Running head: Literature Review for Artistic Development

Literature Review for Artistic Development

Nancy Jones
University of Florida

Literature Review for Artistic Development

Abstract

Over an eight-week course of Artistic Development, I read and researched many topics regarding
development, psychology, and artistry. This review contains the ideas and theories that I found to
be most interesting or enlightening in regards to my classroom and student development. I will
start by taking a look at theories of learning and childrens artwork. Then, how children learn and
develop through the making of art. Next, how developmental psychology can be applied to the
art classroom. I will discuss social constructs of development and cultural references. Then, I
will review connectivity and the art classroom. Last, I will give my overall thoughts about what I
have read.

Literature Review for Artistic Development

Introduction
Over an eight-week course of Artistic Development, I read and researched many topics
regarding development, psychology, and artistry. This review contains the ideas and theories that
I found to be most interesting or enlightening in regards to my classroom and student
development. I will start by taking a look at theories of learning and childrens artwork. Then,
how children learn and develop through the making of art. Next, how developmental psychology
can be applied to the art classroom. I will discuss social constructs of development and cultural
references. Then, I will review connectivity and the art classroom. Last, I will give my overall
thoughts about what I have read.
The ideas that I found most interesting or useful are visual thinking, the social and
cultural influence on development, and connectivity in artistic development. Winner explains
that visual thinking is central to human cognition (1993, p. 31). Its the idea that humans receive
so much of their information visually. Art is very visual and learning art should also incorporate
visual information. Vygotsky theorized that social and cultural influences give children the
opportunity to learn from their immediate surroundings. Finally, connectivity is best explained in
Gabliks article explains the shift in the 1990s from an individualist artist to a connective artist.
For many people, its time to move on and revise the cultural myths that are guiding us - to
reassess our relationship to the present social framework and its practices (1992, p. 3). I will
elaborate on each of these ideas and their usefulness for artistic development.
Summary
Visual Thinking
The ideas of visual thinking were explained in the article by Ellen Winner, Exceptional
Artistic Development: The Role of Visual Thinking. Winner explains how those who are gifted

Literature Review for Artistic Development

learn art in a faster pace or keep the childhood level for a longer period of time (1993). She says,
Childrens solutions are neither mistakes nor stereotypes. Rather, they are intelligent and
original attempts to find a two-dimensional structural equivalent of what is observes in threedimensional space (1993, p. 32). The way children figure out how something works is through
a drawing. This learning process should be appreciated. Winner compares the art classes of
China and PROPEL. In the Chinese class the children are taught to draw with a defined imitation
based curriculum. The PROPEL class is given an assignment, but the students are given time to
problem solve on their own and then can reflect on their processes. The work in a PROPEL class
may not be as advanced, but the children learn how to think visually.
Social and Cultural Influences
Pearsons article, Towards a Theory of Childrens Drawing as Social Practice focused on
the influences of the children producing art. He compares childrens representational goals to that
of a trainee accountant. It makes little sense to think of them as knowing how to use graphic
systems without having access to models of graphic practice (Pearson, 2001, p. 354). Each
childs graphic systems are unique because of the influences of people and images seen
throughout their lives.
The artists studied by Wolf and Louis is each unique because of their life situations. A
childs goal may not be realism, but it may stem from a need to draw as a process. Eisner (1978)
writes that they learn that they can, in fact, create images with material and that the activity of
making such images can provide intrinsic forms of satisfaction (p. 6). The physical art making
process and decision making studied by Louis (2005) gives an example of that satisfaction when
studying four year old, Kristin, as she paints and gives meaning to each object that she paints.

Literature Review for Artistic Development

McGinnis (2007) and her multicultural class showed that a inquiry styled class can help
students learn language and culture, but also have a sense of inclusion and acceptance. Feldman
(1987) says, The key to intervention is to provide experiences and stimulation that are optimally
discrepant from the childs current level of functioning (p. 254). McGinnis (2007) provided an
experience for her unique group of students so they can utilize their language and culture in a
learning environment. The students in the article were able to draw upon their previous
knowledge and native language to build a project that helped improve their English literacy.
Lev Vygotskys theorized that language, culture, and social interaction was essential in
human cognitive development. Beginning from infancy, humans rely on their caregivers. From
the caregivers comes an understanding of what goes on in the culture and society. Vygotskys
cognitive pluralism combines the learning from language, culture, and social interaction.
Complex social relationships and differing cultural values will shape the intellectual
interdependence in the co-construction of knowledge in classes which are not based on the
traditional teacher-centered transmission model of education (John-Steiner & Mahn, n.d.). Dayto-day activities in the home, in the store, and at work help to develop children to live in this
world. Language and reading out loud help very young children to imitate the noises they will
need to communicate in their native language. Vygotsky believed that each element was
interrelated in development (John-Steiner & Mahn, n.d.).
Connectivity
In current times, networking is a ritual of our daily routines. Gabliks article explains the
shift in the 90s from a individualist artist to a connective artist. For many people, its time to
move on and revise the cultural myths that are guiding us - to reassess our relationship to the
present social framework and its practices (Gablik, p. 3). Connective aesthetics is combining the

Literature Review for Artistic Development

artist with the culture, or the other. It brings a new level of creativity because there is more to
relate with, more the work with, and more to say. Art becomes a part of the community. In
Jamess mail project, the letters that he sent out requested participation. Once the recipient
responded, there was a connection. This connective aesthetic is explained quite well in this quote
by Springgay, Devouring art is a sensual, tactile response - digesting and consuming, not as
mastery or control, but in and through the senses, attesting to the bodys participation in knowing
and meaning making (p. 80). There is a personal connection that strengthens our community.
Reflections
Pearson, Eisner, and Louiss developmental processes can help us understand how some
children process art. Each grade level will have a different dynamic based on the social aspects
of the class. There are personality traits within children that will draw them toward the journaling
explained by Wolf (1988), and others that will not say a thing about their artwork. Some students
will display each thing that Eisner (1978) lists as they grow in their abilities. Teaching art is a
balancing act that incorporates a variety of artistic development understandings. If we take away
these theories, then we are left grasping for some way to think like a child in regards to art and
graphic representations.
I was encouraged by McGinniss (2007) article because she doesnt expect her multicultural
students to fit into one set mold. If our appearances can be so different, so can our learning. I
love watching my students develop in their artwork, but I know that I have to be flexible with my
teaching styles so that they can further understand.
Vygotskys emphasis on culture, language, and social interaction make so much sense for
any classroom. I have used a Free Draw day in my classroom since I began teaching. This
open and voluntary drawing time brings about self-conversations from students who are problem

Literature Review for Artistic Development

solving in their drawings. The older students will collaborate with each other to figure out an
issue they have within their artwork. The cultural interests of my students are very present in
their artwork. I allow superhero and movie references. Toku states, Art curricula are often
developed without regard for students interest (p. 12). Pop culture references keep their interest
in art.
When thinking about connective aesthetics and projects that represent that, a local mural
comes to mind. My college professor took the opportunity to create a mural on the side of a
building with the help of her painting students for that semester. The mural is very large and
diverse. It took the relationships with the community and businesses to complete this mural.
Also, when you look at the mural, there is a sense of connection with at least one subject. I
always find something new when I walk by.
As art educators, we should be able to give students tools and let them explore. I was
watching The Magic School Bus while watching my son and nephew, and Miss Frizzle kept
telling the students to keep asking questions and theyll find their answers. Rarely did she every
point the answer out to them, but instead let them discover and make connections. As Miss
Frizzle says, Take chances, make mistakes, get messy (Forte, 1994). I know that this is a
fictional classroom, but we could use Miss Frizzles example to help us be more willing to let
students take a chance with a project.
This past school year, I had several students who are very strong sculptors and drawers.
They are very comfortable working with clay or pencil, but, when given the option, they
wouldnt use anything else because they were nervous about mistakes. We did a whole bunch of
projects that pushed the limits of those students throughout the year. At the end of the school year
those students that were strong sculptors and drawers told me how much they appreciated that I

Literature Review for Artistic Development

made them go out of their comfort zone. One in particular showed me her drawings and how
much they have improved. Ive had to learn by trial and error, but I hope that I could, some day,
be like Miss Frizzle and help my students Take chances, make mistakes, get messy (Forte,
1994). Im really going to miss my job and the students, but I will return to the classroom
someday.

Literature Review for Artistic Development

References
Becker, J. (2009). Ninth Street Community Mural Project [Mural Painting]. Great Falls
Gymnastics Academy: Great Falls, MT.
Eisner, E. (1978). What do children learn when they paint? Art Education, 31(3), 6-10.
Feldman, D. H. (1987). Developmental psychology and art education: Two fields at the
crossroads. Journal of Aesthetic Education, 21(2), 243-259.
Forte, D. (Producer). (1994). The Magic School Bus [Television series]. New York, NY:
Scholastic Entertainment.
Gablik, S. (1992). Connective aesthetics. American Art, 6(2). 2-7.
Hamblen, K. A. (1984). Artistic perception as a function of learned expectations. Art Education,
37(3), 20-25.
John-Steiner, V., & Mahn, H. (n.d.). Sociocultural approaches to learning and development: A
Vygotskyan framework. Retrieved from http://webpages.charter.net/schmolze1/vygotsky/
Louis, L. L. (2005). What children have in mind: A study of early representational development
in paint. Studies in Art Education, 46(4), 339-355.
McGinnis, T. A. (2007). Khmer Rap Boys, X-Men, Asia's Fruits, and Dragonball Z: Creating
multilingual and multimodal classroom. Journal of Adolescent & Adult Literacy, 50(7),
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Pearson, P. (2001). Towards a theory of children's drawing as social practice. Studies in Art
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Relyea, L. (2006). Your art world: Or, The limits of connectivity. Afterall: A Journal of Art,
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Smith-Shank, D. (1996). The amazing artworld(s) of three culturally advantaged high school

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students. Art Education, 49(2), 50-54.

Springgay, S. (2009). Cookies for peace and a pedagogy of corporeal generosity. The Review of
Education, Pedagogy, and Cultural Studies, 31, 7493. DOI:
10.1080/10714410802629268
Toku. M. (2001). What is Manga? The influence of pop culture on adolescent art. Art Education,
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Wilson, B., & Wilson, M. (1981). The use and uselessness of developmental stages. Art
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Winner, E. (1993). Exceptional artistic development: The role of visual thinking. Journal of
Aesthetic Education, 27(4), 31-44
Wolf, D. (1988). Artistic learning: What and where is it? Journal of Aesthetic Education, 22(1),
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