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Aesthetic Valuing: Questions and Strategies for Art Education, Lecture notes of Painting

A compilation of essential questions and question-asking strategies for art educators to foster curiosity, imagination, understanding, and cognitive development in students. It includes questions from maxine green, project zero, harvard university, david perkins, and deborah meier, as well as focused conversation questions from 'the art of focused conversation' and visual thinking strategies.

What you will learn

  • How can problem-finding and problem-posing strategies be used in art education?
  • What essential questions should educators ask in art education?
  • What questioning strategies can be used to expand students' perceptions in art education?

Typology: Lecture notes

2021/2022

Uploaded on 09/12/2022

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Dr. K. Kratochvil, Aesthetic Valuing
Aesthetic Valuing in the Arts
What is the Question?
The key to aesthetic valuing is the question! The challenge that educators in the arts
face is what question to ask at what time in order to forward our student’s curiosity,
imagination, understanding and cognitive development. The following is a compilation of
questions and question asking strategies for use with students from a variety of sources.
I. Essential Questions about Art: Maxine Green
A. What did you see?
B. What did you hear?
C. What did you feel?
II. Finding, Posing and Exploring Problems in Works of Art:
Thoughts from Project Zero, Harvard University
A. Problem Finding:
Noticing problems or puzzles involves adopting a question-asking
and wondering stance and developing alertness to anomalies, puzzles, surprises, and
mysteries. Problem finding activities encourage participants to think flexibly, to use their
imagination, to probe the surface of things, to look beyond the obvious, to explore the
unknown, and to take charge of their own learning. If participants are engaging in problem
finding, we would expect to hear three kinds of questions (as characterized by the
prototypical examples here):
A. Getting Clear Questions or Questions of Clarification: What is that object in the left corner?
What is the title of the piece? Is that a face in the background? Feelings of
puzzlement and confusion are often signs that indicate where to ask getting clear
questions.
B. Finding Out More Questions: Do we know anything about the time frame in which this
was painted? What is the setting of the play?
C. Puzzle-Finding Questions: Why might the artist have chosen to paint the houses upside
down? Why didn’t the playwright tell us what happened to a particular character as
the play ended?
B. Problem Posing:
After identifying an area of intrigue or puzzlement, problem
posing involves playing with how the problem is posed in order to come up with
additional or alternative interesting formulations of the question. This includes revising
questions with an obvious or straightforward answer in order to fin more intriguing
questions, questions with many possible answers, and questions that elude answering
such as:
“Why” questions
“What if” questions
“How does it change things” questions
“What if we knew more” questions
“What is the significance” questions
“What if it were so for everyone” questions
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Aesthetic Valuing in the Arts

What is the Question?

The key to aesthetic valuing is the question! The challenge that educators in the arts face is what question to ask at what time in order to forward our student’s curiosity, imagination, understanding and cognitive development. The following is a compilation of questions and question asking strategies for use with students from a variety of sources.

I. Essential Questions about Art: Maxine Green A. What did you see? B. What did you hear? C. What did you feel?

II. Finding, Posing and Exploring Problems in Works of Art: Thoughts from Project Zero, Harvard University

A. Problem Finding: Noticing problems or puzzles involves adopting a question-asking

and wondering stance and developing alertness to anomalies, puzzles, surprises, and mysteries. Problem finding activities encourage participants to think flexibly, to use their imagination, to probe the surface of things, to look beyond the obvious, to explore the unknown, and to take charge of their own learning. If participants are engaging in problem finding, we would expect to hear three kinds of questions (as characterized by the prototypical examples here):

A. Getting Clear Questions or Questions of Clarification : What is that object in the left corner? What is the title of the piece? Is that a face in the background? Feelings of puzzlement and confusion are often signs that indicate where to ask getting clear questions. B. Finding Out More Questions : Do we know anything about the time frame in which this was painted? What is the setting of the play? C. Puzzle - Finding Questions: Why might the artist have chosen to paint the houses upside down? Why didn’t the playwright tell us what happened to a particular character as the play ended?

B. Problem Posing: After identifying an area of intrigue or puzzlement, problem

posing involves playing with how the problem is posed in order to come up with additional or alternative interesting formulations of the question. This includes revising questions with an obvious or straightforward answer in order to fin more intriguing questions, questions with many possible answers, and questions that elude answering such as:

“Why” questions “What if” questions “How does it change things” questions “What if we knew more” questions “What is the significance” questions “What if it were so for everyone” questions

III. Expanding Perceptions fromThe Intelligent Eyes, Learning to Think

About Art by David Perkins

  • Look for something that puzzles you about the work. Try to unravel the puzzle. Look for evidence.
  • What is going on here? Is there an event or story I haven’t figured out yet?
  • Look for surprises: a startling color, an odd object, an unexpected relationship. Where or how does the work surprise you? What did the artist surprise you? Relate the surprise to the whole work.
  • What mood or personality does the work project?
  • Look for symbolism and meaning. Does the artist have a message? What might it be?
  • Look for motion. Does that motion carry a message? Why did the artist create that motion? How did they create it?
  • What about the work interests you? How did the artist get you interested? How does this contribute to the whole work?
  • Make mental changes. What if you changed a color, material, removed an object? Use your thumb or hand to mask objects and to explore how this changes the work’s impact.
  • Compare the work with another you know that relates in some way. This could even mean comparing things in different disciplines. “This painting or poem reminds me of a song.” What are the similarities and the contrasts?
  • Try to locate the work in time, historically and in place. What was going on at that time in that place? Knowing that, what is the artist portraying about that time and place?
  • Look for specific technical dimensions. Notice colors and how they relate; the major shapes and how they balance or unbalance one another; the use of line, jagged, smooth, quick, careful.
  • What is going on in this work of art? What colors do you see?
  • Does anything in this work of art remind you of something from your own life?

IV. Habits of Mind: Central Park East, Deborah Meier

  • How do you know that? What’s the evidence?
  • Who said it and why? (point of view)
  • What led to it? What else happened? (Cause and effect, pattern and connections)
  • What if? Supposing that? (Hypothesizing)
  • Who cares? What difference does it make?

Interpretive Questions: What does it mean? What is the work saying about you? Others? Is there a key insight? Where is this going on in your life? What is the message?

Decisional Questions: What is the work beckoning us to do, to know, to be? What would you do in this situation? What does the artist want us to do? What new insights do you have? Do you value the work? Why?

VI. Visual Thinking Strategies: San Jose Museum of Art, Education Dept. Visual Thinking Strategies (VTS) is a questioning strategy created by cognitive psychologist Abigail Housen and museum educator Phillip Yenawine. In this inquiry method, children make discoveries in the art they examine instead of being told things.

Discussions begin with fairly open ended questions:

What’s going on in the picture? What is happening here? What about this picture? What else can you find? What more do you see? What can you add to that? Who sees something else? Does anyone see something different? What do you see that makes you say that? What makes you think that? How do you know that from this picture? Where do you see that? What do you mean by that? Who is this person? Where is this taking place?