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How Can Painting Operate As a Hermeneutic Practice in Secondary Level Art and Design Education?

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How Can Painting Operate As a Hermeneutic Practice in Secondary Level Art and Design Education? How can painting operate as a hermeneutic practice in secondary level art and design education? Yiannis Nikolas Hayiannis Art, Design and Museology Department of Culture, Communication and Media UCL Institute of Education Thesis submitted in accordance with the requirements for the degree of Doctor of Philosophy 2015 Supervisors: Dr Nicholas Addison and Dr Claire Robins 1 Abstract This research asks how painting might operate as a hermeneutic practice in secondary level art and design education. It could be argued that the significance accorded to painting in literature pertinent to this field is not often made explicit. In arguing for a re-evaluation of practices of painting in this context, I foreground the material affordances of paint for interpretive and imaginative making, and attend to notions of skill and expression as they relate to painting more widely. ‘Painting’ is proposed here as a hermeneutic practice which comprehends notions of interpretive making and ‘responsive openness’ - a disposition of openness on the part of the person painting to the potential of materials, tools, techniques and images. In seeking to construct a demonstrable link between theories of art production and reception, I employ Davey’s characterization (2006a) of Gadamer’s adopted term for participation, theoria, and commentary on Pareyson’s aesthetic theory of formativity (1988). I bring the educational scope of the concept of ‘Bildung’, an evolving process of self-formation, into correspondence with a view of painting-as-making. In researching the potential of painting as a hermeneutic activity I conducted two painting projects with Year 9 and 10 students at the Saatchi Gallery, London. The first emphasized the material properties of paint and application processes. The second offered students the opportunity to follow personal concerns in making paintings by suggesting a self-directed experimental approach to working with paint and application tools. In analysing the resulting paintings, I bring a theoretical understanding of painting activity into constructive correspondence with examples of practical work. I suggest that the exploratory character of the projects, conducted beyond the curricular context, could inform an approach to painting in schools, and that the hermeneutic account of painting presented here may offer an orientation to enquiry for educators attending to other visual art practices in education. 2 Declaration and Word Count I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the proper acknowledgement of the author. Word count (exclusive of appendices, list of references and bibliography): 77, 070 words 3 Table of contents List of illustrations 11 Acknowledgements 15 Introduction 16 0.1 Research intentions and questions 18 0.2 Background to and context of research 19 0.3 Research design 23 0.4 Structure of thesis 24 0.5 Defining terms 31 Hermeneutics; philosophical hermeneutics 31 Painting 33 Medium 34 0.6 Collaboration and participation 37 Part One: Positions – painting and teaching 38 1.1 Introduction 38 1.2 Positions with regard to painting 38 An autobiographical sketch 38 Investment 44 1.3 Positions with regard to teaching 46 Skill, material affordances, ‘school art’ 47 1.4 Conclusion: painting and tradition 51 4 Part Two: Methodology 54 2.1 Introduction 54 2.2 A hermeneutic orientation to research 55 2.3 Combining methods 57 2.4 Collecting data 61 2.5 Summary 64 Part Three: For and against painting 66 3.1 General introduction 66 3.2 A case against painting 67 Introduction 67 The beginning of the end of painting: photography and abstraction 68 Painting as readymade 70 Art into production: Russian Constructivism 71 ‘Neither painting nor sculpture’: conceptual art and minimalism 73 The death of representation, painting after ‘the event’ 76 Painting and modernism 78 Another return to painting 82 3.3 A case against painting in schools 85 Introduction 85 Painting, representation and ‘school art’ 85 Dislodging painting’s centrality 89 5 Conclusion 92 3.4 A case for painting in art and design education 93 Introduction 93 Expression, affective development 94 Cognitive development, painting as a learning process 96 Pleasure, play and fulfilment 99 Material affordances, the haptic 101 Colour as a modality of painting 104 3.5 Conclusion 106 Part Four: Painting as a hermeneutic practice 108 4.1 Introduction 108 4.2 Beginning to interpret practice 110 4.3 Painting as a hermeneutic practice 114 4.4 Hermeneutics and the experience of art 115 4.5 Theoria 121 4.6 Pareyson and ‘formativity’ 122 4.7 Objections to Gadamer’s philosophical hermeneutics 127 4.8 Bildung 129 Defining Bildung 130 Historical and contemporary assessments of Bildung 137 4.9 Conclusion 142 6 Part Five: Painting – skill and expression 145 5.1 General introduction 145 5.2 Painting and skill 148 Skill: practical knowledge and trained practice 148 Painting and skill: commerce and academies 153 Painting and skill: transgression and disruption 158 A hermeneutic conception of skill in painting 168 Painting and skill: summary 175 5.3 Painting and expression 176 Introduction 176 Romanticism and ‘the spontaneous overflow of powerful feelings’ 177 Expression: aesthetics and art and design education 180 Expression: affect and transmission 188 Expression: summary 192 5.4 Painting and imagination 193 The creative imagination 195 Imagination as mental representation 197 Imagination and recognition 206 ‘Trying out’ 209 5.5 Conclusion 211 Part Six: Painting projects 214 6.1 General introduction 214 7 6.2 Studio-based research: studio detritus and painting experiments 217 6.3 Designing and teaching the pilot painting workshop: ‘Painting Encounters’, Saatchi Gallery, April 2012 222 Initial planning for painting projects 222 Development of pilot project design 224 Teaching the workshop sessions 229 6.4 Data analysis: ‘Painting Encounters’ project, Saatchi Gallery, April 2012 232 Analysis of interview data 232 Research setting 233 Interview techniques 234 Opening questions 235 Closing questions 236 Coding categories 236 Painting in School 238 Painting during Saatchi sessions 241 Choice 244 Interpretation 245 Expression (freedom/constraint) 246 Artists referenced 247 Interview data: shortcomings and omissions 249 Conclusion 252 8 6.5 Designing and teaching the second painting workshop: ‘Painting Events’, Saatchi Gallery, April 2013 253 Introduction: Aims and development of project design 253 Working with Hannah Brown 256 Visual resources: modernist painting and beyond 262 Teaching the workshop sessions 270 Conclusion: observations 280 6.6 Interpreting data from the ‘Painting Events’ project, Saatchi Gallery, April 2013 281 Introduction 281 ‘Formativity’ and cues 286 Openness 290 ‘Making it your own’ 297 Improvisation and engagement 309 Imagination and ‘trying out’ 314 Conclusion 320 Part Seven: Conclusion 324 7.1 Introduction 324 7.2 Reviewing the research 325 Claims and implications 325 License to experiment 327 7.3 Reflections 330 9 Bibliography 334 Appendices 353 Appendix 1: Lesson plans for Painting Encounters Workshop, Saatchi Gallery: April 2012 353 Appendix 2: Interview transcripts from Painting Encounters Workshop, Saatchi Gallery: April 2012 360 Appendix 3: ‘Information for Participants’ and Consent forms for Painting Encounters Workshop, Saatchi Gallery: April 2012 386 Appendix 4: Lesson plans for Painting Events Workshop, Saatchi Gallery: April 2013 389 Appendix 5: Interview transcripts from Painting Events Workshop, Saatchi Gallery: April 2013 395 10 List of illustrations Page 42: (1) Yiannis Hayiannis - Untitled (1992). Acrylic on canvas. Page 43: (2) Yiannis Hayiannis - The Inheritance (1997). Acrylic on paper. Page 43: (3) Yiannis Hayiannis - The Inheritance II (2007). Acrylic on wood. Page 111: (4) Painting by second year Lyceum student, acrylic on paper. Page 161: (5) Edouard Manet - Antonin Proust (1880). Oil on canvas [detail]. Public domain. Page 162: (6) Hans Namuth - Jackson Pollock (1950). © The Estate of Hans Namuth. Page 166: (7) Francis Bacon - Study for Head of George Dyer (1967). Oil on canvas. © The Estate of Francis Bacon. Page 200: (8) Painting by Student 15, Painting Encounters project 2012. Acrylic on paper. Page 203: (9) Painting by Student 13 (stage one), Painting Encounters project 2012. Acrylic and pencil on paper. Page 203: (10) Painting by Student 13 (stage two), Painting Encounters project 2012. Acrylic and pencil on paper Page 204: (11) Painting by Student 3 (stage two), Painting Encounters project 2012. Acrylic on paper. Page 205: (12) Painting by Student 11, Painting Encounters project 2012. Acrylic on paper. Page 205: (13) Painting by Student 14, Painting Encounters project 2012. Acrylic on paper. Page 206: (14) Painting by Student 1, Painting Encounters project 2012. Acrylic on paper. Page 209: (15) Painting by Student 13, Painting Encounters project 2012. Acrylic on paper. Page 218: (16) Yiannis Hayiannis - Palette I (2009). Acrylic on acetate. Page 219: (17) Yiannis Hayiannis - Mask (2009). Acrylic on card. Page 220: (18) Yiannis Hayiannis - Absorbency test (2010). Acrylic on paper. Page 220: (19) Yiannis Hayiannis - Absorbency test (2010). Acrylic on paper. Page 221: (20) Yiannis Hayiannis - Painting experiment (2010). Acrylic on canvas. Page 228: (21) Education Room, Saatchi Gallery, Painting Encounters project 2012. Page 231: (22)
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