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Lesson Plans

Freedom and Arts education advocacy

[ Thread ][ Subject ][ Author ][ Date ]
Mark Larson (mlarson)
Sun, 3 Mar 1996 01:49:15 -0600

In her respone to my post, Diane C. Gregory wrote:

>In helping our students discuss these issues, I would hope we would raise
>the questions that are being implied in Mark's statement above ("legitimacy
>as an art material"). One of the questions I see implied is "Should the
>type of art material used in a work of art be a consideration in deciding
>upon the legitimacy of any artistic expression?" Another question might be
>"How does the art material effect the aesthetic power of a work of art or
>how does it effect how we respond and participate to/with the work of art?
>Still another question might be "Is it legitimate to determine the
>legitimacy of a work of art?"

I can't agree with your set of questions more. I hope I didn't leave the
impression that I felt that legitimacy issues weren't important, because
they obviously are central to any global discussion of art. But sometimes,
art educators can get so caught up in studio issues that critical
philisophical issues go unexamined.
I can relate first hand to legitimacy issues over the past five years
entering computer artwork and photography into student art shows. I think
that misconceptions and to some degree a technological bias exists with
some of the art teachers charged with jurying the shows that my students
have participated in. A lot of people still believe that somehow a
computer/software platform does "all the work" for an artist and the tasks
are all somehow automated so that anyone can do it. While there are some
simple tricks that the layperson can use to create computer art, digital
painting or image processing can also be a sublime synthesis of many
related and unrelated software functions as well as classic artistic skills
in manipulating marks and "virtual materials". There is all the difference
in the world between someone at a carnival creating a "spin painting" or
Jackson Pollack's hypnotic and atmospheric gesture paintings.

And as Ms. Gregory shows us, art teachers need to raise these issues with
our students. It's this very component that has made DBAE, Arts PROPEL and
other similar approaches to art education such a comprehensive and welcome
approach to our disipline.

Wow. It's nice to see such a quick response to my first ever Listserv post!

Good luck to any and all art education students out there on ArtsEdNet.
You're looking at the coolest profession in "the profession". I hope you'll
find out we're not all rude poops...

Oh, and Shelly G. --- GO BADGERS !!