writing about art: Examples and Practical activities
Finding appropriate reading materials for an A level Art class can be tricky. Literacy levels can vary greatly, and interests are inevitably diverse. Some students arrive like text-hungry pac-men, gobbling up words and fuelling their creative powers. But there are ghosts too - students skilled at concealing literacy weaknesses, who struggle to grasp higher level texts and, if given a choice, would opt to float over such matters.
So then, how to nurture a love of words for all students - for reading and writing (and listening and speaking too)? And how might an art teacher develop confidence with more challenging reading and writing?
Below are a few suggestions, followed by some examples of student writing and then additional resources:
Below are a few suggestions, followed by some examples of student writing and then additional resources:
Use our Threshold Concept Resources
The key motivation for producing our Threshold Concepts was to expose what we consider the 'big ideas' related to arts education. But in devising these and their accompanying resources we've thought long and hard about our choice of words and how to order them. All the resources on this site are written with students in mind, so do encourage them to tuck in.
The key motivation for producing our Threshold Concepts was to expose what we consider the 'big ideas' related to arts education. But in devising these and their accompanying resources we've thought long and hard about our choice of words and how to order them. All the resources on this site are written with students in mind, so do encourage them to tuck in.
Craft your own sentences (and celebrate them)
(low are a few texts that I’ve been particularly drawn to through quality writing. For teachers, a suggested lesson structure is also included below (alongside additional prompts for Example 2).
Example 1: Nighthawks, Edward Hopper, with essays by Sister Wendy Beckett and Gregory Crewdson
Example 1: Nighthawks, Edward Hopper, with essays by Sister Wendy Beckett and Gregory Crewdson
“This is not just an image of big-city loneliness, but of existential loneliness: the sense that we have (perhaps overwhelmingly in late adolescence) of being on our own in the human condition.” Sister Wendy Beckett
Why use this artwork and these texts?
‘Nighthawks’ is an iconic painting, likely familiar to students already, but one that can still provoke some ambivalence. The text by Sister Wendy is accessible and maneuvers neatly between facts, interpretations, and relationships, evoking deeper reflections along the way. The text also manages to convey the tension evident in much of Hopper’s work (alongside other reoccurring devices – framing, voyeuristic viewpoints, isolated figures and so on). By following this essay with Gregory Crewdson’s text – whose own contemporary work can hold more direct appeal to students – Sister Wendy’s offerings are reinforced, with a dash more hope; as is the power of writing to draw students in.
In addition, as a demonstration of contextual study, the possibilities here are endless: Nighthawks was likely inspired by writing itself – Hemingway’s short story ‘The Killers’. (Warning:includes racist language) – and in turn it has influenced poetry, short stories, numerous artworks and also parodies too, notably Banksy’s and this Simpsons take, (cheap hooks perhaps, but worth having in the teacher toolbox). And then, if you like a more breathy analysis, this Khan Academy video provides a great opportunity to pick out some descriptive vocabulary.
Example 2: The work of Stephen Gill, with essays by Iain Sinclair and Jon Ronson
These examples add another layer of subtlety (and challenge) and are not directed at a single image but rather a body of work.
‘Nighthawks’ is an iconic painting, likely familiar to students already, but one that can still provoke some ambivalence. The text by Sister Wendy is accessible and maneuvers neatly between facts, interpretations, and relationships, evoking deeper reflections along the way. The text also manages to convey the tension evident in much of Hopper’s work (alongside other reoccurring devices – framing, voyeuristic viewpoints, isolated figures and so on). By following this essay with Gregory Crewdson’s text – whose own contemporary work can hold more direct appeal to students – Sister Wendy’s offerings are reinforced, with a dash more hope; as is the power of writing to draw students in.
In addition, as a demonstration of contextual study, the possibilities here are endless: Nighthawks was likely inspired by writing itself – Hemingway’s short story ‘The Killers’. (Warning:includes racist language) – and in turn it has influenced poetry, short stories, numerous artworks and also parodies too, notably Banksy’s and this Simpsons take, (cheap hooks perhaps, but worth having in the teacher toolbox). And then, if you like a more breathy analysis, this Khan Academy video provides a great opportunity to pick out some descriptive vocabulary.
Example 2: The work of Stephen Gill, with essays by Iain Sinclair and Jon Ronson
These examples add another layer of subtlety (and challenge) and are not directed at a single image but rather a body of work.
“Stephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored out of experience; alert, watchful, not overeager, wary of that mendacious conceit, ‘closure’. There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession… What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones…” Iain Sinclair
Why use this work and texts?
Stephen Gill’s photographs tend to quietly whisper rather than shout for attention, so written explanations are helpful. Both Jon Ronson and Iain Sinclair have collaborated regularly with Gill, writing various texts for his self-published books. To my mind both are excellent writers. However, their approaches are very different and this can make for an interesting comparison of writing styles.
Regarding Ronson’s text:
Okay, enough. But on the to-do list now is sharing some examples of student writing, alongside some thoughts on the common problems that can arise. If you want to add your experiences, do use the comment boxes below.
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Additional resources
These include:
And here are further reading suggestions, as recommended via the NSEAD facebook forum:
Stephen Gill’s photographs tend to quietly whisper rather than shout for attention, so written explanations are helpful. Both Jon Ronson and Iain Sinclair have collaborated regularly with Gill, writing various texts for his self-published books. To my mind both are excellent writers. However, their approaches are very different and this can make for an interesting comparison of writing styles.
Regarding Ronson’s text:
- How is dialogue used to provide an insight into Stephen Gill’s mind?
- How does Jon Ronson act as a link between the reader and the photographer? Consider how he switches from being uncertain (or at least pretending to be) to offering informed insights.
- How does Ronson develop the suggestion that Stephen Gill sees things others might miss?
- Consider how this is written in third person, rather than Ronson’s first person account. How does this influence its reading?
- Consider how the writer uses various techniques to share Gill’s working methods: For example, the rhythm of the sentences, the listing, the dashes, the physicality/crunchiness of the language, the focus on small details, and so on.
- Consider the abruptness of the last phrase: “the game is over”. What impact does this have on our experience of reading, and also on our understanding of Gill’s work?
- Show students the artwork(s) with no additional information or context.
- Ask them to independently make notes in response to the work, drawing on existing knowledge.
My baseline hopes here are that students will:- 1. Pause first to consider the ‘value’ of the work and where best to invest analysis. For example, considering the VISUAL, TECHNICAL, CONTEXTUAL or CONCEPTUAL (see here, again). Most students default to a basic visual analysis, possibly followed by consideration of the mood or potential narrative of the work. Making wider connections is often overlooked without prompting.
- 2. Recall subject vocabulary and prior lessons learned.
- Ask students to carefully consider their explanations before sharing an insight each. They should then identify the most articulate responses from the group.
- Only now provide the text for students to read through, encouraging them to identify any difficulties or unfamiliar vocabulary. And then, to read again, identifying:
- facts – which might include historical/personal/political/cultural contexts, or alternatively straightforward visual analysis relating to subject matter, arrangement of visual elements etc.
- author’s opinion – be it interpretations, speculations, questions raised etc.
- sentences, quotes or phrases that particularly appeal, for whatever reason
- Share these thoughts together – collectively unpick the text, reflecting on where understanding develops and new thresholds are crossed.
- Set a follow up task to write a carefully crafted, well-informed paragraph in response to their own chosen artwork.
Okay, enough. But on the to-do list now is sharing some examples of student writing, alongside some thoughts on the common problems that can arise. If you want to add your experiences, do use the comment boxes below.
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Additional resources
- Digging Deep: A2 Personal Study time – practical advice on actually writing the little tinker.
These include:
And here are further reading suggestions, as recommended via the NSEAD facebook forum:
- Andrew Graham-Dixon History of British Art (Although pretty much any book, article or TV series from AGD is a good bet. The Art of Germany being my absolute favourite).
- Mathew Collings This is Modern Art
- The Penguin book of Art Writing
- Whitney Chadwick