Visual Art: 'Bubble and Squeak' or 'Five Star Feast'?

"Painting is just another way of keeping a diary."

- Pablo Picasso

In keeping with Speck's (1989) food analogy, Brown, Macintyre and Watkins (2012) suggest that children's earliest visual literacy can be nurtured through a 'diet' rich in picture books. In fact, it is the visual image as much as the written narrative that 'tells the story', often revealing a 'hidden text' such as poverty, otherwise difficult to explain to young children in words. A favourite illustrator in our family is Freya Blackwood, who is able to convey emotional situations with style and sensitivity:

From: L.Gleeson and F. Blackwood (2011). Look! A book. Richmond, VIC: Little Hare Books.

For older readers, an eerie lithograph by Lucy Boston is equally evocative:

From: L. Boston (1954). The Children of Green Knowe. London, England: Faber & Faber.

Powell (1997) includes connections between the Arts and ordinary life as a catalyst for learning: returning to our 'food' theme, it is neither "frosting" nor "cake" but a need to "be more" rather than "know more"; to find "the extraordinary in the ordinary" and cultivate our "capacity for delight and wonder" (p. 453). Art in the 'everyday' enables student and teacher to explore social and cultural themes fearless of judgement or failure. Nick Hobbs also highlights the connections between art, creative space and life: art is not only a reflection of the artist, but an ongoing conversation 'fed' by relationships, context and experience: http://arts.tas.gov.au/industry_development/air/air_2011

'Tree hugging: Art in the city', Melbourne, 2014. 

Spontaneous sculpting of miniature wiltjas in the Gibson Desert, Western Australia, 2014.

As Speck (1989) suggests, the relationship between our own response to art informs our ability to provide valuable experiences to students. She refers to the 'cafeteria' approach, essentially a 'smorgasbord' or 'tasting menu' combination of meaningless materials and mindless 'busywork'. While this would be unacceptable in other disciplines, focusing on readily assessable activities in Visual Arts limits both aesthetic appreciation and creative expression.

As evidenced in this kindergarten self-portrait, in most cases children start school already capable of representative drawing.

Boone (2008) explores the complexities of displaying children's art, particularly for public consumption. Despite some misgivings, children "tend to be proud of the artwork they create", she writes, "and are happy for others to see it because children's art makes viewers happy" (p. 34).

A sensitively orchestrated school art show can instil pride in students and inspire conversations with parents.

Further Notes: 

The National Gallery of Victoria operates a diverse program of activities and resources which can be further explored here: http://www.ngv.vic.gov.au/explore/education/

Vikki

References:

Boone, D. (2008). Young children's experience of visual displays of their artwork. Australian Art Education, 31(2), 22-45.

Boston, L. M. (1954). The children of Green Knowe. London, England: Faber & Faber.

Brown, R., Macintyre, P. & Watkins, M. (2012). Learning in and through the visual arts. In C. Sinclair, N. Jeannert & J. O'Toole (Eds), Education in the arts. Melbourne, VIC: Oxford University Press.

Gleeson, L. & Blackwood, F. (2011). Look! A book. Richmond, VIC: Little Hare Books.

Powell, M. C. (1997). The arts and inner lives of teachers. Phi Delta Kappan, 78(6), 450-453.

Speck, C. (1999). A depth art curriculum for the primary school (1989). Australian Art Education, 22(1), 71-85.