Emmanuel Hernandez

ARTE 344/544

FACILITATION SHEET 1

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Theorizing visual culture in education. In Teaching visual culture: Curriculum,
aesthetics, and the social life of art (pp. 18-40). New York, NY: Teachers College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) describes how society responds to visual culture in the working world and how
that affects the viewers own interpretation on identity when she states, “…Art is a form of social
production and the creation of a work of art is only part of the product; it is the viewer that completes
the work and what is produced is a social relationship.”(, p.21). This take on visual culture, that we as a
society complete in its form as information and art requires us to analyze how our information is being
perceived and the context it is held in.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) recollects on the outdated work conducted by art theorists and Bourdieu by
explaining that as a sociologist Bourdieu excludes the creative process in his theory on aesthetics and
ignores the practice on how art is created. Bourdieu’s understanding of the arts is too narrow minded,
yet his work was still being widely regarded in the realm of art education. This is likely due to the shared
understanding in Bourdieu’s time that education is repetitive and reproductive. But as Freedman notes,
“However, education is not only reproductive; it is also productive. This is particularly true in the case of
the arts where the value of originality is imparted at the same time as the value of following rules” ((p.
25). Freedman then goes on to state that when the field of art and education is divided in its view, it
will always end in contradiction. Freedman also points out that education in the arts is buried deep
within the questioning of art, the what, why, and how we see visual culture. She also points out that
visual culture also intersects into other areas of society, such as production, economy, and politics.

By the conclusion of chapter 1, Freedman (2003) recalls how as an undergraduate she was taught that
there was a distinct difference between the visual arts and fine arts only made distinct by the artist. And
while we can appreciate the classical artisans and their work as their own distinct category, it is not the
sole aspect to focus on. As Freedman notes, “Fine art is still critically important, but it is only one form of
visual culture worthy of study. Visual culture as a whole must be seen as real in the sense that it is a
major part of everyday experience.”(,p.37).

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I wholeheartedly agreed with the statements and perspectives conducted by Freedman (2003). Visual
culture is in its own way a melding pot with multiple views and perspectives that interact with society,
sometimes in segments, and in others as a whole. Visual culture has many applications as both context
for education and as an analysis for how society is viewing art. I feel that she also made a strong case on
how the fine arts make up only a small portion of visual culture. I imagine If I were born in another era I
would be taught that art is “this” and as an artist I must replicate “that”, but the process of creating art
is just as important if not more, because from there we can create something truly original.

FACILITATION SHEET 2

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). The Interdependence of Form, Feeling, and Knowing. In Teaching visual culture:
Curriculum, aesthetics, and the social life of art (pp. 23-41). New York, NY: Teachers College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) describes how the importance of visual culture in education can be utilized to
enrich the visual concepts we see in our culture every day. The conceptual focus of visual culture is
deeply rooted in the analysis of aesthetics, considering the amount of information we perceive in our
visual culture it becomes obvious that we should bring attention to the social implications and how we
can properly use this information in education.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) mentions the beauty and blunder of aesthetics. Aesthetics can be perceived
as the study of beauty and the alluring forms that audiences have found appealing throughout the ages,
but there have been situations where they misrepresent and cause confusion, sow stereotypes, and
cause us to adopt unrealistic views and forms as goals that can often be toxic. In terms of consumerism,
this may reinforce the purchases of products before critically analyzing the implications. This reveals the
connection between sociology of arts and semiotics, but as Freedman notes, “The connections between
these disciplines have become more acute through the complex dynamics of postmodern image making
and viewing that point to interdependent layers of daily and lifelong experience tied to aesthetic
response” (p. 24). As humanity has progressed, so as to have the forms of visual culture, technology
has enabled us to create new and exciting forms that were previously considered unimaginable, these
changes demand that we reconsider the implications of aesthetics and the philosophical concepts
associated with them, such as knowledge, identity, and value.

Freedman (2003) acknowledges that not every student who studies the arts are studying to be an art
professional, but that it is still important to connect the historical contributions, and the social
significance to students and their lives. She also reiterates that a critical aspect to this education lies in
the analyzation of the artists inspiration, the art process, and the visual qualities that lead to profound
interpretation. As Freedman notes, “Imagination develops through interdisciplinary and disciplinary
experiences with visual culture, which are contexts that play a part in the extension of meaning and
learning. Visual culture influences people’s interests, but also changes based on imaginative visualization
in response to interests” (p.32). This ultimately translates as a universal understanding that visual
culture is never going to be defined as a single entity, and is in fact part of the human experience each of
us encounter as forever changing, through trends, politics, social structures and knowledge to mold
visual culture and how we perceive it.
Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) created a compelling argument for the education of visual culture, has
found a way to expand it beyond educational implications, and has connected how we organically
experience visual culture. Visual culture like any category of education offers students information that
expands their world view, this begins with understanding the history of aesthetics, the social
implications, and allows students to properly analyze and interpret information. I also believe that a
proper understanding of the use and history of aesthetics holds valuable social lessons on how
misrepresentation and unrealistic stereotypes negatively affect society and how it compels consumerism
to aim for unachievable goals.

FACILITATION SHEET 3

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). The Social Life of Art, The Importance of Connecting the Past with the Present. In
Teaching visual culture: Curriculum, aesthetics, and the social life of art (pp. 23-41). New York, NY:
Teachers College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) describes the importance of connecting images and symbols of visual culture with
their historical roots. Part of what makes visual culture effective is the information that is pulled from
previously established imagery, this in turn sends viewers a cultural message that holds to some degree
educational value. In this chapter, we explore how critical examination, importance of context, and the
relationship between the past, present, and future impact our view and understanding of visual culture.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) discusses how the studying of history helps create the illustrations we use to connect
the arts with cultures, but because the past is virtually gone and forever unattainable, we look to arts
and artifacts to recreate a visual of history. What this means is that for as long as modern society has
created art, it has simultaneously created a visual for the time period; the educational practice of
analyzing art in history and culture holds much value. However, the popularization of European art being
classified as “fine art” has created a shallow boundary that has excluded other cultures. As Freedman
states:

The defining boundaries of art history have not typically extended to popular forms of art, art made by
people of non-Western cultures, or even some cross-cultural aspects of Western fine art. In fact, popular
visual arts and mass media images are considered unrelated to art history to such an extent that they
tend to be studied in different departments at universities, such as cultural studies, anthropology,
communications, or media studies. (p. 45)

With the inclusion of other cultures, aside from typical Western European-centered art, we now explore
the larger girth of art history. Visual culture is like a vacuum in the sense that it takes cues from society,
when society is more culturally delivers the visual culture expands and encompasses more knowledge
for analyzation.

Freedman (2003) mentions the flaw with some art historian practices in which the subject is taught in a
linear fashion shaped by historicism. The biggest problem with this is that it typically follows Western art
and how it has evolved, and although this holds value, it ignores other cultures and assumes the idea
that there is only one correct art history. According to Freedman (2003), “Using a survey timeline to
teach history seriously underrepresents important aspects of the past, in part because it limits our
ability to conceptualize relationships between and across cultures “(p.48). This is where visual culture
triumphs over typical art history; through inclusion and contextually grasping different cultures, it
contains the potential to reach multiple perspectives.

In conclusion, because Euro-American tradition has placed fine art as a standard of the arts, so to does it
place the value on its educational aspect. This of course limits us from broadening our understanding of
art and closes us from the possibility of what other cultures have to offer. Visual culture opens
boundaries of other cultures and the past of those cultures, broadening our understanding of art and
the context of visual culture.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) portrayed a reasonable argument for the historical superiority the study of visual
culture has to offer versus typical outdated forms of art history. Art history cannot be considered
effective unless it covers the context and influences of today’s art and visuals, this gives us not only an
understanding of the social implications imagery holds, but it helps us analyze the greater context
behind history, or lack thereof. I personally have always thought of this as an effective way of teaching
art history and fully intend to implement these ideas in the future when connecting visual culture with
history.

FACILITATION SHEET 4

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Art and Cognition, Knowing Visual Culture. In Teaching visual culture: Curriculum,
aesthetics, and the social life of art (pp. 23-41). New York, NY: Teachers College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) describes the importance of separation and how an understanding of cognition may
affect the way we approach visual culture in the arts. Freedman elaborates that on a developmental
level, we naturally explore our environment and associate ourselves with familiarity, if something does
not appear normal or if we see something new in our world, we will investigate to determine how we
are to engage with the form. Freedman then goes on to explain how we may further analyze this
process and apply it to education.

Short Overview (Including at least 2-3 important quotes from the reading):
Freedman (2003) connects our cognitive understanding of arts and viewership, or in a much simpler
explanation, how we view and understand art changes based on our association and disposition to the
arts we enjoy. Freedman recalls a field trip where she guided undergraduate students to an art
museum, however there were some students who seemed uninterested, if not frustrated with the
activity in its entirety. Freedman explains that the students were afraid they would not understand the
art. Having no prior knowledge or interest in the arts, the students felt intimidated or as Freedman
explains:

… people who see a work of art that is apparently unrelated to anything they have seen before might
respond as if it is threatening. Many adults, including adult students, have negative emotional responses
to new visual culture, in part because they tend to have the expectation (interest and emotional
investment) that they will generally understand the world. (p. 65)

Thankfully after some instruction and patients, the students found themselves enjoying the experience,
through education and visual examination, their cognition changed through experience.

Freedman (2003) also mentions how art, unlike other subjects, promotes emotional connection within
the field of study, where as in other subjects, emotional connection is recommended to be left at the
door, but as we have observed in Freedman’s studies a student’s learning is dependent on emotional
investment. This dive into cognition connects back to visual culture and how we understand art in our
community. As Freedman states:

… because we know that visual culture is one of the ways we are connected to our fellow human beings
and that its visual character can provide the only access to some aspects of human experience. Our
attempts to understand artists’ intentions are undertaken, however, at the same time that we construct
our own meaning. Through this process, we learn. (p. 68)

On a cultural level this also helps us to create an understanding of the perspective and viewpoints held
by the artist beyond the limitations of what being presented visually.

In conclusion, cognitive and analytical thinking with the development of visual culture helps expand the
curriculum, this in turn helps us create a better understanding of visual culture and potentially gives us
tools to help students grasp the concept of cognitive understanding.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) explained cognition and its connection to visual culture in a manner many would
easily understand. I felt that she took it from a very ecological approach, as we grow and develop our
understanding of the world, we sometimes overlook or fail to analyze why we find interest in the work
we pursue. The method of understanding cognition aids both young and adult learners in grasping the
perspective of artists, visual culture, and how we perceive and further learn about the arts. I feel that as
an educator this is something, I want my students to utilize as it would help them grasp concepts and aid
in further educational development.

FACILITATION SHEET 5
Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Interpreting Visual Culture, Constructing Concepts for Curriculum. In Teaching
visual culture: Curriculum, aesthetics, and the social life of art (pp. 86-104). New York, NY: Teachers
College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) describes how in essence everything visual connects to visual culture. In today’s
society, we are oversaturated with visual forms and objects, but beyond this the context of the visual,
form also holds meaning. Art displayed in the public could refer to branding or act as a unique landmark
that adds to the visual culture of the area, but when you go to a museum you are then under the
impression of how the art is displayed and the visual information of it’s location. Art may also signify
status in the professional world and act as a branding signature, this is all due to visual culture because
we naturally know that images contain meaning.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) connects our natural understanding of visual culture and the methods we interpret it
in many of the same ways we interpret art. She states that “…interpretation is best infused with critical
thinking when learning takes place. In order to help students to critically reflect on their interpretations,
inquiry should be promoted by teachers and students” (p. 87). While reading the chapter, I kept in mind
that visual culture can be drastically different, dependent on the viewer’s own practical knowledge. A
student who is taught the concepts and knowledge of critical thinking is going to look at anything with a
deeper understanding of the social and practical implications of someone who is not initially taught to
see those forms. However, this does not mean visual culture is only beneficial to the educated. From the
time we can see, we are bombarded by visual forms that need meaning and interpretation and this
carries on as we associate visual forms with understanding and cultural connection.

Freedman (2003) also mentions how the contexts of the artist can give viewers deeper understanding.
She states that“…Contexts reveal the underlying assumptions with which visual culture is created and
seen. In order to understand visual culture and maintain the integrity of the artist and the culture in
which it was created, the context of production must be taken into account” (p. 88). Naturally this can
be achieved by creating an artist statement, but not all forms of visual culture are associated with an
artist statement, or rather not everything needs an artist statement as association and context can be
given through common sense or through other associated means. However, without proper education,
this can only extend as far as one’s own visually exposed culture. Arguably, this same dilemma could be
reversed as advertisements may be generated for a specific audience. For example, a common recurring
advertisement is medication for the elderly, these advertisements are associated with the elderly and
include relevant information for the audience, but for someone in a different age demographic, the
advertisement has little to no meaning because the viewer is unable to relate to the context of the
visual.

In conclusion, visual culture contains a vast amount of underlaying information that can only be
appreciated through a deeper understanding of the context and social implications contained within the
visual culture. It is important to engage students and educate them on the importance of interpretation,
especially in this new age of technology where visual cultural boundaries are essentially a thing of the
past.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) expanded more on the importance of critical thinking and cognition in
relation to the visual culture we see on a daily basis in this chapter. It is important to note that not all
visual culture is secluded to sole imagery, many of the forms that we have unique to specific cultures
and media, also attribute to visual culture and how it relates to viewer interpretation. For example,
when a child enters a Chinese restaurant, they are more than likely going to be surrounded by the visual
culture associated with the Chinese culture that goes beyond art, such as furniture, decorations, food,
color combinations, and so on. However, without a real understanding of the visual culture behind these
aspects, these elements are solely known as “Chinese style” which is a very broad statement. With
more research and context provided by proper analysis, the experience of viewing this visual culture
becomes educational, because the forms now hold a deeper context.

FACILITATION SHEET 6

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Curriculum as Process, Visual Culture and Democratic Education. In Teaching visual
culture: Curriculum, aesthetics, and the social life of art (pp. 106-127). New York, NY: Teachers College
Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) mentions the various forms of curriculum and how they further involve, expand, and
incorporate the development of students. Within this chapter, there are many cases where the
curriculum in question may be more suitable depending on the overall goal or process of the student.
Freedman analyzes these principles and breaks them down to their most basic understanding.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) analyzes how art can be used to teach about political movements and expresses voices
of artists who use the idea of a democratic curriculum to voice individualism. Freedman mentions,
however, that in a postmodern curriculum this can be rather difficult. She states, “…postmodern
curriculum acknowledges that democratic principles are ideals but are difficult to achieve in practice. In
considerations of curriculum content, time loses its neat linearity, cultural spaces seem to expand and
contract, and boundaries of various sorts are blurred” (p. 108). Postmodern art focuses on the
interpretation of the connection and disregards traditional knowledge taught in schools. Many consider
postmodern art weird for the sake of it being, and although this is true to some extent, postmodernism
expands on the principle that there is no set rule on how art is created. Within the freedom of
application comes the source of expression rather than expressing one’s self through the rules of the
medium.
Freedman (2003) also mentions how curriculum theory has been undergoing significant change due to
the incorporation of postmodern theory. She notes that:

…Postmodern curriculum theorists point out that curriculum is not a neutral enterprise. It contains the
interests of individuals and social groups and that these interests should made visible. For example,
curriculum theorist Patrick Slattery (1995) argues that curriculum expresses autobiography because it is
created by people who leave parts of themselves in their teaching and writing. (p. 108)

Freedman and Slattery suggest that curriculum should focus on the issues that relate to one’s self
because it is within that exploration that learning, and education take place. Later in the chapter,
Freedman discusses the application of a spiral program, essentially a spiral program works by building
on new knowledge, rehearsing previously established knowledge as a way of refreshment, and expands
on previously established information, this process continues and potentially works the most effective
depending on the student.

In conclusion, students are active learners who take away the meanings from the experiences they
encounter, however visual culture has also opened the understanding that through these visual forms
and common association, visual understanding may become more contemporary. As Freedman (2003)
elaborates, these various methods give students the opportunity to investigate and interactivity that
allows them to expand upon constructed knowledge.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) could have done a better job of separating the content within this chapter.
Overall, I agree that the art curriculum is open and when done correctly, students can use art to expand
on social and political issues. Essentially art is expressive, and some concepts are better interpreted
through the visual medium. As for the matter of curriculum, I feel that Freedman did an excellent job
listing the pros and cons of each style. I feel that in an ideal situation curriculum would be established to
fit the needs of the learner because one style of learning could benefit students in ways the others fail.

FACILITATION SHEET 7

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Art.edu Technological Images, Artifacts, and Communities. In Teaching visual
culture: Curriculum, aesthetics, and the social life of art (pp. 106-127). New York, NY: Teachers College
Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) elaborates on the methods in which technology influences art and visual culture. As
time progresses, newer forms of technology allow us to achieve different and more unique ways of
creating art, as such the methods in which we interpret art also changes. Freedman explains how
historically, the invention of the camera drastically changed the way we interpret paintings and that the
progress of technology will always push the standards we hold today.
Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) examines how technological advancements have pushed the standards used to
evaluate art. “…Although human beings have historically struggled to develop the capacity to reproduce
reality, with the development of computer technology, that goal has been surpassed. Computerization
enables a hyperreality that is, in a sense, more real than reality” (p. 129). As a result, this has allowed
artists to achieve a hyper realistic sense of imagery and enhances the ideas of aesthetics and the role it
plays in visual culture. Forms of advertisement and entertainment are now more capable of blurring the
lines between fact and fiction, due to this anything seen in the media now asks the question of its own
authenticity.

Freedman (2003) also mentions how art uses the fictional qualities to create the illusion of realism. She
then goes on to list how in the art of entertainment, technology has been used to convince audiences
with belief. She states that:

…Most educators understand that the only way to effectively teach is to start where the students are
conceptually located. In the case of teaching about the visual arts, this means giving attention to the
ways in which students engage with a range of mass media, computer games, rock videos, and so on. (p.
134)

But understanding how visual culture influences student understanding and their own participation in it
allows students and educators to explore new opportunities and teachable lessons.

In conclusion, visual culture expresses diverse thought and allows us to create art in new forms.
Although the progress of technology has changed the standards and practices of how to create art, it is
up to educators to help students decern and explore the expressive nature of these new technologies in
the visual arts curriculum.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) touched on many aspects that come from incorporating technology from visual
culture and the art curriculum. Since the early 2000’s, technology has only progressed and our means of
creating art has changed machines and programs have allowed us to create work with sharp precision.
Students who can learn and incorporated these methods in their work can ultimately discover newfound
ways of expressing work and how it vits within visual culture.

FACILITATION SHEET 8

Full APA Citation for Author(s), Title, Date, Source, Publication Company:

Freedman, K. (2003). Contributing to Visual Culture, Student Artistic Production and Assessment. In
Teaching visual culture: Curriculum, aesthetics, and the social life of art (pp. 147-127). New York, NY:
Teachers College Press.

Main Idea/Purpose (2-3 Sentences):

Freedman (2003) covers the importance of art production in a K-12 setting and how the incorporation
of visual culture helps students engage with each other as a visual community. Art production plays a
vital part in the art curriculum as it allows students to discuss and exchange ideas and opinions that they
can then use in practice. Students can network and form a critical analysis of one’s work and receive
feedback on how it reflects in the visual culture.

Short Overview (Including at least 2-3 important quotes from the reading):

Freedman (2003) discusses how students develop skills through critiques and how students grasp the
concepts needed for feedback. “…Students learn more about the complexities of assessing art when
instructors model for them the ways in which serious artistic judgments are made. They are not made
based solely on personal preference, but rather on community debate and consensus.” (p. 150).
Students thrive in environments where they feel comfortable and part of the classroom community, as
students get older their ability to analyze and dissect each other’s work with intellectual thought
increases, but like any practice for any student to grasp, it must first be demonstrated by the instructor
and then exercised. Being able to critically analyze work requires a general understanding of the
qualities of art and the ability to express personal and professional opinion.

Freedman (2003) also mentions how in art education, a teacher may be compelled to grade and
examine student art in comparison to the quality of their own art, this of course is flawed due the biased
ideas one has on their own work. As she mentions:

…Art educators are experts who have developed imagic stores that they rely on to formatively assess
student work. Rubrics, checklists, and other forms of textual and numerical assessment can be used in
conjunction with this imagic store, or with physical benchmarks on small or large scales, to aid reliability
in assessment, but the judgments are still always made based on instructors’ visual experiences. (p. 151)

Instructors need to keep formative grading unbiased and based on the objectives rather than the quality
of the work, a student who has only started exploring the arts may not be as experienced and therefore
lacking in comparison to other students and professionals, but in terms of personal development of skills
and concepts they may have exceeded expectations.

In conclusion, Instructors need to create classroom environments that explore and expand on the ideas
of community and group focused critiques. Studio production not only allows the student to flex their
own creative muscles but, in a class setting students can build off one another and exchange ideas on
art. However, the grading of work needs to be dependent on the objectives placed and the personal
development of the students artistic understanding.

Critical Response: Reflections and/or relevance to personal art educational experiences/or teaching
experience (Do you agree/disagree with the reading? Why? How does it relate to your own
experiences in the classroom as a student/teacher?)

I feel Freedman (2003) covered a very important topic on the community of the classroom, the
importance of studio studies, and how grading rubrics should be conducted based on personal
development rather than the poor practice of comparing it to professional work. I think one of the most
important tasks we are given as educators is to ensure that students receive that development, not
every student is going to make a masterpiece every time if ever, but with dedication and persistence
students can achieve a higher quality of work and grow as a student.