Research in Visual Arts Education - Bilderlernen.at

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FROM PSYCHOLOGY TO SEMIOTICSyears: nudes, oil paint). He ad vocated a broader orientation towards newsubjects, such as picture analy sis, film and TV, present-day cultural studiesand so on. Like most students of art education and many art teachers, hewanted to broaden the subject of Drawing in schools to include the study ofall forms of visual communication. However, both the board of the NationalCollege of Arts, Crafts and Design and the National Board of Educationwere opposed to these ideas. Only through a unique intervention by theMinister of Education at the time, Olof Palme, was Nordström elected bythe government as the director of the art education department.The 1969 and 1980 school curriculaAs a consequence of further actions by a new generation of art teacher trainers,the 1969 Compulsory School Curriculum (Lgr 69) was revised, al thoughthe revisions primarily concerned Drawing in the secondary school. In the1980 Compulsory School Curriculum (Lgr 80), not only the name of thesubject was changed to Pictorial Studies (Sw. Bild), but the subject was completely redefined on all levels of schooling along the lines drawn up in thelate 1960s. Vi sual communication is emphasized already in the first sentencesof the discription of aims:Students shall develop their ability to create images independently, to com muni cate withimages and to critically analyse images of different kinds. They shall under stand pictorialre presentation as a langu age and be able to use visual language as an important means ofcommunication along with speaking, reading and writing (Lgr 80, p. 69).The subject is divided into five obligatory parts: Visual Production, Pic tureAnaly sis, Visual Com mu nication, Aesthetic Orientation, and Image &Environment. Visual Produc tion should “provide space” for the students’own imagery and make them familiar with the pro duc tion of photos, filmand video. The main purpose of Pic ture Analysis is to crit i cal ly exa minethose pictures students meet in their everyday life. Visual Communicationshould teach students how to use pictures for different purposes, such asto convey in formation and news, persuade and advertise, entertain andridicule. Aesthetic Orien ta tion is the only part of the curriculum where “art”is mentioned and then only as one of a variety of alternatives to se cond-ratecommercial pictur es. In Image & Environment conceptual analysis of theinflu ence of mass media is given prime importance over the visual explorationof the local environ ment.NORDIC VISUAL ARTS EDUCATION IN TRANSITION 43
FROM PSYCHOLOGY TO SEMIOTICSPicture analysis in focusIn a survey of articles in the professional journal Teckning [Drawing] 1960–68,Kolbjörn Waern (1972) found that articles about children’s drawings was adominant topic in the begin ning of the period but almost disappeared from1965 when, incidentally, Gert Z Nord ström became a member of the editorialstaff. Instead, educational approaches and aims became major issues.In their controversial book from 1970 called Bilden, skolan och samhället[Picture, school and society], Nordström and Romilson summarized thearguments in support of the new paradigm in art education. Emphasis waslaid upon the contents of a new subject for pictorial studies as well as onthe method of polarisation that was offered as a pro gressive alternative toboth“free” and authoritarian methods of teaching. According to this methodof organizing projects, the production of pictures should be preceded by asystem atic analysis of related pictures representing different ways of living,acting, think ing, and so on. The implications of this method for teachereducation were illustrated a few years later in an even more provocative bookby Nord ström (1975) entitled Kreativitet och med vetenhet – den polariserandepedagogikens grunder [Creativity and Consciousness: Founda tions of Teachingby Polarisation].Gradually, however, the focus of the writings by Nordström and his colleaguesshifted from the project method to semiotic picture analysis. InBildanalys [Picture Analysis] from 1973, some noted art critics and studentsof visual culture (all with ties to Nordström’s Depart ment of art education)presented short essays on the topic (Aspelin et al., 1973). In Bild & Myt [Pictureand Myth] a few years later, Nordström presents a project in collaborationwith three artists, using the methods of polarisation and picture analysisin the preparatory stages of their artistic work (Nordström et al., 1976).In the late 1970s two books with critical essays on the modernist movementand its institutions were published by Torsten Bergmark, Peter Cornell,Sten Dunér, Gert Z Nordström and some other persons connected with theDepart ment of art education (Bergmark et al., 1977; Cornell et al., 1979).In 1984, Nordström published Bildspråk och bildanalys [Pictorial Language andPicture Analysis], a textbook based on the developments at his departmentduring the 1970s. Here semiotics is introduced and developed as a handy toolfor analysing mass media:Researchers who want to study contents and expression in the mass culture soon realizethe limitation of traditional theory of art and will therefore search for other theories,which promise to supply them with better tools. General semiotics, which tries toembrace all sorts of signs that can be produced and interpreted, will for obvious reasonsattract attention, especially since it proposes new approaches to various domains. Onewants to see what it is good for (p. 64).44 NORDIC VISUAL ARTS EDUCATION IN TRANSITION
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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 5Danbolt, Gunnar & Enerstv
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