Relationship between form and content in art education

relationship between form and content in art education

The school forms of teaching imply "ruptures" in everyday learning processes. These In a third part, we will show that the relationships between “cultural art objects of . management is applied at the levels of the didactic context organisation. The secondary features are the relations of the primary features with one A third or tertiary level concerns the way form interacts with content and/or . to the artist: attitudes, beliefs, interests, and values; education and. Art is a combination of form and content. Form is This workshops will cover some of the formal aspects of content and its relationship to art.

One is to explore figurative meanings like those afforded by conventional signs and symbols: Less fixed in meaning are the basic tropes specific ways of turning away from literal meaning to figurative meaning: Highest Standard of Living in the World" parody: These are a matter of the way form affects meaning, but the former is more standardized than the latter. A paralinguistic shift involves changing the meaning of a single word by altering the way it is delivered: Performative effects are structurally similar but more evocative: The tertiary content represents the convergence and mutual modification of form, content, and context see below.

For example, the primary content of a portrait of a king might simply be a richly dressed individual sitting on a throne, wearing a robe, lifting an arm, etc. If the image were of a particular political figure, like Napoleon, it would be a megalographic portrait.

Tertiary content involves combining these observations with context -- i. For example, the composition of Ingres' Napoleon Enthroned is partly borrowed from a famous colossal statue of Zeus made by the famed Greek sculptor Phidias for an ancient temple at Olympia.

The result, then, is Napoleon represented as Emperor-God beyond time and space, an effect which was certainly desirable, given what we can find out about Napoleon's reign. If we leave our interpretation there, assuming we have said all that needs to be said, we have evoked closure.

Form and content - Wikipedia

In post-modernist discourse, the finality suggested by such closure is usually considered socially unhealthy, philosophically unreal, and even politically unwise. It goes without saying that one should always keep an open mind. As in the case of content, there are three levels of complexity, arranged numerically here, but without an intrinsic hierarchy. Conventional wisdom would have it that primary context is that pertaining to the artist, although there are equally good reasons to assert the primacy of historical and material conditions of production, as in Marxism.

However, similar conditions are known to produce very different artists e.

Slavoj Zizek - Form And Content In The Arts

Primary context is thus that which pertains to the artist: Special mention must be made of the artist's intentions and purposes, because it is very easy to fall into a trap called the intentional fallacy. This happens when a writer derives an artist's intention only from the work he or she produced.

relationship between form and content in art education

This is not logically valid: If, on the other hand, we have a letter or a diary in which the artist wrote "my intentions are such and such," the information thus gathered can often be validly employed. Secondary context is that which addresses the milieu in which the work was produced: In some cases, their knowledge is embodied and resists systematic and explicit organisation.

Indeed, aspects of how the artists described their practice were akin to a research process. Playfulness and risk taking were central. The interviewed artists perceived themselves as skilled in accommodating the unexpected.

They valued curiosity, imaginative response, open-mindedness and the freedom to explore concurrent strands of interest. Spontaneity and intuition were important, but looking, reflecting and critical thinking were equally significant.

In terms of direct pedagogic engagement, the research undertaken at Tate Modern found that artists drew on their own experience as creative practitioners to instigate a learning process that resembled their art practice.

Perhaps pushing them not just to consume and move on, but notice and reflect on what they see and feel and begin to process it. In the gallery context practitioners seek to provide learners with the skills, confidence and knowledge to interpret art for themselves. In particular, artists are clear that they are not there to convey specific interpretations.

They encourage learners to actively question and embark on a process of enquiry.

The Elements of Art

When describing their pedagogic practice, these artists tended to define themselves in opposition to teachers. Instead, artists sought to engage participants primarily through discussion and exchanging ideas and experiences. They also tended to differentiate themselves from art historians.

relationship between form and content in art education

There was a marked difference between someone who was doing an art history degree and somebody who was doing a fine art degree. The art historian wanted to collect meaning and take it to the work whereas the fine art student wanted to go to the work and unlock what was there standing in front of them.

The art historian, by contrast, brings his or her accumulated knowledge to bear on the work in order to contextualise and explain it. There is some evidence that these artists exhibit the attributes of effective learners.

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These include being active and strategic, skilled in developing goals and reflecting on and understanding their own learning, which perhaps suggests why artists resist describing themselves as teachers. Yet although the interviewees resisted acknowledging that they function as other than co-learners, the research identified that periodically artist educators did adopt a more didactic and authoritarian position when, for example, a group dialogue did not develop or participants were difficult and confrontational.

Because what I got them to do prior to that point was note a lot of experience-based responses and I thought it was starting to slip too much into that … So I felt I wanted them to know who had made these pieces. You know they are at Tate Modern.