Terry Barrett article Interpreting Visual Culture. 1. Reflect on the strengths of his strategy for viewing and responding to art. In this article, Barrett claims that denotations and connotations play significant roles in “visual and verbal communication”. She thinks the construct of denotations and connotations can be considered as “an interpretive strategy to better understand, evaluate, and enjoy” the visual world. I believe that nowadays’ the world is like a screen which is a pervasive aspect of modern human life. It is more visual and visualized than ever before, so it is more vital to interpret visual images and even visual culture than ever before. Obviously, Barrett implemented several applications of visual culture for different age groups. For instance, Barrett engaged a group of future art teacher interpretation of a cover of Rolling Stone magazine. The interpretation developed by this group of age involved the adult level sexual, social, and political issues that were denoted and connoted in the cover. However, in different classroom setting with the kindergartners, Barrett just explained what kids need to do instead of explaining the terms – denotation and connotation. What he did was to sort the boxes into two groups: cereals for adults and cereals for children, and kids are asked to explain how they made the choices. Through the discussion, Barrett learned that the kindergartners attended to the connotations of the imagery on the boxes. These children learned that the boxes were designed to appeal to different groups of people. Barrett believes that children and young people are able to interpret implicit messages in the visual culture of their environment. Therefore, providing initial meaning is important when viewing and responding to art, especially for different group of age. 2. Consider how you provide opportunities for your students to discuss and deconstruct art. As I mentioned before, I think, first, providing initial meaning is significant when we have students discuss art. However, I am concerned about what topics are appropriate in the art classroom settings? I’ve shared my Chinese teaching experience with some American teachers, and I always wonder whether it is appropriate for teachers to talk about reality in the current society. (I have a question for experienced art teacher, do you think the stereotypes seriously affect American people when they interpret visual images? Will you talk about stereotypes when you are teaching in a “white” majority or a “black” majority or a “multi-color” majority?) Therefore, when I prepare for the class discussion, I would be really cautious about the initial meanings (topics). Second, with the appropriate big idea essential questions, and artists’ examples, students are allowed to explore each question and to discuss and deconstruct art pieces. Third, what I am thinking is vital for students is how they compare one example with the other, in which get involved with experimenting required investigation, exploration, solving problems, making decision and organizing information. Experimenting encourages students to use cooperative skills effectively interpreting and communicating findings. Last but not least, is it possible for us to combine media/technology when we have students discuss and deconstruct art? 3. How do you support visual literacy in your art class? I’ve been observing Montessori classroom for several months, and I’ve found the class is involved with many art activities which enhance student’s reading motivation. For example, the head teacher let students plan and make picture books with their writing poems. First, I believe that improving student’s visual literacy is paralleled with the degree they love the book. Therefore, it is important for art teachers to model the love of reading as well as reading for all students, meanwhile, I’d like to design projects based on or connected to good books. For instance, one of children’s house class talks about fall leaves, and the topic is related to one of famous writer’s book Leaf Man (I cannot remember the exact name, and the author is Lois Ehlert). We had students go out for picking up leaves which were able to be used when they designed their artworks. I do really like this kind activity, for sure, students are encouraged to share their works with the class, and classmates are allowed to interpret what their artworks talk about. Second, visual thinking strategies (VTS) is a perfect (I think) approach to get students engaged and to whole-class viewing and talking about art. Third, I recall a book titled Making Thinking Visible, which talks about some routines that help students improve their thinking. I think one of routines is capable for improving students’ visual literacy skills, which is Color, Symbol, Image. This is a nonverbal routine that focus on visual connections, and it pushes students to make connections and think metaphorically. This routine provides students a special way to explain their insights, especially when students do not know how to express their thoughts in words. Moreover, it helps to advance students’ thinking. Fourth, another strategy is encouraged to use in art classroom, which is I USED TO THINK…, NOW I THINK… This routine is an effective way for students to reflect on how and why their thinking has changed over time. This routine opens up a new way, because it consolidates new leaning as students identify their new understandings, opinions, and beliefs. Students will realize that the changing of their thinking is also a leaning-process and they will appreciate the process of learning. Last but not least, there are some applications that support visual literacy, for example, Lino – collaborative corkboard for posting notes, images and videos. 4. What do you believe and hold true about interpretation/responding to art? First, I believe that interpretation of art is the way we understand it in language. Art has it is own language which cross over the barrier between two countries. Second, there is no right or wrong when you interpret artworks, and it could be more or less reasonable, meaningful, personal, and convincing. Third, as viewers, meanings of artworks that we interpret may or may not different from what the artists’ intention, so viewers are not limited to the meanings that artists try to say. 5. Read and blog Design Education Text Introduction and Chapters 1 and 2. Dr. Vande Zande talks about DESIGN in details. When it comes to design, most people would recall the designer who make commercial Ad, however, as she claims that teaching design is to teach the lesson with real-world application. She asserts that it would be beneficial for art educators to teach design in art classroom. Chapter 1 shed light on what the design is, and Dr. Vande Zande shares many examples, such as clothing, architecture, home furnishings, colors, and objects, city planning, and accessibility. “Design is nearly everywhere” (p. 10) However, she mentions that “design” could be recognized as small “d” and big “D”, which I think it is important to have students know the “design” is not what we’ve been thinking about. “We all start each day with some kind of orchestrated plan, and we make decisions in appearance and surroundings. The choices we make in the process reveal our values and beliefs. This the designing with a small ‘d’” (p. 11) However, “designing as a career requires skills that must be learned and practiced. This is designing with a big ‘D’”. (p. 12) This chapter pay attention to the characteristics of design: design is about life, human experience; design exists within a time and place; design is everywhere; design can be small but also can be big. We should believe that everyone has potential to be a good designer. Chapter 2 more or less shares some good strategies that art teachers can implement in the art classroom to improve students’ thinking. Dr. Vande Zande demonstrates the similarity and difference between art and design, which are very impressive for me. From my perspective, design is totally different from art, since design is always about commercial products. I am biased. Dr. Vande Zande also shares some background of principles and elements of design, which is dense and hard for me to understand, because it introduces some history of art that I am currently not familiar with. It is helpful to know now, especially if I want to implement some activities in the art class. I personally am interested in Frederick Froebel’s didactic materials called “gifts” and “occupations” and how it would be taught in the art classroom. Moreover, some activities that the author suggests in the book are compelling, such as Architectural Discussion and Careers in Design (p. 26). What I found interesting is to compare principles of design with postmodern principles. I think most of them are common and can be used either in design and art, while I wonder whether they could be combined when we teach design in art classroom? ![]()
2 Comments
Bethanie Irons
1/28/2018 12:55:16 pm
Hi Jenny!
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Kathy
1/29/2018 05:11:31 pm
This comment is important to what and why we teach art:" I believe that nowadays’ the world is like a screen which is a pervasive aspect of modern human life. It is more visual and visualized than ever before, so it is more vital to interpret visual images and even visual culture than ever before." That is why we need to make sure that we emphasize to our students that the goal of art is to communicate using a visual language that can transcend cultures and perspectives. I wonder at your questions about presenting images to different groups of people. Isn't that what Barrett did when he presented Destiny's Child and Michael Ray Charles work? It is the presence of a diverse audience that provides a conversation that highlights the value of the individual lenses that each student brings to the VTS event. It is an opportunity to listen to differences and begin to understand each other.
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