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Integrating Media Arts Within Core Visual Art Curriculum (Painting the Digital Monster)

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Abstract

The degree of integration within general visual art studies related to media / electronic arts is currently mostly solely dependent on the emphasis of each respective technological area. This is often problematic where the disciplines of painting and sculpture see their role as attracting as many students as possible to their areas to remain viable, leaving media/electronic arts as either a service area or specialist emphasis, again dependent on the focus, commitment, experience and sensitivity of staff.
Integrating Media Arts Within Core Visual Art Curriculum.
Painting the Digital Monster
Jeremy Blank,
(co-ordinator Electronic Arts Central Institute of Technology,
Perth WA)
Doctoral Student (Humanities / Department of Art) Curtin
University WA .
Joan Miro made the statement ‘Paint the Monster’ by way of
encouraging artists to confront their fear in the face of imminent
European war in the 1930’s
"Figure," by Joan Miró,
Montroig, October 1934,
pastel on flocked paper,
42 1/8 by 28 3/8 inches,
private collection
http://www.thecityreview.com/miromoma.html
William Morris & The Arts & Crafts Movement
The Bauhaus curriculum
Facilitating Change
Madoff’s opening paragraph within
‘Art School (propositions for the 21st century)’ states
‘An ethics of knowledge is the foundation of any school in its essential
definition as a gathering place, but the complexity of what that knowledge
should be, how its production is configured and unfolds, who translates it
across the bridges of generations and time, whether its structure is rigid or
limpid in its willingness to change, whether it is resistant to external
mandates or longs for the imprimatur of an outside authority, and what
status and success signify for its teachers and graduates – all of these
define the place of gathering, its ethical complexion, its reasons for being,
and what learning means there’.
Madoff, SH. (ed). 2009. Art School (propositions for the 21st Century). MIT
press (ix-xi,pp)
It is our deepest felt belief that we, as contemporary artists, should take a lead from our
precursors and write and publish on what art school in the twenty-first century should be.
Anything else is second best.”
(Buckley & Comonos, 2009, p.25 Rethinking the contemporary art school:
the artist, the PhD, and the academy).
The degree of integration within general visual art studies related to media /
electronic arts is currently mostly solely dependent on the emphasis of each
respective technological area. This is often problematic where the
disciplines of painting and sculpture see their role as attracting as many
students as possible to their areas to remain viable, leaving media /
electronic arts as either a service area or specialist emphasis, again
dependent on the focus, commitment, experience and sensitivity of staff.
In ‘The Holistic Curriculum’ John Miller states
“ Holistic education involves exploring and making connections as it moves
from fragmentation to connectedness.” (Miller, 2007)
Integration of Media Arts within core aspects of Visual Art curriculum requires a
desire from departments and schools to review teaching strategies, effective
co-ordination across courses and multi skilled teaching staff with the
expertise to effectively support and encourage cross disciplinary work.
Contexts
Historical referencing
Personal responses developing skills
Skills, (drawing, collage, matiere)
Cultural referencing (local & international)
Cultural Contexts
Markets (local, global, glocal)
Investigations seek to gather data from schools, academic
areas and individuals relating to their own initiatives to
ascertain the degree, range and variety of approaches.
http://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-baptism-of-christ
Teaching aid based on Piero Della Francesca’s ‘Baptism’ 1450
(Way After) Masaccio, Trinity
Cecilia Gimenez
Saatchi Online Galleries, where anyone with a driving license or
Photo ID can submit artwork and sell through this portal.
Certificate IV students are introduced and web browse in their
initial media art sessions and are invited to identify any work they
respond to.
Media & Educational literacy, ‘Are we there yet’?
The Australia Council’s 2006 Review of Education in Visual Arts,
Crafts, Design and Visual Communication generated
recommendations for curriculum review in visual art education. The
Australia Councils 2006 document has become a significant
referenced text for academics and researchers across The Arts in
Australia. The following reference indicates the perceived need to
review a generalized notion of media literacy across all levels of
education from an art perspective:
1.8. That media literacy is promoted as a key element of the
Australia Council’s Arts & Education Strategy, and that the Australia
Council initiates partnerships with other key Stakeholder agencies to
further research the development of a proposal for a national review
of media literacy education in schools that establishes the status
and quality of teaching in this area. (Donovan, Lally & Miller 2006)
What is Media literacy, how is this agreed or understood?
Since the Australia Council’s 2006 review there has been limited evidence of
take up in terms of addressing media literacy, while the Australia Council’s
‘recommendations’ regarding the call for media literacy is cited in at least 51
papers.
ACMA (Australian Communications & Media Authority), 2009 report ‘Digital
Media Literacy in Australia, key indicators and research sources’ recognizes
the need for digital media literacy skills, noting that:
‘the development of Australia’s digital economy will be constrained if its
citizens are limited in their ability to participate because they lack adequate
skills or confidence;
those unable to participate will be excluded from benefits that will
increasingly flow from digital media as it becomes more integrated into
everyday social, cultural and economic life; and
those who are not digitally literate, or who have low levels of digital literacy
will be less likely to have the confidence, knowledge and understanding
needed to participate in a safe, secure and informed manner in a digital
environment.’
ACMA (Australian Communications & Media Authority) 2009,
‘Digital Media Literacy in Australia, key indicators and research sources’.
para 2, page 5.
Julian Opie Portrait search 52,200. 3/23 shown are original Opie works
Julian Opie style portraits, Audrey Hepburn & Aileen Wuornos (US serial killer)
Integration
Media connectivity, access to media devices, and
nascent understanding of
Animation, tempo, editing techniques, filmic understanding,
composition, focus.
Photographic style (decim8, instagram), fashion,
subcultural awareness (tribes).
Pose (as an image can be immediately edited prior to
upload & quality controlled).
Performative understanding (Lady Gaga has championed
performance artists in her live shows).
David Hockney, Wold (9 camera video time slice montage 2009-2011)
Introductory pinhole image used as teaching aid, 2010
Within the context of pinhole images ‘time’ is introduced.
Face to face / © Ann HAMILTON
Image using mouth as camera, scanned & inverted. 2011
Carla Adams (iPhone Photo; left Pinhole development; right) 2011
Carla Adams, Omegle image manipulated via Decim8. 2012
Gerhard Richter, Gilbert & George 1975 Painting, oil on canvas
http://artsearch.nga.gov.au/Detail.cfm?IRN=102790&PICTAUS=TRUE
Richter’s ‘Atlas’, a complex visual diary of drawing, photographs and
collage Is considered a central aspect of his work which he has maintained
since the 1960’s.
Marijke McDonald (Digital Pinhole Portrait) 2011
Isaac Willoughby, (Curvy, Digital drawing 2012)
Referenced Anonima Group, Ohio USA 1960
Isaac Willoughby, Sketchbook fragments 2012
Isaac Willoughby, ‘Curvy’ animation 2012
Chris Scalf
(C) 2008 Chris Scalf Illustrations. http://www.chrisscalf.com/
The availability of online ‘informal’ teaching and learning options are expanding. Their popularity
informs, directs and influences much skill acquisition beyond the confines of established Visual Art
education. The floodgates have already opened , within the general context of art, similarly to the influx of
‘how to draw Maga Style’ books ten fourteen years ago. Now those artists market their ideas directly online.
Questions regarding ‘what is art’ or whether such work is ‘art’ may become irrelevant.
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