21st Century Art Imperativey p

Presenter

Theo Mandziy

An exploration into innovative  Visual  Arts classroom practices in the PYP framework 

….and beyond.

• Education is changing and theEducation is changing, and the importance of art education is increasing exponentially As such theincreasing exponentially. As such the value placed in art education at l d delementary, primary and secondary school levels should not be underestimated.

• Bobby Coles – American Arts Educationalist

How is the teaching of Art Changing?How is the teaching of Art Changing?

• Until recent decades, K‐12 art education focused on development of studio or technical skills and on thedevelopment of studio or technical skills and on the psychological development of children through art‐making (Efland, 1990). Since the 1960s, educatorsmaking (Efland, 1990). Since the 1960s, educators such as Bruner have called for curricular and pedagogical shifts (Dom, 1994, pp. 4‐7)pedagogical shifts (Dom, 1994, pp. 4 7)

We need to look at art educationWe need to look at art education not as a isolated single subject area but as a component of the whole learning of the studentlearning of the student.

Call to embed Arts in all curriculum areas

• As Australia moves towards the implementation of a national curriculum in the Arts a new review of research released by ACERcurriculum in the Arts a new review of research, released by ACER in January, calls for the Arts to be embedded in all academic disciplines and fields as a way of cultivating creativity and imagination.

• Australian Education Review 58, The Arts and Australian Education: Realising potential by University of Sydney academic Professor Robyn Ewing stresses that the Arts (dance, drama, literature, media arts music and visual arts) must not be seen as servants to otherarts, music and visual arts) must not be seen as servants to other curriculum areas.

• The review aims to demonstrate that the Arts offer both a lens into historical and contemporary social issues, as well as simultaneouslyhistorical and contemporary social issues, as well as simultaneously challenging them. It argues that arts processes can provide the potential to reshape the way learning is conceived and organised in schools and other educational contexts. 

The IBO framework provide Primary Years VisualThe IBO framework provide Primary Years Visual Arts educators with a vehicle to broaden understandings of what were traditional singleunderstandings of, what were traditional, single subject boundaries.

Inquiry based pedagogyInquiry based pedagogy

Providing students with the opportunity to….

• ..not just learning ABOUT art…

• but through ART…making CONNECTIONS by using A i kiArt as meaning making.

How does this look in practice?How does this look in practice?

Connection

connection to

• Learning  art as process, creating, representing, reflecting on learning

• Knowledge  as an avenue for deeper understanding (links to UOIs)

• Community – world – citizenship art in society, art as a tool for meaning making and connection to students worldtool for meaning making and connection to students world

• belonging          place          time       beliefs        culture       events

• Self  art as expression and representation of self

• 21st Century access to media access to experts, access to Artilier – avenue / studio / place of learning

An example within a Primary school frameworkp y

• Connecting to Classroom Units of Inquiry• Year  3 UOI “How the world works”

• Central Idea:• We are part of a complex universe that we continue to explore and wonder• We are part of a complex universe that we continue to explore and wonder 

about

• Concepts:• Perspective 

• Use Google Earth examples – influenced by artist Artist Yann Arthus-Bertrand (photographer / artist)whose work is also a component of Google Earth (See Layers section – Global Awareness – Earth fromp g ( yabove). More information about the artist can be found at:

- http://www.youtube.com/watch?v=s8Isx02m7-Y- http://www.youtube.com/watch?v=3ccs5pzBbWI&NR=1- Influence by artist Alex MacLean’s photography – see newspaper clipping.• Used Google

Connecting to 

• Events   Local• Stand Alone UOIStand Alone UOI 

• Central idea:  • Mural / Graffiti Art is aMural / Graffiti Art is a 

public representation and element of Art in society.

• Concepts:• Form, perspective

• Insert Completed wall imageInsert Completed wall image

• Connect to events:• Global (conflict)• Connected to UOI  “Sharing the Planet”• Central Idea: Finding peaceful solutions to conflict can lead to a better 

quality of human life• Concept: Causation, Perspective • Visual Arts inquiry: Many artworks are a critique of society. In such q y y q y

artworks artists often express strong feelings a out events or social injustices.

Goya Banksy

George Gittoes

Colin Powell Picasso painting Guernica

Connecting toC lt g• Culture• Aboriginal Art and Design / Symbolism

Wukun Wanambi from Arnhemland talking to Year 4 students – sang intro

• Inquiry also leads to extending unitsInquiry also leads to extending units.• Symbolismextension using contemporary mediacontemporary media

• Belief and culture• “Who we are”

• Central Idea:

All h h b li f h• All humans have beliefs that influence the way they live and relate to others.

• Concept: Connection

Visual Arts connection started as a holiday Homework project

Front Loading Central Idea

• Chinese Ink Painting• Cultural specific medium

S d Al UOI• Stand Alone UOI

• Central Idea:• Landscape ink painting is an Asian artistic 

tradition used to represent environment and place.

• Implemented within context of student real world

• Congruency of media (landscape ink painting)

• and incongruency of theme (rigid man made environment as opposed to natural organic landscape)

Connecting toConnecting to

• Community Co u ty• “Who We Are”

• Central Idea:Central Idea: • Our understanding of how we belong evolves and is influenced by many 

factors.

• Concept: • Perspective

Thi Y 5 hibiti U it• This was our Yr 5 exhibition Unit• We looked at this unit as an opportunity to inquire as to identity and how it is an important theme 

in the works of many artists.• We also chose to use a medium that was representative of the students personal world.

Belonging to school

Belonging to friends

Belonging to family

Belonging to nationality

• Yukimaro Ii  5W

• Sushi

• Photography/Digital manipulation

•

• I selected this image as a representation of belonging because it is aphoto of me at my house, in my cultural clothes. I am also eating

h h h d l f d d ll fsushi which is a traditional Japanese food…incidentally my favouritefood. I feel a strong sense of belonging to my background andculture. This image identifies me with my Japanese heritage. I hopeth di ill b bl t i t t th h itithe audience will be able to interpret, through my composition,such connections.

Connecting toConnecting to

• SelfSelf• Central idea:• I can express and represent myself through Art in unique and unusual 

ways• Concepts:• Form, perspective

• Xray – alternative representation of human form.Xray alternative representation of human form.• Baselits – alternative representation (right brain / left brain)• Munch – expressionism (appropriation and introduction to text in artwork)

• Baselits• Alternative representation of self

Connecting to• Place• Central Idea:• Artists can influence the way we experience a place.• Concepts: Perspective, connection

Connecting to d• Gender

• Central Idea:• Contemporary Artists often explore the idea of identity and place inContemporary Artists often explore the idea of identity and place in 

unexpected ways. • Concepts: Form, Perspective

Connecting to artConnecting to art

• Traditions of artist practice Still lifeTraditions of artist practice Still life

• What influences artists – Arkley

• Contemporary Art frameworks – (higher order artistic concepts just like Rosalie assemblage work)– (higher order artistic concepts just like Rosalie assemblage work)– Appropriation – repurpose – recontextualize– are all post modern concepts– Installation Art – Christo– Installation Art – Christo

• Process ‐Pollock

Still lifeC t l IdCentral Idea: Still Life is an art and design that incorporates both the arrangement and depiction of objects 

Concepts:Form, Perspective

What influences artists• Central Idea:• Central Idea:• Artists are often influenced by familiar 

and domestic environments.• Concept: Causation, connectionp ,

http://www.ngv.vic.gov.au/arkley/education/ed_interactive.html

Contemporary Artist frameworks C t l Id• Central Idea:

• Appropriation in Art is the borrowing and altering of iconic images to create a 

t inew art piece.

Concepts:

Forms, Connection

• Installations

Central Idea:Installation Art is a contemporary Art medium used to invoke audience thought in respect to aused to invoke audience thought in respect to a theme, concept, idea or belief and it is site specific.

Concepts:Form, perspective

Celebration of process• Central Idea:• The process involved in art making can be as important as the artwork 

that is created.

http://www.jacksonpollock.orghttp://www.jacksonpollock.org

• Picasso website grabPicasso website grab

21st century medium21 century medium

• Computers as art medium / toolComputers as art medium / tool• Research – finding examples of artists / work / 

presentingp g

• Categorize artists with similar medium, theme, message.g

• Digital camera• PhonesPhones • Software (e.g. Photoshop CS4 image manipulation) 

artist study process emulation – Pollock ‐ Arkleyy p y

For these connections to occur there must be access to:

• Collaborative planning (show examples) time allocated to planning and collaboration

• Atilier (where art gathers) – celebration of process 

• Literature       * art based attributes• Newsclippings *access to materials• Space dedicated to creating and responding 

• Expert(s) * teacher / facilitator   * artist in residence   * visiting artists   

• Art in society  *galleries   * exhibitions• Authentic Reflection processesAuthentic Reflection processes

Collaborative Planning

Access to Atilier

Th l d l b f• The atelier, or studio, serves as a laboratory for inquiry, investigation, and creative expression.

• In the Spirit of the Studio: Learning from the Atelier of Reggio Amelia (Gandini, Hill, Cadwell, & Schwall, eds.).

An Art studio…Art room…Art space…is an important component in the deliver of an authentic Visual Arts programme.

R fl iReflective

In Visual Arts, students reflectIn Visual Arts, students reflect on their own skills and techniques in application of media. They reflect on their artwork and the works of other ti t dartists and peers

Brett Whiteley (Australian) – Studio painting showing self reflection (detail)

W ll B l dWell Balanced

-Students are exposed to a h l f h iwhole range of techniques, 

media and art forms. They learn to appreciate that Visuallearn to appreciate that Visual Art comes in many forms for many purposes and audiences.y p p

Ng Eng Teng (Singapore) – Balance –Sculpture Fort Canning Singapore

O Mi d dOpenMindedIn Visual Arts students areIn Visual Arts, students are exposed to a wide range of activities and work to the best of h i bili if h itheir ability even if they perceive it as something they may not like.  They will also be open minded in their understanding of individual / cultural / racial and historical differences in the type of Visualdifferences in the type of Visual Art experiences and body of works they encounter.

Pablo Picasso (Spain) – Dora MaarPainting – Cubist period

P i i l dPrincipledStudents participate inStudents participate in activities where they have to share equipment and tools with their peers and withwith their peers and with other classes. They look after classroom resources and keep the art room clean Theythe art room clean. They respect classmates and their work and realise that t k tartworks are open to 

individual interpretations.Eugene Delacroix (France) – Liberty leading the people -

Painting

Ri kT kRiskTaker

Students are willing to try a new skill, technique, media and art style even whenand art style even when they are not confident.

Jackson Pollock (America) Action PaintingJackson Pollock (America) – Action Painting

Thi kThinker

Students think of ways to best work as individuals and in a group to solve various problems.  They are always thinking aboutalways thinking about visual art techniques, media use / application d f kand composition of work.

Roddin (France) – The Thinker (Sculpture)

ReflectionReflection

• The learning cycle must incorporate reflectionThe learning cycle must incorporate reflection to embed??? Long distance learning…..??? Idea from Ardy as to better quote….

Reflection of process of art making:Reflection of process of art making:Oral…discussion TextP t S lf A tPeer assessment  Self AssessmentPresentation Anecdotal RecordsGallery walk Student led conferenceCompare / Contrast

tensions• Well and good for you…but you don’t know my school……some great ideas but difficult to implement with my situation

• Paradigm shifts do not happen in an instance.• There are many tensions to consider.• Curriculum expectations / indicators / outcomes to teach to….• who wrote them? Why set in stone? Get involved.• Current timetable allocation • Meeting schedule – collaboration with classroom teachers and Single Subject teachersMeeting schedule  collaboration with classroom teachers and Single Subject teachers.

• Expectations of classroom teachers of the arts programme – your discipline is not in the school to decorate their homerooms..but an important part of student learning. 

• Budgets / Resources– dollars and cents devoted to arts programme within school 

• Access to experts

• Change in the implementation of your Primary Visual Arts programme (that is specific to your school) can only occur and integrate authentically with small steps and successessteps and successes……

• For example:• Try integrating with one UOI per year group per year.• Instigate stand alone Visual Arts INQUIRY based UOI..that incorporates reflection in theInstigate stand alone Visual Arts INQUIRY based UOI..that incorporates reflection in the 

learning cycle 

• Our students are growing up in exciting,Our students are growing up in exciting, technological, hectic exponentially fast paced world of change.C i i i i kl b i i• Creativity is quickly becoming an important individual characteristic and valuable commodity 

• Our role as arts educators and facilitators is to• Our role as arts educators and facilitators is to ensure that we provide these students with the skills, understanding and insight to ensure their 

ti it t th t th i ldcreativity connects them to their world. • As such a contemporary and current Visual Arts framework is a vital component of their 21stframework is a vital component of their 21century learning. 

• Let us afford them this opportunity

Where to from here….• I have provided you with just a small insight into backward by design, 

inquiry based pedagogy within a Primary Visual Arts framework. • As art teachers, PYP coordinators, Principals…. And other… Go forth 

and begin to implement valuable connections to your students learninglearning.

• Re‐look at your PYP frameworks and documentation• Make time to collaborate with classroom teachers to connect 

authentically with students learningauthentically with students learning• Make your Artilier (studio) a place of creating and responding to Art 

and Art in society• Incorporate and invite experts to impart valuable creativeIncorporate and invite experts to impart valuable creative 

knowledge and skills• Up‐skill your Arts teachers (apply and attend PYP workshops such as 

Arts in the PYP, Inquiry as a pedagogy, teaching and learning etc..)• Inspire …remember why you became and art teacher….• Reaquant yourself with your Passion….you will find it is…

• infectious• infectious

QuestionsQuestions

Thank YouThank You