Art Education Journal | January 2004
Postmodern Principles: In Search of 21st Century Art Education
https://www.academia.edu/848181/Postmodern_Principles_In_Search_of_a_21st_Century_Art_Education
Olivia Gude
Gude, Olivia. “Postmodern Principles: In Search of a 21st Century Art Education.” Academia.edu - Share Research, www.academia.edu/848181/Postmodern_Principles_In_Search_of_a_21st_Century_Art_Education
Date: 02/26/2019
What do our students need to know to understand the art of many cultures, in the past and in the 21st century?
Olivia Gude's Addition to Principle of Design
Appropriation
For the students, recycling imagery felt comfortable and commonplace.
If one lives in a forest, wood will likely become one’s medium for creative play. If one grows up in a world filled with cheap, disposable images, these easily become the stuff out of which one makes one’s own creative expression.
Juxtaposition
Robert Rauschenberg revolutionized expressive painting when he substituted the seemingly random juxtaposition of found images for the personally generated abstract mark.
Recontextualization
The term juxtaposition is useful in helping students to discuss the familiar shocks of contemporary life in which images and objects from various realms and sensibilities come together in intentional clashes or in random happenings.
Often the meaning of the artwork is generated by positioning a familiar image in relationship to pictures, symbols, or texts with which it is not usually associated.
Layering
As images become cheap and plentiful, they are no longer treated as precious and placed carefully side by side, but instead are often literally piled on top of each other.
Interaction of Text & Image
The text does not describe the work, nor does the image illustrate the text, but the interplay between the two elements generates rich, (and ironic), associations about gender, social possibilities, and cleanliness. Students making and valuing art in the 21st century must to be taught not to demand the literal matching of verbal and visual signifiers, but rather to explore disjuncture between the two modes as a source of meaning and pleasure.
Hybridity
The concept of hybridity also describes the cultural blending evident in many artists’ productions.
Gazing
The term gaze is frequently used in contemporary discourses to recognize that when talking about the act of looking it is important to consider who is doing the looking and who is being looked at (Olin, 1996). Gazing, associated with issues of knowledge and pleasure is also a form of power—controlling perceptions of what is “real” and “natural.”
Representin’
U.S. urban street slang for proclaiming one’s identity and affiliations, Representin’, describes the strategy of locating one’s artistic voice within one’s personal history and culture of origin.
Key Quotes:
"I pondered the piles of insignificant exercises on line, shape, or color harmonies that I have seen left behind by hundreds and hundreds of students at year’s end. I wonder why what is still considered by many to be the appropriate organizing content of the foundations of 21st century art curriculum is but a shadow of what was modern, fresh, and inspirational 100 years ago."
Postmodern Principles: In Search of 21st Century Art Education
https://www.academia.edu/848181/Postmodern_Principles_In_Search_of_a_21st_Century_Art_Education
Olivia Gude
Gude, Olivia. “Postmodern Principles: In Search of a 21st Century Art Education.” Academia.edu - Share Research, www.academia.edu/848181/Postmodern_Principles_In_Search_of_a_21st_Century_Art_Education
Date: 02/26/2019
What do our students need to know to understand the art of many cultures, in the past and in the 21st century?
Olivia Gude's Addition to Principle of Design
Appropriation
For the students, recycling imagery felt comfortable and commonplace.
If one lives in a forest, wood will likely become one’s medium for creative play. If one grows up in a world filled with cheap, disposable images, these easily become the stuff out of which one makes one’s own creative expression.
Juxtaposition
Robert Rauschenberg revolutionized expressive painting when he substituted the seemingly random juxtaposition of found images for the personally generated abstract mark.
Recontextualization
The term juxtaposition is useful in helping students to discuss the familiar shocks of contemporary life in which images and objects from various realms and sensibilities come together in intentional clashes or in random happenings.
Often the meaning of the artwork is generated by positioning a familiar image in relationship to pictures, symbols, or texts with which it is not usually associated.
Layering
As images become cheap and plentiful, they are no longer treated as precious and placed carefully side by side, but instead are often literally piled on top of each other.
Interaction of Text & Image
The text does not describe the work, nor does the image illustrate the text, but the interplay between the two elements generates rich, (and ironic), associations about gender, social possibilities, and cleanliness. Students making and valuing art in the 21st century must to be taught not to demand the literal matching of verbal and visual signifiers, but rather to explore disjuncture between the two modes as a source of meaning and pleasure.
Hybridity
The concept of hybridity also describes the cultural blending evident in many artists’ productions.
Gazing
The term gaze is frequently used in contemporary discourses to recognize that when talking about the act of looking it is important to consider who is doing the looking and who is being looked at (Olin, 1996). Gazing, associated with issues of knowledge and pleasure is also a form of power—controlling perceptions of what is “real” and “natural.”
Representin’
U.S. urban street slang for proclaiming one’s identity and affiliations, Representin’, describes the strategy of locating one’s artistic voice within one’s personal history and culture of origin.
Key Quotes:
"I pondered the piles of insignificant exercises on line, shape, or color harmonies that I have seen left behind by hundreds and hundreds of students at year’s end. I wonder why what is still considered by many to be the appropriate organizing content of the foundations of 21st century art curriculum is but a shadow of what was modern, fresh, and inspirational 100 years ago."
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