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What Art Teaches Us: Reexamining the Pillars of Visual Arts Curricula PDF

201 Pages·2019·2.724 MB·English
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What Art Teaches Us Reexamining the Pillars of Visual Arts Curricula Timothy Babulski What Art Teaches Us Timothy Babulski What Art Teaches Us Reexamining the Pillars of Visual Arts Curricula Timothy Babulski Minneapolis, MN, USA ISBN 978-3-030-27767-3 ISBN 978-3-030-27768-0 (eBook) https://doi.org/10.1007/978-3-030-27768-0 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover illustration: © Alex Linch / shutterstock.com This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland C ontents 1 Introduction 1 What’s the Point of It All? 6 References 16 2 What Art Teaches 19 Guilds and Academies 19 Dropouts and Rejects 30 Normal and Public Schools 33 Alternative Paths 42 Habits of the Mind 42 Habits of the Body 43 References 44 3 Formalism and False History 49 The Sales Pitch of Fry and Bell 57 The Alternatives 68 Habits of Mind: Contextualized Disciplinary Forms 70 Habits of Body: Affective Response Protocols 76 References 81 v vi CONTENTS 4 A Monstrous, Misshapen Ideal 85 Sumer, Vitruvius, and a Woman in Heels 96 The Alternatives 108 Habits of Mind: Grounded Anatomy 109 Habits of Body: Holistic Awareness 113 References 118 5 Twisting Reality 121 Brunelleschi’s Magic Trick 133 The Alternatives 140 Habits of Mind: Multi-Point Perspective 141 Habits of Body: Observational Drawing 144 References 146 6 Finding the Purple 149 Newton, Goethe, and Itten 159 The Alternatives 170 Habits of Mind: RGB/CMY Color Space 170 Habits of Body: Painting 171 References 174 7 Conclusions 177 Advocating for Intellectual Rigor 182 Advocating for Embodied Learning 185 Subverting Curricula 189 Crafting Curricula 191 References 193 Index 195 L f ist of igures Fig. 2.1 Timeline of social class influence in art education 33 Fig. 3.1 Bingo card with the twenty-four most commonly used Elements of Art and Principles of Design 55 Fig. 4.1 Male figure in two-point perspective using Loomis’s ‘ideal’ proportions 93 Fig. 4.2 ‘Ideal’ female figure in two-perspective 95 Fig. 5.1 Simple proof of the correspondence of one- and two-point perspective within a single pictorial system 131 Fig. 5.2 Elevation of the Baptistery in Florence as seen from the south with sightlines from Brunelleschi’s position within the Cathedral of Santa Maria del Fiore 136 Fig. 6.1 Comparison of the theoretical arrangement of hues and color pairs on Itten’s color wheel and the actual positions of hues and color pairs on a CMY/RGB color wheel 168 vii CHAPTER 1 Introduction Your art teacher lied to you. I’ll let you sit with that thought a moment. Your art teacher lied to you. Before you throw this book across the room in disgust, I should mention that not everything your art teacher told you was a lie. You may still be tempted to toss the book—a dangerous and costly proposition if you’re reading this electronically—but give it a minute. Your art teacher lied to you. That’s part of what stings, isn’t it? Teaching is fundamentally a trusting profession. The relationship between teacher and students is built upon trust. It hurts us to think of our art teachers as liars who lied to us. But they were and did. If you bear with me, we’ll address many of the reasons why your teacher might have lied to you in the last chapter of this book. Feel free to skip ahead if you need to. All I will say for now is that generally when teachers lie, they have reason to believe their lies are necessary and possibly even productive. You certainly don’t have to like being lied to or approve of lying. That it is normal does not mean it is natural—if it offends you, change it! Norm the truth! That, in no small part, is what I hope to do with this text. Shrug it off for the moment. So, your art teacher lied to you. All your teachers did in many ways and for a myriad of reasons. There are likely excellent reasons why some teachers see the need to omit, to waffle, or just © The Author(s) 2019 1 T. Babulski, What Art Teaches Us, https://doi.org/10.1007/978-3-030-27768-0_1 2 T. BABULSKI outright lie. They may have even been required to lie. Knowing that they probably had good reason might make you feel better about it. But what if the substance of their lies had a direct and deleterious effect on their students? What if it limited the kind and amount of learning that students could reasonably achieve? What if teachers were in error or had been mis- led by their art teachers and were carrying those mistakes forward? What if what they taught you about the pillars of their discipline was false? It’s easiest to see how this could happen if we set visual art aside for a moment. Let’s put this in math terms instead.1 When you were little, you probably had a teacher who taught you one of the fundamental facts of Western mathematics: 2+2=4 And it is, isn’t it? Two plus two equals four. We are confident that that is true. “Two plus two equals four” is something we can hang our hat on. Columbus didn’t discover America. Edison didn’t invent the light bulb. The plum-pudding model of the atom is inaccurate. Juliet wasn’t looking for Romeo from her balcony. Two plus two, however, equals four at every moment in history, in every place we could conceivably travel, and no matter who was doing the counting. Or is it? What if I were to tell you that it was only partly true, that the truth of that equation did depend on con- text and identity? What if I were to tell you that I could arrange things so that 2 + 2 = 10? We know it doesn’t because we agree on the values “2” and “4” pos- sess, the action of “+,” and the relationship indicated by the “=” sign. One possibility would be to change the definition of “2.” If we redefined the symbol “2” to mean five of something, then clearly 2 + 2 would equal 10. But what if I were to tell you I could make 2 + 2 = 10 without chang- ing any of those definitions? Maybe we could spin the two around and flip it so that it looked like a five. If we transformed a numeral two to look like a five, would it still contain enough two-ness to remain two? What if I could keep the two a “2,” still meaning two of something, and make 2 +2 = 10? And if you’re willing to accept that, through some chicanery, I could make 2 + 2 = 10, how about making it also equal 11 while still 1 For anyone objecting that the first pragmatic example in a text on art education comes from mathematics, I have to say this: art includes everything. What subject isn’t implicated in artistic practice or divorced from aesthetics? Anatomy? Physics? Literature? History? Chemistry? Not only is it all there, part of art, but all inquiry is entangled in the aesthetics of being and derives from human experience—even mathematics. 1 INTRODUCTION 3 equaling 4? And, of course, I can: in base 3, 2 + 2 = 11; in base 4, 2 + 2 = 10; and in all integer bases >4, 2 + 2 = 4. If you don’t believe me, ask a mathematician. Not only is it correct for all three, but all three are also true simultaneously. Now imagine that you were teaching first grade. You’ve had your stu- dents copy down the math facts for the number two because it’s the sec- ond week of school. Nearly the whole class has done as you expect, copying the typical sequence: 2 + 0 = 2, 2 + 1 = 3, 2 + 2 = 4, and so on. One stu- dent, however, has a different series: 2 + 0 = 2, 2 + 1 = 10, 2 + 2 = 11, and so on. By the time you get to 2 + 10 = 110, you’re shaking your head in disbelief. How would you mark their work? Would the answers be wrong because they differed from the “facts” as you taught them? Would you notice the pattern and wonder what was going on? If you knew about bases, would you suspect a mathematician parent was trying to make your day a bit more sur- real? Would you be willing to accept that there might be a child in your class who was gifted in mathematics, who had been exposed to and understood the concept of bases, and who was trying to show off their knowledge? And this is just the result of presenting our students with a “fact” that is contextual rather than universal. While I might quibble with using the word “fact” precisely because it is contextual, the mathematics learning that students undertake in first grade nonetheless does not undermine their later learning. Determining that different bases exist and that two plus two could equal 10 or 11 doesn’t require unlearning that two plus two also equals four. We need students to unlearn only when their prior knowledge prevents new understanding. Teaching students that 2+2 equals 27.419, the color teal, the smell of rain on a Wednesday, or some other random thing all necessitate unlearning. In those cases, the “fact” we taught negatively impacted both their present math fluency and impaired their subsequent learning. Those facts would have to be unlearned and relearned before students could move on. Strangely enough, that is the situation of visual art education. The “facts” we teach students about what I am calling the four pillars of visual art instruc- tion—the elements and principles, proportions of the figure, linear perspec- tive, and color theory—are frequently and flagrantly false. Learning them necessitates unlearning. Picasso is claimed to have said, “Learn the rules like a pro, so you can break them like an artist.”2 Unlearning—learning the rules 2 He didn’t, but it’s a decent meme and would look good on a poster or a throw pillow. Who would check the attribution of a throw pillow or dispute the words on a classroom poster when the sentiment is widely shared?

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