Advertisement

Interpreting Art Through Visual Narratives

  • Marjo Räsänen
Part of the Landscapes: The Arts, Aesthetics, and Education book series (LAAE, volume 2)

Abstract

According to my model of experiential art understanding, art experience comes into being when personal and social identities of the artist and the recipient meet in terms of the context where the work of art is explored, guided by the artwork’s material and expressive cues. I approach the artwork’s contextualization with the help of art disciplines based on verbal conceptualisation and premises of artworlds, and develop these inquiry methods on the terms of the learner’s lifeworld and artistic production. In this chapter I give an example of how teachers and museum educators can bridge students’ life worlds and artworlds. I tell a tale of a high school class interpreting Akseli Gallen- Kallela’s painting the Aino Myth (1891) through verbal and visual narratives.

Keywords

Teacher Development Reflective Writing Museum Visit High School Class Visual Metaphor 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Addiss, S. and Erickson, M. Art History and Education. Champaign-Urbana: University of Illinois Press, 1993.Google Scholar
  2. Barrett, T. Criticizing Art. Understanding the Contemporary. Mountain View: Mayfield Publishing Company, 1994.Google Scholar
  3. Collins, E. Qualitative Research as Art: Toward a Holistic Process. Theory into Practice, 31 (Spring 1992), 181–186.CrossRefGoogle Scholar
  4. Damon, W. and Hart, D. Self-understanding in Childhood and Adolescence. Cambridge: Cambridge University Press, 1988.Google Scholar
  5. Diamond, C.T.P. Signs of Ourselves: Of Self-narratives, Maps, and Essays. In Diamond, C.T.P. and Mullen, CA. (Eds). The Postmodern Educator. Arts-based Inquiries and Teacher Development. New York: Peter Lang, 1999.Google Scholar
  6. Diamond, C.T.P. and Mullen, CA. (Eds). The Postmodern Educator. Arts-based Inquiries and Teacher Development. New York: Peter Lang, 1999.Google Scholar
  7. Eisner, E. The Enlightened Eye. Qualitative Inquiry and the Enhancement of Educational Practice. New York: Macmillan, 1991.Google Scholar
  8. Feinstein, H. Meaning and Visual Metaphor. Studies in Art Education, 23(2, 1982), 45–55.CrossRefGoogle Scholar
  9. Gergen, K. The Saturated Self. Dilemmas of Identity in Contemporary Life. New York. BasicBooks, 1991.Google Scholar
  10. Giddens, A. Modernity and Self-identity. Self and Society in the Late Modern Age. Stanford: Stanford University Press, 1991.Google Scholar
  11. Gooding-Brown, J. Conversations about Art: A Disruptive Model of Interpretation. Studies in Art Education, 42(1, 2000), 36–50.CrossRefGoogle Scholar
  12. Hicks L. The Construction of Meaning: Feminist Criticism. Art Education, 45(1992), 23–32.CrossRefGoogle Scholar
  13. Jeffers, C. Experiencing Art through Metaphor. Art Education, 49(3, 1996), 6–11.CrossRefGoogle Scholar
  14. Kolb, D. Experiential learning. Experience as the Source of Learning and Development. Englewood Cliffs: Prentice Hall, 1984.Google Scholar
  15. Koroscik, J. What Potential Do Young People Have for Understanding Works of Art? In Kindler, A. (ed.). Child Development in Art. Reston: National Art Education Association, 1997.Google Scholar
  16. Lakoff, G. and Johnson, M. Metaphors We Live by. Chicago: The Chicago University Press, 1980.Google Scholar
  17. Lankford, L. Aesthetics: Issues and Inquiry. Reston: National Art Education Association, 1992.Google Scholar
  18. May, W. “Teachers as Researchers” or Action Research: What Is It, and What Good Is It for Art Education? Studies in Art Education, 34(2, 1993), 114–126.CrossRefGoogle Scholar
  19. McCutcheon, G. and Jung, B. Alternative Perspectives on Action Research. Theory into Practice, 29 (3, 1990), 144–151.CrossRefGoogle Scholar
  20. Mullen, CA., Diamond, C.T.P., Beattie, M., and Kealy, W.A. Musical Chords: An Arts-based Inquiry in Four Parts. In Diamond, C.T.P. and Mullen, CA. (Eds). The Postmodern Educator. Arts-based Inquiries and Teacher Development. New York: Peter Lang, 1999.Google Scholar
  21. Parsons, M. How We Understand Art. A Cognitive Developmental Account of Aesthetic Experience. Cambridge: University Press, 1987.Google Scholar
  22. Perkins, D. The Intelligent Eye: Learning to Think by Looking at Art. Santa Monica: The Getty Center for Education in the Arts Occasional Paper Series, 1994.Google Scholar
  23. Räsänen, M. Building Bridges. Experiential Art Understanding: A Work of Art as a Means of Understanding and Constructing Self. Helsinki: Publication Series of the University of Art and Design Helsinki UIAH A 18, 1997.Google Scholar
  24. Räsänen, M. book review of Diamond, P.C.T. & Mullen, C.A. (eds.) 1999. The Postmodern Educator. Arts-based Inquiries and Teacher Development. In Studies in Art Education, 43(2, 2002), 175–181.Google Scholar
  25. Walker, S. Designing Studio Instruction: Why Have Students Make Artwork? Art Education, 49(5, 1996), 11–17.CrossRefGoogle Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2003

Authors and Affiliations

  • Marjo Räsänen
    • 1
  1. 1.Department of Art EducationUniversity of Art and DesignHelsinkiFinland

Personalised recommendations