Art Education Beyond the Classroom: Pondering the Outsider by A. Wexler

By A. Wexler

By way of concentrating on young children and adults with disabilities, every one contributor bargains severe examine which demanding situations the non-transferable divide among us and them , encouraging artwork lecturers, therapists, critics, and common readers alike to discover their biases in regards to the nature of paintings and schooling.

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Extra info for Art Education Beyond the Classroom: Pondering the Outsider and Other Sites of Learning

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4 is again drawn in thick 4B graphite, and depicts a six-lane freeway divided by a wide, black-shaded median. The scene is notable because the earlier versions of his highway-scapes depicted roads that were devoid of cars. In this piece, however, vehicular traffic was included in the composition. The commuters are composed with a curious symmetry, evenly distributed in an orderly line. The traffic is shown moving along briskly—a rarity for Chicago clogged roadways. The roadwork is complemented by a complex array of urban development along the frontage roads, including overpasses, factories with logos, railways, and a reference to a salvage yard—its crane dangling a junked vehicle.

J. Untitled. No Date. Graphite, 12 × 17 inches, photograph by Dawn Henley action. The perspective appears to be from an elevated position, perhaps from an overpass portion of the highway. This perspective creates a sense of distance from the experience. By elevating the scene in vast sweeps of landscape, we sense a mastering of the experience, virtually confirmed by the coherence and authority of the composition. R. J. is now in and out of the picture—elaborating upon his experiences with the “observing ego” that is required for self-biography to evolve.

Here, the predictable comings and goings of heavy construction vehicles indicated that all was well with the world. Although he was open to his teacher’s enrichment activities—attending field trips, gardening outside, and other stimulating happenings of the art room—they had little impact upon his work. R. J. was often completely self-absorbed by his work and, again, almost completely nonverbal with others. ” Despite his intense self-introspection, R. ’s art was very much of and about this outer world.

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