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Remixing the Art Curriculum Remixing the Art Curriculum How Contemporary Visual Practices Inspire Authentic Art Education

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Remixing the Art Curriculum Remixing the Art Curriculum How Contemporary Visual Practices Inspire Authentic Art Education Emiel Heijnen Remixing the Art Curriculum Remixing the Art Curriculum How Contemporary Visual Practices Inspire Authentic Art Education proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus, prof. dr. Th.L.M. Engelen volgens het besluit van het College van Decanen, in het openbaar te verdedigen op donderdag 17 september 2015 om 12.30 uur precies door Emiel Johannes Matheus Gerardus Heijnen geboren op 10 juni 1970 te Tegelen Promotoren: Prof. dr. A.M. Smelik Prof. dr. F.H. Haanstra (Universiteit Utrecht) Manuscript commissie: Prof. dr. C.B. Smithuijsen Prof. dr. J.J.H. van den Akker (Nationaal expertisecentrum leerplanontwikkeling) Prof. dr. B.P. van Heusden (Rijksuniversiteit Groningen) Dr. E.M. van Meerkerk Prof. dr. M.L.L. Volman (Universiteit van Amsterdam) This project would not have been possible without the financial support of the Amsterdam School of the Arts and the Radboud University Nijmegen Emiel Heijnen Remixing the Art Curriculum How Contemporary Visual Practices Inspire Authentic Art Education Table of contents Acknowledgements 7 IDENTIFICATION PHASE 1 Context, Aim and Research Design 10 Introduction 11 Significance 14 Context and problem definition 15 Aim and research questions 19 Methodology 22 Organization of the dissertation 31 INVESTIGATION PHASE Introduction to chapters 2 and 3 37 2 Informal Visual Networks 38 Three perspectives on learning 40 Communities of practice 41 Participatory culture 43 Informal production groups formed around popular culture 46 Defining informal visual networks 52 Conclusion 55 3 Visual Culture Learning Communities 58 Methodology 61 Why students form visual culture communities 63 How visual culture communities function 65 What participants learn in visual culture groups 67 Self and peer initiated learning 70 Conclusion 74 Postscript to chapters 2 and 3 77 Introduction to chapters 4 and 5 83 4 Social and Collaborative Turns in Contemporary Art 84 Social movements in the ambiguous field of globalized art 85 The liquid world metaphor as artistic fuel 87 Art at the service of life 89 Collaboration as an artistic strategy 94 Don’t hate the media, become the media 97 Criticism 100 Conclusion 102 5 Nine Socially Engaged Art Practices 104 Research questions and methodology 107 Analysis of the data 125 Domain: concerns, interests and competences 125 Community: joint activities, information sharing and peer learning 133 Production: shared repertoire of socially engaged art practices 142 Conclusion 150 4 6 A New Model for Authentic Art Education 154 Research question and methodology 155 From artistic practice to educational design principle 156 The contents of authentic art education 160 Pedagogical principles of authentic art education 165 Conclusion 171 PROTOTYPING AND ASSESSMENT PHASE 7 Prototyping and Assessment: introduction 176 Methodology 179 8 The Prototyping Phase 188 Summer school 189 Analysis of the design process during the prototyping phase 190 Prototyping phase: conclusions 196 Case sheets section 201 9 The Assessment Phase 234 9a How teachers perceived the impact of the courses 235 Meaningful connections between professional art, popular culture and societal issues 235 Knowledge is constructed in complete & complex task situations 242 The class operates as a learning community in which various forms of expertise are shared 247 9b The students respond: analysis of learner reports 251 Participants and analysis procedure 252 Open-ended questions 252 Closed-ended questions 263 Assessment phase: conclusions 269 REFLECTION PHASE 10 Conclusions and Discussion 274 Results 276 Reflection and implications 283 SUMMARY (DUTCH) Samenvatting van Remixing the Art Curriculum 297 APPENDIXES 1 Program overview Remix Culture summer schools 309 2 Topic interview teachers 310 3 Teacher interviews – code trees with identified themes 312 4 Learner report – student questionnaire 313 5 Learner report – coding schemes 318 Tables and figures 323 References 325 Curriculum Vitae 339 5 Remixing the Art Curriculum 6 Acknowledgements When I interviewed artist and hacktivist Evan Roth during this research project, he told me that the art market has largely main- tained the idea of the artist as a solitary genius, as opposed to the movie industry where long credit lists have been the standard for decades. Although I consider myself neither an artist nor a geni- us, I think that a PhD research project is often imagined as a lonely, secluded activity that brings the romanticized image of an artist’s practice to mind. I cannot deny that my research included extensive solitary phases, but on the first pages of this book I would like to emphasize that this project would have been impossible without the cooperation and participation of many others. The credit list below is a tribute to the ‘cast and crew’ that enabled me to complete the job. Thank you all! Cast Kerry Freedman Marianne Gerner Informal art groups Mira Kallio-Tavin Claire Goedman IvesOne & crew Andrea Kárpáti Bart Gijswijt Parti Art Collective Sanne Kersten Petra Katanic & crew Interview assistant Hannie Kortland All creative producers from Chicago, Sanne Versteeg Edwin van Meerkerk Helsinki, Istanbul, Montreal and Mieke Mekkink Budapest Remix Culture coaches Mareke McAlpine-Geraedts Michiel Koelink Adri Schreuder Artists Suzanne Rademaker Martijn Stevens Authentic Boys Lianne Toussaint Grupo BijaRi Remix Culture assistants Jaap Vinken Aram Bartholl Sanne Beemsterboer Jeanne van Heeswijk Linda Rusconi AHK staff The Propeller Group Rafael van Crimpen Evan Roth Expert panel Bridget Kievits Pilvi Takala Paul Duncum Jet de Ranitz José Antonio Vega Macotela Renske de Groot Robert Smit Wandschappen Mirjam van Tilburg Maria Wüst Teachers and their students Quantitative data expert Special mention Naomi Aardema Talita Groenendijk Joost van den Boogert Petra van Beuningen Leontine Broekhuizen Rosemarie de Brouwer-Kock Transcriptions Tobi Damen Daniele Campagnoli Aline Knip Marlous van Gastel Noortje Dirks Chris van Meeuwen Maarten Hamel Renske Gasper Joska van Oosten Rixt Hulshoff Pol Johan Gielen Jasper Wilshaus Daphne Kann Mijke de Haan Steffen Keuning Astrid Hermes Graphic Design Michiel Maas Minke Kampman Kummer & Herrman Jo Moonen Marcel van Kerkvoorde Karlijn Muller Anne Kraaijeveld Translations Myrthe Nagtzaam Julianna Laczkó The Text Company Emily Paige Carolien Schellekens Bart Rutten Doran Schmaal Peer reflection Eser Yagci Cynthia Schoorl Melissa Bremmer Moniek Warmer Miranda Simon Marjo van Hoorn Joske van Zomeren Merit Tieman Carolien Hermans Charlotte Vester-Rutten PhD defense team Marloes de Vries Financial support Alexander Kann Amsterdam School of the Arts Arjan van Meeuwen Crew Radboud University Nijmegen Research supervisors Exercise trainer Anneke Smelik All students and colleagues of the Chef Folkert Haanstra Amsterdam School of the Arts and Radboud University including: Moral support Co-researchers Tessel Bauduin Jolanda Reinink Juan Carlos Castro Alyda Buik 7 Remixing the Art Curriculum IDENTIFICATION INVESTIGATION PROTOTYPING AND ASSESSMENT REFLECTION SUMMARY APPENDIXES 8 How Contemporary Visual Practises Inspire Authentic Art Education IDENTIFICATION INVESTIGATIONphase PROTOTYPING AND ASSESSMENT REFLECTION SUMMARY APPENDIXES 9 Remixing the Art Curriculum 1 Context, Aim and Research Design I believe that the school must represent present life - life as real and vital to the child as that which he carries on in the home, in the neighborhood, or on the playground. I believe that education which does not occur through forms of life, or that are worth living for their own sake, is always a poor substitute for the genuine reality and tends to cramp and to deaden. – John Dewey (1897, p. 293) 10 Chapter 1 Identification phase Introduction A few months ago, V., the 16-year-old daughter of my friend M., returned from school with an art assignment that she did not fully comprehend. Her art teacher had given the class the task to design an LP album cover and V. asked her father (a former art educator) to advise her on how to combine typography and images. When M. recommended that she use desktop pub- lishing software, V. shook her head. She loved the idea of creating the cover digitally but the teacher had prescribed that the use of computers was not allowed. When discussing the assignment further, M. found out that V. did not know what an LP was, as she had never seen a real vinyl record in her life. A few weeks later V. finished the assignment according to the original crite- ria and was very pleased with the end results and the grade she received. The incident above is exemplary because it highlights the yawning gap that can appear between art education in school and developments in the world outside it. V’s record cover assignment refers to a music technol- ogy and consumer culture that has little significance for teenagers who find and share their music online. Furthermore, the restriction that digital pro- duction methods were not allowed indicates that the assignment lacked a connection with the trans media practices of contemporary graphic design- ers. What I find the most intriguing aspect of this anecdote is that smart, articulate students like V. tend to accept a given art curriculum, even when it lacks connection with their life outside school. It tells us that teachers can- not blindly assume that their curriculum is significant and up-to-date if their students do not criticize it. Processes of globalization and digitalization increase the gap between the way
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