BC Education - Introduction to Visual Arts 11 and 12

Organizing for Instruction

There are several educational, social, and technical issues to consider before starting a visual arts program. The following is a general guide to issues common to all areas of visual arts.

Considerations for Planning

In planning a visual arts program, teachers may wish to:

Vary instructional approaches and activities to address differing levels of experience, access, and confidence with materials, technologies, and processes.
Establish an accepting and co-operative atmosphere in which students feel safe, and free to take risks.
Inform students about classroom management policies and expectations regarding their work in the visual arts classroom.
Inform students about expectations specific to the class, such as the need to share equipment and leave it in good running order for the next user.
Explain to students the importance of planning ahead in order to address the constraints of equipment access and class time.
Ensure students have experience with a broad range of technologies and time for in-depth work in an area.
Include strategies for students to update knowledge, and opportunities to experience emerging technological processes and equipment, where relevant.

Structuring Viewing and Responding Activities

Responding to artworks and visual images plays an important role in visual arts. To be meaningful, the experience of viewing an image should be more than just looking and reacting quickly and without much thought. Teachers can enhance the meaning students derive by guiding them through the viewing experience. The process presented here may be used when viewing any work of art.

Viewing is an individual interaction between the viewer and the artwork that is influenced by the viewer's cultural perspective, association with elements and images in the work, knowledge of visual arts in general, knowledge of the particular artist, and understanding of the context for which the work was created. Because the interaction is personal and varies from student to student, an atmosphere of trust and respect is essential. Students should be asked to express their personal opinions and encouraged to realize that all students benefit from hearing the opinions of others.

Students may respond:

on an emotional level--to the feelings evoked by a work of art
on a conventional level--to associations of past experiences with the artwork or with images in the work
on an intellectual level--with a formal analysis or interpretation of an artwork

When structuring a viewing activity, teachers might consider following these seven steps:

Preparation

Teacher provides students with a focus for viewing a particular work of art.

First Impressions

Students respond spontaneously--there are no wrong answers.

Description

Students take inventory of what they see.

Analysis

Students examine how the visual elements and principles of art and design were combined and arranged to achieve certain effects.
Students describe the connections among the visual elements and principles of art and design, using appropriate terminology.
Students identify cultural or stylistic aspects represented in the work of art.

Interpretation

Students reflect on and discuss what the work of art means to each of them.
Students analyse how their responses are influenced by their own experiences and perceptions of the world.

Background Information

Students learn about the artist and the context in which the work of art was created.

Informed Judgment

Students refer back to their first impressions and, based on their discussions, research, and reflection, either support their initial opinions of the work or develop and support new opinions of the work.

These steps may be combined or rearranged as appropriate to the situation (e.g., responding to students' own work, the work of peers, or the work of professional artists). Note also that in some situations it is entirely appropriate for students to be given the opportunity to make intuitive responses to a work of art without having to analyse the work.

When analysing, interpreting, and researching the background of artists of various cultures and societies, the following topics could be considered:

the context in which the work of art was created
the purpose of the work (e.g., social, ceremonial, celebratory, occupational, functional)
the symbolism, if any, used in the work of art

This summary is adapted from Arts Education: A Curriculum Guide for Grade 8 (Saskatchewan Education,Training and Employment, September 1994).

Introducing Controversial Content

The study of visual arts can involve issues and topics that may concern some students or their parents and guardians (e.g., religion, human sexuality, social pressures on adolescents, standards of personal behaviour). The following guidelines should be considered before beginning instruction in a new, unfamiliar, or potentially sensitive area of study:

Obtain appropriate in-service training, or consult with those in the school who have relevant expertise (e.g., the counsellor).
Know district policy and procedures regarding instruction involving sensitive issues (e.g., policy for exempting students from participation in classroom activities).
Obtain the support of the school administration.
Inform students of the objectives of the curriculum before addressing any sensitive issues in the classroom, and provide opportunities for them to share the information with their parents and guardians.
Avoid dealing with controversial issues until class members have had enough time together to become comfortable with each other and to have learned an appropriate process for addressing such issues.

Responding to Sensitive Issues

Issues may arise in visual arts classrooms that are not intended. In preparing for sensitive issues that may arise, teachers may wish to consider the following points:

Know the relevant provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
Know the warning signals of eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight).
Inform an administrator or counsellor when a concern arises.
Establish a classroom environment that is open to free inquiry and to various points of view.
Preview mass media materials (e.g., print, video, film) and set guidelines for student access to sensitive Internet material.
Promote critical thinking and open-mindedness, and refrain from taking sides, denigrating, or propagandizing.
Know district policy regarding the rights of individuals and the need for permission when students are videotaping, filming, photographing, and recording. Establish a procedure for filing any necessary release forms.

Working with the Visual Arts Community

All aspects of learning in the visual arts may be greatly enriched when guest professionals and experienced amateurs from the community are involved. It is particularly useful to use experts when presenting culture-specific art forms.

When visiting or working with artists and other art professionals, teachers should:

Arrange a meeting to discuss appropriate learning outcomes and expectations while deciding which areas of the curriculum are to be addressed.
Prepare students for the experience (e.g., discuss the expectations for process and etiquette and provide useful background information).
Determine the needs of the guests (e.g., materials, facilities).
Debrief with students and guests.

If possible, also provide students with opportunities to work as artists themselves, creating works of art for peers, younger students, staff, and other audiences. Teachers and students may wish to consider the following community resources to broaden the range of learning opportunities in visual arts:

television studios
production houses
arts periodicals and publications
college and university fine arts departments
community and recreation centres
community, provincial, and national arts councils
continuing education programs
cultural associations
cultural festivals
Internet web sites for visual arts
professional art studios, design companies, galleries
school and public libraries

Creating a Safe Environment

In the visual arts class, students can expect to become familiar with a wide range of materials, equipment, tools, and processes.

Safety concerns include the use, storage, and handling of potentially hazardous materials and equipment. To ensure a safe learning environment, it is essential that teachers address the following questions prior to, during, and after an activity:

Have students been given specific instruction about how to use the facilities, materials, and equipment appropriately? Do they fully understand the instructions?
Are students aware of the location and use of safety items such as eye-wash solutions, fire extinguishers (suitable for electrical fires), safety blankets, sinks, face masks, WHMIS labelling?
Are students aware of the location of power switches and fuse boxes?
Do students know the maximum wattage for electrical AC cables, power outlets, and circuits?
Do students know about correct handling of hazardous materials such as acids, adhesives, caustics, flammable materials, fumes, poisons, powdered materials, solvents, and electricity?
Are the facilities and equipment suitable and in good repair?
Is the equipment secure when not in class use?

Revised: January 25, 1999

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