{"title":"印刷中的模式与教学法:二十世纪中期课堂中的工艺美术教育","authors":"D. McCannon","doi":"10.1386/jill_00013_1","DOIUrl":null,"url":null,"abstract":"Abstract In this article I compare a set of early and mid-twentieth-century print publications supportive of the 'new' art teaching in schools. The educator Marion Richardson's reflections on her use of pattern in the classroom in Art and the Child (1948) is considered\n alongside publications by artist-teachers such as Robin Tanner's Children's Work in Block Printing (1936) and Gwen White's A World of Pattern (1957). The monthly publication Art and Craft Education first published in 1936 was a magazine for teachers of art which showcased\n the work being done in schools around Britain that were involved in the 'new' art instruction. Pattern-making in schools in these publications is positioned as a modular and constructivist form of learning encouraging multisensory and exploratory ways of looking at and making sense of the\n world. Ackerman (2004) outlining theories of constructivist models for learning stresses the need for children to be 'builders of their own cognitive tools', and I argue that the exploration of pattern offers multiple strategies for the children to explore their phenomenological experience\n of the world. Pattern-making is also presented as a democratic form of creativity and a means of introducing the concept of art into everyday life, inculcating an appreciation of well-made things in daily life. I argue that through the lens of this pedagogic print culture with this emphasis\n on the benefits of teaching pattern-making in schools a nostalgic and pastoral English arts and crafts sensibility can be seen meeting a modernist cultural agenda via psychological theories of child development, creating a distinctively egalitarian, child-centred and craft-led model for learning.\n Revisiting this moment in childrens' education in Britain offers a timely insight into alternatives to the current educational landscape, with its emphasis on measuring pupil's achievement and downgrading of creative subjects in the school curriculum.","PeriodicalId":40349,"journal":{"name":"Journal of Illustration","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Pattern and pedagogy in print: Art and Craft Education in the mid twentieth-century classroom\",\"authors\":\"D. McCannon\",\"doi\":\"10.1386/jill_00013_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract In this article I compare a set of early and mid-twentieth-century print publications supportive of the 'new' art teaching in schools. The educator Marion Richardson's reflections on her use of pattern in the classroom in Art and the Child (1948) is considered\\n alongside publications by artist-teachers such as Robin Tanner's Children's Work in Block Printing (1936) and Gwen White's A World of Pattern (1957). The monthly publication Art and Craft Education first published in 1936 was a magazine for teachers of art which showcased\\n the work being done in schools around Britain that were involved in the 'new' art instruction. Pattern-making in schools in these publications is positioned as a modular and constructivist form of learning encouraging multisensory and exploratory ways of looking at and making sense of the\\n world. Ackerman (2004) outlining theories of constructivist models for learning stresses the need for children to be 'builders of their own cognitive tools', and I argue that the exploration of pattern offers multiple strategies for the children to explore their phenomenological experience\\n of the world. Pattern-making is also presented as a democratic form of creativity and a means of introducing the concept of art into everyday life, inculcating an appreciation of well-made things in daily life. I argue that through the lens of this pedagogic print culture with this emphasis\\n on the benefits of teaching pattern-making in schools a nostalgic and pastoral English arts and crafts sensibility can be seen meeting a modernist cultural agenda via psychological theories of child development, creating a distinctively egalitarian, child-centred and craft-led model for learning.\\n Revisiting this moment in childrens' education in Britain offers a timely insight into alternatives to the current educational landscape, with its emphasis on measuring pupil's achievement and downgrading of creative subjects in the school curriculum.\",\"PeriodicalId\":40349,\"journal\":{\"name\":\"Journal of Illustration\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2019-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Illustration\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/jill_00013_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Illustration","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jill_00013_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
摘要
摘要在这篇文章中,我比较了一套支持学校“新”艺术教学的二十世纪初和中期的印刷出版物。教育家马里恩·理查森(Marion Richardson)在《艺术与儿童》(Art and The Child)(1948)中对她在课堂上使用图案的思考,与艺术家教师的出版物一起被考虑,如罗宾·坦纳(Robin Tanner)的《儿童版画》(Children’s Work in Block Printing)(1936)和格温·怀特(Gwen White)的《图案的世界》(A World of pattern)(1957)。1936年首次出版的月刊《艺术与工艺教育》是一本面向艺术教师的杂志,展示了英国各地参与“新”艺术教学的学校所做的工作。这些出版物中的学校模式制作被定位为一种模块化和建构主义的学习形式,鼓励以多感官和探索性的方式看待和理解世界。Ackerman(2004)概述了建构主义学习模式的理论,强调儿童需要成为“自己认知工具的建设者”,我认为对模式的探索为儿童探索他们对世界的现象学体验提供了多种策略。图案制作也被认为是一种民主的创造力形式,是将艺术概念引入日常生活的一种手段,灌输对日常生活中精心制作的东西的欣赏。我认为,通过这种强调学校教学模式制作好处的教育印刷文化的视角,可以看到怀旧和田园的英国工艺美术情感通过儿童发展的心理学理论满足了现代主义文化议程,创造了一种独特的平等主义、以儿童为中心和工艺主导的学习模式。回顾英国儿童教育的这一时刻,可以及时了解当前教育格局的替代方案,其重点是衡量学生的成绩,并降低学校课程中创造性科目的等级。
Pattern and pedagogy in print: Art and Craft Education in the mid twentieth-century classroom
Abstract In this article I compare a set of early and mid-twentieth-century print publications supportive of the 'new' art teaching in schools. The educator Marion Richardson's reflections on her use of pattern in the classroom in Art and the Child (1948) is considered
alongside publications by artist-teachers such as Robin Tanner's Children's Work in Block Printing (1936) and Gwen White's A World of Pattern (1957). The monthly publication Art and Craft Education first published in 1936 was a magazine for teachers of art which showcased
the work being done in schools around Britain that were involved in the 'new' art instruction. Pattern-making in schools in these publications is positioned as a modular and constructivist form of learning encouraging multisensory and exploratory ways of looking at and making sense of the
world. Ackerman (2004) outlining theories of constructivist models for learning stresses the need for children to be 'builders of their own cognitive tools', and I argue that the exploration of pattern offers multiple strategies for the children to explore their phenomenological experience
of the world. Pattern-making is also presented as a democratic form of creativity and a means of introducing the concept of art into everyday life, inculcating an appreciation of well-made things in daily life. I argue that through the lens of this pedagogic print culture with this emphasis
on the benefits of teaching pattern-making in schools a nostalgic and pastoral English arts and crafts sensibility can be seen meeting a modernist cultural agenda via psychological theories of child development, creating a distinctively egalitarian, child-centred and craft-led model for learning.
Revisiting this moment in childrens' education in Britain offers a timely insight into alternatives to the current educational landscape, with its emphasis on measuring pupil's achievement and downgrading of creative subjects in the school curriculum.