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Document 1 of 1 The importance of student artistic production to teaching visual culture Author: Freedman, Kerry ProQuest document link Abstract: Freedman discusses the importance of students' artistic production in the incorporation of visualculture in art education. Artistic production serves as a foundation in teaching visual culture because involves atransformation of curriculum content, shifts in the methods of teaching, and a reconsideration of the assignmentand assessment of student work. Full text: Increasing attention is being given to the idea of teaching visual culture in art education. Teachingvisual culture is not a matter of uncritical acceptance of the wide ranging changes in the visual world; it is aprocess of broadening the professional field to come to grips with these changes and providing leadership todevelop insight into their meanings (Freedman, 2000). Art educators are embracing these changes, even as wecritique them, because they reveal that art is a part of students' everyday lives and that art education is vital inthe contemporary world. Although teaching visual culture can be started with small steps, and some teachers already include the formsand processes of visual culture in their practice, the idea involves a significant change in philosophy for theprofessional field. Teaching visual culture involves a transformation of curriculum content, shifts in methods ofteaching, and a reconsideration of the assignment and assessment of student work, including a reexaminationof the purposes and processes of student artistic production. I am unaware of any art educator who has everargued that teaching visual culture means giving up our focus on student art. However, I have written this articlebecause I have heard the question raised among members of the professional field about whether teachingvisual culture means a loss of attention to production. In answer to the question, artistic production is afoundation of this new direction of the field. How better can students develop a deep understanding of the powerof visual culture? Defining Visual Culture: Student Art as Part of the Cultural Field In the past, type of media, level of technical skill, and aesthetic sophistication have played a large part indeterminations of whether an object was considered a work of art. However, such qualitative differencesbetween visual forms have become less discrete. The range of images and objects that have aestheticsophistication are now understood to include fine art, popular films, tribal masks, toys, architecture, televisionprograms, body art, advertisements, environmental design, manga, and so on. The term "visual culture" actuallyrefers to visual cultures; it is multicultural, multimodal, intercultural, and interdisciplinary. Visual culture is social,political, and economic, as well as personal, and involves the connections between and among variouscontemporary and historical forms. Now, fine art is recycled in ads, and the design work of the Star Wars films isexhibited in art museums. Teaching visual culture involves various types of postmodern border-crossing, from the crossing of conceptualborders to borders of medium and form. It challenges modernistic notions of knowledge that veil underlyingassumptions, including assumptions concerning fine art as being isolated from the rest of visual culture. Theblurring of distinctions between forms of visual culture illustrates the importance of broadening educationalideas about that which is made, seen, and judged in the context of an increasingly complex variety of socialinteractions and institutions. From an anthropological standpoint, culture is away of living. Visual culture can be understood as the objectsand processes, including those created and used by students, that particularly function through visualized formto affect our lives. For example, a heap of garbage arranged by an artist in a museum may be considered awork of fine art, and garbage on the street, while not considered art, may be thought of as an important visual

reflection of human intention. It can also be a source of inspiration for student visual inquiry. In his claim that teaching visual culture is merely the political analysis of imagery, Eisner (2001) misrepresentsthis shift in the field. In fact, the shift is a broad and reasonable response to the realities of contemporary life.The field is now being shaped by a generation of teachers and students who use the wide range of visualculture as their primary source of information about the world and view it as a vital means of interconnectingwith other makers and viewers. In part, this is illustrated by growing sub-cultures of students who research andcreate their own costumes for long-action role plays, take part in advertising focus groups, make their own rockvideos, respond on-line to their favorite television shows, and develop their own web sites to display and critiquetheir art and the work of other students on global scale. I, personally, did not become an art educator for thereason that Eisner claims many professionals join our field-to feel "wet clay coursing between their fingers" (p.8)-and I believe that his claim trivializes the reasons many people of my generation and younger have gone intothe arts. I became an art educator because, as a young person, I became interested in the importance of art tohuman life, the power of art to suggest ideas, and the wonder of the creative process through which ideas couldbe formed and represented. For me, and many of my colleagues and students, making art has always been aform of social action, as well as a form of personal expression. From the perspective of teaching visual culture,artistic production is both a social statement and a personal journey. Students have much more access to imagery and designed objects now than in the past, and their creativepractices, from clothing choices to the production of their own videos, have a bigger impact on general visualculture than before. Student art is increasingly understood as a form of inquiry and as living within complexsocial environments that shape its creators as they shape their environments. Teaching visual culture givesattention to these complexities of student artistic production. It is the power and pervasiveness of visual culture that necessitates an art education that is sociallyreconstructive, based on actions intended to improve the lives of individuals and social groups, which promotesdemocratic debate about issues and conflicts and helps students to take responsibility for their own learning(Freedman, 1994). Teaching visual culture involves open instruction in which knowledge is conceived of as freeand, although expertise is valued, the privilege of knowing is available to all. From this perspective, artisticproduction is valued, in part, because it has the power to influence, and anyone, including students, can work toinitiate social and personal change through the visual culture they produce. Rethinking Student Artistic Production Education in and through artistic production is needed to support, and sometimes challenge, the increasinglysophisticated contemporary, cultural environment. In this environment, education can provide a way of enrichingstudents' lives by helping them to critique and advance the ideas connected to visual culture and its meanings.The results of the NAEP 1997 Arts Report Card: Eighth Grade Findings From the National Assessment ofEducational Progress (Persky, Sandene, &Askew, 1998) in the visual arts indicate that education has not wellattended to promoting learning that will help students make meaning. In this study, students tended to have abasic knowledge of form and media, but they found processes of connecting meaning to form particularlychallenging. The results of this study raise the issue of the ways in which we assign and assess student artisticproduction. As a result, a reconsideration of student artistic production in terms of teaching visual culture challenges pastassumptions of practice, such as an emphasis on the development of traditional formal and technical skills. Atleast three important conditions of artmaking in education should be embedded in this reconsideration: a) therole of production in the formation of student identities; b) the importance of the simultaneous development ofideas and skills in student, learning; and c) the ways in which student art acts as cultural critique. Artistic Production as Identity Formation Educational researchers Kincheloe and Steinberg (1993) argue that a new model of thinking is necessary foreducation, given scientific understandings about the influence of social conditions on thought. They suggest that

researchers interested in children's development should focus on social conditions surrounding the constructionof knowledge in order to better understand the complex ways in which learning occurs. Professionals in fieldsranging from philosophy to cognitive science now argue that the increasingly pervasive crossing of social andcultural borders extends and enriches general knowledge (e.g. Prawat, 1989; Shusterman, 1992; Solso, 1997;Walkerdine, 1988). This border crossing is seen in student artistic production. Students use artistic practices as cultural andpersonal responses to experience, including in their search for identity. Students now have multiple andoverlapping identities (for example, ethnic, socioeconomic, and sexual identities) and live within complex socialenvironments that make artistic inquiry particularly helpful as part of their self exploration and expression. Manystudents begin to explore the concept of self through postmodern juxtapositions and connections in theirspontaneous art and should be enabled to advance their investigations of these issues in school. The creation of self is based on the individual being invested with certain characteristics through symbolicrepresentation (Lacan, 1977). The effects of imagery influence students' self-concepts as they appropriatecharacteristics of visual representations. They adopt these representations as a description of self and use themin their own art. People can be manipulated through images they see that are often antithetical to their natures(Baudrillard, 1983), and students' visual inquiry may help to respond to these influences in a constructive way.Students can engage in role play, tell stories, and make visual statements through processes that range frompainting self-portraits to developing web sites. The construction of student identities provides a new foundationfor the educational importance of artistic production (Freedman, 2002). From this cognitive perspective, artistic production is dependent upon complex interactions between makingand viewing that are rarely made overt in school. The process of making meaning is creative and involves thedevelopment of interpretive, as well as formal and technical, concepts and skills. From installations to interactivecomputer games, visual culture also crosses over traditional boundaries of making and viewing in literal ways asviewers become audiences who participate in the completion of works of art. Through various types ofkinesthetic and interpretive response, from interacting with machines in a computer-assisted art exhibition tobuying as a result of an ad, viewers now participate in the successful creation of works of art by acting withinparameters set by artists. Like all forms of culture, visual culture is both a condition of social life and a creation of individual minds.Students construct their own knowledge based on a variety of information sources, including the visual arts theyexperience inside and outside of school. Unfortunately, the range of prior knowledge, which is a rich source ofimagery, is often thought best left at the art classroom door. In visual culture classrooms, this knowledge isdrawn upon to make student artistic production meaningful to students' daily lives. Part of the process of production in the context of teaching visual culture is giving attention to alternativeinstructional strategies. A focus on individual, creative self-expression in a classroom may actually limit thecapabilities of some students who work better in a collaborative environment. Professional postmodern artists often work as pairs or in groups, and many contemporary visual culture forms(such as the production of films and amusement park design) demand teamwork. In such cases, students caneach do the part of the project that is their technical strength. Collaboration takes many forms involvingproduction, from group work on a project to recommendations made by peers during group critiques. Making Connections and Developing Ideas From the perspective of visual culture, students are taught processes of idea development to enrich their work.Because the foundation of the curriculum shift is people's experiences with visual culture, student assignmentsshould demonstrate different types of learning than just formal and technical skills. Exceptional artisticproduction by students can be highly naturalistic or may have little to do with highly developed representationalskills. It may involve the use of computer graphics, video and filmmaking, found object constructions andinstallations, collages, montages, and other uses of recycled images. Students can express ideas and address

important issues by appropriating a part of the school building for an installation or by taking part in performanceart. Through such broad experiences with visual culture, students can learn a great deal, including cultural andpersonal reasons for the production of art. Art should be the expression of makers' ideas, whether the makersare students or professionals, working individually or collaboratively, and as a result be as open-ended aspossible, given time and other institutional constraints. This means that students should be allowed to make asmany of their own choices as can be enabled, from choosing materials in early elementary school to choosingtheir own research topics on which to base high school projects. Assignments should result in each student'swork looking different from the others. At the same time, students may comment on visual culture issues byrecycling imagery and objects. In the International Baccalaureate (IB) high school program, viewing is understood as inherent to artisticproduction, and production is based on research inquiry about a topic of the student's choice. This programincludes an important course called Theory of Knowledge that provides students with a background in thedevelopment of ideas. The work IB students do in art supports this learning through individual investigations oftheir own interests. The students make a long-term process portfolio that involves research and ideadevelopment as they learn visual forms of expression. Formal and technical training is not ignored in thecurriculum; rather, they are infused and applied based the needs of the students as they do their research,develop their ideas, and learn to visualize ways to express those ideas. Courses and assignments should start with the development of student ideas and lead to decisions about howbest to express those ideas. Many curriculums in the United States start with formal and technical skills and areintended to lead to ideas. For example, junior high/middle school art and Art I classes in high school often focuson formal and technical training, and students are not expected to develop their own ideas until later classes.The argument for this model is understandable-the pervading belief is that students cannot express their ideasuntil they have learned formal and technical skills. The problem with this argument is that most students will notbe professional artists and will never get to the advanced high school art courses in which ideas are focusedupon. Junior high or middle school art and Art I will be the last formal art education for many of those students,and they will leave high school thinking that art is just a matter of talent or formal and technical training. But, artis not just about form-it is about the form of ideas. All of us who have been teachers have been frustrated at one time or another when students come to uswithout formal and technical skills. However, the more difficult situation is that in which students lack the skillsand concepts needed for the visual development of ideas. The argument that basic formal and technical skillsmust come first before students can express their ideas leads many teachers to teach these skills as separatefrom their applications. Teachers often feel compelled to spend a substantial amount of time having students dothe same activities (such as making a color wheel or doing a gray scale) at the elementary, middle, and highschool levels. 'Basic skills' are often taught, but rarely rehearsed in a fashion that increases complexity anddeepens understanding. As a result, learning remains at the same level, disconnected from knowledge thatgoes beyond formal and technical training, and is often forgotten because it is not connected to prior knowledgein meaningful ways. Today, students have a lot of experience with design qualities and information picked upfrom viewing all of the images they see, but they do not have the analytical skills needed to critically reflect onthis experience. Drawing on their experience can go a long way toward infusing formal, technical, and ideadevelopment in their work. Of course, teaching visual culture is not intended to undermine the development of the students who intend tobe arts professionals. By opening up lessons so that students can investigate their own interests, the smallminority of future arts professionals can advance their formal and technical skills while the majority of studentscan still make art. But it is important to remember that the majority of students will become the adults who wehope will understand that art makes up most of their visual culture and realize the need to support art educationin the future.

Student Art as Cultural Critique Postmodern theorists have pointed particularly to developments in technology, advanced levels of industrialcapitalism, and totalizing mass media as initiating negative social effects of visual culture (e.g. Baudrillard,1983; Harvey, 1989). However, Lyotard (1984) has argued that one of the important values of art is found in therange of contemporary visual culture, such as advertising, that celebrates sensuality, promoting a natural flow ofdesire and intensifying feeling. Student artistic production is important to teaching visual culture not only forthese reasons, but because it provides a visual form for commenting on contemporary visual conditions. In the past, the term "art" carried with it assumptions of quality and enrichment; however, the visual arts are notinherently good, any more than is math, science, or social studies. The great power of the visual arts is theirability to have various, profound effects on our lives, but it is important for students to understand that thispower can make art manipulative, colonizing, and disenfranchising. Visual culture that is considered good forone group may hurt others, and the complexity of this relationship needs to be considered as part of educationalexperience. Students should become aware of the impact of their work on others and the ways in which theycan influence the thinking of their peers through visual form. For example, student art can positively ornegatively affect the self-image of other students. An important part of teaching visual culture is to provide opportunities for students to make visual statements ofvarious kinds. Students learn from an early age that texts can be used in this way, but often complete schoolwithout coming to understand the ways in which visual culture can suggest attitudes, opinions, and beliefs.Many of the artistic practices on which the most time is spent in school have little to do with the power of art asa form of commentary or critique. From the perspective of teaching visual culture, production depends on theimportance of connecting with other people through artistic forms and practices. Students can investigate ideasin multiple forms by creating or appropriating and recycling visual statements about issues that are important tothem, including issues that relate to the visual culture they see in daily life. For example, as a part of their artistic production, fashion designers try to convince people to pay to advertisefor them by putting their brand names on the outside of their clothes. Fortunately, it does not stop there. Fashiondesigners are free to try to convince us to pay for their advertising by wearing their names on the outside of ourclothes, but we are free to provide an art education that will help students to make informed choices in theirresponses to visual culture. This was illustrated by one of my students who taught a lesson to her high schoolstudents on the critique of ads. Each of the students in the class responded to the lesson by creating their ownvisual statement concerning brand names, and one of her students arrived at school the next day wearing a t-shirt on which he had painted a red circle with a line through it on the brand name. One of the reasons that students may leave school having missed the important message that meaning andform are integrally connected in the visual arts is that most curriculum focuses their learning through a media-based structure. Rather than allowing student investigations of art to be dependent only on a framework ofcourses titled, for example, drawing, painting, or ceramics, students can develop their own visual statements inthematic courses with interdisciplinary topics, such as themes concerning important personal and culturalissues. Instead of doing a series of assignments within the same media-based format, student artisticproduction can be based on assignments in which students are asked to conduct a series of different mediainquiries within a theme or make visual statements working in multimedia or mixed media. Similar activities canbe done within a media-based structured curriculum as well, but the structure of curriculum teaches studentswhat we consider to be the most important organizing principles of art, as do the parameters of productionwithin courses. Conclusion Student art lives within the same social conditions that enable each of us to create, have access to, and criticizemind-expanding ideas and objects. Students' artistic production provides them with ways to represent newideas and revisit old ideas providing connections between their experience and the world at large. It is

foundational to art education that students investigate visual culture from a productive point of view becausethrough production students gain knowledge of the effects of their own creative capabilities and of visual culturein general. Sidebar From an anthropological standpoint, culture is a way of living. Visual culture can be understood as the objectsand processes, including those created and used by students, that particularly function through visualized formto affect our lives. For example, a heap of garbage arranged by an artist in a museum may be considered awork of fine art, and garbage on the street, while not considered art, may be thought of as an important visualreflection of human intention. It can also be a source of inspiration for student visual inquiry. Sidebar Today, students have a lot of experience with design qualities and information picked up from viewing all of theimages they see, but they do not have the analytical skills needed to critically reflect on this experience. Sidebar One of the reasons that students may leave school having missed the important message that meaning andform are integrally connected in the visual arts is that most curriculum focuses their learning through a media-based structure. Rather than allowing student investigations of art to be dependent only on a framework ofcourses titled, for example, drawing, painting, or ceramics, students can develop their own visual statements inthematic courses with interdisciplinary topics, such as themes concerning important personal and culturalissues. References REFERENCES Baudrillard, J. (1983). Simulations. New York: Semiotext(e), Inc. Eisner, E. (2001). Should we create new aims for art education. Art Education, 54(5), 6-10. Freedman, K. (2002). Art education and the construction of identity. Cuadernos de Pedagogia, 312(6), 59-61. Freedman, K. (2000). Social perspectives on art education in the U.S.: Teaching visual culture in a democracy.Studies in Art Education, 41(4), 314-329. Freedman, K. (1994). Interpreting gender and visual culture in art classrooms. Studies in Art Education, 35(3),157-170. Harvey, D. (1989). The condition of post-modernity: An enquiry into the origins of cultural change. Oxford: BasilBlackwell. Kincheloe, J. L. &Steinberg, S. R. (1993). A tentative description of post-formal thinking: The criticalconfrontation with cognitive theory. Harvard Educational Review, 63(3), 296-320. Lacan, J. (1977). The four fundamental concepts of psycho-analysis. London: Penguin. Lyotard, J. (1984). The postmodern condition: A report on knowledge. Minneapolis: University of MinnesotaPress, Manchester. Shusterman, R. (1992). Pragmatist aesthetics: Living beauty, rethinking art. Oxford: Blackwell. Solso, R. (1997). Mind and brain sciences in the 21st century. Cambridge, MA: MIT Press. Persky, Sandene, &Askew. (1998). NAEP 1997 Arts Report Card: Eighth Grade Findings From the NationalAssessment of Educational Progress. Washington, DC: NAEP. Prawat, R. S. (1989). Promoting access to knowledge, strategy, and disposition in students: A researchsynthesis. Review of Educational Research, 59(1), 1-41. Walkerdine, V. (1988). The mastery of reason: Cognitive development and the production of rationality. London:Routledge. AuthorAffiliation Kerry Freedman is Professor of Art and Education at Northern Illinois University. E-mail:KerryFreedman@compuserve.com

Subject: Students; Audiovisual communications; Art education; Publication title: Art Education Volume: 56 Issue: 2 Pages: 38-43 Publication year: 2003 Publication date: Mar 2003 Year: 2003 Publisher: National Art Education Association Place of publication: Reston Country of publication: United States Publication subject: Art, Education ISSN: 00043125 Source type: Scholarly Journals Language of publication: English Document type: Feature ProQuest document ID: 199423484 Document URL:http://search.proquest.com.ezaccess.library.uitm.edu.my/docview/199423484?accountid=42518 Copyright: Copyright National Art Education Association Mar 2003 Last updated: 2012-04-05 Database: Arts & Humanities Full Text

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