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Exercise 3 – Gestalt Adoptation in Drawing

Exercise 3: 11 APRIL 201

SELF-REFLECTIVE:

TASK 1: Discuss about the nature of arts, what do you understand the meaning of art as form

 TASK 2: Principle Of Design: Rhythm, Repetition And Movement

  • What is rhythm
  • What is repetition
  • What is movement
  • What is balance
  • What is proportion
  • What is variety
  • What is emphasis
  • What is harmony
  • What is unity

TASK 3: Could you find the each following viewpoint has been proposed as a way to differentiate art from human activities and illuminate certain aspect of art?

  • Behavioural
  • Conceptual
  • Contextual
  • Expressive
  • Formal
  • Mimesis
  • Relative
  • Symbolic

TASK 4: PRACTICAL ASSIGNMENT :Student need to draw a technical drawing by considering Gestalt Theory. The drawing should emphasize of depth, space and texture. All tasks should be posted at individual e-Portfolio

PROJECT 1 Preparation

  1. Find examples of geometric pattern
  2. Draw the motive/pattern & study the color
  3. Study the monochromatic color that you choose for 1st project
    • Monochrome Color
    • Canvas (1 1/2 feet x 2 1/2 feet)
    • Please prepare your resources on 18 April 2017
    • Tasks should be posted at individual e-Portfolio

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WAYS TO THINK ABOUT ART

WAYS TO THINK ABOUT ART

Although sometimes contradictory, all the following ideas, drawn both from the past and present, help illuminate the mutlifaceted nature of art.

  1. Art as behavior. Throughout human history, art has not always been viewed as separate human endeavor in which only trained artist participates but rather as daily part of life. In some societies art is so integral to the fabric of the community that the language lacks of special word for it (Ember & Ember, 1996). Ellen Dissanayake argues persuasively that art making is not the province of a few but is a normal behavior and psychological need to make things special. Art is taking ordinary things to making them more than ordinary so that attention is drawn to them. Regarding art as a behavior – an instance of ‘making special’ “she suggests, “shift the emphasis…to the activity itself (the making or doing and appreciating). Seeing art as behavior that all people, not just specialists, engage in enlarges and enriches our understanding of art and makes it inclusive rather than exclusive, a vital part of being human.
  2. Art as Culture. Across the nature of the works produced varies tremendously. Visual images and form have been used to communicate idea, ask and answer question, stir emotions, provide comfort and spur money. People have used a variety of tools and materials to tell stories and record their history. Images and symbol are intimately involved:
    •  Religious
    • Political
    • Ceremonial

The cultural traditions and belief also influence the artwork looks and values. An object will be deemed art if it fits a cultural identified with an acceptable artistic purpose. Tradition, religion, politics or current taste may dictate what subjects and purposes are acceptable for artistic pursuits. Only certain types of art tools and materials may available or allowed. What is rejected as art in one time and place maybe valued in another. Van Gogh’s paintings, for example, were disparaged in his own time but are now acclaimed. As such, artworks become the embodiment of cultural fashion and beliefs. “Artistic activities are always in part, cultural, involving shared and learned patterns of behavior, belief and feeling” (Ember & Ember, 1996). Today we can look at the art of the past and of other cultures as a document to be read. It provides a way to understand other people’s lives.

  1. Art as Conscious Creation. Art is often defined in terms of its composition or appearance. Works of art can be compared to objects both natural and human-made. For example, what is the difference between a smoothly carved sculpture and a well-weathered piece of driftwood? It has been argued that to be art an object must be the product of human thought, imagination and worship rather than being accidental or found in nature. But if the difference a natural object and work of art is the intecedence of a human mind and hand, then how can artworks be differentiated from human-made works? One way to distinguish between their purposes. Utilitarian objects simply make life more hygienic and physically comfortable. Art objects make it more beautiful and interesting. People can wrap themselves in plain cloth or wear elaborately and styles garments. The difference between the two can be seen as art.
  2. As as craft. The latin word ars, form which art derives, originally meant finely or skillfully crafted. Many people feel that in order for something to be valued as art, it should demonstrate a high level of technical skill, its materials carefully chosen to fulfill the final product’s intended purpose. If something is art, it because it is well crafted and suited to its purpose.
  3. Art as Self Expression. We express ourselves when we give vent to our despest feelings, emotions, and thoughts. Creating art is one way for individuals to do this. Art has often described as a window into artist’s soul. The artist has seen as the instrument of making the emotions of the subconscious visible. The practice of art therapy is built this belief that art is a reflection of the subconscious. A patient may asked to create art freely or in response to suggestion, which a trained therapist the carefully analyzes.
  4. Art as Historical Construct. How people view art has varied throughout history. At different times objects have been recognized as art based on the general preferences of the period of this such as:
    • Early Art – 19th century
    • Rocky Beginnings
    • Renaissance
    • Baroque
    • Rococo
    • Impressionism
    • Early 20th Century Art
    • Post- Impressionism
    • Expressionism
    • Cubism
    • Dadaism
    • Surrealism
    • Late 20th Century
    • Abstract Expressionism
    • Pop Art
    • Environmental Art and Installation
    • Postmodern
  5. Art as Symbol System. One of the difficulties in looking at art from this entire different viewpoint is that it is easy to lose sight of what all art has in common. Whether it expresses and emotion conveys a religious belief or performs a function, a work of art transforms human experiences into culturally understandable visual symbols to communicate meaning.
  6. Art as Aesthetic Experience. Art is often defined by the aesthetic reaction it causes in the viewer. When we speak something from aesthetic point of view, we attending to those features of its design and appearance. The aesthetic required us to understanding, feelings, questioning, analyzing, and reaction.
  7. Art as Play. George Szekely believes that having fun is the prime motivation making art. The physical activity of creating art such as pushing and pulling clay, making broad strokes of color and tearing paper, can excite the senses and produce feelings of pleasure. The artist playfully explore materials and ideas trying out possible combination, rejecting some, selecting others, and deriving pleasure from finishing a work.

TASK 1: Discuss about the nature of arts, what do you understand the meaning of art as form

TASK 2: Could you find the each following viewpoint has been proposed as a way to differentiate art from human activities and illuminate certain aspect of art?

  • Behavioural
  • Conceptual
  • Contextual
  • Expressive
  • Formal
  • Mimesis
  • Relative
  • Symbolic

FIVE DIFFERENT SOURCES WHERE ARTISTS GET IDEAS IN PRODUCING AN ARTWORK.

Natural and Cultural Environment

Sometimes artists look to their natural surroundings and record them. They painted the things that they see for example landscape around them. They were paying meticulous attention to realistic detail.

People and Real World Event

There are some artists like to express them ideas and feeling on a poster champagne or a painting about the world scenario such as currency crisis now day, people are jobless, world wars, people suffering on disease, nature pollution etc.

Myths and Legends

Some artists borrow ideas from famous works of literature. The ideas probably based from legends or fairytales story for example about the adventures that befall a super hero or urban legends returning form war. Surrealism artists utilizing the dream influences and sub-consciousness as inspiration in making artworks.

Spiritual and Religious Beliefs

Visual artists in every culture use their skills to create objects and images to be used to express spiritual beliefs. Those who create objects do the best work they can because it is important such as a sculpture of Hinduism that they believe it represented they god.

PURPOSES OF PRODUCING ART

Personal Functions

Artists create art to express personal feeling. Edward Munch had a tragic childhood. His mother died when he was very young, and one of his sisters died when he was 14. He painted The Sick Child in 1907 using oil paint on canvas. (Give relevance example of artist and the artwork)

Social Functions

Artists may produce art to reinforce and enhance the shares sense of identity of those in a family, community or civilization. Art produced for this purpose also may be used in celebrations and displayed on festive occasions.

Spiritual Functions

Artists may create art to express spiritual beliefs about the destiny of life controlled by force of higher power. Art produced for this purpose may reinforce the shared beliefs of an individual or a human community.

Physical Functions

Artist and craftspeople constantly invent new ways to create functional art. Industrial designers discover materials that make cars lighters and stronger. Architects employ new building materials such as steel-reinforced concrete to give buildings more interesting forms.

Educational Functions

Art was often created to provide visual instruction. Artists produced artworks, such as symbols painted on signs, to improve information. Viewers could learn from theirs artworks.

 THE ROLE OF ART IN SCHOOL

If art is defined as a language, then its role in education becomes clear; its provides another way that children can learn and express themselves. The language of art can be used in all ways that oral and written language can:

  • To Teach. Art can be used to present a new concept. Artwork can show children images that words alone can desribe only superficially.
  • To Provide Practice. Childern can create artworks that use the concept being taught. For example, after learning that stories have beginnings and endings, students can draw pictures that show something starting and ending
  • To Record. Art provides graphic images that students can use to record and remember in science experiments, on field trips, in stories read and more.
  • To Respond. The languange of art responsive. Student can create visual symbols to represent what they understood and felt, such graphically showing the feelings of different characteristic in book they have read.
  • To Access. The teachers can use paintings, drawings, sculptures, and other art forms to analyze how well the student learned. A detailed painting of life in pioneer day or the daily cycle of a butterfly can graphically what the student knows abot the subject.

Those kind of activities are found in many classrooms. Perhaps because there are more similarities in the appearance of early writing and art, they are more likely to occur in the ealiest school years.

TASK 3: Based on your daily routine as a teacher, what is your role be an art teacher in your school?

  Checklist

  • Know the nature of visual arts
  • Know the ideas and resources
  • Know the purpose of doing artwork
  • Know the role of art in school

 References

  1. Joan Bouza Koster (2001). Bringing Art into the Elementary Classroom. US: Wadworth

SOLO Taxonomy (Biggs & Collis, 1982)

The Structured Overview of Learning Outcomes, SOLO Taxonomy (Biggs & Collis, 1982), provides a common understanding of the learning process through an overview of cognitive learning outcomes. We have introduced this taxonomy to schools with students from 5 to 18 years of age.

SOLO provides criteria that identify the increasing complexity of student performance for understanding when mastering new learning (Biggs 1999, p.37). It is content independent and thus is useful as a generic measure of understanding across different disciplines. In our experience teachers using SOLO can easily, and reliably identify ascending cognitive complexity in individual and collective student learning outcomes.

SOLO describes five levels of student understanding, Refer Figure below.

solo_taxonomy
SOLO 5 Levels of Understanding

At the //prestructural level// of understanding, the student response shows they have missed the point of the new learning. At the //unistructural level,// the learning outcome shows understanding of one aspect of the task, but this understanding is limited. For example, the student can label, name, define, identify, or follow a simple procedure. At the //multistructural level,// several aspects of the task are understood but their relationship to each other, and the whole is missed. For example, the student can list, define, describe, combine, match, or do algorithms. At the //relational level,// the ideas are linked, and provide a coherent understanding of the whole. Student learning outcomes show evidence of comparison, causal thinking, classification, sequencing, analysis, part whole thinking, analogy, application and the formulation of questions. At the //extended abstract level,// understanding at the relational level is re-thought at a higher level of abstraction, it is transferred to another context). Student learning outcomes at the extended abstract level show prediction, generalisation, evaluation, theorizing, hypothesising, creation, and or reflection.

Using visual symbols to represent levels of understanding in SOLO means that coding for complexity of thinking can be undertaken by both student and teacher, allowing “where should we go next?” decisions and thinking interventions to more accurately target student learning needs.

CONTEMPORARY MODELS IN VISUAL ART (PSV702)

Course Learning Outcomes
At the end of the course, students should be able to:

  1. Explain the contemporary curriculum models in visual art education.
  2. Analyze and interpret creativity in visual art education.
  3. Apply the artistic development theories in cognitive development.
  4. Utilize the socio cultural cognitive development theory: Vygotski perspective and devise strategies in teaching visual art.
Course Description
The Course will focus on the curriculum practices in Art and Design Education. The curriculum component will provide overview of the principles and practices on the curriculum with a focus on the theories and practices in teaching and learning in contemporary art and design education.
Syllabus Content
1. CONTEMPORARY MODEL OF VISUAL ART EDUCATION
2. ARTISTIC DEVELOPMENT & COGNITIVE DEVELOPMENTAL THEORIES
3. PIAGET‚S TEORY
4. SOCIOCULTURE COGNITIVE THEORY
5. THE COGNITIVE REVOLUTION AND CONCEPTION OF LEARNING
6. IMAGINATION IN COGNITION
7. MODELS OF CREATIVITY
8. CURRICULUM MODELS
9. TYPES OF CURRICULUM IN VISUAL ART EDUCATION
Teaching Methodologies
  • Blended Learning
  • Discussion
  • Journal/Article Critique
  • Lectures
  • Presentation
  • Problem Based Learning (PBL)
  • Self-directed Learning
Assessment
Continuous Assessment: 60.00%
Assignment – 30%
Journal/Article Critique – 30%
Final Assessment: 40.00%
Final Project – 40%
Transferable Skills
Student will learn about curriculum component will provide overview of the principles and practices on the curriculum with a focus on the theories and practices in teaching and learning in art and design education.
Scheme of Work
 PSV702-ACADEMIC CALENDER 2017
References
  1. Clark G.A and Zimmerman E. D , Educating Artistically Talented Students, Syracuse University Press, 1984
  2. Dunn P.C , Point of View Series Curriculum, . The National Art Education Association., 1995
  3. Efland A , A History of Art Education. Intellectual and , Teachers College Press, Columbia University., 1990
  4. Efland A D , Art and Cognition, Integrating the Visual Art, Teachers College Press, Columbia University N, 2002
  5. Efland A, Freedman K and Stuhr P , Postmodern Art Education, : An Approach to Curriculum. The National Art, 1996
  6. EIisner, E , The Education Imagination, New York: Macmillan., 1979
  7. Fisher R, Teaching Children To Think, Nelson Thornes. Ltd, 2005