Art Teacher training: A photo essay (original) (raw)

Center for Educational Policy Studies Journal

Teaching and Learning through Art This special issue of the CEPS Journal focuses on specific approaches related to teaching and learning about content and objectives from all school subject areas by transferring artistic expressive activities at the primary and secondary school levels, as well as in teacher training education. The aim of the issue is to present research examples of the resolution of didactic questions through the implementation of methods, activities and approaches that are characteristic of the arts, in order to improve teaching and learning in other educational areas with various goals. Especially noteworthy in today's school is the fact that the majority of students are in daily contact with television, video and video games, with their colourful, fast-moving sequences of images, and, of course, with computers, which provide a wide range of possible uses and experiences. Scanning and combining images and experimenting with the tools offered by different programmes, as well as exploring the possibility of multiple printings and the divergence between printed and screen images, are just a few possible areas to consider. These experiences not only imply an increasing speed of changing images, mechanical simplicity and broad possibilities in the resolution of different technical processes, but above all a specific experience of space perception and representation, which every pupil brings to the classroom, and which is essential to the different school subjects and to education in general. We are referring to a group of competencies that a human being can develop by seeing, as well as by having and integrating other sensory experiences. The development of these competencies is fundamental to normal human learning. When developed, they enable a person to discriminate and interpret the visible actions, objects and symbols-whether natural or man-made-encountered in the environment. Through the creative use of these competencies, the individual is also able to communicate with others. The ability to analyse and interpret images and other visual material, although critical, is not sufficient in itself; it must be accompanied by an ability to create visual material, in order to use a specific language that allows the individual to consider synthesised images that stimulate hybrid sensitive experiences and operative experiences in a holistic way. The described spatial experiences are important not only in the case of art education but for other school subjects, as most of them deal with visual representations of all kinds. This proposition is important when talking about

The Art of Teaching Art

Thanks to Michelle Sullivan for her perspective on the graduate school experience; to Tom Clinton and Carol Fallis for legal counsel; to Jen Dividock and Dani Mclntyre for technical assistance; to Paris Tennenhouse for technical assistance and unwavering emotional support; to Patrick Foley, Barbara Corbin, Joyce Recker, and Dan Dauser for helping me to see the light at the end of the tunnel. Thanks to Chad Jay, Mary Kolenda, and Erli Gronberg for sharing resources and for technical support. Thanks to everyone at the Camera Center-Ellis, Paul, Larry, Bob, and Hal-for generously sharing your enthusiasm and expertise. Special thanks to Kendall College of Art and Design for providing me with release time and technical/financial support Thanks to my students. It is all of you who inspired me most to share my experience of teaching and all that it encompasses. The illustrations of your work breathe life into my words. Although I am unable to use examples of everyone's work, I am grateful to all of you who provided me with permission to use your drawings throughout The Art of Teaching Art. xi xii / Acknowledgments Thanks to Moorhead State University in Minnesota for having faith in me and for giving me my start in teaching, and to Phil Harris and Anne Schiesel-Harris for their support and friendship during those first few difficult years. Thanks to my editor, Joyce Berry, for guiding me through the publication process. Finally, and most important, love and thanks to my family. Words cannot express my gratitude for the gift that we are to each other.

Tracing an approach to art teaching

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This article reports an archival investigation of the history of a rare visual arts education documentary film produced in 1960, under the auspices of the Australian UNESCO Committee for the Visual Arts. Approach to Art Teaching, was intended to showcase the development of innovative curriculum policies in New South Wales (NSW) art education. Included in UNESCO's commitment to sponsoring arts education internationally, the film was exhibited in several countries. The article comments on a debate that led to the film's producers being dubbed "methodists" in relation to the perception that the film advocated an interventionist model of art teaching. The article analyzes the film as an artifact of changes to the conceptualization of art education in a specific context in the early 1960s. In 1960-61 the Film Division of the Australian Commonwealth Department of the Interior produced an 18-minute documentary, recorded on 35-millimeter color film and entitled Approach to Art Teaching. The film purports to describe a method of teaching art to children in schools administered by the Department of Education of the government of the Australian state of New South Wales. Historical documents associated with the production of this documentary reveal the parameters of a divisive and controversial debate in art educational theory and practice, which bear resonance even in today's seemingly distant context. This debate relates to the nature of creativity, free expression, and the functions of the art teacher as an educator, guide, observer, or participant in a student's progress in learning about art. The question of the degree to which an art teacher should encroach upon what has long been considered the private mental space of a developing child, proved in the mid 1960s to be a lightning rod, provoking a moment of outrage and dissidence in art education.

Understanding the Experience of Elementary Teachers teaching art

ProQuest, 2018

The research project was designed to understand the lived experience of general elementary teachers teaching art when they are minimally trained and art education is devalued in schools and educational policy. The research follows hermeneutic phenomenology as it explains and gives voice to the lived experience. The heuristic foundation of this research is a reflective-formative style of inquiry that is delicately entertained in the practice of language. The foundation of the research relies on Dewy's theory of knowledge. Teachers were observed for one art lesson, to create a foundation to their everyday activity followed by a reflective discussion of the observation. Bricolage was employed to interpret meanings and analyze findings. The small case study created individual narratives of each participant's experience. challenges from teaching art included budget, curriculum, and training. Reflections included themes ranging from pedagogy, planning, to self-improvement. The participants actively contributed to their own practice as well as contributing to the field of education. Further, exploring the pedagogy of art education posed additional thought and consideration to the teachers for their future practice and incorporation of the work of art, which is active, therefore not the same as the product of art into their classroom.

Crossing Boundaries: The Journey from Teacher to Teaching Artist

ARTicle, The Journal of Art Education Victoria, 15(1), pp. 18-26., 2013

Newly qualified art educators explore the realities of being both an artist and a teacher. AEV, Art Education Australia (AEA) and the Melbourne Graduate School of Education (MGSE) together are undertaking some exciting research that addresses an issue close to the heart of many Visual Art teachers. What happens to our art making when we start teaching? Three myths are commonplace: you can’t teach and make art as well; 'good' art teachers somehow have a private art practice and having an active art practice impacts your long-term retention in teaching. What is surprising is how little information actually exists to support or refute these myths. The Teacher as Art-maker Project (TAP) is investigating how much art making newly graduated Visual Art educators actually do, how this participation impacts perceived quality of teaching, and what effect making art, or having no ‘active’ practice, has on expectations of retention in teaching. The research addresses areas of core interest for each partner.

Visual artists and teachers: encounters and approaches

InSEA ART Education VISUAL Journal IMAG #2, 2015

This article was developed from issues which arose in the dissertation titled Escola, Artistas e Docentes em Movimento: Encontros entre Arte Contemporânea e Educação (Fischer, 2014). The research site for this study was Escola Projeto (Porto Alegre, RS), which includes contemporary art in its curriculum and invites artists to work collaboratively. The article explores how teachers and visual artists work together to devise new ways to create art in the school, explore these approaches together and move away from practices that have become standardised over time.

Teaching and learning through art : editorial

2015

Visual Art as a Vehicle for Educational Research

International Journal of Art & Design Education, 2007

This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student-centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text-based form such as writing. The resulting images were discussed in a seminar and a subgroup of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art-based approach to educational research. As a result, I advocate in this article a greater use of arts-based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning.

Art Teacher training: A photo essay (original) (raw)

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