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Zarina Samsudin - One of the best experts on this subject based on the ideXlab platform.

  • Visual Thinking Courseware: Enhancing Critical Thinking Skills Through Art Criticism
    Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 2016
    Co-Authors: Harrinni Md Noor, Zarina Samsudin
    Abstract:

    Art Criticism provides knowledge, skills, and understanding that enable students to have broad and rich experience with works of Art by responding to and making judgments about the properties and qualities that exist in visual form. It requires higher-order thinking skills (HOTS) that integrate contents from the four disciplines of Art (Art aesthetics, Art history, Art production, and Art Criticism) that contribute to the creation, understanding, and appreciation of Art. Findings from a survey conducted in three Malaysian public universities revealed that less than 30 % of the undergraduate Art students are able to analyze works of Art critically. This is an alarming state considering their involvement in Art activities that require them critically to analyze and criticize works of Art. For students undergoing teacher training courses the skill is very much needed as they will be going out to teach Art subjects in schools. Because technology has taken a front seat in the teaching and learning of many Art-related subjects in higher education courses in Malaysia, this research looked at how visual thinking courseware can aid in the teaching and learning of Art Criticism. In pArticular, this chapter looked at how the selection of visual images, Gagne’s 9 events of instruction, the flow theory, and Feldman’s Art Criticism model can be put together to design courseware that can help enhance the quality of learning about Art Criticism and increase students’ critical thinking skills.

  • VISUAL THINKING: ENHANCING Art Criticism SKILLS AMONG SPATIAL LEARNERS
    IJAEDU- International E-Journal of Advances in Education, 2016
    Co-Authors: Harrinni Md Noor, Zarina Samsudin
    Abstract:

    Art Criticism is one of the four foundational disciplines of Discipline-based Art Education (DBAE). It refers to an organized system for studying the work of Art by looking and talking about Art that involves making description, analysis, interpretation and judgments about Artworks. However, most of the times, students do not know what to say, or how to go about saying it, or they might make the wrong judgments. Art students are mostly visual-spatial learners. Very often these students also end up writing in a dull way, with little sense of academic values. Therefore, visual imageries play an important role for these spatial learners who are skilful in representing, transforming, generating, and recalling symbolic, non-linguistic information. In the 21st century, teaching and learning with technology have diversified to complement the age of digital era where technology is made available to cater for all learning styles.  A Visual Thinking Courseware (VTC) was designed and developed to help solve the problem of teaching Art Education by introducing systematic strategies pArticularly on visuals to enhance students’ Art Criticism skills. Built on Gestalt Theory, the objective of this research was to determine the best visual selections for the teaching and learning of Art Criticism between Random Visual Selection (RVS) and Sequenced Visual Selection (SVS). Research was carried out to determine the difference in students’ performance in Art Criticism between High Spatial Learners (HSL) and Low Spatial Learners (LSL) using these RVS and SVS modes. The methodology used in this research was quantitative and qualitative in nature. A quasi-experimental design was applied to collect the necessary data. A pretest and posttest for the two treatment groups was implemented. Six research instruments were used in the research to obtain the data namely, Index for learning Styles Questionnaire (ILSQ), Spatial Ability Test, Pretest and Posttest, Courseware Evaluation Form, Art Criticism Rubrics and Critical Thinking Rubrics. Sixty-three post degree education diploma students pArticipated in this study. This research indicates that there are significant difference in students’ performance in Art Criticism skills between High Spatial Learners (HSL) and Low Spatial Learners (LSL) using RVS and SVS. Data analysis showed that among HSL students, the RVS mode helped them to improve Art Criticism skills better than the SVS mode. For the LSL students, the SVS mode helped them to improve their Art Criticism skills better than the RVS mode. Therefore, it can be concluded that regardless of the visual selections, Visual Thinking Courseware used in this research enabled students to criticize better and help improve their Art Criticism skills. Keywords : Visual Thinking, Spatial Ability, Art Criticism, Art Education

Tara Spies Smith - One of the best experts on this subject based on the ideXlab platform.

Harrinni Md Noor - One of the best experts on this subject based on the ideXlab platform.

  • Visual Thinking Courseware: Enhancing Critical Thinking Skills Through Art Criticism
    Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 2016
    Co-Authors: Harrinni Md Noor, Zarina Samsudin
    Abstract:

    Art Criticism provides knowledge, skills, and understanding that enable students to have broad and rich experience with works of Art by responding to and making judgments about the properties and qualities that exist in visual form. It requires higher-order thinking skills (HOTS) that integrate contents from the four disciplines of Art (Art aesthetics, Art history, Art production, and Art Criticism) that contribute to the creation, understanding, and appreciation of Art. Findings from a survey conducted in three Malaysian public universities revealed that less than 30 % of the undergraduate Art students are able to analyze works of Art critically. This is an alarming state considering their involvement in Art activities that require them critically to analyze and criticize works of Art. For students undergoing teacher training courses the skill is very much needed as they will be going out to teach Art subjects in schools. Because technology has taken a front seat in the teaching and learning of many Art-related subjects in higher education courses in Malaysia, this research looked at how visual thinking courseware can aid in the teaching and learning of Art Criticism. In pArticular, this chapter looked at how the selection of visual images, Gagne’s 9 events of instruction, the flow theory, and Feldman’s Art Criticism model can be put together to design courseware that can help enhance the quality of learning about Art Criticism and increase students’ critical thinking skills.

  • VISUAL THINKING: ENHANCING Art Criticism SKILLS AMONG SPATIAL LEARNERS
    IJAEDU- International E-Journal of Advances in Education, 2016
    Co-Authors: Harrinni Md Noor, Zarina Samsudin
    Abstract:

    Art Criticism is one of the four foundational disciplines of Discipline-based Art Education (DBAE). It refers to an organized system for studying the work of Art by looking and talking about Art that involves making description, analysis, interpretation and judgments about Artworks. However, most of the times, students do not know what to say, or how to go about saying it, or they might make the wrong judgments. Art students are mostly visual-spatial learners. Very often these students also end up writing in a dull way, with little sense of academic values. Therefore, visual imageries play an important role for these spatial learners who are skilful in representing, transforming, generating, and recalling symbolic, non-linguistic information. In the 21st century, teaching and learning with technology have diversified to complement the age of digital era where technology is made available to cater for all learning styles.  A Visual Thinking Courseware (VTC) was designed and developed to help solve the problem of teaching Art Education by introducing systematic strategies pArticularly on visuals to enhance students’ Art Criticism skills. Built on Gestalt Theory, the objective of this research was to determine the best visual selections for the teaching and learning of Art Criticism between Random Visual Selection (RVS) and Sequenced Visual Selection (SVS). Research was carried out to determine the difference in students’ performance in Art Criticism between High Spatial Learners (HSL) and Low Spatial Learners (LSL) using these RVS and SVS modes. The methodology used in this research was quantitative and qualitative in nature. A quasi-experimental design was applied to collect the necessary data. A pretest and posttest for the two treatment groups was implemented. Six research instruments were used in the research to obtain the data namely, Index for learning Styles Questionnaire (ILSQ), Spatial Ability Test, Pretest and Posttest, Courseware Evaluation Form, Art Criticism Rubrics and Critical Thinking Rubrics. Sixty-three post degree education diploma students pArticipated in this study. This research indicates that there are significant difference in students’ performance in Art Criticism skills between High Spatial Learners (HSL) and Low Spatial Learners (LSL) using RVS and SVS. Data analysis showed that among HSL students, the RVS mode helped them to improve Art Criticism skills better than the SVS mode. For the LSL students, the SVS mode helped them to improve their Art Criticism skills better than the RVS mode. Therefore, it can be concluded that regardless of the visual selections, Visual Thinking Courseware used in this research enabled students to criticize better and help improve their Art Criticism skills. Keywords : Visual Thinking, Spatial Ability, Art Criticism, Art Education

Daniel A. Siedell - One of the best experts on this subject based on the ideXlab platform.

  • Rosalind Krauss, David Carrier, and Philosophical Art Criticism
    The Journal of Aesthetic Education, 2004
    Co-Authors: Daniel A. Siedell
    Abstract:

    standards. Therefore, the critic must make them up as she goes along. This leads necessarily to two phenomena; first, the critic devotes as much, if not more, creative energy to establishing his critical standards as he does to interpreting Art; and second, given the fact that each critic is left to do what is right in his own eyes, no one is ever really happy with the so-called "state of Criticism" for the critic feels that she is the only one left to proclaim the truth in the face of apostasy and crisis. This perceived sorry state of affairs, however, is often the very stuff out of which the best Art Criticism and Art of the twentieth century has grown. The early twenty-first century has held true to form. For an example of this recent rich and robust literature of complaint and crisis, see Raphael Rubinstein, "A Quiet Crisis," Art in America (2001): 39-45; Hilton Kramer, "Painting is Dead? Please. Down with Dumb Critics," New York Observer, 11 August 1997): 1, no. 28. Mark Van Proyen, "Art Criticism: Where's the Beef?" The New Art Examiner 28, no. 10 (July-Aug. 2001): 60-61;103; Mark Van Proyen, "Round Table: The Present Conditions of Art Criticism," October 100 (Spring 2002): 200-228; and Hal Foster, Design and Crime (London: Verso, 2002). If critical consciousness is, as Edward Said stated in the epigram of Foster's book, "an unstoppable predilection for alternatives," then Criticism is alive and well in the contemporary Art world for we definitely have alternatives, alternatives for what to address in a work of Art, how to address them, and for what purposes. Art critics must write Criticism, then, with their own normative framework for what Criticism as well as Art should be.

  • Art Criticism as Narrative Strategy: Clement Greenberg's Critical Encounter with Franz Kline
    Journal of Modern Literature, 2003
    Co-Authors: Daniel A. Siedell
    Abstract:

    lEw books have had a greater impact on post-war Anglo-American Art theory, Art Criticism, and Art history than Clement Greenberg's Art and Culture: Critical Essays. A collection of thirty-seven reviews dating from 1939 to the late fifties and published in 1961, Art and Culture (hereafter A&C) offered a comprehensive and highly refined critical oeuvre to an expanding postwar Art world eager to make use of an interpretive cosmology of modern Art. It also revived Greenberg's reputation as a critic in the face of Harold Rosenberg's popularity in the late fifties. It does so by retelling the story of his experience of modern Art at mid-century through heavily revised reviews and essays that were written earlier in his career. A&C became the modem Art "textbook" for a generation of Art history graduate students who were also cutting their teeth as practicing critics for such publications as Artforum. This state of affairs has much to do with the historiographical construction, seminal to the professionalization of Art Criticism in the sixties, that Greenberg's Art Criticism was analytical (and thus sophisticated) while Rosenberg's was rhetorical (and thus journalistic and popular). This paper is concerned with exploring what certain of these revisions reveal about Greenberg's intentions as a critic at mid-century. But it will also direct attention to the development of the midcentury Art world, the historiographical fate of certain mid-century Artists, and finally, the nature and function of Art Criticism itself not what philosophers, Art historians, and even Art critics themselves claim Criticism is or what Art critics say they do, but how Criticism is actually practiced. These

Joey Sprague - One of the best experts on this subject based on the ideXlab platform.

  • the standpoint of Art Criticism cindy sherman as feminist Artist the standpoint of Art Criticism
    Sociological Inquiry, 2011
    Co-Authors: Jessica Spraguejones, Joey Sprague
    Abstract:

    Feminist Standpoint Theory identifies knowledge as a social product developed from a specific social position. We apply this theory to explore the dominant standpoint informing the social organization of Western Art via an institution we call Art/Criticism. We find that the assumptions, values, and analytic strategies informing mainstream Art and Art Criticism express the standpoint of privileged men. As a test of our argument, we consider the case of an Artist who is often hailed as a feminist Artist and yet is one of the most successful woman Artists today: Cindy Sherman. We find that while Sherman is working with some fertile possibilities for feminist analysis, her work ends up re-directing this potential into a disempowering play with images. We conclude that rather than countering our argument, the celebration of Sherman’s work as feminist reveals the workings, as well as the limits, of the privileged male standpoint in Art.

  • The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*: THE STANDPOINT OF Art/Criticism
    Sociological Inquiry, 2011
    Co-Authors: Jessica Sprague-jones, Joey Sprague
    Abstract:

    Feminist Standpoint Theory identifies knowledge as a social product developed from a specific social position. We apply this theory to explore the dominant standpoint informing the social organization of Western Art via an institution we call Art/Criticism. We find that the assumptions, values, and analytic strategies informing mainstream Art and Art Criticism express the standpoint of privileged men. As a test of our argument, we consider the case of an Artist who is often hailed as a feminist Artist and yet is one of the most successful woman Artists today: Cindy Sherman. We find that while Sherman is working with some fertile possibilities for feminist analysis, her work ends up re-directing this potential into a disempowering play with images. We conclude that rather than countering our argument, the celebration of Sherman’s work as feminist reveals the workings, as well as the limits, of the privileged male standpoint in Art.