Kindler, A. & Darras, B (2007) Artistic Development Reconsidered

Readings in Canadian Art Teacher Education 3rd edition

Edited by Rita L. Irwin, Kit Grauer and Michael J. Emme Canadian Society for Education through Art Thunder Bay,'Ontario

Copyright © 2007 Rita Irwin, Kit Grauer, and Michael 1. Emme, Editors Ail rights reserved. No pmt of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the editors. Requests for permission to make copies of any part of the work should be mailed to: Rita L. Irwin or Kit Grauer

Michael J. Emme

Faculty of Education

or

Depaltment of Curriculum Studies

Department of Curriculum & Instruction Faculty of Education

University of British Columbia

University of Victoria

2125 West Mali

P.O. Box 3010, STN CSC

Vancouver, BC

V6T lZ4

Victoria, BC

V 8W 3N4

To purchase this or other CSEA material, contact: Ms K. Blaikie or

CSEA Secretary General

www.csea.ca

Faculty of Education, Lakehead Univers ity 955 Oliver Road T hunder Bay, Ontario P7B 5El Phone: (807) 684 0772 Cover layout and design by Michael 1. Emme with thanks to: foreground: Detail from Totem Pole by Charles Elliott, from the Tsartlip First Nation and a member of the Coast Salish Nation midground: Detail t'rom Rift,

by Rachel Hellner

1990 2002

Canadian Cataloguing in Publication Data Irwin, Rita Lousie, 1955-, Grauer, Kit, J 95 J -, Emme, Michael J., 1954Readings in Canadian art teacher education ISBN 978-0-9738340-1-7

J. Art teachers - Training of - Canada. 2. Art - Study and teaching (Secondary) - Canada. 1. Irwin, Rita Lousie, J 955- Il. Grauer, Kit, 195 J - III Emme, Michael 1., 1954- IV. Canadian Society for Education through Art.

Published by the Canadian Society for Education through Art Printed and bound in Canada by Friesens Corporation Altona, MB ROG OBO

2

Table of Contents Directions 8

Kit Grauer

Fantasies of Radicalism:Art Education's Conservative Appropriation of Postmodernism

16

jan jagodzinski

A Testimony to Art History

26

Annie Smith

Critical Commonplaces: T he Man From Peru and Other Stuff.

36

Nick Webb

Viewing Art in Schools "Setting the Stage"

46

Stephen EllioU

Aesthetics: T he Problem Child of the Art Class Or, Now What Are We Doing?

54

Boyd White

Students' Cuitura'i Images as Catalysts for Critical Inquiry

60

Mary Blatherwick

What Our Cities Tell Us! What We Want To Hear! "Sensing" the City

72

Paul Langdon

Learning T hrough New Eyes: Rethinking Media, Popular Culture and Art Education

80

David Darts

WaJking the Talk: T he Challenge of Pedagogical Content in Art Teacher Education

Issues 92

F. Graeme Chalmers

98

Ann Calvert and Kyla Legard

Pedagogy for a gender ensitive Art Practice

110

Rita L. Irwin

Indigenous Cultures and the Profound Moral Debt We Face:

116

Elizabeth J. Saccà

Local options - towards a post-colonial Museum

130

Jill Baird

Learning about Social Issues through Public Art

138

Sharon McCoubrey

Censorship in Art Education - Reconsidered

146

Lorrie Blair

Loneliness, Boredom and Solitude:

154

Social Responsibility in Secondary Art Education: Addressing Our Hopes, Fears, and Dreams Issues of Gender in the Art Curriculum

Art and Teaching for Reconciliation between First and Fourth Worlds

T he Isolated Student and Art Education

Katsitsén:hawe Linda David Cree

Michael J. Emme Anna Kirova Robert Dmytruk

Influences T he World of Adolescent Art: Development, Style, Culture

168

Nancy Retallack-Lambert

Artistic Development Reconsidered: Implications for ArtNisual Education

180

Anna M. Kindler Bernard Darras

T he Contribution of Professional Artists

190

to the Development of Art Education in Québec

Suzanne Lemerise Leah Sherman

T he New Visual Image: Image Production & Consumption in the Post-Digital Era

204

Don Bergland

Deep Screens: Digital Video

214

Miriam Cooley

Sketchbooks/Workbooks/Journals: Ali in a Days Work

224

Harold Pearse

Expanding Our Vision of Image Development

232

Robert Dalton Bill Zuk

Strategies for High School Studio Art Teaching and Assessment in Canada

240

Fiona Blakie

Assessment for Learning in Art

252

Michelle Wiebe Zederayko

Toward an Aesthetic of Unfolding In/Sights through Curriculum

260

Rita Irwin

Readings in Canadian Art Teacher Education 3rd edition Over thirty years ago, the first edition of /Readings in Canadian Art Education/ was published. Edited by Ronald N. MacGregor

(1984), it was a first attempt at publishing a Canadian text that

brought authors working in Canadian schools and universities together to write about issues in art education from a Canadian perspective . A decade ago, the Canadian Society for Education through Art (CSEA) ventured into publishing resources for teacher education and the first book published in this venture was Rita L. Irwin and Kit Grauer's (Editors) Readings in Canadian Art Teacher Education

(1997). A new generation of art educators took on the challenge of extending the work to provide a text for beginning teachers to become acquainted with directions in the field. With this third edition, as the name suggests, we are revisioning Canadian Art Teacher Education. The root word of revision is, of course, vision, a word highly evocative in art education. Not only is our field primarily a visual one- note how many programs are called Visual Arts to distinguish between our area and performing arts- but the concept of vision as perception, both l iterally and figuratively is what this new edition is attempting to provide. Much like a vision statement, chapters evoke the past and the future of art education in Canada and attempt to inspire readers. Vision also implies the look of the text and for this revision we were very conscious that both the text and the l ayout of text and images make an impact on how we read and understand. For this third edition, we are welcoming Michael Emme and his expertise in graphie design to the editorial group. T his interplay of text and graphie, we believe, cornes at a time when both visual culture and arts based research methodology are accepted challenges for art educators. T he significance of art and design in published material s is indicative of many of the changes that have occurred at the beginning of the twenty-first century. A very important similarity with ail three editions was the cali for authors that crossed the expanse of Canada and who represented a wide variety of issues and ideas about Canadian Art education. This is primarily a text to be used with university programs in art education, especial ly at the secondary level or with art specialists. To that end we contacted professionals working across Canada in those programs and asked for their responses as to appropriate content. We decided to include sorne articles with minor revisions from the previous edition and articles that are totally new to reflect the changes that have occurred over the past decades. The articles were developed to engage and inspire those new to the profession and to provide a springboard into the beliefs and challenges that the upcoming generation of art educators might take with them as they embark on a career in art education. As weil as providing information, we expect there to be sorne critical reflection in engaging with the ideas in this book. We welcome readers to participate in the discourse about what directions, issues and influences are shaping Canadian art education. To encourage dialoge around these themes, we have divided the book into three sections.

4

The first section, Directions, invites the reader to ponder the basis of art education and our shift from a technique and studio driven domain to conceptions of pedagogical content knowledge, critiques of postmodernism, art criticism, aesthetics, visual culture and media education. Some of the chapters are totally new. Authors such as jagodinzinski, EIIiot, White, Blatherwick and Darts tackle directions that have emerged in the changing world of art education. Others, Iike Smith's chapter on experiential Art History, might have been quite radical when it was written but are currently much more a practical reality in many c\assrooms across the nation. While some of the directions in this first section might appear more speculative than others, we hope that by providing an elegant mix of positions, it wiIl be possible for readers to delve into their own attitudes about what should be significant and worthy of investigation in their own c\assrooms. Issues, the second section of the book, examine primarily social issues such as social responsibility, gender, Indigenous education, and censorship and how these affect curriculum in schools and the larger worlds of museums and public art. Social issues have dominated the field of education in the post modern, post-colonial, post stmcturalist era and art education has been clearly influenced by these waves of thought. The chapters in this section ask us to pause and wonder on how much the theoretical underpinnings of social philosophy have made their way into the classroom context and are influencing how students understand art and art education. The final section, Influences, starts with two chapters that look at how our knowledge of students influences our teaching of art. Then a number of influences are highlighted from those of professional artists to the digital age to strategies of instruction like visual journals and image development. Two chapters are dedicated to the ever-pressing demands of assessment on teaching and learning. Finally, Irwin 's chapter causes us to reexamine teaching as a process, a lived curriculum. As expected the influences on who, what, how and why we teach are more numerous than this section would allow. However, the chapters inc\uded give scope to carve deeper into some of the mainstays and newly emerging influences on art education. In providing a range of topics, the reader is encouraged to develop a critical awareness of the values and concepts that affect art and art curriculum. Finally, we wish to thank ail the authors in this volume for the effort they made to produce a text to be used in teacher education programs across Canada. The time and effort involved show the professionalism that Canadian Art Educators approach their work. While any mistakes are the responsibility of the editors, we wish to thank Pauline Sameshima and Valerie Triggs, both doctoral students at the University of British Columbia during the editing of this manuscript for their proof reading and editorial assistance. We are also indebted to the Canadian Society for Education through Art and its members for realizing the importance of uniquely Canadian art education materials for the teachers in our schools and continuing to support such publications. And to you the readers, we hope that the critical responses you develop through the dynamic engagement with this text will help you in developing meaningful and informed decisions about your art own practice. It is to the continued commitment to, and evolution of, Canadian Art education that this book is dedicated.

Rita L. Irwin, Kit Grauer, and Michael J. Emme

5

A istic Development Reconsider d Implications for ArtNisual Education

) Anna M. Kindler The University of British Colum ia

Bernard Darras Universite Paris 1

Figure

J

Examplc of ieons of rhythm (Courtesy of the arlist)

180

Understanding of lem 'ners ' abilities and nccds lies at

Wc will briclly

o Ul

line changes in Ihinking aboui

the foundation of sound educational practicc. Il is diffi eult

de v el oplll cn t

to thi n k of an e ffe cti v e curriculum, instructional stratcgy,

olllcomes of ree cll t researeil in this arCH. W�� will poinl

or pedago gical approach that would not be sensitive to the

to problcl11s Ihat mark lillcar s\:lge-like cOll œpl ion s of

psychological, cultur al and socia l p ro fi l es of Icarners.

dev el o pm el l t and sug 'esl :In alle rn a ti ve conccpll.lnlisillioll

Yet, in teacher education programs dcsigncd

for

stud ents to become secondary art tca che rs , especially Ihosc

in

rcpresclllalioll.

piclorial

of Ihe dcvelopmental proccss

as

highlighling

growlh thnl Ocn t e une par tie énorme des ima ·cs fréquenté

a

'S

ct i nteragie s par le:.. j eunes . S ur cc poin l

la d is lane' entre la culLun.: lé ·itime ct l a cullUn: des méd ias n ';t j:llnais été aussi grandc.

Whilc mûsl of I he se authors highlig ht ed the po ss ibi li ty

of a more inclusive model of a rtis t i c developmcnt, our

work conslitules the farst tan g ibl e atlempt to chart Ihesc rcpcrtoi,res (e.g., Darr as

&

K ind 1er, 1996, 1996a; Kincll cr

&

Darras, 1 9Y4, 1996, 1997, 1998). We e n dea vou red loexplore m u ltipl e p a lhs of d evelopment of piclorial representalion

and propose a the oret ical model that

w

oul d account for the

great variety in pic t orial i ma gery and offer gui d an c e 10 art cducators conc e rn ed with s li pporting pictorial de ve l oprncnt of their s tu d e nts .

Il is :111 in terc sting paradox thal Victor l,owcnfcld, wllose realism-ccnlred stage thenry of artistic dcvelopl11cl1t

has ('fsp('('/iv('. AyJ mer, O N : O S EA . Csi k�ï'..cnlrnihalyi , M. ( 1 988). Soci ety, L:u l tu re and pcrson : a s yst ems v i e w or c re at i v i ty. ('IWJtiI'Îty ( p p, 325- 33(» . ;)mbl'idgc, M A : U n i v ers i t y Press. 'siks�L:ntm iha l y i , M. ( 1 ()!JO). The d om a i n of I:real i v i t y. I n M. A . R unco I l)f)-2 1 2) . NL:wbury Park,

'A : Su

& R. S.

ln R.

A l bert

S t ern berg ( [;;d . )

( Eds. )

Theories

of c rea t i v i t y. In R .

f);ma\, B. ( 1 996).

ao u t

1\11 ('OI/1I1/('I 1('('III CIll {'t(lit l ' inwf.:C : Du

de.Hill d(' l ' ('I(/f/l/t {/ 1([ ('(I/}/I/Illnic(/t;,m

ch'

l 'adulte.

(frt/st/que, 1

[)mras, B . , &

P a r i s : 1 :st: M5il.·()!1'" n .

1-17

St ernberg

1 93. M o n t re a l :

I NS E A .

( Cd . ) ,

1 19 - 1

Emergence de J ' i magerie.

[)a rras A l i ('oll1/11cncel/1c:r1l ,�/(I/t / 'ima,:: c::

R2-95.

Du

B.

dessin de

l 'cllj'u/1t (/ 1(1 ('oll1l1/lIl/ icotiol1 de l 'odulte (PfJ. 7 3 -94 ) .

K i nd ler, A. M. ( I CJ94). E rne rgL:llc e de l ' i mage

ct s l ra t eg ies �og n i t i vcs.

_ .

K i nd l e r, A . M . ( 1 996). Morphogcnc. c c t

teleol or.ie des i m age s e t d e l ' i ma geri e i n i t i a l e . I n

B . . & K i nd l er, A . M . ( 1 993).

Da n :I\, H., &

nJ creati l'Îty (pp.

·C.

M. ( 1 999 ). I rnr l i c a t iC lns o f a s ys te m s pe rspect i ve for t he s t udy I lolldh{J(Jk II/('rc:otil'Îly ( rr. 3 1 3 - 3 ) . Call1 brid ''e, MA: U n i vers i ty Pre s s . J )arras, n . ( 1 �n). 1.'ll11oJ.;lf de l 'art: Livr , J. M o n t re a l , QU: Ed i t ion s I mage de C' A rt.

Cs i k � zL: ntrn i h a l y i ,

))arras,

71le lIatl/re (1

Le,\'

I\ ctes du

2&

C()I/�r('.I'

Pari s :

ESF.

Darras, B . , & K i n d l e r, A . M . ( 1 996a) M()rphogen�'�1: e l

i m af!cs. Inwgies, l , 49-56. C. ( 1 9n). The c!lild\ creation oJa pictoriol lVorld.

t c l c ol og ie de s

l/1 ol1rliol de 10 Societe illternatÎollu/(: j!IJl/r l 'edl lcation

Golomb,

1 88

Berkeley, CA: University Press.

DeW:!IIIJ/IICllt

N. H. Freeman & M. V. Cox ( E d s . ) Visl/tll ortle r: nif!

(pp.

1 1 5- 1 30).

Reston.

VA :

Col/l'Clet! IH/pa.\". Crllnbrid .I!�·

H arvard U n i vers i t y Press.

W i l son B . . & W i l s on, M . ( 1 977). An i co n o c l a s t i e vicw o r t he i l11 a ge ry

K indler, A. M. ( 1 992). Artistic process in l'orly childhood: Implicatio/ls of social context. Pa pe r presented at the

I nternational S oc i e t y r'or Educat ion through AIt European

Art

Peirce, C. S. ( 1 93 1 ·35).

nature (lnd developme/lt ofpic/orial reprcscl1totiol1 (pp.

59-77). Cambridge, M A : Cambridge U n i vers i ty Pre s s .

il/

N A E A.

Hagen , M. A. ( 1 985). There is no developme n t i n art. [n

sources in t he 30( 1 ) . 5- \ 1 .

d r a w i n gs or you n g pe ople. !lrt

Edl/Cfltio/l,

C h i ld rc n ' s

Wi lson. B . , & Wi lson. M . ( 1 984).

Congress, Helsinki, Fi nland, August 9- 1 3 .

drawin g s i n

Egypl: Cu l t ural s t y l e acq u i s i t ion as gmp h i c dcve lopmc n l .

K i n cller, A. M . ( 1 992a). Worsh ip of Creat i v ity and A rt i s t i e Development of You n g C h i ldre n . CSEA lOI/moI, 23(2),

/O( 1 ). 1 .1-26.

Vi.w ul !lrts Resc{/rr1t.

Wi lson. B . , & W i l son . M. ( 1 YS5 ).

T he al1 i s t ic tower or

Babe l : I ne x t ricabk l i n k s hClwecn c u l t ure a n d

1 2- 1 7 . K incller, A. M. ( 1 995). S i g n i ficanee of aduIt i n te r a ction s i n earl y e h i l d hood Artistic development. I n C. Thom pson

Wolf. D . ( 1 994). D c v c l 0 p ll1 c n t as growl h o r r��pert (lin:�s. l n

Fra nk l i n

( Ells.) DI" I'r/0lll/ll'l/l II/ul (pp. 5 9- 7 H ) . H i l lsdak.

( Ed.L.The visl/ol arls in eorly ch ildllOOd Let/mill/j (pp.

M . F.

1 0- 1 4). Reston, VA : N A E A .

tlte {/fIS: Critiml pa'\"J!l'l"fi\"('.,'

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' 111phi