Teachin
ArtMakm
T he importance of teaching students to make real artart with
meaningcan be Introduced bythe foiiowing story.
An art dealer (this story is authentic) bought a canvas signed
"Picasso" and traveled aii the way to Cannes to discover whether
it was genuine. Picasso was working in his studio. Hecastasingie
iook at the canvas and said: "It's a fake." A few months later the
deaier bought another canvas signed Picasso. Again he traveied
to Cannes and again Picasso, after a single giance, grunted: "It's a
fake." "Butcher maitre," expostulated the deaier, "it so happens
that I saw you working on this very picture several years ago."
Picasso shrugged: "I often paint fakes." (Koestler, 1964, p.82).
BY TERESA ROBERTS
ART EDUCATION / MARCH 2005
-
As a committed teacher of sUidio arl,
one of my goals is to encourage my
students to create not fakes, btii rral arl.
/im/fir/Idefmeasiuiy workof arl thai is
the result ofasetisitiveindividuars
expenence of and response to liis or her
life expressed through a particular
meditim. Real iui can be, hut does not
liave to be, entirely ohgiiuil: however, it
musi involve some kind oft realive
thouglit. AIKI real art nuisl be genuine. II
intist have meaning and be more than aii
cxhibilion of tecluiical skill, an exercise
in fotinal choices, or an exploration of
media. Real ai1 must have content related
to the artist's own interests and
experiences and/or arise from tlie artist's
personal involvement with human issues
and conceptual concerns. Perhaps, in the
above story. Picasso was just making a promoting for years fEfland, l^Oy And, important interdisciplinary human issues
joke. Or i)erhaps he W;LS refening to the here at. last was an approach that invited and ideius. Student iuiists are encoiu aged
meaning of the ail work. If even Picasso me, as a teacher, to engage my stiidenls in to make pereonal connec^tions with these
c;m create fakes, how then cim we thinking and talking about art history, big ideas and explorations of these issues
encourage our students to create real art? criticism, and at^sthetics as well as ait become the bases of their ;u1. Tlie
How can we teach m ways thai promote production. ailmaking processes of adull aitists who
memiing making in art production? work with similar big ideas at e studied
Recently, however, prompted by a
and sometimes used as models in tiiis
Teaching students to make real a r t - certain passivity in my students' involve-
approach. However, Ihe ernph;isis on
artwork with meaningis a problem that ment witli arl lessons, I liave turned my
individual exjiloration aud lellection
1 ha\'e been grappling with for quite some attention to an extension of DBAE, a
invites .student iulists to grapple with and
I ime. Ifii'stencountered this issue as a method that is based on the belief that ai1
make meaning of these issues in their own
student of art. Schooled by primaty and stndents of all ages can best leani about
lives. Tliis common-sense synlliesis of art
secondary ai1 leachers who apparently art by woi king with lhe simie type of
education approaches suggest.s that il is
fell that iu'hild's artistic development was content that professional artists work
possible lo engage studenis both intellec-
best seived by benign neglect, I despaired witliimportant ideas that are related to
tually nurf intuitively in ;u1 production.
of ever learmng anything tangible about their own lives and the lives of othere. and
Wluil follows is a brief examinat ion of
ai tmaking. My teachers seemed content by using mi making processes similar to
selected aspects of lliis approa( h. which
to l)e Tuirturing dispensers of materials those of professional ajtists (Walker,
may prove useful (o art leaclun's who are
and I was left to discover what I e<Jiild 2001), This method differs from an "after
also concemed with guiding their
about arl on my own. Technique, design, the masters" approac h and from many
students towai'd making real ait.
and content for me remained .llniost DBAE art lessons in that students are nol
entirely intuitive. encouraged merely to work witJi the
subject matter, teclmiques. or styles of
hi college I fared slightly better. My adult artist models. Instead, ailmaking
art and art education |)rofessors alike problems are designed around big ideas
Ibcused primarily upon iechnical and
design concerns while politely ignoring
<-ontent Content, it seemed, played an
JiLsignificant role in ail. However, the
more I lejmied about art, the more I
recognized that the histoiy of ait was
replete with individuals, like myself, who
experienced their lives intensely, thought
deeply about all manner of things, and
used their art, not just as a means of self-
, bui as a way of conmumi-
cating their ideas and experiences to
otJier human beings.
In the 1980s, content reappeared in the
ai1 cuiTiculum in the fonn of Discipline-
Based Alt E<lucation (DBAE) (Fehr.
2004). As an ail education student at the
time. I embraced this approach with a
t ertain degree of relief ;md, later, as an art
leacher, I espoused and utilized it. Here at
lasl was the recognition, as Manuel
Bark;m (1%2) had suggested in the 1960s,
tlial Uiere was subject matter in the IJeld
of art that was important to t-each. Here at
last was the kind of structmed approach
toward art education cmriculum imd
materials that Elliot Eisner had been

ARCH 2005 / ART E D L) C A T I 0


...art classes should
not be a rehearsal for
making real art. Nor
should they be
technical workshops
where students learn
about skills and tools
that they may use later
in meaningful ways.
Students should be
engaged in the same
types of activities as
real artists.
The Importance of Big Ideas
in Classroom Artmaking
Year after year I watch some of the art
lessons that I present, to my public school
secondary students succeed while some
of I hem fail. The lessons my students and
I regard as successful are those in wMch a
majority of them gain artistic techniques
and skills wliile making pereonally
relevantst^alements. In retrospect. I have
seen that the most suc( essful classroom
iirtmaking problems have been t hose t hal
had a big ideaa broad, important human
issue (Walker. 2001)built into tJiem.
Big ideas iue :issocialed wiUi the aitist's to the students. While a tliird grader miglit
subject mat ter or theme, but assume
primaiy importance by providing the
concept u;il ground work for artmakii\g.
Big ideas are some of the enduring
questions and principles, based on
universal iiiunan experiences, wliich
artists luid olher thinkers have pondered
over time. Since big ideas are nol answers acti\'ity is meaningful to the child, t he
or solutions but rather topics of inquiry,
they can be addressed at many levels. An
example is the human desire to impose
ART EOUCATION / MARCH 2005
order on nature. This big idea can lead
secondiuy students into widely diverse
and meaningful exiiloralions of architec-
ture and the design ol individual dwellings
or a theme park. This same big idea can
lead elementary students into iUi exami-
nation of gardens aiul the consli-ucUon of
a miniatui e garden or playgi ound. Ait
teachers can use big ideas to organize and
align lessons, instructional acti\ities.
ailmaking problems and assessments.
{NTIEVA Neivslelter, 2000. pp. 1-2)
The big ideas and the exemplars chosen
for use in ait lessons should be accessible
be able to mimic Picasso aiid create a
"Cubist" puppet, it is doubtful that a third
grader is actually capable of working with
the complex percept ual ideas thai led to
the development of Cubism. Snch
aitmaking miglit provide results inter-
esting lo adnlt obseiTei-s, bul unless the
Picasso puppet is destined to a life on the
(loset floor, never to be included in a
puppet show because its face "looks
funny."
Madeline Ihuiter (1982), Arthur
Efland (2002}, and othei-s champi-
I )ned the idea tiiat students must
make personal connections in
1 irder for learning to occin. Wliiie
I he importance of working from a
linn knowledge base has been
emphasizerl b>' DBAIC {Hrijond
Civalini), 1U85), pei"sonal connec-
tions to big ideas c;m provide
motivation for studenis to establish
a knowledge base from which to
work. Wjilker (2001), addresses the
importance of eslablishing a solid
knowledge base tor mtmaking mid
offers examples from the working
processes of professioiuil aitists,
suggestions for guiding the devel-
opment of student knowledge
bases, and practical si rategies to
employ, such as working in series.
Lev Vygotsky suggests that
teachers and studenis should
interact to fmd topics of inquiry
that will provide nuit ual educa-
tioiuU benefit (t^lland, 2002).
In addition to a big idea,
successful classroom artmaking
problems may also be enhanced by the
inclusion ofa sti-ategy that
sufficiently Jar? or stiniiUales a student's
capacity for creative t hough t. f )ne
example is lhe constnictiou of iui
artmaking problem witli inconsi.st.ent or
diveree elements that encourages a
synthesis of ideas, Nidiolas Roukes
(1982) provides numerous st rategies such
as transformation, substitution, conceal-
ment, and disniption. These stnilegies
can be tied to lessons unified by a big idea.
Walker (2001) provides sngge.slions for
practical ways to utilize such strategies in
exploring and examining a big idea.
The use of a big if lea to focus art nuiking
un content is paramount. With this focus
on relevant content, my students estab-
lished personal connect ions and created
meaningful aitwork they considered tct be
successful.
In thinking about the importance of big
ideiis in ciiissroom lU'lmaking, it is p;uti(-
ularly illuminating for me to refiect ui)oii
Manuel Bai'kan's (1U02) insi.stence "that
artistic activity anywhere is the same.
whether at the frontier of art or in a third-
grade chtssi-oom" (p. 14). This means,
among other things, that art classes
should not be a rehearsal for making real
ait. Nor should they be technical
workshops where students leam about
skills and tools that they may use later in
meaningful ways. Students shonid be
engaged in the sjune types of activities as
reiil ;ir1 isLs. As (ieorge Szekely so aptly
puts it, "Wliuse iut is this, anyway? ...
If artistic search, bispiration, decision
making, momenls of discovery, collection.
and reheiU'sal iu e omitted, how will the
students' art. have any personal
relevance?" (Ultle. 1990, p. 225). And if
it has no pereonal relevance, how can
st udent jirtwork mean anything to either
i .s (I eator or its viewers? How can it be
real art?
As the only art exjiert many stndents
will ever know, an ait teacher must be
knowledgeable about tJie artistic
processes and the working procefliires of
aitists. Armed with this knowledge,
teachere can set aboul creating chissroom
environments that ent ourage stutleiits to
work as artists work and thereby make it
easier to leam about arl.
A Teacher's Ability to
Conceptualize the Artmaking
Process Can Enhance Classroom
Communication and Artmaking
Problem Construction
Although most art teachers are familiar
with the aitmaking process on an experi-
ential level imd some have even sludied
tlie act of creation on a cognitive level, the
importance of naming tlie specific parts
and attributes of the arlniaking proc-ess
may come as a revelation. Similtirly, Helen
Keller was thoroughly acquainted with
water and luiderstood its uses and \';ilue,
but gained a certain power hi learning its
name. It is one thing to have an intuitive
knowledge of something, it is quite
another lo be able to conceptualize it.
With conceptualization comes the
ability lo think consciously about an idea
and to apply this thinking in situations
where one might otherwise have waited
for circim\stajice or intuitive insight. And
with naming comes the ability to conunn-
nicate one's thinking to others. Art
teachers benefit from a conceptual
knowledge of the artiuaking process.
One way to gain such conceptual
knowledge is to study the artmaking
practices of professioiiiU arlistsartiste
of the past and contemporaiy artiste.
David Galenson (2001) provides insight
into the working methods of uiore tluui
100 piiintei-s from the late H*th through
late 20th centuries, ;md a wealth ol' infor-
mation about contemporaiy aitists is
available on the Internet. The working
practices of these artists, regardless of
differences in their individual artistic
styles or works, are strikingly similar.
Among the pract ices employed by artists
during the jutmaking process are risk
taking, thejiostponement of final
meaning, intjuiiy, [)uri)osoful i)lay. :ind
experimentation (Walker, 2001) and can
have direct application to classroom
instmction.
Reconceptualizing the
Artistic Problem
KecoiK-epl ualizing the artistic problem
over time (Mace, 1997) is one artmaking
process that can be utilized hi classroom
instruction. In my own work. 1 have
wal died the ;u1 making problem I hat I
started out with change over the course of
a work or series of works. I have seen the
meaning of the work clumge while I
proceed, unfolding as a nonnal piui of the
creative process.! have also seen this
happen in the work of my students.
ARCH 2005 / ART EOUCATIO

An art teacher may
suggest outrageous
alternatives with
regard to the student
artwork in progress in
an attempt to inspire
the students to probe
more deeply into
what they are trying
to say.
ART EDUCATION / MARCH 2005
When an art student experiences these
snrprising changes in direction or
meaning, the enconnigemenl that an
infonned art teacher can pro\ide is
invaluable. Armed with a conceptual
knowledge of the art process, a teacher
can confidently explain to students that
conl inual exploration, reformulation, and
problem sohdng are inherent parts of the
artmaking process. A teacher can
encouiage a student lo follow a direction
or idea as it presenis itself, even though
this may seem contrary to procedures and
methods of thinking that she encounters
in other areas of school. Tluis, conceptual
awareness of the artmaking process can
enhance the level of commnnication at an
art teacher's disposal for botii teaching
and artmaking.
hi 2003.1 attended a suuuiier workshop
at The Ohio State Universily. In creating a
postcaid series on the big idea of place at
lhe workshop, I experienced a reconcep-
tualizing of the arlistic problem. I began
the series with specific ideas about a
place, the Washington National Cathedriil.
I wanted to show the transcendent nature
of the cathedral's grand architecture and
rich detailed ornamentation, At the end
of each day's chiss, I inluilively chose an
image and an appropriate medium and
worked more or less realistically, as
suited my inclination. 1 addressed the
caitls to a frieiKl. iuid wrote as If 1 was lost
in tJie cathedral. I used this process as a
metaphor for my ex|)eriences in the class.
On the third day 1 realized that on a
deeper level, the metaphor also addressed
the search for meaning in life. As a result
of tliLs reconceptualization, I readdressed
tJie cai'ds to the occupant of the catho(hal,
made revisions, and more consciously
incorporated additionai layers of
meaning.
Artmaking Problem
Construction and Conceptual
Strategies
The construction of artmaking
problems is anotlier example where
conceptualizing aspects of the artistic
process has significance. When working
with stndents, an art teacher may suggest
outrageous alternatives with regard to the
student artwork in progress in an attempt
to inspire the students to probe more
deeply into what they are trying to say.
Recf)gnizing these attempts to promote
clarity as the ct)nceptiial strategies of
disniption and opposition (Walker, 2001)
may enable an ail teacher to apply them
more consciously, both in consulllng witli
students and in planning lessons.
Encouraging Active Reflection
During Artistic Creation
Learning about lhe retlexive transfor-
mative nal ure of the iutmakiiig process
(Mace, lf'O7) and the importance of
avoiding premature solutions (McCartliy
and Sherlock, 2()01) may also expand
one's awareness of the artistic process.
Sometimes, 1 envision images with
enough clarily imd strength that I must
give them life in the material world.
Usually, these images are embodiments of
ideas or issues that 1 have been wrestling
with over a period of time. At this point
Ihe artistic problem becomes technical.
How can I use an artistic medium to make
this image?
Al other times, the beginning and
direction ai'e more vague. Perhaps
because I am a secondaiy art teacher and
my artmaking time is hmiled, I am less
inciinerl to embark upon these vague and
ambiguoiisjoumeys. Mace (1997),
McCatthyand Sherlock (2001), and
Walker (2t)01) have reawakened my
awareui'ss of the imporiimce of conscious
cxitloralion in artmaking. Tlieir writing
has given me courage to set out upon
uncertain artmaking journeys. I have also
gained a greater understanding of the
necessity of encouraging my st udents to
embark for the unknown and to write
postc^ardsto reflect upon their own
;irtmakiiig processalong the way. An
iinporlant instnictionai strategy to aid
students in the development of
meaningful inquii-y ;ind creation in
artmaking is the requirement of active
reflect ion during and after the creation of
artworks (Walker, 2003}.
Conclusion
In the nuize of curriculum considera-
tions, content standai ds, and measurable
outcomes that chtui the course of a public
school teacher's day, it is easy to lose
track of lhe value of ;ittni;iking as inqnii'y
and exploration of important human iuid
social issues and aestlieti<- concems.
Aitmaking. especially when translated to
pedagogiciU practice, can and should be
an ex})loration of big ideas about self,
others, nature and the univei-se as well as
an exjiloration of forms imd media.
Ultimately, il'teachers are avid and
enthusiastic explorers of personal, social,
and aesthetic issues, approach art: making
with both intellect and intnition, and
encourage students to do the same, we
vidll all engage in making real artart that
is rich with meaning.
Teresa Robertas is an art teaclier at
Northern Garrctt High School in
Arn.detti, Marylnud. E-mail:
twb5@verizan. net
REFERENCES
Baikaii. M. (1962). Transitions in art education:
('liaiiging conceptions of curriculum
content and teacliing. ^)7 Education.
15{7). I2-ta
Beyond creathtg: 'Die placefor art in
America's schools. (1985). Los Angeles, CA:
Thp-LPaulGpttyiVusl.
NTIEVA (North Texas Uustitiite for p:(lucafors
on lhe Visual Arts) Ni^r.^tetter (2000).
Developing art cenlored units of study.
12(12), I and 2. Rctxieved online, October
2ri, 2004: hltp://www.art.unl.edu/
nti(>va/ne ws/voLl 2/n o_2/i ndex. ll tm.
Etiand, A. (1990). A histonj of art educatixjn:
IntettectuaJ and social cuirents in
teaching the visual artx. New York:
Touchers College Pross.
Efluiul, A. i2(i(i2'l Art ami cognition. New
York: Teachers College l^ess. ,
Fehr. I). (200-1). Dogs playing cards:
Powcrbtvkcrs ofpn^indice in education,
art. and culture. New York: I'eter Uing
Publishing. Iittp://www2.tltc.ttu.edii/fehr/
Galenson, D. (2001). Fainting outride /Vw
lines: I'alttmis ofcreatiinty in modo-n
art. Cambridge, M,\: Harvard University
Press.
Mimler, M. (1982). Mastery teaching.
Thousand Oiiks, C.\: Corwin Press, tne.
Koe.sller, A. (lStM). Tlicart of creation. New
York: The Macniillaii Company.
Uttle. B.. Ed. (1990). Spcondnnj art education:
An aiithfilogij fif issues. Reslon, VA: Tlu'
National .\rl Educaliou As.so('iation.
MrCiuiliy, P. & Sherlock, G. (2001). Drawing:
An iTnage-niaking approach. .Imirnal of Art
andDcsign Education, :.Y>(;t).-M(K148.
Mace. M. (1997). Toward an understmiding of
creaLiv iiy through a (]iialila(ive appraisal of
conleiuporarj' ai1 making. Cn'atirit}/
louniat, 10 (2 and;!) :;ti5-278.
Roukes, N. (1982). Art syniTtic.H. Calgary:
Juniro Aiis Publications.
Walker, S. (2001). Teaching meaning in
a}-t)iiaki>i(}. Worcester, MA: Davis
Publications.
WaJker, S. (200;)). Wlial more can you ask?
Artmaking and inquiry. Art Education,
56(5), 6-12.
POSITION OPENING
Arkansas State University
Position: Assistant Professor, Art
Education, full time. Tenure track
Responsibilities: Teach art education
courses, advise students, serve on both
Art Department and College of Education
committees, teacti other courses as
needed, promote graduate program.
Quatifications: Earned Doctorate In Art
Education or Art History (ABD consid-
ered) or MFA in Arl. Three or more years
ot experience teaching K-12 required.
Pubiications/presentations or exhibitions
required. Expertise in a studio area,
graphic design or art history desirabie,
DBAE knowledge.
Arkansas Stale University is located in
Jonesboro, 65 miles northwest ot
Memphts. TN. The Department ot Art,
withing the College of Fine Arts, has 13
full time faculty members. Minorities are
encouraged lo apply.
Application: Send letter of application,
vita, phone number, your e-mail address
and phone number, and e-mail addresses
ot three or more references, transcripts,
teaching philosophy, evidence of
scholarly and/or artistic research. SASE
to: GaylE Pendergrass, Art Ed. Search
Chair, Department of Art. RO, Box 1920.
State University, AR 72467
MARCH 2005 / ART EOUCATiON
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