning and implementation stages of this lesson are documented in this presentation.
Understanding of the Art Historical Practice
Understanding of the Art Critical Practice
Art criticism is the process of discussing and interpreting the artwork of students, teachers and professionals and considering the art elements and principles that are present.
Researching the rich history behind art and art movements can inspire and educate students. Providing examples of professional work exposed our students to a range of artists and art styles from around the world, and provided them with an overview of perceptions and aesthetics appreciated in the art world. As artists, the students applied this knowledge to their exploration and experimentation with a range of medias and materials. They used Posca pens and water colours in various shades and colours to investigate how they relate to and convey certain messages or emotions.

Conclusion
As teacher’s we really valued the comprehensive approach to our art lesson that the Studio Thinking Framework provided. It presented a format that allowed us to successfully educate students in, through and about art. Opportunities were given to experiment with creating art using several materials and multiple techniques (in), and knowledge of the history of emotion and colour in art was imparted (about). There is much support for the concept of using art to communicate a range of non-art related studies (Sheridan, 2011), and perhaps if we had the chance to plan our lesson again we could have included elements that would have displayed this (through).
References
Bates, J. K. (2000). Becoming an art teacher. Belmont, CA: Wadsworth/Thomson Learning

Burke, G. (2013). Visual Arts - approaches to pedagogy. Peninsula Campus: Monash University.
Date accessed: 11/10/2013

De Vries, P., Hall, C., Burke, G., Bennett, R. (Forthcoming) (n.d.). Reimagining the arts in education. In D. Zyngier & M. Askew (Eds.), 21st Century Teaching and Learning: The Primary Experience. Melbourne: Oxford University Press.
Date accessed: 06/10/2013

Duvall, M. L. (2008). Art in action: Traditional art appreciation moves into active learning. United States.

Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: the real benefits of art education. New York: Teachers College Press.

Koster, J. B. (2001). Elementary Classroom. California: Wadsworth

Seabolt, B. O. (2001). Defining art appreciation. Art Education, 54(4), 44-49.

Sheridan, K. M. (2011). Envision and Observe: Using the Studio Thinking Framework for Learning and Teaching in Digital Arts. Mind, Brain, and Education, 5(1), 19-26.

Images
Figure 1:
Dines, J. (1935). The Cirucs [Painting]. Retrieved from
http://www.barnettfineart.com

Figure 2:
Gogh, V. (1888). Sunflowers [Painting]. Retrieved from
http://www.vangoghgallery.com

Figure 3:
Picasso, P. (1903). Blue Period: The Tragedy [Painting]. Retrieved from
http://www.nga.gov
To assist in exploring art elements, artworks were chosen to contribute to our lesson on colour, mood and emotion. Pablo Picasso, a historical artist who experimented with different colours was the most influential throughout our lesson. His use of emotive monochrome tones of blue reflected his low physical state, which was activated by the passing of a good friend. This chapter of his work became known as the ‘blue period’. In ‘The Tragedy’ (1903) he uses oil on canvas in cool blues to suggest a feeling of sadness and depict a depressing period of time.

When talking to the children about Picasso, it was imperative that we considered our unfamiliarity with the children’s backgrounds. As we were uncertain of the children’s personal experiences surrounding death, describing the driving force behind Picasso's work needed to be addressed tentatively. To accommodate this we described Picasso’s ‘The Tragedy’ as a miserable painting, portraying a difficult time in his life. The colours in this artwork are used as connotations of Picasso’s feelings.


Suitability of Chosen Artwork
To assist the children in making contrasts between colours, we showed them Vincent Van Gogh’s ‘Sunflowers,’ 1888 (oil on canvas). The children were quick to engage with the emotions that were carried out in this artwork.

Andre Derain’s ‘The Pool of London’ 1906, Edvard Munch’s ‘The Scream’ 1893 and Van Gough’s ‘Stary Night’ 1889, all contributed to an intriguing discussion on colour and emotion.
During experimentation, Emily (pseudonym), was quick to describe that the warm colours (oranges and yellows) she was using were 'happy' colours. She envisaged using these colours and shades to create a sunset, which held significance to her as it was where she spent her holidays with her family.
Other artist’s artworks such as Jim Dines ‘The Circus’ use of vibrant primary colours, allowed the children to describe the use of not only colour, but also brushstrokes to define a “fun and exciting painting”.
It is an artist’s role to explore different mediums. Artists can use one colour or a number of colours to express emotions, however we described to the children that we wanted them to use one colour and one shade to create a pallet to depict their emotion. Using our historical information – as mentioned in 'suitability of chosen artworks' – we were able to use the artworks to help the children understand art historical practice.
Understanding of the Art Historical Practice
The children were quick to engage with the emotions that were depicted in the artworks, particularly Vincent Van Gogh’s ‘Sunflowers'. This showed that the children had an instinctive understanding of the use of emotive colour. It was interesting to see that not only could the children describe the emotions they interpreted in the works, they were also really good at pinpointing the connotations that the flowers might portray.
Understanding of the Art Historical Practice
Comprehension was also evident during the end of class discussion, when one child, Sam (pseudonym), spoke about her work in relation to Pablo Picasso’s blue period ‘The Tragedy’. She described that the shades of blue used in her artwork were similar to ones that Picasso had used in his artwork. She explained her use of blue as "opposite to Picasso’s... more happy blues," which portrayed her love of the ocean.
“Energetic painting, which makes me feel warm and happy”
“Sort of sad and sort of happy… because some of the flowers aren't alive”
Understanding of Studio Practice
Understanding of Studio Practice
Studio Practice is the manner in which the artist uses the studio to complete a task. In the studio, students were provided with equipment that they used. This included;
• Water colour
• Paint brushes
• Palettes
• Posca pens
• Grey leads
• Fine liners
• A sheet of A4 size paper with an iPhone template.
We set up a table with will equipment to accommodate for the students. All equipment was positioned out intentionally to ensure that is was easily at reach to avoid hazards and limit students to the materials on the table.
Understanding of Studio Practice
We decided to have all the students working at the one table to allow for
collaboration
of ideas. By undertaking the role of the
artist/researcher/teacher
, the students were able to collaborate together and share the learning that took place in the studio (deVries, Hall, Burke, Bennett, n.d.).
From here students followed the following procedures to achieve the outcome:
1. Recognising that students come to the studio with prior knowledge, we first identified the emotions different colours portrayed (Hetland & College, 2007)
2. There was discussion of what different colours might be conveying in several professional artworks
3. We demonstration how to correctly use water colour to create shades modelling using the equipment with care
4. Students experimented with colour mixing whilst envisioning the design of their iPhone cover
5. Students created their artwork
6. The class was given a chance to reflect on their art
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2
3
5
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Stretch & Explore
The students looked beyond and saw what was "otherwise invisible" (Hetland et al., 2007, p.58) and began to understand that interpretation is personal and that “their ‘reading’ of a picture will be different from someone else’s” (Koster, 2001, pg. 167). Using one colour to convey a mood was a new technique for these students. Students who used multiple colours learnt from their mistake when viewing there peers art pieces that had correctly utilised one colour and will reference this in future art lessons.
Art Appreciation
Art appreciation is “an active process on the part of the viewer” (Seabolt, 2001, p. 47) and encompasses the learning about and enjoyment of art. It relates to meaning and context, exploring who made the artwork and why (Burke, 2013). The Studio Thinking Framework addresses areas of art appreciation during the observe and reflect stages. During our lesson, students were encouraged to consider and discuss the examples of famous work we presented. Focus was directed to:
the aesthetic elements students liked/didn’t like,
how the artworks made them feel
how they thought the artist was feeling during creation
the nuances used by the artist to convey this feeling or emotion
Art appreciation is a critical process for all artists to partake in as it brings about “visual and aesthetic understanding” (Duvall, 2008, p. 10), both of which are considered necessary for “rounding out” (p. 10) artists.
Art Practice
It is identified in Jane K. Bates’ book, Becoming an Art Teacher, that Art Practice is seen as the core of art education (2000). It is what’s behind the artists intention for their artwork. This includes the techniques used, the steps they take and the strategies they used to create their art.
Within the Studio Thinking Framework, art practice is very obviously evident in develop craft, envision and observe stages (Hetland et al. 2007).
Art practice was addressed in our lesson in the following tasks:
As the students built on their skill of using water colours and utilized the one colour to create other colours (Develop Craft)
When the student thought of the mood they felt and envisioned the colour their art work would be.
Observing the famous artworks, the examples shown and observing Shanai demonstrating the steps in which they will take to create their art.

The Interrelationship between Art Practice and Art Appreciation
Art appreciation and art practice are concepts that go hand-in-hand. Research has found that to facilitate a less resistive response to art practice, art appreciation needs to reflect personal connections (Duvall, 2008). Fostering awareness of art appreciation by tapping into students’ interests also promotes intrinsic motivation, thus increasing the likelihood of students persisting in their art making “in the face of failure” (Duvall, 2008, p. 31). Seabolt (2001) also confirms this notion. Margaret Mathias' proposal that inclusive art courses that incorporate art practice in schools will allow for a wide spread understanding of art appreciation supports the idea that, "If we are to hope for a society with art appreciation... an adequate art course must provide for developing ability for self-expression and for understanding the expression of others" (Seabolt, 2001, p. 46).

Looking at our Art Reach lesson, art practice was addressed numerous times which allowed the students to appreciate their own, their peers and famous artists' art creations. Furthermore, it allowed them to discuss their newfound understanding of and appreciation for the skill of colour mixing with water colours and mood expression through colour. Participation in both the art appreciation and practice allowed students to fully comprehend how messages and feelings are portrayed through the use of the colour. Had they merely viewed the works of, for example, Picasso, they would not have been competent in identifying how and why Picasso used shades of blue during particular period of his life, nor would they have recognised the skill needed to create an art work only using a single colour. Evidently, a new and deeper sense of appreciation was created through the interrelationship of art practice and art appreciation (Seabolt, 2007).
Research Presentation
Understanding of the Art Critical Practice
Critiquing the work of others exposes the aesthetics that one finds desirable or not so. As teacher’s, we had to guide the students through this process, highlighting the problems, solutions, concepts and techniques. Developing critical thinking in students is necessary for the evolution of their creativity and self-expression. It was noted that during the final discussion, children were addressing elements of their own work that had also been present in the professional examples we had presented. This is evidence of how art criticism impacts art making.
Fig 1
Fig 2
Fig 3
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