Author
Bindng
Why We Make Art: And Why It Is Taught
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Does art have any use or real purpose in todays society? Why do governments around the world spend millions on art education? Rejecting the vogue for social and cultural accounts of the nature of artmaking, this book is largely psychological in its approach to discussing artmaking and its place in education.The we in the title is intentionally polemical, with the author claiming a universal, i.e. pancultural basis for artmaking activities or rather activities which can be described as creating aesthetic significance. Developmental issues in art education are examined, together with the nature of learning in art, with reference to concept acquisition.Section two of the four sections which comprise the book, focuses upon some mini casestudies, detailing conversations with people talking about their artmaking, together with some autobiographical reflections. Section three then considers the issues in art and learning which can be gleaned from various respondents accounts of their making activities; these include the nature of the artistic personality and the role of art in selfidentity and selfesteem. Other topics touched upon include imagination, expression and creativity. The concluding section examines the notion of creating aesthetic significance as a fundamental human urge, drawing upon work done in evolutionary psychology.Whilst questioning whether schools as they are currently conceived are the best places for teaching and learning anything, an art curriculum based upon the acquisition of threshold skills, such as drawing, together with a gradual introduction to the appreciation of visual form is advocated. Declaring that schools of the early twentyfirst century will soon be seen as as dated as the Victorian workhouse, the successful art room, with a learnercentred rather than disciplinecentred philosophy is put forward as a model for schools and schooling.
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