Robert Hawkins, Tiffin Boys - GCSE

1. Robert Hawkins, Tiffin Boys - GCSE

2. ‘Shifting the focus`Art Education & Contemporary CultureNSEAD conference 2010, Liverpool Iain Macdonald – School of Creative Industries, Edinburgh Napier University Email: i.macdonald@napier.ac.uk Andy Ash – Art, Design & Museology, Institute of Education, University of London Email: a.ash@ioe.ac.uk

3. Raising questions • Introduction – dialogue - theory • Setting the scene – contemporary practice • Neglect • Why – interdisciplinary learning • Practice & approaches – case studies • Conclusions

4. Introduction • ‘slightly ill-equipped to teach or appreciate the moving image found in an art gallery’ (OFSTED, 2009) • ‘video is the medium of choice for the younger generation’ (Elwes, 2006) • ‘digital natives’ (Prensky, 2001) • Importance of contemporary art in art education (Burgess, Dawety) • Theory – empower, constructivism, making relevant to pupils

8. Why art galleries are embracing the internet • http://news.bbc.co.uk/1/hi/programmes/world_news_america/8986280.stm

9. The case for change • ‘animation, film, video, or web-based products’ (QCA 2007) • ‘prepare students with the tools which will shape the 21st century’ (Ash, 2004) • ‘developing key areas of understanding, and encourage a more reflective approach’ (Buckingham, 2003). • BECTA’s report (2002) • Long 2001, Ash 2004, Newbury 2004, Allen 2003, Davies and Worrall 2003, & Meecham 2000 • ‘contemporary art and digital media enriched the curriculum and pupils’ exploration of abstract concepts’ (OFSTED, 2009)

10. Why the moving image is relevant in the Art and Design classroom. • ‘intrinsic and immediate effects, focusing on the heightened awareness of the relevance of art to pupils’ own lives and the subsequent effect this has on their motivation and enthusiasm for studying and creating artwork’ (Downing and Watson 2004) • ‘new attentional culture’ (Lemke 1995) • ‘We don’t think the same way when we are interacting with just one source of information as when we are cycling our attention rapidly among several. We do not think or learn the same way when we are being led along as when we ourselves take control’ (Lemke 1995). • become producers of their culture, not just consumers. (Allen, 2003)

12. http://www.bbc.co.uk/news/education-11214894 “The fusion of technology with the creative and digital industries is as vital to the UK's economic growth as that of science, engineering and manufacturing” Council for Industry and Higher Education

14. Scottish Screen: Moving Image brochure 2009 Media literacy: cultural access, critical understanding & creative activity • Analysing moving image texts • Creating them • Exploring • Appreciating • Enjoying and sharing them • Understanding their rhetorical & aesthetic operation

16. Screen Education 1964-2009 • ‘The ephemeral nature of television proves particularly challenging to its acceptability as an art form’ (2009: 113). • ‘…only at secondary school age may the teacher intervene to educate them in the ‘formal qualities of screen art’’ (2009:114). • ‘Once again [Hodgkinson] draws on Read and the latter’s prescription for the three activities involved in art teaching: self expression, observation and appreciation’ (2009:114). Bolas, T. (2009) Screen Education: from film appreciation to media studies. Intellect with reference to Hodgkinson, A. (1964) Screen Education. UNESCO

17. Tiffin Boystime-lapse within installation

18. Case study 1: Tiffin • Home passion and hobby influences class work • Uses ‘2D media in 3D way’ • Rough cut of test rushes inform re-shoots • ‘Musical structures influence film shape’ • Influences are Bill Viola, Jan Svankmajer, Philip Glass, Dada surrealists • Art teachers actively encourage and support

19. Surbiton High School film clips AS (lens based option) Art students

20. Case study 2: Surbiton High • Focus on endorsed lens based Art A level. • Some GCSE use is motivated by home practice. • Ambition to introduce moving image at KS3 Art. • Artist residences have helped with INSET. • Art teachers learn with students as ‘artist to artist’. • YouTube is a source of reference as well as a forum for assessment.

21. Giles Ruscoe, The Henley College - Creative Media Diploma

23. Case study 3: The Henley College • Creative and Media Diploma Level 3 • Large capital investment • Practice and theory interwoven + work experience • Some advanced home practice using online tutorials. • Influences are viral media and YouTube. • Photography and media teachers work collaboratively (art teachers not timetabled!).

24. Conclusions • Gallery presence ensures moving image art is not ‘ephemeral’ and is part of contemporary art mainstream. • Ubiquitous use of video cameras and desktop editing allows individual expression. • Essential media literacy skills to empower creativity. • Art teachers can learn with students. • Approaches to sculpture and music can inform shape and form of moving image. • Opportunities exist for cross-curricula collaboration.

26. ‘… there can be and usually is a degree of pain in giving up old ways of thinking and knowing, and learning new approaches. I respect that pain. I include a recognition of it when I teach, that is to say, I teach about shifting paradigms and talk about the discomfort it can cause’ Bell hooks, 1994:43 Teaching to Transgress