Research in Visual Arts Education - Bilderlernen.at

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ISSUES IN VISUAL ARTS EDUCATIONinto developmental sequences. The most important contributions to thisresearch area were made by Georg Kerschensteiner (1905) who studiedthousands of drawings made by German school children, George Luquet(1913; 1927) who subsequently influenced the work of Jean Piaget, and theNorwegian pioneer Helga Eng (1918; 1926). During the first half of the 20 thCentury it was widely assumed that drawings were directly expressive ofconcepts; from 1940 onwards researchers tended to believe that drawingswere directly expressive of emotional states.The problem with these approaches, as well as with later studies by ViktorLowenfeld, Rudolf Arnheim and others, is their focus on the surface structureof the finished drawing, regardless of the processes by which childrenconstruct their drawings. The production process has been studied in depthby Norman Freeman (1980) whose work has restored children’s art to a centralposition in cognitive psychology. Research in the Nordic countries has in recentyears explored the potentials of socio-cultural theories to describe and analysewhat is going on when children design images. Eva Änggård (2005), forexample, looks at children’s image-making with fresh eyes, by shifting focusso that the drawing activity becomes “ground” and the peer-group interactionbecomes the meaning-making “figure”. These shifts from the surface structureof the drawing to the design process and its social context are related toparallel shifts of dominant theories of learning and meaning-making.Today, the domain of child and youth study related to the visual artsincludes much more than the study of children’s drawings. The aestheticsof everyday life became a focus of especially German research duringthe 1970s. Helmut Hartwig (1980), for example, studied forms of aestheticpraxis among adolescents and recognized many mechanisms that we useto associate with “art”. Kirsten Drotner (1991) in Denmark was interestedin how young people use aesthetic modes of expression to create as wellas to interpret cultural manifestations. In Sweden, Erling Bjurström (1997)emphasised the importance of “style” for identity formation. Being a “hiphoper”, for example, is related to graffiti, certain kinds of clothes, musicalpreferences and so forth. The present professor of visual arts education atthe University College of Arts, Crafts and Design in Stockholm, AnetteGöthlund, wrote her doctoral thesis in this tradition. Her thesis “focuses onhow the girls express their becoming feminine, as adult women, throughaesthetic practices such as aestheticizing their everyday environment and‘style experiments’” (Göthlund, 1997).NORDIC VISUAL ARTS EDUCATION IN TRANSITION 19
ISSUES IN VISUAL ARTS EDUCATIONArt appreciationArt appreciation, i.e. how we make sense of artistic pictures, has puzzled andintrigued philosophers and artists for centuries (Winner, 1982). With therise of museum education as a discipline of its own, a growing body of empiricalstudies has emerged. In 1997, the Danish psychologist Bjarne Sode Funchpublished a comprehensive survey of the research on art appreciation. Heidentified five different types of art appreciation, each one representing alegitimate approach to visual art. In future research, these conceptions ofthe phenomenon should be taken into consideration in order to further ourunderstanding of how different works of art can be appreciated in differentways and for different reasons. Funch concludes that further studies willbe needed to establish the position of each type of art appreciation in acomprehensive psychological theory. Funch’s principal contribution to sucha synthesis is an “existential-phenomenological thesis” of aesthetic experience,which acknowledges the significance of individuals’ life experiencesin the encounter with distinct forms of art.Among the many studies reviewed by Funch (op. cit.), Michael Parsons’(1987a-b) phenomenological work on how we understand art is the mostwell-known one in the Nordic countries. Parsons classified people’s responsesto paintings in four categories based upon what they primarily werelooking for in a work of art: subject matter (including ideas of beauty andrealism); emotional expression; medium, form and style; and the nature ofjudgement. Parsons categories have inspired everything from a study of preschoolchildren’s art preferences in Norway (Andersen, 1998) to a nationalevaluation of pictorial studies (visual arts) in the Swedish compulsoryschool (Marner, Örtegren & Segerholm, 2005).Helene Illeris (2004) at the Danish University of Education reviewedten years of Nordic studies and curriculum guides on art appreciation andmuseum education. She concludes that although some Nordic contributionsreach a high level of quality, the field as a whole can be characterizedas “diffuse, fragmented and dependent on the interest and input of individuals”(p. 66).Education through artEducation through art has been a catch-phrase in the community of art educatorssince Herbert Read (1943) in the United Kingdom published his wellknownbook with this title. The aim of education, according to Read, is tonurture “artists”, i.e. human beings who are familiar with various modes ofexpression. Behind this and similar expressions, such as “Arts as Education”(Goldberg & Phillips, 1992), lies a belief that the arts are fundamental to20 NORDIC VISUAL ARTS EDUCATION IN TRANSITION
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BETWEEN VISUAL ARTS AND VISUAL CULT
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MULTICULTURALISM AND ARTS-BASEDRESE
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MULTIFACETED APPROACH TO VISUALARTS
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MULTIFACETED APPROACH TO VISUAL ART
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APPENDIX 1Jonsson, Carin (2006). L
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APPENDIX 1Elsner, Catharina (1999).
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APPENDIX 1Marner, Anders, Örtegren
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APPENDIX 1Hasselberg, Kersti (1999)
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APPENDIX 1Saar, Tomas (2003). Skola
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APPENDIX 1ReportsAgélii, Karin (19
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APPENDIX 1Persson, Magnus & Thaveni
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APPENDIX 2BooksArvedsen, Karsten &
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APPENDIX 2ChaptersArvedsen, Karsten
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APPENDIX 2Mathiesen, Frants (2004).
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APPENDIX 2Buhl, Mie (1997). Videoin
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APPENDIX 2Hansen, Mogens (1995). Sy
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APPENDIX 2Jensen, Per Kjærsgaard (
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APPENDIX 2Flensborg, Ingelise & Wit
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APPENDIX 3Laitinen, Sirkka. (2003).
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APPENDIX 3Pääjoki, Tarja (1998).
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APPENDIX 3Räsänen, Marjo (2000).
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APPENDIX 3Hiltunen, Mirja (1998). N
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APPENDIX 3Krappala, Mari (1999). Mo
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APPENDIX 3Piironen, Liisa (1996). K
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APPENDIX 3Rusanen, Sinikka & Torkki
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APPENDIX 3Sava, Inkeri, Bardy, Marj
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APPENDIX 3ArticlesErkkilä, Jaana (
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APPENDIX 3Sava, Inkeri & Levo, Merj
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APPENDIX 4Icelandic Publications 19
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APPENDIX 4Helgadóttir, Guðrún (1
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APPENDIX 5Samuelsen, Arne Marius (2
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APPENDIX 5Halvorsen, Else Marie (20
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APPENDIX 5Trageton, Arne (1997). Le
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APPENDIX 5Digranes, Ingvild (2004).
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APPENDIX 5Kjosavik, Steinar (2004).
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APPENDIX 5Stafseng, Ola (2006). Est
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APPENDIX 5Framgard, Erling (1996).
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APPENDIX 5Ruud-Johansen, Petter (20
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APPENDIX 5Danbolt, Gunnar & Enerstv
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