Research Topic: Visual Culture in the Classroom
Annotated Bibliography
Dorn, M. Charles. The End of Art in Education. Art Education, 2005.
A key observation postulated by Charles M. Dorn (47) is that Visual Culture in Art Education (VCAE) is initiating a shift in art education from the traditional approach of studio art into a contemporary discussion of art as a socially construed object that lacks expressive connotations. The main argument in the text is that a lot of art education literature currently pay attention towards Visual Culture in Art Education (VCAE). Debates of art being an outcome of intellect along with knowledge source for the “life world” are interesting discoveries worth taking into consideration. The author believes that art production remains a segment of the curriculum while supporters of VCAE feel the modernist curriculum being the source of weakness is behind individualism. Existing literature on art has been instrumental in providing an appealing purpose of the visual culture within the art education platform. The modernist curriculum faces criticism for its role in promoting weaknesses affiliated with individualism as well as competitiveness while concentrating on Western artwork. Proponents of VCAE argue and advocate for a more socially reconstructive art education that does not confine students to a set of ideas to control, manage and objectify their art. They argue that art should seek to communicate visual culture’s social, cultural, and personal connections and interactions with artists (Dorn 48). The text questions whether Visual Culture in Art Education (VCAE) marks the start to an end of art within the discipline. Numerous attempts have been made to facilitate the alteration of art education plan from previous emphasis to sole creative self-expressions.
Duncum, Paul. “The Theories and Practices of Visual Culture in Art Education.” Arts Education Policy Review, vol. 105, no. 2, 2003, 19-25.
Duncum Paul (2003) outlines how the emergence of visual culture has led to a new paradigm in visual arts, which is a response to some criticisms, and he presents arguments that are against misconceptions. The main argument presented in the text is that we have to ground art education based on opportunity for learners to make critical inquiries towards their cultural experiences. Duncum discusses the three main approaches within visual culture: cultural studies, material culture studies and contemporary art practice. Each approach offers a distinct perspective on visual culture, emphasizing societal power structures, material objects and the critical inquiry within contemporary art. The study of visual culture acquires a vital perspective concerning society while regarding society as a place organized through power affiliations seeming biased and incapable. The information provided in the article is relevant to students because it evaluates research on visual culture and its adaptation of vital views concerning society and its representation as unequal and biased due to an existing structure. Does starting from cultural studies or material culture research in classroom matter? How has the contemporary art practice and critique of existing approaches in art education affected where practicing art starts?
McCloud, Scott. “The Vocabulary of Comics.” Understanding Comics, Kitchen Sink Press, 1993.
According to the information displayed in the source, it is arguable that the visual culture contributes to the development of art as a discipline. Japanese comics presented impressive approaches by taking the notion of the hybrid style slightly further. However, it turned out an objectification of power under realistic arts was likely to be enlisted among other purposes. For research purposes, the text demonstrates the importance of visual culture in art education. The illustrations provided offer a wider learning scope concerning the role of visual culture in rhetoric conditions surrounding art education. In art education, do resultant hybrid approaches have tremendous influential range as expressed in the Japanese approach? Does the Japanese approach of cartooning assist in the illustration of consequences involved with personal choices of styles?
Rampley, Matthew. “Visual Rhetoric.” Exploring Visual Culture: Definitions, Concepts, Contexts, 2005.
Matthew Rampley’s work Visual Rhetoric examines the various aspects and persuasive power of visual communication. He describes how, like language, images can be utilised to influence, persuade, and express many meanings. Rampley investigates the intricate interaction between language and visuals, shedding light on how they cooperate by closely examining both historical and contemporary examples (134). The primary argument of the text revolves around acknowledging whether passive objects and images assist in discovering visual settings while constantly addressing artists and offering invitations for interactions with the visual culture. The critical conditions surrounding the text production can be seen in the remarks that place emphasis on the ultimate decision of accepting values and arguments, regardless of the primary point being the recognition of the decision in a more conscious manner instead of having influence from rhetorical brilliance about existing seductive surfaces. The source is ideal for research because it starts by considering the meaning of rhetoric in art education. Information on the importance of recognizing rhetorical dimension affiliated with the visual culture and its ability to change approaches whereby visual representation are understood is an important part in the reading. This text raises questions on whether visual rhetoric have a connection with semiological research by various kinds of writers? Has semiology as a model from generation of meaning that emerged to inform the process of scrutinizing of visual culture been instrumental in art education?
Tornero, Stephen, and Koon, H. Kan. Remix with Humor: Motivating Learners in an Inclusion Classroom with Visual Culture. Art Education, 2017.
The article presents a valid argument that revolves around the implementation of visual culture in the motivation learners and assisting them to make meaning while in an art room. Furthermore, the text also argues that demands associated with art projects in most public schools fail to fit with real-life experiences for most exceptional learners due to the precise nature of project outcomes. The ability to look at and engage in a visual art culture discussion is a fundamental motivator in art education. Such pedagogy is essential because they capitalize on early immersion in visual culture along with capturing more attention. The text is relevant to student’s research because it addresses issues revolving around integration of universal visual culture that remains an element of all students’ lives. The text examines some groups of students which included special needs learners, while instructors of art education harness the benefits of a visual culture to art education as the best approach for engagement and inclusion. The text questions the position of implementing visual culture in providing effective means of motivation as well as meaning making for learners to be included in the classroom.
Walling, R. Donovan. Brainstorming Themes That Connect Art and Ideas Across the Curriculum. Art Education, 2006.
According to Donovan R. Walling, the use of a brainstorming instructional approach in understanding the connection between art and ideas effectively elucidates a variety of themes for learning embedded in art that the traditional cookie-cutter instructional approach fails to provide. This is because art does not reproduce what was initially visible but provides additional means of making what was visible from other dimensions and perceptions through communication and significance (Walling 18). The argument presented in the article suggests that instructors and learners are likely to utilize a central idea backed up by a specific artist or artwork as the foundation of lessons and tasks. Regardless of the admirable affiliation with ideas, the discipline encountered distinct kinds of conflict. Mundane artistic subjects have the potential to present thematic beginning points that support the process of scrutinizing valuable topics. The article presents significant information because it highlights thought, discussion, reading, in addition to writing as starting points. A connection between art and distinct ideologies relies on the existing performance techniques as well as theater technology. Teachers engaged in different subjects can exploit similar starting points for diversified structures for the learning process. The source digs into the past of art and its role in serving a ceremonial purpose. The text raises a significant question on whether there is presence of a connection that joins art and various ideas that lasted for centuries.
Works Cited
Dorn, Charles M. “The End of ART in Education.” Art Education, vol. 58, no. 6, 2005, pp. 47-51.
Duncum, Paul. “The Theories and Practices of Visual Culture in Art Education.” Arts Education Policy Review, vol. 105, no. 2, 2003, pp. 19-25.
McCloud, Scott. “The Vocabulary of Comics.” Understanding Comics, Kitchen Sink Press, 1993.
Rampley, Matthew. “Visual Rhetoric.” Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley, Edinburgh University Press, 2005, pp. 133–48.
Tornero, Stephen, and Koon, H. Kan. “REMIX WITH HUMOR: Motivating Learners in an Inclusion Classroom with Visual Culture.” Art Education, vol. 70, no. 5, 2017, pp. 50-56.
Walling, Donovan R. “Brainstorming Themes that Connect Art and Ideas Across the Curriculum.” Art Education, vol. 59, no. 1, 2006, pp. 18-23.
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