Why We Make Art: And Why it Is Taught

Why We Make Art: And Why it Is Taught

by Richard Hickman
     
 

ISBN-10: 1841501263

ISBN-13: 9781841501260

Pub. Date: 08/01/2005

Publisher: Intellect, Limited

Does art have any use or real purpose in today’s society? Why do governments around the world spend millions on art education? Rejecting the vogue for social and cultural accounts of the nature of art-making, this book is largely psychological in its approach to discussing art-making and its place in education.

The ‘we’ in the title is

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Overview

Does art have any use or real purpose in today’s society? Why do governments around the world spend millions on art education? Rejecting the vogue for social and cultural accounts of the nature of art-making, this book is largely psychological in its approach to discussing art-making and its place in education.

The ‘we’ in the title is intentionally polemical, with the author claiming a universal, i.e. pan-cultural basis for ‘art’-making activities - or rather activities which can be described as ‘creating aesthetic significance’. Developmental issues in art education are examined, together with the nature of learning in art, with reference to concept acquisition.

Section two of the four sections which comprise the book, focuses upon some ‘mini case-studies’, detailing conversations with people talking about their art-making, together with some autobiographical reflections. Section three then considers the issues in art and learning which can be gleaned from various respondents’ accounts of their making activities; these include the nature of the artistic personality and the role of art in self-identity and self-esteem. Other topics touched upon include imagination, expression and creativity. The concluding section examines the notion of creating aesthetic significance as a fundamental human urge, drawing upon work done in evolutionary psychology.

Whilst questioning whether schools as they are currently conceived are the best places for teaching and learning anything, an art curriculum based upon the acquisition of ‘threshold skills’, such as drawing, together with a gradual introduction to the appreciation of visual form is advocated. Declaring that schools of the early twenty-first century will soon be seen as as dated as the Victorian workhouse, the successful art room, with a learner-centred rather than discipline-centred philosophy is put forward as a model for schools and schooling.

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Product Details

ISBN-13:
9781841501260
Publisher:
Intellect, Limited
Publication date:
08/01/2005
Series:
Intellect Books - Computers and the History of Art Ser.
Edition description:
New Edition
Pages:
175
Product dimensions:
6.75(w) x 9.00(h) x 0.40(d)

Table of Contents

Acknowledgements
 
Preface
 
Foreword by Antony Gormley

Section One: Art and art education
Art
Art in education
The place of ‘knowing and understanding’ art
Developmental issues in art education
Learning in art
Concepts and art learning
Aims, rationales and desirable outcomes
Concluding remarks for Section One
Notes and references for Section One
 
Section Two: Conversations and reflections –some ‘mini case-studies’
Introduction
Some autobiographical reflections
People talking about their art-making
Concluding remarks for Section Two
Notes and references for Section Two
 
Section Three Issues in art and learning
Introduction
The artistic personality
Creating aesthetic significance
Notes on imagination and expression
Identity
A few words on creativity
Art and schooling
Concluding remarks for Section Three
Notes and references for Section Three 
 
Section Four Concluding chapter
Introduction
Art as a fundamental human urge
Concept learning re-visited
The art curriculum
On drawing
The appreciation of visual form
Assessing school art
The art room as a model for schools and schooling
Concluding remarks
Notes and references for Section Four
 
Bibliography 
 
Subject Index 
 
Name Index 
           
Appendixes
 
Illustrations

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