Visual Artistic Development in Digital Media Contexts

• In Event: Digital Media Arts: Learning, Assessment, and Design

Abstract

Discussions of children’s artistic capacities, learning and development in the visual arts have traditionally considered the child as an independent creator (e.g., Golomb, 2004; Kindler, 2004; Lowenfeld, 1957; Winner, 1982). The field has a rich tradition of theories and empirical accounts of development of representational complexity in spatial aspects in drawing and three-dimensional work (e.g., Golomb, 2004; Golomb & McCormick, 1995; Lowenfeld, 1957), expressive dimensions of representation (e.g., Davis, 1997; Gardner & Winner, 1982), and accounts of development of interpretation of art (e.g., Parsons, 1987). Theorists have also considered how to incorporate influences, such as the role of schooling and visual culture on children’s art making into accounts of artistic learning and development (e.g., Freedman, 2003; Wilson, 2007; Wilson & Thompson, 2007). I argue the advent of digital media technologies and new outlets for production, presentation and discussion of diverse forms of artwork highlights capacities not emphasized in these accounts of artistic learning and development in the visual arts (Author, in press).

Accounts of youth involvement with digital media identify broad and growing youth participation in diverse aspects of digital creative production (e.g., Ito et al., 2009; Jenkins, 2005; Lenhart & Madden, 2005; New London Group, 1996). This changing landscape of youth artistic activity point to gaps in accounts of arts learning and development. For instance, digital media creative production highlights collaboration, manipulation of extant visual imagery instead of solely individual creation, and an earlier awareness of, and access to audience and presentation venues. In terms of critical response to others’ artworks, there is greater access at earlier ages to a broader range of imagery and records of discussions about the meaning and value of different works in various sites, ranging from discussions of traditional visual arts, films, games to discussions about creating with child-oriented media like Legos (Author, 2008; Author, in press).

Drawing on my research including ethnographic studies of teaching and learning in high school classes in the traditional visual arts (Author, 2007), Internet film discussion communities (Author, 2006; Author, 2008), interactive computer animation and game design studio classrooms (Author, 2010; Author, 2011). I discuss how we can build connections between what we know about development, learning and teaching in traditional visual arts contexts and the new contexts created by digital media technologies. In particular, I focus on the collaborative nature of creative production and interpretation, how awareness and engagement with a diverse virtual audience shapes participation and understanding, and consider ways of thinking about quality of visual arts learning and production in new digital media and contexts.

Author

• Kimberly Marie Sheridan, George Mason University