an art centered art curriculum

National Art Education Association

An Art Centered Art CurriculumAuthor(s): Hope IrvineSource: Art Education, Vol. 37, No. 3 (May, 1984), pp. 16-19Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192760 .

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An Art Centered Art Curriculum

Hope Irvine

Group project, 8 students, grade 8; based on Klee's City of Towers. White crayon on black paper.

Grade 9; based on Van Gogh's Church of D'Auvers. Crayon pastel.

In this article. . Irvine describes many approaches to presenting art in the art classroom. "The approach a teacher chooses

influences the kinds of visual materials and general information presented, the way the curriculum unit is constructed, and

the kinds of art which students produce".

Art Education May 1984

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eachers engaged in getting their students to make their own art usually emphasize technique and personal

development, often begrudging studio time for looking at art other than works by the students. At some point it is expected (maybe in college) their students will be exposed to a more academic survey of art - perhaps under the guise of art appreciation. Since such courses usually use large group instruction, replete with a semi- darkened room and slides flashing on a screen presenting the who-did-what- when and leaving out the why, they often result in the who cares? of Art Depreciation.

Some of the problems of such survey courses are readily apparent:

1. Pictures are presented much larger than life and illuminated by the slide projector.

2. The operator/lecturer determines not only the content but for how many seconds each work shall be looked at.

3. Comparisons of works are dif- ficult. Even with a complex machine set-up how many pictures can be compared at once?

The major problem with most "survey" courses, however, grows not from the constraints of large group presentation, but in the conception of the survey itself.

There is no reason to assume either that art needs to be looked at chronologically to be understood as a human phenomenon or that such a chronological approach will be mean- ingful to students. Memorizing names and dates can become an end in itself and is no guarantee that any appreciation or thoughtful reflection is occur- ring. Grasping the meaning embodied in a work of art requires active atten- tion to the work and may take different lengths of time for different in- dividuals. This is possible only when the works are available for study and are integral to the curriculum.

Alternatives to Art Depreciation There are at least ten approaches to sorting out and presenting the complex phenomenon of human art. Each approach leads to different kinds of learning since each suggests different connections, different emphasis, different direct art experiences, and different kinds of reflection. By using all

Approach to choosing art Common Aspects of Purpose for works works to be chosen choosing works PRIMARY APPROACHES REFERENTIAL an individual work (or - to inspire the creation

works) suggesting other of other art about the works of art works (e.g. paintings

about paintings, poems about paintings, paintings about poems)

- to explore the influence of one artist on another.

CHRONOLOGICAL a common time and place - to present an overview in which works were of art produced in one produced historical period.

- a sequence of overviews.

STYLISTIC similarities in look: - to point out similarities form, surface style or among objects created organization, pattern in different times and (subject matter may places by different differ) artists

TOPICAL similarities in subject - to present differences matter of theme (look in approaches to the may differ) same subject by

different artists. SPECIFIC an art concept, idea, - to present information INTEREST technique, style about art and making

art through a visual display, usually with explanation.

SPECIFIC works of one - to present an ARTIST individual overview of the work

of an artist. COLLECTION choices of an individual - to present the personal RELATED collector (may be limited decisions of a collector;

or varied; erratic or may provide organized) information about the

collector as well as the works.

SUPPORTIVE APPROACHES INTEGRATING relationship to a central - to provide visual

theme through another cohesiveness among art art form forms (e.g. costumes,

scenery, lighting; illustration, advertising, layout).

MULTI a discipline other than - to enhance knowledge DISCIPLINARY art which is evident in of the discipline

the works through visual display or illustration OR to use another discipline to inspire the art.

ENRICHMENT the culture to be - to present visual explored information,

atmosphere; to enhance the general knowledge of a culture through its art and artifacts.

I - ---I

Art Education May 1984 17



of these approaches as the basis for developing a curriculum, teachers can continue to emphasize personal development and growth in skills while at the same time involving their students in our human art heritage. Rather than limiting children's approaches to their own work, involvement with art will expand their thinking and enrich the process of making and reflecting upon art.

Lesson, Sequence, Unit A teacher's thinking process while developing curriculum involves making connections between learning from art and making art. Both are active experiences and build upon each other. A sequence or unit may grow from an in- itial idea for a lesson that suggests that an in-depth approach might be of value. A theme for a unit might be analyzed to determine which prior

Grade 7; based on Rousseau's Virgin Forest. Crayon pastel.

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learnings are needed for optimum results.

A LESSON may take several class sessions to complete but emphasizes one concentration of learning, e.g. stippling techniques.

A SEQUENCE provides several lessons in a series that may or may not relate specifically to each other but lead to a final or culminating lesson which, to be successful, requires the learning in the sequence, e.g. stippling techniques, wash in color, tissue col- lage based on works of Matisse, leading to a mixed media still life.

A UNIT presents several lessons in a series which build upon each other and relate to a general theme such as Line Techniques by Two Masters, analysis of dark and light in Rembrandt's etch- ings, figure drawings which emphasize negative space and line build-up in pen and ink, or study of the quality of line in Durer's engravings, leading to natural forms in a variety of pen and ink techniques.

Planning sequences and units enables both exploration of the breadth of human art in all its diversity and development in depth of aspects of human art which are of interest to both teacher and students. Even a single lesson should include direct references to art. Discussion of both students' work and artists' work can take place at various points in the lessons, perhaps in the motivation, presentation, or evaluation aspects.

Ten Approaches to an Art Centered Art Curriculum In the chart on page 17, the first col- umn names the approach, the second defines the approach by indicating which aspects the work to be chosen will share in common, and the third states the purpose for choosing the approach. Building an art-centered art curriculum The approach a teacher chooses influences the kinds of visual materials and general information presented, the way the curriculum unit is constructed, and the kinds of art which students produce.

An in-depth study of a subject will be strengthened by using several of the approaches. For example, an in-depth exploration for junior and high school students might include these approaches while centering around impressionism.


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Referential: Students' Paintings In- fluenced by Monet's Work (their own interpretation of one of several displayed.) Chronological: Comparing Works by Impressionist Painters (with reference to the milieu in which they worked students learn to identify works by Monet, Renoir, Seurat, etc.) Stylistic: Impressions of Skies (through making their own paintings, students compare skies painted by Monet, Turner, Canaletto, Cole, Church, Moran.) Topical: Flowers (after examining a variety of flower still lifes by Van Gogh, Cezanne, de Heem, Redon, Nolde.)

Students add to the collection through their own interpretation of flower still life set-ups.) Specific Interest: The Impressionist Theory of Color and Light (after discussion and analysis of the theory, students create color and light series in the Impressionist style.) Specific Artist: The Works of Claude Monet (presentation, discussion of his life as an artist and examination and reflection upon the progression of his work.)

Those approaches called secondary are those in which art is used in- strumentally to help teach another subject area. These may require working with other teachers and provide nur- ture for all areas involved: Integrating: La Mer (students design and construct scenery and costumes reflecting Impressionism for a dance performance of Claude Debussy's La Mer.) Multi-Disciplinary: Theories of Optics (exploration of theories of optics which

influenced the Impressionists, other theories of color, additive and subtrac- tive, leading to students' own light art or op art.) Enrichment: French Language Week (an exhibit of Impressionism by the Impressionists and students.)

Using a variety of approaches is not limited to in-depth exploration. For example, in elementary or junior high school one might use the Topical approach for Animals through the Ages (from cave art to modern) or Mexican, Chinese, and Polish Paper Cutting. Textile Prints Based on Basket Designs of the Plains Indians might grow from the Stylistic approach. Working with a language arts teacher and the school librarian, the Integrating approach could be used for Writing, Illustrating, and Making a Book. Dioramas and Maps of the early settlement of your area (or any other) could explore the Multi-disciplinary approach with a social studies teacher.

Working toward an art-centered curriculum does not detract from our no- tions of child-centered studio experience as we work with our students. Building a curriculum on the strength and diversity of human art at the core of what we teach leads us away from extremes of artsy-craftsy activities or an over-emphasis on technique. Art at the heart of curriculum enables our students to learn from art as well as about art.

Adopting an art centered approach to curriculum development requires a vast collection of art for student use. Museum catalogues, postcards, repro- ductions, magazines, or remaindered art books provide inexpensive resource and reference materials to be enhanced

Grade 8; based on Mayan and Aztec Stone Carvings. Black crayon.

by readable books at the school library. Obviously, encountering ac- tual works through museum trips can be an exciting experience. Even in the most isolated classroom, students can approach, understand, enjoy, and be inspired by the ideas that artists throughout human history still com- municate to us through their works. U

Hope Irvine is Chairperson of the Department of Art Education at Syracuse University, Syracuse, New York.


"Rather than limiting children's

approaches to their own work,

involvement with art will expand their

thinking and enrich the process of

making and reflecting upon art."

19



an art centered art curriculum

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