Spring ’18 Blog Post #3

Spring 2018- Annotated Bibliography

 

Michael Ray Charles in Consumption. (2001, September 28). Retrieved April 25, 2018, from https://art21.org/watch/art-in-the-twenty-first-century/s1/michael-ray-charles-in-consumption-segment/

Michael Ray Charles shared in the Art 21 episode details and examples of his work as well as the major idea and themes that are reflected. Michael Ray Charles spoke about how some people view his work negatively and that he is perpetuating a stereotype of black face and other negative representations of African Americans. Michael Ray Charles wants his work to acknowledge the presence of this in the past. He talks about how history tried to cover it up and not acknowledge that this existed in United States advertising. He mentions the use of black face and other negative stereotypes in early advertising as a way to “reminisce” about the Deep South. How also in toys it can be seen. How Tarzan is seen as this positive, round edge, blue eyed figure yet the enemy is this black figure that is animalistic and rough edged and negative. It implies at a subconscious level that “black is bad”. Michael Ray Charles asks the question “what were we emancipated from?” He wants his work to evoke thought in the viewers and make people ask questions. He wants his viewers not to shy away from the past but acknowledge and not continue the same wrong doings.

 

Darts, D. (2011). “Invisible culture: Taking art education to the streets” Art Education, 49-53.

Darts discusses how he had to employ different strategies to make his student-driven approach to curriculum and assessment successful. He wanted to address the evolving realities of living in a rapidly transforming and globalizing world. He made his classes so that students were personally invested in the topics being taught. To make this approach successful he made sure there was framework that outlined the expectations and responsibilities of students. Darts strategies made for a very successful curriculum and assessment that was student driven.

 

Mitchell, W.J.T. (2002). “Showing seeing: A critique of visual culture” In Michael Ann Holly and Keith Moxey (Eds.), Art History, Aesthetics, Visual Studies. New Haven: Yale University Press, 231-249.

Visual culture aims to “overcome the veil of familiarity and self evidence that surrounds the experience of seeing, and to turn into a problem for analysis, a mystery to be unraveled (Mitchell 231).” The question is raised in the reading “Can visual studies be an emergent field, a discipline, a coherent domain of research, even an academic department? Should art history fold its tent and, in a new alliance with aesthetics and media studies, aim to build a larger edifice around the concept of visual culture? (Mitchell 234).” He formed a list of eight counter-theses of what visual culture is. This is where my understanding of visual culture was solidified. “3. Visual culture is not limited to the study of images or media, but extends to everyday practices of seeing and showing, especially those that we take to be immediate or unmediated. It is less concerned with the meaning of images than with their lives and loves (Mitchell 237).” Also, “there are no visual media. All media are mixed media, with varying ratios of senses and sign types (Mitchell 237).”

 

Van Laar, T. and Diepeveen, L. (1998). Chapter 3. Active sights: Art as social interaction. Mountain View, CA: Mayfield Publishing Co. (p. 51-69).

In the reading Van Laar and Diepeveen describe how artists are assumed into five social roles. They explained the myths and the exaggerations that went along with the roles. The roles are the artist as skilled worker, the artist as intellectual, the artist as entrepreneur, the artist as social critic and the artist as social healer. In 2018 it can be argued that art teachers today take on bits and pieces of all five social roles discussed by the authors. There are excerpts of this reading that I believe can be relatable to each and every art teacher, thier classroom and their students.

 

Wiggins (1998) “Promoting Student Understanding” Chapter 4, Educative Assessment, Assessment in Art Education, Chapters 1

The first chapter in Assessment in Art Education provides an introduction to assessment and the book. In Wiggins discusses the difference between knowledge and understanding. “Understanding is arguably the intellectual achievement we are poorest at improving- and not coincidentally, the achievement we have the most difficulty assessing ( Wiggins 72).” Understanding is central to all other achievements. Without understanding our thinking is constrained, habit bound, and borrowed. “Understanding revolves around rethinking- reflecting upon, reconsidering, and perhaps fundamentally revising the meaning of what we have already learned and what we believe to be knowledge or adequate account (Wiggins 85).”

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