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Asking riticalquestionssecondaryclassroom


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Asking riticalquestionssecondaryclassroom

  1. 1. Asking Critical Questionsin the Secondary ClassroomDr. Judith Briggs • Dr. Ed Stewart • Dr. Colleen BrennanAndrew Adamczewski • Kristen Houlihan • Sam CookIllinois State University
  2. 2. The Advent of Formalism• Children and Their Art: “The quest for a universal language that “lies at the core of all understanding” led to the articulation of elements and principles of design, or “form.” What mattered more than content was form—consequently the label “formalism” *was born+. (p. 32)
  3. 3. Formalist Dreams Sequential Knowledge Elements & Principles First Access to Consistent & Adequate Art Instruction
  4. 4. The Hook for Teachers• Formalist approach = how a work was/is made• Elements and Principles: • can be easily identified in work • students can easily be assessed on this knowledge • make for great lesson objectives
  5. 5. Critical Questioning to the Rescue!• Students learn to read images• Fosters independence• Natural curiosity is honored and nurtured• Students’ interest is piqued• Students can transfer this thinking to their own studio practice
  6. 6. Growing Natural Artistic Thinking• start with content and concept• offer us tools to go deeper and broader in aesthetics discussions with students• are inclusive of formalist qualities• start with questions you might naturally ask yourself when viewing artworks
  7. 7. Starter Question Examples:• What is this work • What is the about? inspiration?• What is the message • Why is it important? or meaning? • What is/was the• Why did the artist artist’s intent? make it?
  8. 8. The Frames
  9. 9. The FramesSubjective Structural• Feelings & emotions • Reading work as systems evoked of signs, symbols, codes• Intuitive reaction, • Visual and formal observation & qualities of work deciphering meaning • Representations of rules,• Viewers’ personal conventions, values, experience when traditions, beliefs encountering the work
  10. 10. The FramesCultural Postmodern• How work challenges • Exposing disjunctions issues/culture of the between texts in work time • Recontextualization• Art movements, styles challenging established• Artists’ influences patterns of authority• Societal ideologies, • Relationships between views, values, beliefs meaning & context surrounding work • Tracing a history of the text
  11. 11. Aaron Douglas
  12. 12. Dawoud Bey
  13. 13. Student Work Samples
  14. 14. Student Work Samples
  15. 15. Student Work Samples
  16. 16. Frames in Art Ed Courses
  17. 17. Subjective Frame “My still life evokes a deep understanding of Native American culture.” “My experience with the bracelet makes this work very meaningful to me… My mom bought me this Native American made bracelet for my birthday” “The dream catcher also reminds me of my mother. [She] has always been interested in Native American history.”
  18. 18. Structural Frame “In Native American culture, dream catchers were hung in the dwellings or homes of the natives… The code behind the dream catcher is protector.” “The symbol was very positive and appreciated in the Native American culture. The meaning can be read by the audience if they understand the history behind the dream catcher.”
  19. 19. Cultural Frame “My belief is that many people use the dream catcher as a symbol, but they do not give credit to the Native Americans.” “This contextualized work is influenced by modern interest groups. Today, the dream catcher has become a symbol [used by people who+ don’t value it’s meaning in the Native American culture. “The *Edgar Allan Poe+ quote is used to make the audience ponder the meaning. The quote… is a reference to consumerism and the “dream life.”
  20. 20. Postmodern Frame “*The+ quote, from the poem A Dream within a Dream is very loving, and it goes along with the romantic notion of the dream catcher.” “The disjunction between the text and artwork is that Edgar Allan Poe had nothing to do with Native American culture, the only connection is “dream”. “This brings awareness of the dream catcher’s new context…many people do not have any correlation with the Native American culture, yet they feel entitled to wear or own dream catchers.”
  21. 21. Time to Frame!Use the handout provided to participate in a group discussion
  22. 22. Michael Dinges, Sampler, Dead Laptop Series 2007, engraved plastic and acrylic paint
  23. 23. Thank you!Dr. Judith Briggs jabrigg@ilstu.eduDr. Colleen Brennan ckbrenn@ilstu.eduDr. Ed Stewart