Conceptual frameworks, such as the model proposed by June King McFee (1978) can be useful in helping unpack information about the cultural contexts and the impact that they have on both the way an audience perceives a work of art, and how they influence the artist in their art-making.
Figure 3
When using this model, ask who are the audiences who view the work, what experiences (historical, political, social, aesthetic and intellectual) of the world they bring to understanding the artwork, who is the artist and what experiences (historical, political, social, aesthetic and intellectual) of the world have they brought to the creation of the work. More recent adaptations of this model are multidirectional, exploring how artworks can shape interpretations of the world, considering relationships between the audience and their perception of the artist, as well as how the experiences of the world is represented in the artwork.
(McFee, JK. 1978. “Cultural influences on aesthetic experience” in Condous, J, Howlett, J and Skull, J, (eds). 1980. Arts in Cultural Diversity. Sydney, Australia. Holt, Rinehart and Winston.)
Teaching visual arts in context through art-making practice
Through the visual arts in context area, students will observe the conventions and techniques of the artworks they investigate, thinking critically and experimenting with techniques, and identifying possible uses within their own art-making practice. When investigating artworks from a range of cultural contexts, it is essential for students to have opportunities to consider how these experiences might inform their own art-making practices. This can be achieved by studying the conventions, methods and techniques of the artists and artworks that are explored. Students need to develop appropriate vocabulary in the visual arts meta language. Formalist frameworks for analyzing the use of formal qualities are particularly useful. Scaffold examples of Feldman’s model of art criticism provide a structure to written responses, but visual responses are also valid, such as using an annotated diagram, sketch or image. Experiential learning through experimenting with the forms and media of the works explored will provide students with opportunities to reflect on how their explorations might be useful in their own art-making and will further enhance student learning in this area.
(Feldman, E. 1970. Becoming human through art: Aesthetic Experience in the School. Englewood Cliffs, New Jersey, USA. Prentice-Hall.)