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A Discipline-Based Art Education Model for Criticism and Inquiry Directed to Non-Western Art

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A Discipline-Based Art Education Model for Criticism and Inquiry Directed to Non-Western Art A DISCIPLINE-BASED ART EDUCATION MODEL FOR CRITICISM AND INQUIRY DIRECTED TO NON-WESTERN ART by DAWNA MARLYN HAMM WALSH, B.A., M.ED. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved December, 1992 7'^ Copyright 1992 by Dawna Marlyn Hamm Walsh All Rights Reserved ACKNOWLEDGMENTS I am greatly indebted to my chairman. Dr. Marvin Moon, for his leadership and support during the extended period of this study. He has been the primary source for clarification during its critical phases. My thanks to him (and his wife, Betty) for the many hours of consultation that were so graciously extended. Through his guidance, he has provided a caring, humanistic role model of teacher, artist, mentor, and friend. Dr. Beverly Krieger and Dr. Gene Mittler provided valuable insights in numerous discussions. I am grateful to the continued encouragement and guidance of Dr. George and Ruth Sorensen. I have profited greatly from courses and discussions with my former professors: Dr. Ollie Jensen- Theisen, Dr. Bill Lockhart, Dr. Marvin Flatten, Dr. Reid Hastie, and Dr. Clarence Kincaid. Colleagues and students from Dallas Baptist University have been my catalysts and sources for inspiration. They have provided insight, as well as purpose, to the study. Finally, I wish to thank my husband, John, for his unending assistance. His patience and love are gratefully acknowledged. I am indebted to my four children. Grant, Whitney, Preston, and Austin, who each generated needed laughter and provided balance to my life. Thank you to my parents for their serenity of spirit and unwavering support. • • 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT vi LIST OF FIGURES viii CHAPTER I. INTRODUCTION 1 Purpose of the Study 1 Need for the Study 2 Discipline-Based Art Education Curricula 3 Criticism and Aesthetic Perception in Art Appreciation 5 Need to Expand Current Theories of Aesthetics to Include Non-Western Art Issues 6 The Inclusion of Non-Western Art in Art Criticism as a Discipline of DBAE 7 The Need for Modification of Existing Models in Measuring Aesthetic Qualities of Non-Western Art 10 Cultural Balance in Discipline-Based Art Education 14 The Need for a Written Model 17 Limitations of the Study 18 General Research Questions 20 Definition of Terms 21 Definitions of Art Elements 24 Definitions of Principles of Art 26 II. REVIEW OF THE LITERATURE 28 History of Art Criticism/Inquiry and Art Appreciation 28 « Before 1920 28 1920-1940 31 1940-1970 35 After 1990 39 111 Models of Art Criticism/Inquiry For Art Appreciation 48 Stevenson Model 1950 51 Bruner Theory 1958 52 Sibley Model 1962 54 Weitz Model 1966 56 Moffit Model 1969 57 Feldman Model 1970 59 Broudy Model 1972 62 R. Smith Model 1973 65 Hurwitz Model 1977 66 Hamblen Model 1984 68 Lankford Model 1984 69 Mittler Model 1986 71 Crawford 1987 73 Anderson Model 1988 74 III. EXEMPLARY MODEL IN ART CRITICISM FOR JUDGING NON-WESTERN WORKS OF ART 83 Introduction to the Model 83 Phase 1: Introductory Activities 86 Step (1)—Introduction 86 Phase 2: Internal Cue Search 91 Step (2)—Description 91 Step (3)—Analysis 94 Step (4)—Interpretation 98 Step (5)—Judgment: Tentative Decision-Making Based Upon Internal Cues 100 Phase 3: Confirmation Check 103 Step (6)—Investigate: Contextualism 103 Step (7)—Investigate: Instrumentalism 106 Step (8)—Judgment: Tentative Decision-Making Based Upon External Cues 108 Phase 4: Confirmation Completion 109 Step (9)—Final Decision-Making Based Upon Internal and External Cues 109 IV Phase 5: Reinforcement 112 Step (10)—Reinforcement 112 IV. SUMMARY AND CONCLUSIONS 117 Summary 117 Conclusions 124 Recommendations for Further Study 131 BIBLIOGRAPHY 136 APPENDIX 143 A. STEP ONE—INTRODUCTION— INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 143 B. STEP TWO—DESCRIPTION—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 154 C. STEP THREE—ANALYSIS—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 161 D. STEP FOUR—INTERPRETATION— INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 168 E. STEP FIVE—JUDGMENT: TENTATIVE DECISION-MAKING BASED UPON INTERNAL CUES—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 173 F. STEP SIX—INVESTIGATE: CONTEXTUALISM—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 179 G. STEP SEVEN—INVESTIGATE: INSTRUMENTALISM—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 188 H. STEP EIGHT—JUDGMENT: TENTATIVE DECISION-MAKING BASED UPON EXTERNAL CUES—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 193 I. STEP NINE—FINAL DECISION-MAKING BASED UPON INTERNAL AND EXTERNAL CUES—INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 200 J. STEP TEN—REINFORCEMENT— INSTRUCTOR'S NOTES AND MODEL APPLICATIONS 210 K. SCRIPT ON THE ASIAN PEOPLE, CULTURE AND DEMOGRAPHICS OF AFGHANISTAN 218 L. SCRIPT ON ASIAN MINIATURE PAINTINGS 230 M. SCRIPT ON THE ASIAN ART OF AFGHANISTAN 241 ABSTRACT The purpose of this professional problem is to develop a discipline-based art education model for criticism and inquiry directed to non-Western art to be used at the college level. The study includes a review of the literature concerning art appreciation and art criticism/inquiry dating from 1900, and outlines models for art criticism/inquiry used by educators in the classroom. Throughout the review, a search was conducted for applications of models specifically intended for non- Western art, but it was found that current models are directed primarily to Western artworks. The ten-step model developed for this study introduces novice art students to art criticism and inquiry through its application to non-Western art, and an exemplary application in the appendix is directed to an artwork from Afghanistan selected from a series of audio-visual presentations developed by the author. Students are led to search for information in the form of both internal and external cues in forming premature and tentative decisions or evaluations before arriving at an informed, final judgment about an artwork. The model functions as a tool by providing a framework for viewing and analyzing these foreign and unfamiliar works derived from different cultural, religious and social perspectives, and is intended to encourage students to delay judgments until an optimum measure of information has been collected. vi The procedural considerations concerning the methods through which criticism for non-Western art is generated and ordered include the following: the need for a critical theory of art that questions the appropriateness of traditional art models for non-Western art; the influence of cross-cultural interpretations for responding to, examining, analyzing and judging non-Western art; and the potential use of the model as a tool for encouraging appreciation of non-Western art. In conclusion, this study has the potential to play a relevant role in teaching non-Western art appreciation as well as providing an impetus for educating Western students about the diversity of foreign cultures and the influences of the art from those cultures. Historically, emphasis in art appreciation has been placed on the use of models of criticism which exclude critical study of non-Western art. If education is to be meaningful and meet the needs of a culturally diverse nation and world, discipline-based art education must contain both the critical study of Western and non-Western art. Vll LIST OF FIGURES 1.1 Jesus and the Dead Dog ^2 1.2 Christ and the Samaritan Woman at the Well 13 3.1 Summary of the Model for Criticism and Inquiry of Non-Western Art in Discipline-Based Art Education 84 A.l The Quest in the Name of Allah 147 Vlll CHAPTER I INTRODUCTION Purpose of the Study The purpose of this study is three-fold: (1) To review past and present literature concerning art criticism/inquiry and art appreciation in relation to art education; (2) To outline current models of art criticism/inquiry used in teaching art appreciation and to identify portions which might have relevance for application to the criticism of non-Western art; (3) To construct a model for cross-cultural art and inquiry designed to provide students with critical knowledge, understanding and appreciation of non- Western art. Use of the model is intended for the following purposes: (a) to clarify the place of non-Western art criticism within courses for art appreciation; (b) to increase students' awareness of the cultural and personal value of non-Western art within discipline-based art education; and (c) to involve students in active investigations and cue searches concerning art questions intended for improving critical thinking, decision-making and appreciation of non-Western art. Instructor's strategy notes and applications of the model are included in the appendix for the edification of the reader. The model is intended for utilization with non-art majors on the college or university level, but it can be modified for use on the secondary level in public schools. Need for the Study The study agrees that a discipline-based approach is proper and indeed necessary to art education, and, as art criticism is a key component in discipline-based art education (DBAE), it is a response to recent reports by art education leaders that the traditional focus of the curriculum has failed to address fully this key area. Further, it is a stated goal of DBAE to broaden the content of art education to include "folk, applied and fine arts from Western and non- Western cultures and from ancient to contemporary times" (Clark, Day & Greer, 1987, p. 135). In order to promote this goal, the author proposes that a model in criticism is needed and should be designed to focus specifically on non- traditional, non-Western artworks to be introduced for teaching art appreciation. It is important that the model include a written format in order to increase the likelihood that it serve as a useful tool for the student once the classroom experience has ended.
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