Learning in PracticeVolume 2 Number 1 December 2018

Art, a Channel to Understanding and Appreciating Culture

Matthew Bentham Visual Arts Teacher

About the Author

Matthew Bentham teaches Visual Arts to years 7 – 12. He has been teaching at Barker for 14 years and he is enthusiastic in sharing his passion for art and art history in meaningful ways. Matthew is a member of the College of Teachers, where he coaches colleagues who wish to extend their teaching practice, include developing further engaging teaching and learning strategies. One of his goals is to impart in students a life-long appreciation for Visual Arts as it a subject that enhances critical thinking and which is also an appropriate medium to learn from other culture and belief systems.

About the Barker Institute:

• Provides a centre for research, reflective practice, professional learning and innovation in education

• Is a resource hub that facilitates the ongoing development of learning for teachers, allowing them to stay abreast of emerging practice, constantly striving to refine the quality of teaching and learning

• Looks to develop collaborative ventures with other institutions and providers, initiating research and innovation combined with the implementation of new projects and programs for the benefit of students, staff and the broader community

• Shares current research and issues with parents, professional bodies and educators around the globe through ongoing symposia, forums, lectures and conferences

About the Learning in Practice Journal:

As a leader in Christian education, Barker College aims to both demonstrate and inform best practice. This journal was developed to showcase a range of initiatives and research projects from across the School. It explains the rationale behind innovations in practice and archives pivotal developments in Barker’s academic, co-curricular and pastoral realms.

Editors

Dr Brad Merrick Dr Greg Cunningham Mrs Amanda Eastman Dr Matthew Hill

Editorial Assistant

Susan Layton

Creative Direction

Glenn Quevedo

Printing

Barker Print Room

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Art, a Channel to Understanding and Appreciating Culture

Matthew Bentham Visual Arts Teacher

Abstract

An artwork can be viewed or more frequently glanced upon, without much of a thought from the spectator, as to what led the artist to create an image, object and a visual response to the world. Read about the passion, investigation and vision of two current student artists from Barker College and recognise the valuable insights they share through their artworks.

Key Terms

Aesthetic

Relating to or characterized by a concern with beauty or good taste (adjective); a particular taste or approach to the visual qualities of an object (noun) (Moma Learning Glossary)

Hegemony

The social, cultural, ideological, or economic influence exerted by a dominant group. (Merriam Webster)

On 21 March this year the Barker Institute hosted a panel with Head of Barker College, Phillip Heath AM, interviewing Rosalie Kunoth-Monks OAM as part of her visit to Barker College with other members of the Anmatjere community from Akaye (Mulga Bore) in the Northern Territory.

Listening to Rosalie was both enlightening and inspiring. She spoke openly about Indigenous issues, her life and her people. As an art teacher, I was very eager to hear about her cultural experiences. I wanted to hear the role art has for Indigenous Australians. Rosalie emphasised that art was more than just creating images to be viewed on a wall. She emphasised that art was not just made for display as it has a much more substantial purpose for Indigenous cultures. While she referred to canvas paintings on stage, it occurred to me how deeply rooted these images seen on top of the painted surface lie. From a Western perspective, we do not see the entire picture or grasp its extensive meaning and significance and the image is much more than just a representation. When viewing an acrylic painting such as Steven Bird’s “Bush Plum Seed” and Akaye Mulga Bore (see image below), I appreciate the artwork for its aesthetic qualities and I attempt to draw meaning from the signs and symbols that are composed as lines and dots and colours, whilst Indigenous people recognise the stories

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held within and there is a bank of knowledge that extends to generations well before our time and place. We need to be more considerate in our attempts to engage in developing an understanding for artworks and consider that there is more to the surface than meets the eye. My own presumption is not misguided or unusual. Even curators at the MET lack cultural context and this view and other people’s understanding of Indigenous art can be assumed to be a product of commercialism and Western hegemony (Chunxiao, 2016).

Bush Plum Seed (Stephen Bird)

In a not dissimilar way, a large and supportive audience of friends and family attended this year’s HSC Visual Arts exhibition in August. They were treated to a tremendous display of assorted works, images and technical skills. Even though the audience embraced the occasion and supported our young artists, for many the artists’ intentions and personal, cultural insights were mostly overlooked. In reality, friends enjoyed meeting and talking to others, ate delectable canapés and desserts before casting their vote for their favourite artwork in the People’s Choice Award. Like most opening nights at art exhibitions, food and wine flows and the artworks are viewed through a jostling, swarming crowd. Glimpses of paintings on walls and sculptures on plinths are seen for less than a minute or two each! Unfortunately, we the audience, can miss much of the artist’s ideas and intentions. More consideration is needed to appreciate the artist’s intentions and insights. Consider that artworks represent countless hours of investigation, research as well as the completion of numerous preparatory works that lead up to a fully-resolved artwork. In our world of constant distractions, we need to slow down and use our eyes, minds and experience to decode the layers of significant meaning held within artworks. Murphy (1995, p.111) highlights that “instead, we must first understand the questions facing global art and seek out resolutions drawn from our own resources. Diversity is sharing unique cultural resources”.

Visual Arts provides students with the medium and the opportunity for students to develop a greater appreciation of themselves and develop an understanding of events from around the world and beyond the Mint Gates. The Visual Arts’ syllabus highlights that, “Visual Arts acknowledges the need to respect cultural diversity within Australia and in other regions and cultures” (Board of Studies, 2001, p.25). This year, Michael Jones (Year 10 Visual Arts) investigated traces of Australian history and links to his own ancestry through his artwork

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titled, Indelible. Michael combined ceramic sculpture and projected photographs to create his artworks. In this artwork, Michael connected with his cultural history, beliefs, perceptions and views. This is one of Michael’s artworks displayed at Barker during NAIDOC week which proved to be a talking point among students and teachers who viewed it in the Kefford building foyer.

Indelible (Michael Jones, Year 10)

An excerpt from Michael’s artist statement reads as follows:

The purpose of this sculpture is to recognise the rich history of Indigenous culture that has been obscured by the dominating disregard of Captain James Cook and other British colonists. The bust of Cook represents all British colonists whilst the projections depict the art and culture which has been disrupted by their disregarding ways.

This citation provides the in-depth cultural understanding that can be derived from viewing artworks with consideration to the symbology and the layers of meaning constructed in artworks. It also requires the viewer to be willing to cast aside their own aesthetic persuasions and allow themselves to look and thus see more closely.

Liyadhalinymirr Elder Yiiya Guyula said, “We must take our children back to the land”. This statement has significance for artists like Michael in Year 10, but it also has relevance to countless others, because all students need to know where we have come from and exist in the present before they can develop new ideas and be insightful, especially through art. The importance of connections cannot be underestimated. Take Year 11 student, Sophie Whitehead, who created an acrylic painting on canvas, titled, Burn Hollywood Burn. She deeply investigated the #metoo movement and explored the power relationship between the co-founder and film producer from Miramax and actor, Uma Thurman.

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Burn Hollywood Burn (Sophie Whitehead, Year 11)

Sophie outlines some of her choices and actions, using sophisticated levels of symbolism in depicting an image that insightfully refers to the many allegations directed towards Harvey Weinstein:

The collage on the left presents old and original Hollywood comic clippings featuring women seen as victims just like Uma Thurman. On the right, I chose to feature images of men and onto the shirt she is wearing, to show their influence and impact on female actors.

Here, you can appreciate the level of knowledge and understanding of the world she has experienced and articulated through this painting.

Both Michael and Sophie and many other student artworks from Year 7 to Year 12 at Barker College refer to their own perspective within a fast-paced world and a globalising culture in flux. Please recognise the valuable insights artists are making to inspire, inform, share, confront and contribute to our community.

I urge you to take a moment during your busy lives to contemplate not only the effort made, but also the vision encapsulated within the artwork. Pay closer attention to the artworks created by your own child. Ask your daughter or son what they were trying to show and communicate and consider that there is more to the surface than meets the eye.

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References

Board of Studies, March 2001, Stage 6 Visual Arts Syllabus, p.25 Board Bulletin/Official Notices Vol 10 No 1, Board of Studies NSW, Sydneyhttp://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning- areas/stage-6-creative-arts/visual-arts-syllabus Viewed 16/10/18

Chunxiao, Hang. November 2016, The International Art magazine of Contemporary China LEAP Ink the Void, Modern Media, Shanghai.

Crispin, Judith. May 2018, Yiiya Guyula on Country, Kurdijiapp.wordpress.com https://kurdijiapp.wordpress.com/2017/05/28/yiiya-guyula-on-country/ Viewed 19/9/18.

Hwang Lynch, Grace. May 16, 2012, The Importance of Art in a Child’s’ Development

http://www.pbs.org/parents/education/music-arts/the-importance-of-art-in-child-development/ Viewed 27/09/18.

Moma Learning Glossary https://www.moma.org/learn/moma_learning/glossary/ Viewed 17/10/18.

Merriam Webster https://www.merriam-webster.com/dictionary/hegemony Viewed 17/10/18.

Murphy, Bernice. 1995, Guan Wei Brochure, Sherman Galleries Goodhope, Sherman Galleries, Sydney.

Michael Jones and Sophie Whitehead have permitted me to share their artworks and voices for this essay.

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