|SCIENTIFIC DISCIPLINARY SECTOR||L-ART/02|
|MODULES||This unit is a module of:|
The activity of the Image Education laboratory focuses on two interconnected moments, one theoretical, the other practical. With the theoretical phase we intend to investigate the concept of image in its broadest sense, thus understanding Gestalt that go beyond the concept of visual art. With the practical phase, the ideas developed through manual experience are given substance with the production of creative material of a graphic, pictorial and plastic type. It is with this dimension of the image that we have to confront, that is to pay attention to the concept of 'image' separate from that of 'art', thus excluding judgments of both aesthetic and formal value. Our goal is not to train artists or art critics but to formulate logical bases for understanding the learning processes of children through the language of drawing. Then acquire a critical awareness that allows us to work with consciousness to design image education courses for both kindergarten and primary school.
Classroom lessons, with connection in Teams for those who cannot be present, with the use of PCs for projection of cards with Power point program.
Classroom activities for the production of manual graphic experiences for the construction of didactic images with the use of graphic-pictorial material.
Production of an essay of about 30 pages, through the critical processing of images belonging to one's personal experiences.
The lessons will be held in the presence, in a classroom suitable for a group of 25 people respecting the health indications following the Covid 19. Therefore some activities will be carried out with the changes relating to the contingent situation.
The activity of the Image Education laboratory focuses on two distinct but interconnected moments, one theoretical, the other practical.
With the theoretical phase we intend to investigate the concept of image in its broadest sense, thus understanding Gestalt that go beyond the concept of visual art according to traditional canons; this through the study and comparison of the signs of rock art, children's drawing, the art of madness and the expressive methods of contemporary art.
With the practical phase we want to give substance to the ideas developed through the effective manual experience with the production of creative material of a graphic, pictorial and plastic type both within the laboratory and with possible stages in educational workshops present in some city museums.
The program is spread over four meetings of 4 hours each.
1- U.D. Meaning of the L.E.I. and setting up the work on the image.
Art and image, connections and differences. Comparisons and considerations on the image and its meaning in relation to the concept of art.
The total image.
Practical theoretical indications on the construction of a book of meaningful images and their critical definition. On the basis of this work, the students' evaluation will be partially formulated.
The importance of drawing in the evolution of the child.
The stadial theories. Luquet, Lowenfwld and Brittain.
1- self-portrait with pen, time 10 '. on A4 sheet
2-. self-portrait with an unusual hand, in pen, time 10 '. on A4 sheet
3- self-portrait with eyes closed, with pen, time 10 '. on A4 sheet
4- cut-out in strips max 1 cm wide of the drawings made previously and recomposition on A3 sheet of your self-portrait by joining, optionally, the strips produced by the cut-out of the three drawings made.
2- U.D. The drawing of children in their physical and psychic development. The stages of development and their representations in kindergarten and primary school.
Kellogg's "aesthetic-formal" school, comparisons with Lowenfeld's "psycho-creative" school.
The birth of culture and conceptuality in the graffiti of homo sapiens.
Considerations on the sign and the form through comparisons between the stadial theories of Kellog and the proposals of Anati and Leroi-Gourhan.
Pictograms, ideograms, psychograms and mythograms. The tale of graffiti.
a-: for primary: La Chimera. The complex image. The concept of Chimera; association between man and animal in children's and paleolithic drawings. Anthropozoomorphic elements to be reconstructed in a visual representation using collage and mixed media.
b-for childhood: description of two zoomorphic anthropomorphic fantastic characters, one positive and one negative, defining them with a name appropriate to their characteristics.
Drawing composed of graphic stroke and collage of different elements providing children with only black and primary colors. (yellow, red and blue).
3- U.D. The creativity factor in the drawing of the sick. Psycho-projective tests as a method of observation of infantile expression.
Self-reflection and care related to the release of energies through the creative act. Considerations on the psychopathological sign. Art Brut.
Comparisons with elements of the language of modern art.
Practical phase. Personal verification of projective tests.
a- for primary: two ex. of your choice
1- the rebus as a verbovisual language.
The game of metaphors:
2- drawing of a tree as if it were me, my father, my mother, my brother / sister.
b- for childhood:
1-choose 10 different types of fruit and draw them as they remember, without copying them.
-compose a human figure using only the drawn fruits as basic elements. (Arcimboldo technique).
4- U.D. Modern and contemporary art; its birth as a liberation from canons and official rules. The new materials, new senses and meanings of the work. The new languages.
Practical phase: Works related to the different languages of contemporary art.
1-Group work on the drawing shown by the shadows projected on 70 x 100 cm sheets.
2-Description of an intervention project in the environment suggested by different groups.
L’arte dei folli e l’arte irregolare ,G. Mangiapane, A.M. Pecci, V. Porcellana (a cura di) Arte dei margini. Collezioni di Art Brut, creatività relazionale, educazione alla differenza. Milano : Franco Angeli, 2013.
E. Anati, Le radici della cultura, Jaca Book 1992.
E. Anati, Origini dell’Arte e della Concettualità. Jaca Book, 1988.
A. Leroi-Gourhan, Le radici del mondo, Jaca Book, 1983
Wiktor Lowenfeld, W. Lambert Brittan
Creatività e sviluppo mentale, Ed. Giunti Barbera 1984
Claire Golomb, L’arte dei bambini, R. Cortina Ed., Milano 2004
R. Kellogg Analisi dell’arte infantile, Il Punto Emme edizioni. 1979, Milano.
Gillo Dorfles, Il divenire delle arti, Reprints Einaudi,1975, Torino.
Gillo Dorfles Fatti e Fattoidi, Gli pseudoeventi nell’arte e nella società, Neri Pozzi 1997,Vicenza.
AA.VV. Manuale di disegno infantile. Vecchie e nuove prospettive in ambito educativo e psicologico. UTET
Office hours: EVERY WEDNESDAY AT THE END OF THE LABORATORY (14 HOURS)
GIACOMO MONTANARI (President)
CARLO MERELLO (President Substitute)
Group 1 - 6 October, room 6, 2 pm / 6 pm
Group 2 - October 8, room 6, 2pm / 6pm
Group 3 - November 3, room 6, 2pm / 6pm
Group 4 - 5 November, room 6, 2pm / 6pm
Discussion on what produced during the teaching of the subject, questions on the theoretical program carried out, evaluation of the graphic-critical essay, evaluation of the laboratory activity.
Logical and critical skills, general knowledge on the topics covered in the laboratory: stadial theories on the sign of childhood and other codes for reading the image, the psychopathological sign, the paleolithic sign and the language of 20th century art. Expressive and communicative skills, ability to to relate topics belonging to different cultural fields as highlighted by the graphic languages studied. Ability to independently search and acquire information from sources not indicated in the recommended texts.
It will evaluate the work produced in the laboratory and at home based on the instructions given by the teacher