Teaching Contextual Studies with Community Resources

Teaching Contextual Studies with Community Resources

1. ART5101: Teaching Contextual Studies with Community Resources Education in Art Role & Aim of Arts Education Aesthetic Development in Children and Adolescents Education Bureau Curriculum Document EdUHK(CCA) Teaching Practice Handbook VA Subject Knowledge Teaching and Learning Strategy/Pedagogy 1. 設定主題 2. 轉化藝術家藝術風格成為學生學習重點 3. 轉化藝術家 創作情境為 學生創作情境 4. 呈現學生創 意和想像力

2. ART5101: Teaching Contextual Studies with Community Resources Course concepts Art appreciation & criticism enhancing art-making Contextual Studies Aesthetics Socio-cultural & Community Resources 1. 設定主題 2. 轉化藝術家藝術風格成為學生學習重點 3. 轉化藝術家 創作情境為 學生創作情境 4. 呈現學生創 意和想像力 深化, 豐 富, 提升

3. Table 1: 單元計劃概覽 學習範疇 學習目標

4. 學習目標 學習範疇

5. (US) Role, Aim & History of Art Education Child Development (1940s) Discipline based art education (1980s) Multicultural Art Education (1990s) Community based art education (1990s) Visual culture art education (1990s) Culturally Relevant Pedagogy (2000s) Socially Engaged Art Pedagogy (2000s) Comprehensive Art Education (current) 4 Assumptions: Children's development (genetically determined capacities) depends upon opportunity to learn Artistic skills (making/perception) is complex & subtle Learning in art is related to the course of human development Tasks that children are asked to engage in must have meaning to them Vision： Provide conditions that will empower children to shape their own development 4 Activities: Art Making – develop complex cognitive skills Criticism – expand perceptual habits History & Culture – examine art and culture interaction Aesthetics – become reflective about the basis of judgment 藝術製作 藝術評賞 藝術 歷 史 藝術 哲學 DBAE extension + Visual Culture studies + Contemporary Technologies + Creative Expression in social context

6. Artists: imagination, sensitivity, + skills to create expressive visual forms Art critics: know how to perceive - attend + describe + interpret the subtle and complex features of artwork Art historians : understand the place of art in time and culture Aestheticians: are sophisticated about the bases for judgments ( art + form of knowledge + insight into the world) The scope of the curriculum that defines the opportunities that children have to develop their minds We want children to … experience the joys of creating visual images + acquire skills develop visual sensitivity (see, describe the subtle & complex qualities of visual art & environment understand art < > culture , including technology + ideology learn how to participate in dialogue regarding nature of art, grounds upon which art can be appraised, and by which one's judgments about it can be supported

7. Table 1: 單元計劃概覽 學習範疇 學習目標

8. 簡報講解 活動 示範 提問 個人創作 藝術評賞 Table 2: 理念 + 教與學過程 知識 技能 價值觀/態度 共通能力 讓學生能夠創造出個人化且有意義作品的靈感和動力源泉 請參閱教育局範例

9. A major aim of arts education is to promote the child’s ability to develop his or her mind* through the experience that the creation or perception of expressive form makes possible. In this activity sensibilities are refined, distinctions are made more subtle, the imagination is stimulated, and skills are developed to give form feeling (Eisner, 2004, p. 24). Eisner, E. 1933 – 2014 *re-emphasize education is a process of learning how to become the architect of your own experience [...] The arts have distinctive contributions to make to that end through their emphasis on the expression of individuality and through the exercise and development of the imaginative capacities.

10. Shaping Form to Create Expressive Content We may ask what it is about the work that causes us to be touched or moved in its presence. The answer can be found in the value that aesthetic experience has for us. (e.g. powerful play, a moving symphonic score, a jazz trio at its best, or an architectural masterpiece) But what is it about these and other such works that evokes in the receptive viewer the experience I speak of? Artistry (藝術性) consists in having an idea worth expressing, the imaginative ability needed to conceive of how, the technical skills needed to work effectively with some material, and the sensibilities needed to make the delicate adjustments that will give the forms the moving qualities that the best of them possess.

11. Process of making visual art - develop a range of important cognitive skills Opportunity: material → medium (via which the child conveys ideas/images/feelings) the child needs to conceptualize the kind of image (wishes to bring into existence) (problem) the material carries thought forward → create expressive forms develop sufficient skill (technique) : material → a particular effect organize the forms (without the benefits of prescribed rules) to determine the rightness of a visual solution to a visual problem

12. Process of making visual art - develop a range of important cognitive skills Opportunity: material → medium (via which the child conveys ideas/images/feelings) exercise judgment (depend sensibility) pay attention to nuance / complexity of the changing images (while working) plan ahead / be prepared to shift goals ( flexibly purposive ) perceive the relationships of the parts to the whole

13. What Art Teaches Attention to Relationship Flexible Purposing Use Materials as M edium Shape Form to Create Expressive Content Exercise of Imagination Learning to Frame the World from an Aesthetic Perspective Ability to Transform the Qualities of Experience into speech or text

14. Art criticism Enhancing Art Making Case Study Investigating interrelations in visual arts education: Aesthetic enquiry, possibility thinking and creativity https://drive.google.com/file/d/1aegmcDIlD0EHCnmIA-MYF2exg7kzUAQx/view?usp=sharing Gustav Klimt The Tree of Life, 2010 Oil on canvas 195 cm × 102 cm (77 in × 40 in) Museum of Applied Arts, Vienna, Austria

15. 簪花仕女圖 周昉 唐/五代十國 絹本設色 46 × 180 cm 中國遼寧遼寧省博物館 一幅仕女圖，描繪的是唐代或五代十國時期的宮廷中的嬪妃，分「戲犬」、「慢步」、「看花」、「採花」四個部分。它現在雖然是一幅長卷，但因其畫心由三段畫絹拼接而成的，所以可能本是屏風畫 。 Contextual Studies Enhancing Art Appreciation 殷瑗小聚 (蔣勳) 中國美術史- 唐代:周昉的簪花仕女圖 20130618 https://www.youtube.com/watch?v=yYDDuoVRsEA&t=1s

16. (US) Role, Aim & History of Art Education Child Development (1940s) Discipline based art education (1960s) Multicultural Art Education (1990s) Community based art education (1990s) Visual culture art education (1990s) Culturally Relevant Pedagogy (2000s) Socially Engaged Art Pedagogy (2000s) Comprehensive Art Education (current) DBAE extension + Visual Culture studies + Contemporary Technologies + Creative Expression in social context Paradigm Shift Modernist Aesthetic Theories Postmodern Aesthetic Theories

17. (US) Role, Aim & History of Art Education Child Development (1940s) Discipline based art education (1960s) Multicultural Art Education (1990s) Community based art education (1990s) Visual culture art education (1990s) Culturally Relevant Pedagogy (2000s) Socially Engaged Art Pedagogy (2000s) Comprehensive Art Education (current) DBAE extension + Visual Culture studies + Contemporary Technologies + Creative Expression in social context Paradigm Shift Modernist Aesthetic Theories Postmodern Aesthetic Theories Lowenfeld’s (1947) conception of creativity focus on the individual’s self-expression reflect modernist art & aesthetic theories influence K-12 art education Modernist Value (from post-modernist pov) focus on progress the individual art-for-art’s sake Lowenfeld’s emphasis on children’s creativity as intrinsically motivated & encouraged through an environment that supports exploration > reflects a modernist emphasis on the individual, freedom of ideas, and manipulation of media for expressive potential Reflection on Lowenfeld “Lowenfeld was less interested in what one might call the social purposes or pragmatic outcomes of creativity than he was in its quieter workings in how individuals functioned within, and made sense of, their worlds ” (Burton, 2009: 323).

18. (US) Role, Aim & History of Art Education Child Development (1940s) Discipline based art education (1960s) Multicultural Art Education (1990s) Community based art education (1990s) Visual culture art education (1990s) Culturally Relevant Pedagogy (2000s) Socially Engaged Art Pedagogy (2000s) Comprehensive Art Education (current) DBAE extension + Visual Culture studies + Contemporary Technologies + Creative Expression in social context Paradigm Shift Modernist Aesthetic Theories Postmodern Aesthetic Theories Postmodern theories of art (assertion): artwork is situated in a particular context defined / evaluated by that context Dickie’s (1974) institutional theory Gablik’s (1991) reenchantment of art Bourriaud’s (2002) relational theory Csikszentmihalyi (1988, 1999) systems theory of creativity

19. A different conception of artistic creativity critical insights and understandings about a social issue (represented by/through visual culture), are valued as creative, and not the formal visual expression itself Creativity was seen less in the craft of an object than in the originality of its conception Dickie’s institutional theory Pop Art, Conceptual Art, Performance Art Explicitly reflect/ critique contemporary society content dependent on the physical & cultural context of the artwork’s exhibition emphasis on “non-exhibited characteristics” a break from the modernist formalist aesthetic theory Visual elements & Design principles (the physical boundary of the artwork) Clive Bell’s (1914) significant form (intangible concept) - form of an artwork or forms within an artwork can be expressive, even if largely or completely divorced from a recognizable reality “The institutional theory of art concentrates attention on the non-exhibited characteristics that works of art have in virtue of being embedded in an institutional matrix which may be called ‘the artworld’ and argues that these characteristics are essential and defining” (Dickie, 1974: 12). 藝術的製度理論將注意力集中在藝術作品因嵌入可稱為‘ 藝術世界’的製度矩陣 而具有的未展示的特徵上，並認為這些特徵是本質性的和決定性的 Fountain ( Duchamp, 1917 ) Brillo Boxes ( Warhol, 1964)

20. Csikszentmihalyi’s system theory “a phenomenon that is constructed through an i nteraction between producer and audience . Creativity is not the product of single individuals , but of social systems making judgments about individuals’ products” (Csikszentmihalyi, 1999: 314). Lowenfeld’s (1947) conception of creativity focus on the individual’s self-expression reflect modernist art & aesthetic theories influence K-12 art education Dickie’s institutional theory Pop Art, Conceptual Art, Performance Art Explicitly reflect/ critique contemporary society content dependent on the physical & cultural context of the artwork’s exhibition emphasis on “non-exhibited characteristics” a break from the modernist formalist aesthetic theory Visual elements & Design principles (the physical boundary of the artwork) Clive Bell’s (1914) significant form (intangible concept) - form of an artwork or forms within an artwork can be expressive, even if largely or completely divorced from a recognizable reality

21. Gablik’s (1991) Reenchantment of art the ethical engagement of artists with the world concerning ecological issues rejects the aloofness of modernism (emphasis on the individual’s isolation for creating works of artistic genius) seek a reenchantment of art 尋求對藝術的重新著迷 emphasizes interconnectedness and social responsibility In 2007, the art education journal Studies in Art Education devoted a whole issue to ecological art education (vol. 48, no. 4)

22. Beyond Drifting: Imperfectly Known Animals (Mandy Barker, 2016) 超越漂流：完全不為人知的動物

23. 我選擇Mandy Barker的攝影作品，她以類似科學考察的方法，以顯微鏡放大收集得來的塑膠垃圾，拍出如浮游生物的照片， 引發觀者對海洋污染的關注 。 當中她刻意混淆了「生物」與「非生物」（塑膠），也模糊了人造物與自然物的界線。在污染下，棄置的塑膠廢物恍如與海洋生物共存，不少海洋生物體內存有塑膠， 甚至 因吃下塑膠而死亡，這時「偽生物」（塑膠）就確實取代了真生物。 攝影師以這「騙局」巧妙地喚醒人要保育海洋生態，不要對此視而不見。 Artwork dealing with issues (200-250 Chinese words, 5%) Please identify a good example of an artwork and highlight how the artwork addresses a chosen issue. Beyond Drifting: Imperfectly Known Animals (Mandy Barker, 2016) 超越漂流：完全不為人知的動物

24. Gablik’s (1991) Reenchantment of art the ethical engagement of artists with the world concerning ecological issues rejects the aloofness of modernism (emphasis on the individual’s isolation for creating works of artistic genius) seek a reenchantment of art 尋求對藝術的重新著迷 emphasizes interconnectedness and social responsibility In 2007, the art education journal Studies in Art Education devoted a whole issue to ecological art education (vol. 48, no. 4) Bertling & Moore (2021) U S K 12 Art Education Curricular Landscape

25. Bourriaud’s (2002) relational theory engages with notions of the institution of the artworld, consider how contemporary art reflects and engages with contemporary society The possibility of relational art (a s an art taking as its theoretical horizon the realm of human interaction and its social context , rather than the assertion of an independent and private symbolic space) , points to a radical upheaval of the aesthetic, cultural and political goals introduced by modern art. (Bourriaud, 2002: 14)

26. Participants received either a North or South Korean menu #1: wrappers - interviews with North Koreans about life inside North Korea and after immigrating #2 : wrappers - interviews with South Koreans ’ perceptions of & experiences with North Korean immigrants Socially Engaged Art Pedagogy facilitate participation/ construct better relationships Three Concepts 1. Relational Aesthetics - art creates a space for people to open their minds, talk to each other, and construct better relationships (Bourriaud, 1998/2002) 2. Dialogic Art - creates a space for conversations (Kester, 2013) 3. Socially Engaged Art - involves aesthetic experiences that facilitate mutual understanding between artists and community members facing various socially situated challenges/issues (Thompson, 2012) Informational Wrapper Creative Time Summit: North Korea and South Korea serve both North and South Korean foods to 250 people @ the Judson Memorial Church in Greenwich Village