DEC Scan Journal : Volume 36 Issue 3
2017 Volume 36, Issue 3 33 Contents Editorial Learning & teaching Research Share this Resource reviews the process of artmaking as an evolving network of choices, intentions, material actions, reflection, reworkings and resolution, that is not strictly linear and that often involves accidents meeting an open mind. ‘Moment to Memento’, Year 11 photography, video & digital imaging Programming approaches – developing students’ practice There are no exact methods for teaching students the dynamic and complex nature of practice in visual arts. Remaining learners ourselves and experimenting with new ideas, research, understandings and approaches in our own programming and teaching, is equally empowering for ourselves and our students. In offering suggestions as to how practice can be authentically ‘taught’, I will discuss key aspects and strategies that I have found useful in designing and implementing tasks and units of learning across ‘Put a Stamp on It’, Year 11 visual arts Motivation and the openness to take positive risks in learning is pivotal to the development and extension of students’ practice as artists over time. Creativity takes courage and I often humour my students by highlighting and demonstrating that in artmaking, there is no ‘right’ or ‘wrong’... just ‘left’. Designing investigations that model artmaking as a process of creative thinking, research and experimentation, grounding students in what they know while moving them beyond what they know, is key to developing innovative thinkers and positive risk-takers. Scaffolding tasks, explicit teaching of higher-order thinking strategies, practical workshops, structured experiments, and timely opportunities for feedback and feedforward, all encourage students to lose their fear of making mistakes and trust in Finding and establishing a balance, between practical and theoretical components of the course across Stages 4-6, importantly enables students to perceive the reciprocal nature of artmaking, and art critical and historical investigations. With planned yet responsive lesson sequences, students can come to realise that exploring and responding to the practice of diverse historical and contemporary artists informs and enriches the development of their own conceptual and material practice in artmaking, and vice versa. Students as artists Teaching artmaking in ways that enable students to see themselves as artists and gain a sense of ownership and empowerment through developing their own artistic practice, is one of my primary aims as a visual arts teacher. It is extremely rewarding when students find flow, excitement and confidence in exploring their own creative potential and interests, and become so engaged that they feel as though they belong to their work.
Volume 36 Issue 2