Rebecca Heaton on Art and Design Education

Investigating cognition in the creative arts.

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@Tate Modern

How did experiencing Phillippe Parreno’s Turbine Hall exhibit @Tate Modern develop artist teacher cognition? 

Third year artist teachers and I engaged with the Turbine Hall exhibit at the Tate Modern yesterday. We focused on how the work on show was accessible for vulnerable learners of art (Aged 5-11). We know that active art experiences, such as engaging with exhibitions first hand, enable learners, in this case university based artist teachers, to learn, solve problems and map cognitive meaning (Cuncliffe, 1999; Smilan et al 2006). But how did this exhibit specifically aid this learning to occur? The clip below provides an insight into Parrano’s ‘Anywhen’ exhibit the artist teachers and I experienced.

As you can see from the images below Parreno’s work uses the audience as part of the exhibit, the viewer, or in this case inter-actor, is experiencing the art but is also contributing to others experience of it. The artist teachers theorised a number of ways to engage young and vulnerable children with this concept. A couple of examples included 1) allowing children to experience the exhibit in different ways, such as with blind folds on, 2) drawing from different positions, recording sounds and 3) following different pathways through the work. The work is influenced by the concept of perception, the artist teachers made the connection that we all perceive in different ways, children would too.img_0018

One of the strengths of this exhibit is that due to the range of multimedia components used, evolving nature of the work and value of audience presence or lack of it, it naturally suggests accessibility to at least one sensory component. However, the university based artist teachers felt that the work may be far removed from what some children may perceive as art, this is of course dependent on their prior experiences and knowledge, so to make the piece accessible they identified a need to make links to the everyday world of specific children. The artist teachers trialled a number of strategies to achieve this, they included 1) Getting the children to draw their expectations of the piece before experiencing it so that relationships could be created between the two works  2) using a familiar object, such as a toy, household item etc. for the children to add into the exhibit as if they were the artist and 3) exploring the work with a focus on a particular sense, e.g. touch to feel the vibrations, and texture of the materials. By theorising these strategies the artist teachers were able to think about how to break down accessibility barriers for different groups of vulnerable learners such as those with Social, Emotional, Needs or Disabilities (SEND) or those with English as an additional Language (EAL), Traveller Children or children from different socio-economic groups or those with vulnerabilities such as feeling ill on the day of a visit or experiencing a bereavement. 

A personal reflection:

To document a more personal response to Parreno’s exhibit and gallery experience I shared with the university based artist teachers a poetic reflection I created:

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Each capitalised word represents a response to my experience, whilst the word string on each line intends to create visual imagery. I used the digital app Visual Poetry, to provide another metaphorical representation of my response and experience, suggesting that it is the connections involved in the experience, collaboration and reflection that have led to my creation of knowledge. By writing this blog post, generating poetry and creating the image below I have been able to identify how myself and learners are building their cognitive knowledge due to finding space to reflect. Through experience and reflection we built an understanding of self and other (Henry and Verica, 2015). We questioned contemporary culture through art experience, engaged with identities and generated knowledge in a collaborative capacity  to develop our cognition. 

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References:

Cuncliffe, L. (1999) Learning how to learn, art education and the ‘background’. Journal of Art and Design Education, 18.1, 115-121.

Smilan, C. Kakourou-Chroni, G. and Ricardo, R. (2006). Art Education at the intersection of creativity: Integrating art to develop multiple perspectives for identifying and solving social dilemmas in the 21st century. Worlds Arts Alliance. http://www.unesco.org/culture/en/artseducation/pdf/presentation104cathysmilan.pdf

Henry, S.E. and Verica, J. M. (2015) (Re)visioning the Self Through ArtEducational Studies, 51.2, 153-167.

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Cognition in a digital artefact

In response to the workshop discussed in the recent post How does art speak to enable cognition? in which a group of trainee teachers discussed the meaning of aesthetic discourse in art education, I have created a Sway to respond to it. The Sway, which is a digital artefact, draws together fundamental thoughts from my own, students and academics perspectives on the term. In this post I will attempt to discuss how creating this digital artefact has engendered thinking around cognition. Aesthetic Discourse Sway

Digital artefacts as art forms:

As an art teacher what constitutes an art form can be a controversial issue, What is art? is an age old question which many educators have deliberated (Duncum and Bracey, 2001; Hickman, 2005; Fleming, 2012; Edwards 2014). In short the academics referred to here summarise art as a concept generated in the minds of people, that adapts over time and communicates meaning or expresses creative skill. If I relate this to the Sway created here one could suggest it is a creative form of expression in which I have shared the opinions of others, it is generated through the compilation of others ideas critically addressed in relation to my own. It is a tool of the present time, capturing multi-media content and expresses creative licence through the presentation of visual and textual forms. However, is it really art?

As Hickman and I address in The Sage Handbook of Curriculum Pedagogy and Assessment (2016), in our Chapter on Visual Art (Pages 343-358) the benefits of digital art tools are that creators can experience the cultures of others, generate new knowledge relevant to the time and diversify their practice building interdisciplinary bridges. These comments still resonate with my own practice, the digital tool Sway has enabled me to develop my own learning through engagement with a new tool, the beauty being that the tool is relevant to me as artist, teacher and researcher. I can visually present content with aesthetic control, as a teacher I can use the artefact as an interactive presentation device and as a researcher I have been able to gain feedback from those I share the outcomes of the work with. Of course this can also be achieved through more traditional artistic forms but digital artefacts can be edited multiple times with ease, shared socially in a quick time frame and can capture global commentary from others on the same platform within the same program.

Cognitive development through the creation of a digital artefact:

This particular digital artefact developed my cognition in the following ways, firstly it encouraged risk taking, I was reluctant albeit a little excited to create a piece of art on a digital program I had not encountered before. However, it was not without its small frustrations, although intuitive in terms of colour schemes I initially felt frustrated that I could not move objects around the screen with ease to reposition them in what I deemed to be more aesthetically pleasing way to the artist eye. This dilemma, enabled me to further understand how I think when engaging in art making (Sternberg and Sternberg, 2012). I intuitively expect to be able to maintain control over my own aesthetic output and when restricted build frustration. I became more consciously aware here of my own practice (Eisner, 2002) as an artist and a learner. In terms of cultural meaning (Efland, 2002) my awareness of digital presentation tools grew. I became equipped with a new tool to use in my own teaching, I like how the digital facility can bring in social media of our time, although I did not use the facility to embed tweets I can appreciate how this could be useful when presenting to my own students in future. I could generate discussion and set tasks that are relevant to live discussions taking place on social platforms, a new direction for university based academia, this tool alone will transform the way I teach. The tool also captures the movements of my mind (Sullivan 2005) particularly in relation to the format of the artwork, it utilises a scrolling technique similar to that on a blog page, allowing my thoughts to be organised and edited as they develop using multiple formats of transcognitive expression.

References:

Duncum, P. and Bracey, P. (2001). On Knowing: Art and Visual Culture. Christchurch: Canterbury University Press.

Edwards, J. (2014). Teaching Primary Art. Harlow: Pearson.

Eisner, E. (2002). The arts and the creation of mind. New Haven, CT: Yale University Press.

Efland, A. (2002). Art and cognition. New York: Teachers College Press.

Fleming, M. (2012). The Arts in Education. Abington: Routledge.

Hickman, R. (2005). What is art? Bristol: Intellect.

Hickman, R. and Heaton, R. (2016). Visual Art. The SAGE Handbook of Curriculum, Pedagogy and Assessment. London: SAGE

Sternberg, R. Sternberg, K. (2012) Cognition. (6th ed.) Canada: Wadsworth, Cengage Learning.

 

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Tate Modern: Language, Learning and Litchenstein

Sometimes we can underestimate the power of art to promote dialogue and language development. After a thought provoking day at the Tate Modern Art and Language Workshop, working with the enthusiastic multimedia artist Emma Hart my understanding of the power of art to provoke words has spiralled. The relationship between thought, words, art and interpretation is compelling; without a doubt exploring contemporary art with children could influence literary development and fuel enthusiasm and creativity.

Here are some great activities experienced on the day that you could use to engage children with works of art: the value being to make the work encountered accessible for all and to give pupils a voice!

Before and After Thoughts…

Observe the work encountered. What piece of work did the artist make prior to this one? How? Why?

What came next? Can you draw it, act it, explain it?

Word Worm…

As a group create a line encompassing the work. Each person says one word to create a sentence about the work… what meaning is evoked? Word play and power evoke your imagination.

Verb or Verbalising…

Explore how the artwork makes you feel on viewing. In pairs observe the artwork, one person writes down the verbs the other partner is vocalising to describe how they are feeling in the space. Remember to vocalise verbs that you are feeling/ encountering- trembling, questioning, sweating rather than those about the artwork. Look inwards- art may have the ability to evoke a response in us. Explore language: adjectives, similes, metaphors  and have fun!

Emma Hart and the Tate team really inspired the way that I will approach my own teaching uniting art and language highlighting how important social collaboration is in this process; so thank you also to all participants who took part and have changed my thinking.

Whaam! 1963 by Roy Lichtenstein 1923-1997

Another highlight was the Roy Litchenstein exhibition, a must see! I was blown away by the diversity and quantity of the work he created, famed for his pop art the exhibition really brought to light the vast influences from advertising (again showcasing the power of word play), movements such as Art Deco and the work of a whole range of influential artists- was Litchenstein inspired or making a statement about their testimonials? The viewer can decide….

 

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