Portfolio 3 Further Professional Development Certificate
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Transcript of Portfolio 3 Further Professional Development Certificate
Professional Certificate – The University of Cambridge
Faculty of Education Teacher -Lead Development Work
Group
This is a portfolio of a professional qualification I
undertook while teaching
See below a powerpoint that I created for a presentation to other Hertfordshire schools as part of my project
TLDW PRESENTATION
Art isn't created in a vacuum. It usually reflects what is going on elsewhere in a culture.
the power of Art Education to enhance learning, excite and fuel interest in all other curriculum areas is underestimated !
Why is it underestimated ?
*Separation of subject areas.*Stigma attached to art as an anarchic activity.*Misunderstanding of Creativity.*That learning in art facilitates learning in other subjects – but not to reduce it to a prop to service other area of the curriculum
*As a visual resource – record of an event, thing.*As a record of a response to a moment, event, cultural or individual idea.*As a tool for recording or representing knowledge
My Investigation was to promote……..
11001000
NormansInvade England Magna
Carter
HolyRomanEmpire
ColumbusReachesAmerica Elizabeth 1
MagellonCircles tTheGlobe
BritishColonizeAmerica
SteamEngine
Franklin ExperimentsWithElectricity
French Revolution
U.S Civil War
EvolutionTheory
Colonialism Peaks
TelephoneInvented
Light Bulb
Automobile
AeroplaneInvented
Ww1
Theory Relativity
Great Depression
Ww2
Atomic Bomb
Vietnam war
Apollo Moon Landings
Fall Soviet Union
“There is no aspect of human experience that does not inform art and visa versa”
“An art object is the work of a human hand and mind, the evidence of a particular moment in history, the product of
a certain geographical region and the expression of a culture” ( Dyson A 1989)
“There is no aspect of human experience that does not inform art…. The whole history of visual arts shows us that artists have been interested in
All aspects of human experience and areas of knowledge”( Hickman 2004)
Here is the history of Secondary Art and Design Education
So, radical modernist sympathisers arguedthat artistic performance could/should not
be accurately assessed. Their reaction was…
Protected from the ravages of assessment , the art department became a sanctioned space to develop personal freedoms.
So art was seen as an “anarchic activity, as a result the arts were regarded as of low intellectual
content or a retreat from the moreChallenging subjects “ ( Meecham: 1998:42)
A 1960s understanding of creativity as being linked primarily with being Individual & a gift tothe majority has distorted deeper truths about
Creativity ( Abbs 1989: 01)
= FORMAL ELEMENTS WERE ADOPTED AS THE MAIN MEASURE OF ARTISTIC ABILITY.
• Art department being physically as well as philosophically set apart from the rest of the School ( Hickman 2004; 107)
• Art education can become perceived to be a discrete domain within education, one that has no connection with other subject areas.
• A major flaw in the system was…“ Precisely our habit of establishing separate territories and inviolable frontiers” ( Read,H; 11)
• Barriers are erected between art and other subjects that prevent students from having access to knowledge, facts and ideas that are fundamental to understanding the visual arts and all subjects.
Many art departments are Isolated from other subject rooms in schools
‘Creativity’has now made an appearance in the New National Curriculum
Programme of Study. It appears that it has been re- conceptualised and valued as a’ capacity ofhuman intelligence ‘ ( Prentice 15.11.07)
INNER AND INSTINCTIVE CULTURAL INHERITANCE &CRITICAL DISCOURSE
..from imaginal, instinctive thinkingto to concious skill and labour
..tradition &innovation,Creation and re- creation
Here are some examples of how other subject areas can use Art and Design in their lessons
THE GOLDEN SECTIONAn exploration with the golden ratio offers opportunities to connect an understanding the conceptions of ratio and proportion to geometry.
The Golden Rectangle
The Golden Triangle
The Golden Spiral
Pentagon and Pentagram
Numeric definitionof Golden Ratio
1/1 = 12/1 = 23/2 = 1.55/3 = 1.6666...8/5 = 1.613/8 = 1.62521/13 = 1.61538...34/21 =
1.61904...
Geometric definitionOf Golden Ratio
An Old man by Leonardo Da Vinci
The Vetruvian Man by Leonardo Da Vinci
Mona-Risa by Leonardo Da Vinci
Holy Family by Micahelangelo
Crucifixion by Raphael
self-portrait by Rembrandt
he sacrament of the Last Supper by Salvador Dali
Bathers by Seurat
Composition in Red, Yellow, and Blue(1926)
LOOK FOR THEGOLDEN SECTION
ORIGIN OF PERSPECTIVE
Before the 14th Century little to no attempts were made to realistically depict the three dimensional world in art in the way in which we are now accustomed to seeing it.
The first known picture to make use of linear perspective was created by the Florentine architect Fillipo Brunelleshi (1377-1446)
The Renaissance in Perspective
Towards the end of the 19th Century French painter Paul Cézanne (1839 - 1906) began to question the underlying structure of his subjects
First Perspective
Art before perspective
By the late 15th Century, artists were in total command of perpective and were able to create in their art a beautiful and realistic world.
Attack on perspective new reality; this is a painting, not a window.
ISLAMIC ART
The Islamic scholars of the 7th century quickly embraced Greek philosophy and mathematics - driven by the religious passion for abstraction and the related doctrine of unity. It avoids everything that could be an idol – nothing must stand between man and the invisible presence of god .
GEOMETRY
Circles, for example are crucial in designing arabesque patterns, reflecting in Abstract form the underlying order found in nature. This eliminates all the turmoil and passionate suggestions of the world and in their stead creating an order that expresses equilibrium , serenity and Peace.
SYMMETRY Symmetry and repetition give unity to the more complex designs, as in this panel with a pattern based on pentagons.
The late 19th and 20th Century
Some new space concepts came in geometry with theNon-Euclidean Geometries of Bolyai, Lobachevski, and Riemann in the mid ninteenth century.
New time concepts came with Einstein's theories, the special theory of relativity, 1905 and the general theory of relativity,1915.Muybridg,Eadweard (1830-1904),
Industrialised, urbanSocities.
Growing impact of machine
A profound pessimism at the growth of populations and their concentration in large cities, fuelled by the increasing control of human life by the machine.
It produced an opposite response in other artists, an almost hystericalexilaration and celebration of modernity
Socialism: mounting demand that Art be commited to the struggle to Change modernity
Evolutinary Theory
CubismThe possibility of spaces with dimensions higher than three was first studied by mathematicians in the 19th century
The fourth dimension Time, speed, physics theories.
Automoblies, aeroplanes, trains; seeing the world in a more fragmented,abstract way.
Attack on perspective
Some works that show a time element include those by the Italian Futurists, who sought means of expression compatible with the modern industrial world and to show how we were affected by flux, change, new sensations.
Futurism
ConstructivismThe revolution in October 1917 left ruins that the new socialist would take on the responsibility to build upon to create a new world for the ‘ new man’. Constructivist art was a new art for the masses, it was to be the new tool that would transform society.
Abstraction; Stijl movement
A reduction to the essentials of form and colour, simplified visual compositions
To the vertical and horizontal.
It was positioned on the fundamental principle
of the geometryOf the straight line, the square and the
rectangle, combined with
Strong asymmetricality.
Started in 1915,at the end of WW1, when the Need for a new order was sharply felt.
It’s goals were to express a new utopian ideal of spiritual harmony and universality
What did I do• Questionnaires to gage what the students views were on how art could be used or exists in
other subject areas
• Created and delivered joint lessons with Mr Pearcy on , Perspective and geometry
• Delivered a project introducing students to the renaissance understanding of perspective; students created their own Renaissance Landscape design.
• Altered year 12 Contextual Unit 5 project and introduced linking of all other subject areas into their analysis of art works.
What did i improve, challenge and learn.
• Improved awareness of Cross Curricular
Opportunities to students and teachers• Challenged students preconceptions of how
art can be used in other subjects• Shared, imparted knowledge , utilised and
used others as a resource.• Learned knowledge, recent, current
initiatives.
It is fitting to consider that the New National Curriculum
It is not divided into subjects as such, so as to enable, facilitate and promote
cross-disciplinary work.
This begins to loose the educational system that was founded in modernity
and reflects a post-modern education system for a post-modern society. As Herbert Read states
“a major flaw in the system was precisely our habit of establishing separate territories and inviolable frontiers”. (Hickman, R. 2004:p 107)
The common physical separation of the art department connotes a message that it has no connection with other subject areas.