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Teaching Art


She also focuses on the practice of pulling th classroom together as a group to collectively assess each students work and pick out those pieces that seem to be the most "sincere", the least "cliche" and the most "creative". Richardson explains how that process unfolded and the ways in which the students dealt with their own rejection from the class and also how the class as a whole dealt with rejecting others" art.
             Richardson was initially left wanting much more from the work her students were creating. As she explains "cliche rendering of figures as stick-men were common, all in all the results left me downhearted" (35). At this point the children were simply given materials and told to create what first came to mind. Richardson quickly realized that this was not going to produce the level of creativity she wanted, so she decided to take the students on nature walks to hopefully spark some inspiration. On the walks both Richardson and her students began to take notice to what parts of their walks sparked the best pieces of art. They then would spend more of their nature study time at these places. One example is a particular fern tree which they re-visited to observe its maturation process. The work the children did in the classroom reflected these frequently visited sites and both the students and Richardson saw a great deal of development where the more time the children spent observing, the more detailed and reflective their art got. This development in Richardson's was the most important one made in the entire process because it opened up the door for the students to find inside themselves what it was that really made them want to create. Using nature is an ingenious idea because nature is art in itself and is constantly changing and creation is constant. It gives the students material but still leaves endless room for artistic exploration. .
             Once she felt that her students were at a creative peak, Richardson introduced the idea of incorporating writing into the work.


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