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Lesson Plans

Re: Texts & ? approaches advocated

[ Thread ][ Subject ][ Author ][ Date ]
Marvin Bartel (marvinpb)
Mon, 11 Dec 1995 20:30:43 -0800 (PST)

At 07:37 AM 12/11/95 -0500, <> wrote:
>Not being in the field of art ed - but having taught in public school for 24
>years - I can agree with elements of your argument. I think there is very
>little in textbooks in any discipline that promotes integrity. Most art
>experiences students have are either totally open-ended and without any
>guidance (regular classroom teachers) - or this highly structured derivative
>process (in too short art classes).
>However, it seems to me that the process which you suggest (which I like on a
>personal and intellectual level)- gets into trouble in the assumption that
>students have sufficient experience and visual repertoire to be able to
begin th
>to find their own answers. We see more and more students with less and less
>cognitive awareness of art - even in their immediate environ. No one has taken
>the time to say - look at that!
>Eileen Steele
Thanks for your response. It is similar to others I hear from teachers I
talk to.
I agree, children generally have little visual repertoire. We
require preliminary media and process practice, list making, sketching,
choice making, and planning (same as artists have to) to teach them
life-long problems solving skills. This is far from open-ended. We
advocate regular drawing rituals to build repertoire.
I also agree that they need to see much more art history, art from
both genders, and art from other cultures. EVERY lesson requires looking at
good art examples and discussion and/or writing about it AFTER building a
frame of reference for it. I feel it is better to continue a lesson over
several sessions than to teach something superficially and without integrity.
With regards to "their immediate environment," art experiences based
on their immediate environment are some of the best I can think of. Lots of
integrity there. More such careful looking is exactly what is needed. It
also needs to be followed by examples showing how artists express and
comment on their immediate environments.