By Kerry Freedman
A synthesis of scholarship from quite a few fields, that includes either conception and povocative arts schooling purposes.
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Extra resources for Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art
However, it helped to establish an artificial dichotomy between form and content— not only content within a work of art per se, but extensions of interpretation outside the work. The problem was exacerbated in the application 30 TEACHING VISUAL CULTURE of the theory in curriculum as a separation of form from content and as the only, or first, way to analyze imagery. Perhaps it is only now that a rereading of Bell can be done in light of postmodern visual culture and a greater general awareness of the social influences of form.
Because people with different backgrounds and interests do not have the same foundations for interpretation and will experience the same Collection Walker Art Center, Minneapolis. B. Walker Acquistion Fund, 1995. 1. Lorna Simpson, Wigs. 1995. Waterless lithograph on felt. , Anderson, 1990; Coote & Shelton, 1992; Layton, 1991). As a result, the application of the same aesthetic models to all art would be inappropriate. Aboriginal dot paintings and postmodern art both exemplify the problem: Each can be looked at formally, but in most cases, neither will be interpreted in its richest sense from that perspective.
As will be discussed in Chapter 3, the contexts of visual culture are important to extending meaning and promoting learning. FINDING MEANING IN AESTHETICS 33 Form and Extended Meanings Of course, form is critical to visual culture; it is the immediacy and seductiveness of form that makes visual culture so powerful. The problem of curriculum is not form, it is an overreliance on formalism in education. To conceptualize aesthetics in curriculum as only formalist or expressionist does not do justice to the complexity of visual culture.
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