Responses of Young Children to Contemporary Art Exhibits: The Role of Artistic Experiences Review

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Introduction

On this assignment I am choosing a journal written by Savva, A. & Trimis, E. Responses of young children to contemporary art exhibits: The role of artistic experiences. International Journal of Education and the Arts, 6(13). Retrieved July 25, 2013 from

http://ijea.asu.edu/v6n13/.

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Summary of journal

This research took place in the Nicosia Municipal Arts Center (Cyprus). Thirty-two children they are16 boys and 16 girls between the ages of five to six were randomly selected from two classrooms in two public nursery schools in Nicosia, Cyprus. The study aims to highlight issues related to the responses of young children to artworks in a museum setting to help curriculum planners, art educators and museum educators in designing and implementing museum educational programs. Also want to explore pre-primary childrens responses to contemporary art exhibits in the museum visit on childrens responses to artworks and making art during classroom practice. This study reports findings regarding the responses of 5-6 year old children to museum contemporary art exhibits using an open- ended interview procedure. This study refers to the in-depth studio approach. This is a method that investigates materials and techniques in depth and adopts a developmental sequence of visual art activities. A nonsequenced question strategy was applied. Duncum (1999) supports that this kind of strategy as it offers flexibility to the teacher. Additional methods of data analysis included observational data videotape analysis, and photographic material. Video was used to record verbal and non-verbal cues as well as childrens social interaction in phases 1 and 2 in order to validate the outcomes of the present research (Rosenstein, 2000). Children responded to the presence of the camera and observer in a similar fashion. At the outset of the interview, their behavior was more selfconscious, but then became more natural. Video material was also used to confirm observational notes of the same event.
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On this research they come out with three research question which are: 1) Research Question 1: What are the responses and preferences of young children to the contemporary art exhibits housed in the museum? 2) Research Question 2: Are there any differences in the views of children when previous artistic experiences (making and looking art) are considered ? 3) Research Question 3: How did the museum visit impact the responses of children when discussing and creating artwork in the classroom?

From this research question the result that they had analysis for the research question 1, What are the responses and preferences of young children to the contemporary art exhibits housed in the museum? Are Most (81 %) of the children preferred three-dimensional constructions rather than paintings. Preferences focused upon three-dimensional constructions rather than paintings. The strong preference of children for three dimensional artworks may result from their real experience with space and the art object itself, thus providing them the opportunity to view and actually feel the space, the size, and the form of the art object. The research observer noted that large three dimensional artworks were seen to have strong attracting power for children. Second for the Research Question 2: Are there any differences in the views of children when previous artistic experiences (making and looking art) are considered? Most of the children (56.25%) based their preferences on artworks that depicted favorite or familiar to them subject matter. Children responded to various artworks in different ways because of prior interests, experiences and backgrounds, A central theme gleaned from the interviews was the preference for artworks depicting familiar or favorite subject matter. Five children stated that the inclusion of elements such as people, a fish, flowers were reasons for preferring a painting. some children define their reasons for choice very clearly and always in terms of the concrete information provided in the artwork (Kerlavage, 1995). While the third research question How did the museum visit impact the responses of children when discussing and creating artwork in the classroom? The result shows that ten children (31.25%) referred to material as the main reason for selecting an artwork. When responding to prompts several children attempted to find out what kind of materials had been used by the artists and in some case explain the artistic process behind the artwork. Observations revealed that almost all children attempted to touch the art objects. They wanted to feel the materials used by the artists. Children seemed to prefer
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paintings with colors that challenged and pleased their senses as opposed to paintings with dull colors.

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Discussion

The implications of these studies are provisions of material (artistic medium) during art appreciation practices become significant because they enable children to extend their artistic work and enhance their thinking about art. In order to assist children in identifying and understanding works of art, attention should be focused upon supporting the development of their understanding of how artworks relate to their own experiences, as well as incorporate appropriate activities in making art in order to enhance knowledge about how and under what circumstances artworks are created. Factors such as the kind of art forms introduced to the children such as traditional art, contemporary art, paintings, drawings, sculpture, popular art, pedagogical approaches used, as well as individual or school experiences could play a significant role in childrens understanding in art. The role of adults also is crucial insofar as the questions asked, activities introduced, and general implementation of programs affects a childs thinking about art. Talk about artistic creation of the children, evidence suggests that interests of children and their every day habits, and customs are powerful mediators when linked with experiences and the creation of art objects. These findings support the constructivist learning theories stating that personal meaning making can be very influential in visitors responses and trends in aesthetic development, which states that familiarity with art could play a significant role in understanding art (Housen, 1987; Hein 1998; Silverman, 1995). By allowing children opportunities to view and create art in the context of their everyday life could affect their way of thinking and acting. Learning to look at art is a skill that requires time and effort. Thus, it is suggested that repeated visits to art museums and to other places of cultural interest) should be an important component of art learning like historical monuments, artists studios, workshops, religious places, modern and traditional buildings.

Actually this research is interesting and they conduct this research based on the previous research about impact of art museum or visit on visual art exhibition to the art making or perspective. However this study still have a few of weaknesses that I can identified such as The
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present study explored how pre-primary school children responded to contemporary exhibits in a museum setting and how this experience was linked to art learning in the classroom. Although the sample are thirty two respondents which makes it difficult to generalize, the methodology used provided complex and multiple perspectives of childrens art museum experiences. They also choose the respondents in a small group that only focused on only two groups nursery public school in Nicosia, Cyprus. But, to get a better result they should form a big scale of the respondent groups. Because research related to pre primary childrens responses to artworks in Cyprus is so limited, further investigations could help ascertain additional facets of what a child is thinking about or interested in, and their potential for artistic expression. So from this study I have understood about the impact of the art museum visit on childrens responses to artworks and making art during classroom practice. Children nowadays will have more ideas about art and craft if they are being exposed to the art exhibits. In this case the experience of seeing three-dimensional works of art and examining the artistic medium used by the artists seemed to offer opportunities to children to understand artistic elements otherwise very difficult to introduce outside the museum environment. Thus, childrens views about artworks appears to differ when provided opportunities to approach original art objects and express their preferences in relation to a great variety of artworks, especially on those that are not pictorial. Differences in individuals constructions about art are considered significant in how people think and come to know in relation to human and environmental contexts. Similarly, if young children living in contemporary world have a daily contact with objects, images, texts, and other art forms, then they should be provided with opportunities to respond and produce art which is meaningful to them in various contexts. During the initial tour in the museum several children referred to materials used by the artists and expressed their interest in using clay, stones, and paper in their own art making. However, in only two cases did children refer to artistic experiences of using similar materials or the medium itself such as paper, clay or wood. This may indicate that most children did not have the opportunity to freely explore materials in depth and reflect on the process of making during school based visual arts programs. Painting and drawing are still dominant activities taking place during art lessons in pre-primary schools. It could be the case that previous experiences in using similar materials before and after a visit to an art museum has enhanced young childrens artistic work and enriched their sense of culture
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(Trimis & Savva, 2004). It is suggested that in depth exploration of materials encountered in a variety of environments provide opportunities for children not only to experience their characteristics and properties, but also their potential expressiveness and inherent meaning. This research draws attention to the broad theoretical framework of visual arts education, emphasizing both the cognitive view of arts, and constructivist theories of learning. In the former instance, theorists have suggested that becoming literate in the visual arts involves the ability to produce and perceive art (Davis & Gardner, 1993;Gardner & Perkins, 1989; Gardner, 1993). Further research into factors influencing the responses of young children towards real art could provide additional information on the role of families in childrens artistic understanding. It is suggested that formal education should introduce young children to the world of art from an early stage by focusing on constructing interactive, cumulative, progressive, and sequential visual art programs integrating theoretical (cultural and critical aspects) with art making activities. Because research related to pre primary childrens responses to artworks in Cyprus is so limited, further investigations could help ascertain additional facets of what a child is thinking about or interested in, and their potential for artistic expression. In future I also suggest that researcher do a study about of enjoying hands on art and craft activity during the art exhibits and the impact of art making during the classroom activity. From this research we can identify if children enjoy doing art and craft activities conducted by the artist during the exhibition are they can impact their creativity during art making in the classroom. Previous studies show that if adults engage young children in meaningful conversation about artworks, then young children are intellectually capable of observing and reflecting upon their own artworks as well as adult artworks, (Anderson, Piscitelli, Weier, Everett, & Tayler, 2002; Kerlavage, 1995; Piscitelli, 1988). Researchers have recommended that children will benefit from in depth art experiences that support the development of their artistic understanding both in making and appreciating art (Cole 1985; Duncum, 1999). In order to support the development of a young childs sense of visual art making and viewing, it is important to discern the types, formats, and curriculum that are appropriate for early childhood education children.

The present study examined the responses of young children to art objects in an authentic context and in which they were expected to respond and produce art within a
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constructivist approach. In an interactive environment of learning, young children were provided opportunities to construct personal knowledge about artworks as derived from interactions between the object properties and their own previous experiences and thoughts. Most of us instinctually know that art is important for children. Those of us who work with children regularly can see that they get deeply involved in art and witness the enjoyment kids get from exploring different materials, textures, techniques and projects. Even beyond what we instinctually notice, feel and believe, there is a large body of research supporting the idea that art is invaluably important to children's development. Creating and exploring artistic projects expand kids ability to interact with the world around them and help them build and fine tune skills needed for self-expression and communication. Art may seem like fun and games, which it is, but what many people do not realize is that kids are actually learning a lot through participating in openly expressive, creative activities. Children actually develop valuable life skills through free expression and artistic activities. Artistic expression, in its many forms, is an experience that requires freethinking, experimentation and analysis. These three processes require very high levels of functioning for young children and are extremely stimulating for young brains. In addition to teaching children valuable lessons that can be applied throughout life art also helps children develop social & emotional skills. Through art children learn about the control they have over their own efforts and the impact their actions have on the world around them. They can practice sharing and taking turns, as well as appreciating one another's efforts, rather than always being in competition with each other. Kids can learn that regardless of the situation or circumstance they are in, there is almost always a middle ground. Not everything is good or bad, black or white. Through the artistic process, children can learn to both appreciate and be proud of their efforts and hard work, while enjoying the work of their peers as well. This is a very important concept for children to understand as they get older and are forced to weigh make difficult decisions and deal with life's inevitable stressors. Art also fosters positive mental health by allowing kids to show individual uniqueness as well as success and accomplishment. These are all part of developing a positive self-concept.

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Conclusion

Research has shown that art helps develop problem solving skills by encouraging kids to explore and find creative ways to solve problems. When children explore art, they are often testing possibilities and working through challenges. Participating in art activities has been proven time and time again to help children develop cognitive, social and emotional skills they will need throughout their lifetime. Art helps kids develop creative problem solving skills and learn to communicate thoughts, feelings and ideas in a variety of ways. Artistic endeavors also help children learn to adapt to and respect others' ways of working and thinking, as well as gain the tools necessary to develop empathy. When exposed to art in an effective way, children can learn that like most things in life, art is a process that is to be explored. Art is not something that should be "done" for the purpose of producing an end result that should be measured or compared, especially at a young age. Taking young children to an art museum can be a challenging experience for any adult. Museums are designed for grown-ups who engage in thoughtful reflection, not for active children who want to point and exclaim. With a little preparation, however, a museum field trip can be an enjoyable experience for all. Many museums schedule special times for children's tours and family visits. During these times, the museum staff and other patrons expect children to visit, and special tours and support personnel will be available. If the children will not be participating in a tour planned specifically for them, it is important that the teacher select a few key items on which to focus during the visit. Artwork done by artists featured in the classroom or portraying objects related to thematic units will be of interest to the children. They will have a context for thinking about and discussing what they see. Because the attention span of young children is short, museum field trips should not be lengthy. Thirty minutes is probably long enough for children to view the pieces pre-selected by the teacher without getting tired or frustrated in the museum setting. Other exhibits can be saved for future field trips.

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References

Anderson, D., Piscitelli, B., Weir, K., Everett, M. & Tayler, C. (2002). Childrens museum experiences: Identifying powerful mediators of learning. Curator, 45, 213-231. Brown, L.K., & Brown, M. (1986). Visiting the art museum. New York: Dutton Children's Books. Chenfeld, M.B. (1995). Creative experiences for young children (2nd ed.). Fort Worth, TX: Harcourt Brace. Cole, E. (1985). The effect of a cognitively oriented aesthetic curriculum on the aesthetic judgment and responses of 4,6 and 8 years enrolled in an art museum program. Unpublished doctoral dissertation, University of Toledo. Davis, J., & Gardner, H. (1993). The arts and early childhood education: A cognitive developmental portrait of the young child as artist. In B. Spodek (Ed.), Handbook of research on the education of young children. New York, NY: Macmillan Publication. Duncum, P. (1999). What elementary generalist teachers need to know to teach art well? Art Education, 52(6), 30-37. Housen, A. (1987). Three methods for understanding museum audiences. Museum Studies Journal, 2(4), 41-50. Kerlavage, S.M. (1995). A bunch of naked ladies and a tiger: Childrens responses to adult works of art. In C.M. Thompson (Ed.), The visual arts and early childhood learning. Champaign, IL: National Art Education Association. Rosenstein, B. (2000). Video use for program evaluation: A theoretical perspective. Studies in Educational Evaluation, 26, 373-394. Trimis, E. & Savva, A. (2005). Responses of young children to contemporary art exhibits: The role of Artistic Experiences. International Journal of Education & the Arts 6(13). Retrieved July 25, 2013 from http://ijea.asu.edu/v6n13/. Trimis, E. & Savva, A. (2004). The in depth approach: Incorporating an art museum program into a pre-primary classroom. Art Education, 57(6), 20-24/33-34

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Appendix