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Peggy Albers - Telling pieces: art as literacy in middle school classes

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Telling Pieces is an exploration of how pre-adolescent middle-school children develop a knowledge and understanding of the conventions of art (art as literacy) and how they use this knowledge to create representations of their lives in a small midwestern U.S. town. Beginning with an overview of social semiotics and emergent literacy theorizing, the authors set the stage for their study of sixth graders involved in art. A galleria of childrens artworks is presented, allowing readers/viewers to consider these texts independent of the authors interpretations of them. Then, set against the galleria is the story of the community and school contexts in which the artworks are produced--contexts in which racism, homophobia, and the repression of creativity are often the norm. The interpretation the authors bring to bear on the artworks reveals stories that the artworks may or may not tell on their own. But the tales of artistic literacy achievement are counterbalanced by reflection about the content of the artworks produced, because the artworks reveal the impossibility for students to imagine beyond the situational bounds of racism, homophobia, and religiosity. The authors conclude by raising questions about the kinds of conditions that make literacy in art possible. In doing so, they explore selected alternative models and, in addition, ask readers to consider the implications of the ideological issues underlying teaching children how to represent their ideas. They also advocate for a participatory pedagogy of possibility founded on ethical relational principles in the creation and interpretation of visual text. Of particular interest to school professionals, researchers, and graduate students in literacy or art education, this pioneering book: * brings together the fields of art education and literacy education through its focus on how middle school students come to work with and understand the semiotic systems, * introduces sociolinguistic, sociological, and postmodernist perspectives to thinking about childrens work with art--adding a new dimension to the psychological and developmental descriptions that have tended to dominate thinking in the field, * includes a galleria of 40 examples of childrens artwork, providing a unique opportunity for readers/viewers to interpret and consider the artwork of the sixth graders independent of the authors interpretations, * presents descriptions of art teaching in process, * gives considerable attention to the interpretation of the childrens artworks and the influences that contribute to the content they represent, and * considers varying models of art education along with the implications of introducing new representational possibilities.

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title Telling Pieces Art As Literacy in Middle School Classes author - photo 1

title:Telling Pieces : Art As Literacy in Middle School Classes
author:Albers, Peggy.; Murphy, Sharon
publisher:Lawrence Erlbaum Associates, Inc.
isbn10 | asin:080583463X
print isbn13:9780805834635
ebook isbn13:9780585226316
language:English
subjectArt--Study and teaching (Middle school)--United States, Art in education--United States.
publication date:2000
lcc:N362.5.A43 2000eb
ddc:707/.1/273
subject:Art--Study and teaching (Middle school)--United States, Art in education--United States.
Page iii
Telling Pieces
Art as Literacy in Middle School Classes
Peggy Albers
Georgia State University
Sharon Murphy
York University
Picture 2
LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS
2000 Mahwah, New Jersey London
Page iv
Copyright 2000 by Lawrence Erlbaum Associates, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microform, retrieval system, or any other means, without the prior written permission of the publisher.
Lawrence Erlbaum Associates, Inc., Publishers
10 Industrial Avenue
Mahwah, NJ 07430
Cover design by Kathryn Houghtaling Lacey

Library of Congress Cataloging-in-Publication Data
Albers, Peggy.
Telling pieces: art as literacy in middle school classes/ Peggy Albers, Sharon Murphy.
p. cm.
Includes bibliographical references and index.
ISBN 0-8058-3463-X (paperback: alk. paper)
1. Art-Study and teaching (Middle school)-United States. 2. Art in education-United
States. I. Murphy, Sharon, 1955- II. Title.
N362.5. A43 2000
707'.1'273--dc21 99-046208
CIP
The final camera copy for this work was prepared by the author, and therefore the publisher takes no responsibility for consistency or correctness of typographical style. However, this arrangement helps to make publication of this kind of scholarship possible.
Books published by Lawrence Erlbaum Associates are printed on acid-free paper, and their bindings are chosen for strength and durability.
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
Page v
Contents
Preface
vii
1.
Introduction
1
2.
The Representation of Meaning
7
3.
Galleria
25
4.
Location, Loss, and Longing
33
5.
Freedom, Form, and Feedback
59
6.
Identity, Ideology, and Image
93
7.
Creating Conditions for Art as Literacy
119
Appendix:
Methodology Notes
137
References
153
Subject Index
157

Page vii
Preface
Picture 3
Openings are already directed toward closings. The first question in
presenting a body of work is where to cut in.
Young (1987, p. viii)
Our opening is a reflection on how the questions that form the central part of the book made us think about the practice of artistic representation in our own lives and the insights that our study of sixth-grade art representations might help us make into our own experience. As we were working on the last stages of writing this book, we both were enrolled as novices in hand-building pottery classes. Peggy already had completed one semester of wheel pottery in a studio setting run by professional potters and was going on to complete the hand-building course in the same locale. Sharon enrolled in a class run by a hobbiest potter, who taught occasionally at the local community center. Sharon's class was located in a general arts and crafts room bordered by a gymnasium on one side and general classrooms on the other, where the air was punctuated by the odor of chlorine from the swimming pool down the hall.
Peggy continues in pottery and Sharon does not. We have had numerous discussions about why this might be so. Was it the studio atmosphere, the bountifulness of materials, and the expectation for productivity in Peggy's setting that enabled her to go forward? Was Sharon's interest discouraged by the step-by-step lessons in which the whole group had to wait for the teacher to show the next step, clay was meted out in tiny portions so that it took on a high value, and only some elements of the
Page viii
process were visible (e.g., only certain glazes were available and firing was done by someone the students never met)? Was it simply the congeniality of the physical space? Was it that Peggy might have been more passionate about the medium at the outset? Were other circumstances in our lives factors? We speculate.
Our speculation continues to be informed by the focus of this book: our systematic study of how preadolescent middle school children develop a knowledge and understanding of the conventions of art, what we call literacy in art, and how they use their knowledge of conventions to create representations of their lives in a small U.S. town.
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