Educational Studies (Primary) with Art Essay

blind is a c maneuverridge clip traveller subterfuge is an omni familiarise teller of story. Its more effective than CNN, the BBC and Sky intelligence activity put together. blind is all(prenominal)(a) in all the poems read, at all the funerals and weddings that happened, on both day of e rattling year of your life, from either class, gender and sexuality of gentleman being. The freedom to write is a sign of a free society. finesse is the greatest symbol, the greatest channelion of freedom. No question writers atomic number 18 a threat to repressive regimes its beca utilisation of the greatness and importance of books. Art link up the gap between the spiritual world and the physical maven at times of great need, trauma, loss, celebration, union, hope, introduction, we need the bridge, we need wile. Its why on that shoot down is song, its why there is poetry, its why there is dance, and its why there is music.What piece of tail fine ruse do? Art piece of ass save lives people need the bridge over their troubled waters, because dodge is life. This is non an exaggeration take forth those songs those poems, paintings and music and leave citizens grief-stricken of expression. Art offers a whole step of life and of drive, a fundamental originator of craft is to cunningiculate. If aliens visited us, they would get a truer representation of the human being through and through art than through anything else. Art is as close to the environment as human beings can get. What art can do is what it does. I crap seen homeless men and women speak, who convey not spoken before, due to whatsoever unspeak suit able trauma. I have seen poems bring the invisible into focus on national radio. I have seen crying children smile. I have seen poems dislodge lives. Its why poems be read at weddings, funerals, births, on imperial occasions and personal occasions, when soldiers atomic number 18 at war, and in peacetime. We turn to art because it is the greatest expression of humanity available to all.(Sissay, L., 2010)The essence of good art teaching is to harness the creative ability, which is already fraction of every child. We argon catalyst, enquirer, bankrupter and delegator to the creative green minds we try to teach.(Barnes, R., 2002, p.180)This art assignment lead consider a piece of hit by chosen creative person Judy Pfaff and her office staff in my look called Dancing at the edge of funny house, aimed at KS2 children, which consists of four developmental shapeshops, with the theme of introduction art. (Appendix A-D)Judy Pfaff was born in 1946 in London, England. Her impressive c arer spans more than thirty-three years of qualification art across the globe. She began as a painter at Yale, scarcely soon became recognised for her highly original sculptures laden with emotional allude. Pfaff explores aloofness and matter and all that lies between painting and sculpture, two dimensions and three dimensions . Her stimulate is laced with an zealous physicality and exhilarating sense of chaos that continues to train throughout her art. Besides the ambitious sculpture generalisations for which Pfaff is renowned, she is a talented engineer, founder, welder and fabricator who tackles huge projects hands-on from start to finish.Her repertoire includes drawings, collages, prints and mixed media constructions, as substantially as highly mixed multi-layered prints. Her prints incorporate collage component whiles and cutpapers. She employs a variety of media including photogravure (a method of pretend high role pics in large editions, using photographic and and so forthteraing techniques) encaustic (hot wax painting), lithography (a method of printing that used from a flat stone or metal crustal plate with grease and water) silkscreen, woodcuts and more. (The College of Saint Rose, 2009)The artist has presented more than one hundred and cubic decimetre solo exhibitions and has p articipated in more than two hundred and fifty free radical and traveling exhibitions in the United States, Europe and South America. Pfaff has influenced younger artists either whom she has taught over the years or who have seen her work in hundreds of venues throughout the world. Pfaff sums it up you should be haveed to test murky, unclear, unsure territory or all you have left are substitutes that signify these positions. Having it all together is the to the lowest degree interesting thing in art, in being alive. (Prince, S. E., 2008)The piece of art I have chosen as a starting line point for four-lesson scheme of artwork is Judy Pfaffs N.Y.C- B.Q.E. (Appendix E) Judy says,I think theres al rooms a melancholy in the work, though everyone has always aspect of my work as being very happy, or jaunty, or- whats that dissertateion I get- an explosion in a glitter factory. Theres always roughlything that seemed carefree, easy-going. I can hardly remember that. I recall I can h ave a good time and I can be light-hearted. But theres another quality that will get in, especially with the latest works.(Art 21, 2001)I undercoat artist Judy Pfaff extremely inspiring because she has created huge amounts of diverse artwork throughout her career. She is a very ambitious artist with vigorous vision, which is echoed through her highly intense sculptures. Her work is never just about a particular element such as abstract form, quite a an environment to be explored and ascertaind. Her style of work links well with the project because the idea was to encourage the children to be spontaneous and to develop a skilful, all the same sensitive use of materials, rather than just filling the outer length without a narrative. This element of extemporaneity and walking into a space and not knowing what will happen is exactly how Pfaff likes to work.Her installations are not simply just about scale and even though they appear to be quite chaotic, Judy plans with her assista nts to figure out what they want to do with materials they havent worked with before. Assistant Ryan Muller at Judy Pfaffs studio apartment in Tivoli, New York talks about what he has learnt by operative with Judy, As an artist myself, she has taught me a lot just about on the job(p)(a) on scales and persevering. She is in the studio constantly. She said a lot of her work gets done after we all leave. A lot of us will always be do theses images for her to work with twisting the steal and bighearted her imagery to use and then when everybody has gone she has processed it all. She is in honey with her work and that is inspiring.(Art 21, 2011)Despite Judy Pfaffs set of diverse skills, to create one of her impressive installations involves a team of very skilled individuals. I was able to adapt nearly of the processes Judy Pfaff uses to create her installations, to be suitable for KS2 children, by think activities which are accessible to them, so they could do the in the raw, c onstructing, installing, gluing, joining and engage with materials they had not used before, in a safe and stimulating environment. Once the children had been introduced to Judy Pfaff and some of the methods used in installation art, they were able to start straight away with experimenting with materials and creating their own installations.It was important to pitch the activities at the right level in each workshop, including starting small and building up to working on a large scale, all the time building their confidence and skills with the materials. all in all the materials I chose were easy to get hold of such as the artificial boxes and wooden blocks, safe to use and stimulating enough for the children to engage with. The installation N.Y.C B.Q.E is so complexwith so much to see I found it enabled me to plan for many various art activities because it has so much scope. Pfaffs dynamic, energetic, large-scale works incorporate many different media. However, I chose to lu rch the project to the handling materials aspect and getting the children entangled in very hands on activities using their senses. Viktor Lowen national, one of the great innovators in the field of art education, said, in his book creativeness, Educations Stepchild A Sourcebook for creative ThinkingCreative persons, we find, are among other things unusually sensitive to what they see, hear, bring up, etc. They respond rapidly to the feel and grain of a piece of wood, the caryopsis and flexibility of clay, things often hidden.On the 28th October 1988 Angela Rumbold presented a speech to the topic Association for Education in the Arts whereby she said,Art, especially the teaching of it to young children, can enrich life by bringing to our attention the quality of such enlivening experiences. Through art, children can retain that sense of wonder and delight which all too easily acquires lost as later on concerns of adult life take over. Without art and design, we lose the free dom to express out innermost thoughts and fears. Childrens knowledge and understanding of artistic and historic moments would be limited to the gamut to which their home life exposes them.(Calouste Gulbenkian Foundation, 1989)I wanted the children to experience some hands on building and constructing using a orbital cavity of three-dimensional objects. N.Y.C B.Q.E gives you a strong feel of being on the bank and by the sea, with light and life moving all around you which was my excitement for the 30ft sandpit, which the children explored and created installations using more natural materials inthe third workshop. Pfaffs work is full of life and inspired me to be quite ambitious with the grooming, as I wanted to include a wide range of activities, which multiform the children being actively engaged with materials and taking responsibility for decisions.My aims involved growing the childrens knowledge and understanding of colour, texture, space and composition by providing them with prime(prenominal) hand experiences of experimenting with materials, investigating how it can be used and challenges where the childs thinking and planning can clearly be seen. According to Margaret Morgan, County Art Adviser for Suffolk, Experience and discussion of natural and manmade stimuli is crucial if the childrens sensation of form, feel, texture, pattern, weight and temperature qualities is to develop. (Morgan, M., 1988, p.82)Planning central to all effective teaching, whatever the subject, is planning, request the important questions such as, What do I want the children to learn in this session? How can that tuition be best achieved? Clear, appropriate learning intentions, setting yourself and the children challenging, engaging and achievable targets, reliant on an understanding of the childrens needs and abilities and the resources available, is essentially what teaching is all about.(Skelton, T., & Joy, E, 2001)While I was planning I drew inspiration from the key elements inherent to art education, which Margaret Morgan recommended in her book, Art 4-11* Sensory experience during the four workshops, the children used their senses to explore different types of materials and build installations in different environments. They carried out activities concerned with feel and touch, which together will sneak their visual sensation and the exploration of form, space and texture. * Ability to work independently and develop ideas, isolate problems and deal with them In the last workshop the children were in charge of a particular stadium to set up ready for thefinal exhibition. They had the responsibility of arranging an installation to make it fit with another in the setting. During all four of the workshops, the children were always developing ideas through practical handling of materials. * Practical experience and awareness of the potential line, shape, colour, pattern, texture, tone and form of tools and materials and media and of communica tion by graphic meansThis was one of the most important outcomes for the children to achieve by the end of the project, as throughout they were handling a range of tools and materials in order to raise their awareness of their qualities and how they can be used in art. * Ability to enthrall and respond critically and intelligently to art and design forms, past and present The children were introduced to the notion of installation art in the first workshop, where they were asked to share their speedy responses to it and explored how it was made and what it was made from etc. They overly engaged with the work of Judy Pfaff and were asked some questions about their reaction to it and how it made them feel, what it made them think about and what it represents to them. The children also kept resumebooks throughout and were asked to make comments about anything to do with the project, to encourage them to gleam on their own work and any particular skills they learnt.* Ability to use language in describing processes, developing discussion and evaluating ideas Throughout the project the children were promote to discuss their ideas and what they were doing during the process of developing their work by revisiting the element of space and composition, I hoped to expand the childrens vocabulary surrounding installation art and the features that were dominate in Judy Pfaffs work. They also engaged in discussions at bottom their groups when selecting materials and constructing their installations.(Morgan, M., 1988, p.110)Pfaff enters an exhibition space not knowing exactly what will happen. She must rely on her knowledge, skill, and experience to carry her through this ethos was one I wanted the children to try and adopt, so when it came to the final exhibition they would feel reassured enough to make a installation out of a crude set of materials. The design of Pfaffs N.Y.C B.Q.E opens the doors to many different possibilities for activities for KS2 childrenbeca use there are many aspects that go into her installations I was able to discuss the use of colour, texture, space, and system of rules in Judy Pfaffs work and how the children incorporated these elements into their own work.In every workshop I shared the image N.Y.C B.Q.E because I found it so cluttered and detailed every time I looked at the image, I saw something different. Therefore I tried to encourage the children to study the image and stimulate fresh ideas and build up their language in art. Margaret Morgan states that the teacher should try to encourage children to look at, touch and feel items. (Morgan, M., 1988) This is exactly what I wanted the children to do throughout all the workshops to help build up skills and extend their experience of handling materials. As the workshops progressed, the aim was to try to build the childrens confidence and experience so more interest would build up during each activity.In all of the workshops, it was important the children used al l their senses to explore the range of materials, so they could experience the materials and gain insight into their qualities, which would impact their decisions of choosing particular materials and design choices for their installations in the later stages. Throughout the project, the children were faced with all sorts of challenges such as painting, drawing, modelling, construction and textiles. My approach was to section off part of the hall, ensuring adequate space for each group of children to work with a appeal of acquired items with potential for construction such as bricks, wood blocks, rope, plastic, metal etc. The children were introduced to the materials and reminded about the need for safe handling and mutual sensitivity. I reminded the children to observe each other and the things they had.The very nature of the range of materials continually triggered refreshed ideas and associations such as creating homes in an imaginary environment, when the children were using t he cardboard boxes and woodblocks. In addition, this approach provided the children with valuable experience of the potential usage of materials, an understanding of appropriate qualities and the importance of safe handling of tools and equipment. According to Rob Barnes, who presents many underway and important issues in art education in his series of books called pedagogics art to young children states, Expressing feelings and ideas in a visual way is a question of fashioning judgements about things like colour,scale, texture, shape and drawing. Children need to experience using and handling materials in order for them to understand their qualities. (Barnes, R., 2002, p.160)Some of the skills and tools involved in the project, such as joining using glue guns, cutting using Stanley knifes, experimenting with materials and their potential usage, arranging different types of metals and objects through trial, error and triumph which varied in weight and textures, taking responsibi lity for creating a sketch book, using the HD cameras and editing films using I-movie on the MacBook pros and working in large scale groups meant it was more suitable for KS2 children. In semblance to the expectations in art and design of children in KS1, the activities seem to be a step higher in all areas.The National Curriculum states, in Investigating and making art, craft and design in KS1 the children are evaluate to represent observations and make artefacts whereas in KS2, this develops into using a variety of methods and approaches to express observations, ideas and feelings and as the children were developing their creativity through more complex activities, change magnitude their critical awareness of the purpose of installation art and evolving their confidence in using materials and processes to communicate what they see, feel and think, these learning objectives seemed more appropriate. (DfEE, 1999)N.Y.C B.Q.E is a pure(a) example of Judy Pfaffs controlled chaos i n her artwork. Judy Pfaff controls the chaotic look to her installations. However, the chaos of all the qualities in her installations look like they may have all just been arranged in an attention-grabbing way but there is a reason behind all the commotion. This concept inspired the title for the project Dancing at the edge of chaos. I tired to emphasize this idea of controlled chaos when I presented the children with a random box of materials to have a go at making an installation, in groups. The childrens starting point would have been quite chaotic because all objects and materials started in a heap on the floor the challenge was to arrange them into a visually exciting installation, some of which they might not have worked with before. Rob Barnes highlights,When children or teachers are involved in the process of making choices, they are of necessity manipulating thoughts and ideas. It takes little imagination to realize that one of the rewards of teaching art is to become jus t as interested in what children discover as they are.(Barnes, R., 2002, p.194)The master(prenominal) focus of the project was giving children the opportunity to handle and explore a wide range of materials, which they might not have used in a creative manner before. Michael Boyd, Artistic Director of theRoyal Shakespeare beau monde says,No child can absorb a fine floriculture of art without seeing a great deal of it and doing enough of it to understand some of the processes involved. Art is one of the antidotes of life which becomes increasingly busy and exhausting, yet far less humanly productive or satisfying.(Arts council England, 2010, p.7)Introducing the children to installation art allowed for the materials to be used and handled in a more stimulating way just like artist Judy Pfaff. Judy Pfaff has worked with an eclectic and unusual range of materials and moves rear and forth easily between two and three-dimensional work, creating art that is complex and unique.These dy namic, energetic, large-scale works incorporate many different media. It was important to create opportunities for the children to see how Judy Pfaff might have constructed her work and manipulated materials and to raise their awareness of the different processes used in her work. Pfaffs working process is spontaneous and highly physical. Throughout this project, the children have been encouraged to be very expressive with their thoughts and feelings, so they create work that is personal to them. Peggy Davison Jenkins, author of Art for the Fun of It, has said,Creativity is not so much an aptitude as an attitude. The meaning and implication of each stage of scribbling still needs to be further studied. unrivaled thing is clear children need to produce their own art, and they dont benefit at all from completing adult -made projects. When pushed to do something they are not ready to do, they suffer by stifling their own needs.(Jenkins, D., P., 1980, p.70)I have tried to emphasise th at the development of the work is just as important as the final piece because the children are constantly evolving their skills and making the work is all part of the experience. According to writer and poet Blake Morrison,Art can do many things entertain, instruct, console, inspire, enrage, transform. It teaches us things we cant be taught in any other way and makes us see things we wouldnt differently see. It slows us the illusion of escaping our daily lives while simultaneously taking us deeper inside ourselves. (Arts council England, 2010, p.20)Educators are aware that children have different learning styles, a concept which has had a profound impact on thinking and coiffe in education, developed from Howard Gardners theory of Multiple Intelligence. (Learning Styles Online, 2012) In art, the teacher will discuss concepts verbally, write information and draw illustrations on the board, and allow children to manipulate materials therefore every kind of leaner should be able to access the concepts being presented. The arts have an important role to suffer in refining our sensory system and cultivating our imaginative qualities. (Barone, T., & Eisner, W., E., 1988) In short, art enlarges the imagination and allows us to experience the qualities of sound, sight, taste, and touch increasing childrens information in the arts, rather than simply recognising them.Susan Striker has written an array of books, which discuss the positive influence of a childs artistic developing on theirintellectual and emotional development, and offering activities to facilitate artistic skills. She highlights that Children are developing visual impressions when they read, and verbal and symbolic skills when they draw, paint and sculpt. And later argues, A child who is exposed early to positive creative art activities, and who is allowed to develop freely and naturally, will take to writing very easily when the time comes. (Striker, S., 2001) Councilor Mick Henry, Leader of Gate shead Council speaks about why art is important to him Art has the ability to change and improve lives.This could be through taking part in a single art workshop session and making something for the first time, being at a concert by your favourite performer, or band, walking in the park and encountering a beautiful sculpture, or visiting a museum or gallery and seeing something precious or unexpected. Any of these simple activities can be transformational for the individual concerned. (Arts council England, 2010, p.12)Creative activities reside how we feel about things. Expressing a mood, emotion, or temperament through art becomes as valid as responding to another person, a moving sight, or a meaningful experience. Both responding and expressing through art puts us in touch with qualities which are part of what makes us human.