Aesthetic Modernism, the first among equals? A look at aesthetic value systems in cross-cultural, age and visual arts educated and non-visual arts educated judging cohorts

Kindler, Anna M.; Pariser, David; Berg, Axel van den; Liu, Wan Chen; Dias, Belidson

doi:10.1080/1028663022000009533

Cited by 6 publications

(2 citation statements)

References 12 publications

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“…They showed that Chinese judges consistently scored drawings by the youngest children below other groups, while Davis's findings reflected modernist Western aesthetics. Further investigations by Kindler, Pariser, van den Berg, Liu and Dias (2002), with adult and child judges from Brazil, Canada and Taiwan, supported this view and revealed other models. Canadian and Brazilian eight-year-old children showed a preference for the art of the next-oldest age group and produced an overall inverted U.…”

Section: Notions Of Children's Artmentioning

confidence: 60%

“…Children's responses to their own drawings were of no consequence in Davis's findings, and attributing young children's art with modernist art qualities privileges adult perspectives, as children tend to be critical of their own drawings if they lack realism or precision (Richards, 2003a(Richards, , 2003b(Richards, , 2004. Furthermore, the voice of the young art-maker is silenced in these models as they often do not prefer their own drawings (Kindler et al, 2002;Richards, 2003bRichards, , 2004Rosenblatt & Winner, 1988, in Winner, 1997; and children often lack full control of the aesthetics effects they produce. Nevertheless, Davis's research and similar appeals to modernist aesthetic values have influenced attitudes towards children's art and notions of development.…”

Section: Notions Of Children's Artmentioning

confidence: 99%

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Outdated Relics on Hallowed Ground

Richards

2007

Australasian Journal of Early Childhood

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AlTHOugH sOCiOCulTuRAl THEORY challenges educators to embrace the social nature of learning, common practice in early childhood art has varied little from its traditional stance on natural art development, adult non-intervention, and the sacrosanct nature of creativity and artistic expression-outdated relics on hallowed ground. Despite mounting pressure to value social and cultural contexts of learning, popularised models of children's artistic development suggest that young children decline in artistic capabilities with the onset of school, primarily as a result of social interactions-a U-shaped model of artistic development (Davis, 1991; Gardner, 1982). Furthermore, children are often invisible in discussions on children's art and the value placed on their art is closely aligned with adults' aesthetics (Pariser & van den Berg, 2001) while marginalising children's actual experiences. Why beliefs about early childhood art remain entrenched may be best understood by exposing the intersection of the ever-evolving notions of childhood, art and child development. introduction sOCiOCulTuRAl THEORY sHOulD prompt a rethink of taken-for-granted practices and generate critical debate about concepts of child development (Fleer, 2005). One area that seems particularly entrenched in its beliefs about child development is that of art educationindeed some early childhood practitioners are reluctant to regard their involvement in young children's art experiences as teaching (McArdle, 2001; Visser, 2006). The reason for these beliefs and practices, Felicity McArdle and Barbara Piscitelli (2002) suggest, may be a result of disparate messages from literature and policy in early childhood and art education. Furthermore, despite recent advocacy for co-construction and the concept of the competent child, 'the issue of "freedom above discipline" remains as a dominant discourse of art when compared to other curriculum areas such as literacy and numeracy' (p. 13).

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Section: Notions Of Children's Artmentioning

confidence: 60%

Section: Notions Of Children's Artmentioning

confidence: 99%

Outdated Relics on Hallowed Ground

Richards

2007

Australasian Journal of Early Childhood

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Child Art

Pariser¹

2008

The International Encyclopedia of Communication

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The generic term child art often refers to graphic and even three‐dimensional work done by children. The term was first made popular by a leading art educator of the last century, Victor Lowenfeld (1947). It is occasionally used to refer to “real” artworks produced by “wunderkinder” such as Alexandra Nechita (Plagens 1996) who paints only in Picasso's Cubist style or Wang Yani (Winner 1993) who produced traditional Chinese brush paintings to global acclaim. Two aspects of child art have been studied: the aesthetic, i.e., how good, or expressive, or authentic the image created by the child is; and the developmental, i.e., how best to describe a child's acquisition of graphic fluency (Golomb 1993; Kindler & Darras 1997; Kindler et al. 2002; → Art as Communication; Media Use and Child Development; Media Use by Children; Visual Representation).

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Composing in Visual Arts

Kindler

International Handbook of Research in Arts Education

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Aesthetic Modernism, the first among equals? A look at aesthetic value systems in cross-cultural, age and visual arts educated and non-visual arts educated judging cohorts

Cited by 6 publications

References 12 publications

Outdated Relics on Hallowed Ground

Outdated Relics on Hallowed Ground

Child Art

Composing in Visual Arts

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