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Studentname:

OliviaZ

Workingversionofprojecttitle
ProjectICanMakeThat:Astudyincombatingbiastowardart.

Rationale:
Thisprojecthasmoredirectionsofinvestigation,theresultswillbemoremeaningfuland
usefultoboththeartworldandthepublic,andhasfewerpitfalls.

ResearchProposalFINALdraft

1.

Statetheessentialquestion

Howcanageneralpubliclearntoappreciateartthat,onfirstglance,theymaydismiss?
2.

Statetheprimaryresearchquestion

Howcanoneteachappreciationofartthatmightbedismissedinitially?
3.

Statethesecondaryresearchquestionsyouhave(makesurethesearefairly
comprehensiveandextensive).

Whataspectsoffineartmakeitmorevaluabletosomepeople(talent,effort,creativity,
etc.)?
Howisthevalue,bothaestheticandmonetaryvalue,ofartperceivedbythose
educatedinart,thoseuneducatedinart,artdealersandartcollectors?
Doesthemajorityofthegeneralpublicpreferthemorephysicallycomplexstylesof
art?
Doesthemajorityofthegeneralpublicpreferrepresentationalart?
Inamuseumexhibit,whichworksofartgetthemostandleastattention?
Whatcausesaviewertowalkpastapieceinanexhibitbuttostandandlookatanother
one?
Howdoesthebackground(age,gender,culture,artexperience)ofapersonaffect
his/herappreciationofthedifferentstylesofart?
Canone'sopinionofaworkofartbechanged?
Howcanoneinterpretabstractoravantgardeartwork?Istherearightorwrongway?
Isiteasiertointerpretrealistic,representationalartthanabstractart?

Whatisthesignificanceofspecificartmovementsthatchallengetheartisticnorm?
Whentheviewerofanartworkderisivelymakesthejudgementthathe/shecouldmake
theparticularworkhim/herself,canhe/sheactuallyrecreateit?
Cantheyrecreateitexactly?
Cantheyatleastimitateit?
Cantheyatleastimitateit?
Isitpossibletocreateatrulynewstyleoffineartonethatisnotderivativeofany
otherartistswork?

4.

Descriptionofwhatthefinalproductwilllooklike.

Wk Weekof
#

WhatIamplanningtoaccomplishduringthatweek

11/3/14

Researchsurveytechniquestodeterminebiasanddesignsurvey.Inquire
aboutlocationsfortheworkshop.

11/10/14

Testrunsurveyonasmallgroupofpeople,editsurvey,andplanhowI
shoulddistributethesurvey.

11/17/14

Distributesurvey,collectandanalyzeresults.

11/24/14
(Thanksgiv
ingweek)

Createinterviewquestionsandinterviewavarietyofpeopleaboutcertain
works.Conductobservationinmuseum.

12/1/14

Interpret/analyzedata,andorganizeitintoaninfographic.Beginresearch
onartbiasandartmovements.

12/8/14

Doresearchonspecificworksandprepareinterviewquestions.Interview
artexpertaboutimportantyetcommonlydismissedartworks.

12/15/14

Researchmethodsofteachingartappreciation.InterviewaVTSexpert
fromIsabellaStewartGardnerMuseum.*interviewshouldgetdone
beforetheholidaybreak

12/22/14
Decbreak

Continueresearchonartmovements/artists/stylesthataredismissedby
manypeople.Writeupaminilessononthesignificanceofeachforthose
whodonotknowmuchaboutthem/whoinitiallydismissworksfrom
thesemovements.

12/29/14
Decbreak

Continueresearchonteachingartappreciation.Testoutdifferentteaching
methodsonfamilyandfriends.Reviewandrateteachingmethodsand
compilethebestcharacteristicsofeach.

10

1/5/15

Designdiscussionsonafewspecificworksthatarecommonlydismissed.

11

1/12/15

term2endson1/16/15Researchworksthatareglorifiedbythepublic
andwhytheyaremoreappreciatedthanothers.

12

1/19/15

Testrundiscussionsandeditplans.Findparticipantsfortheworkshopby
thispoint.

13

1/26/15

Identifyaworkofartthatdeceptivelylookseasytocreate.Attemptto
recreateitmyself.Determinewhyitseemseasytocreate/whyisisnot
easytocreate.

14

2/2/15

Testrunrecreationactivityandplandiscussionaboutactivity.

15

2/9/15

Researchhowartistsaffecteachotherandthesignificanceof
revolutionaryartists.Planadiscussionfortheworkshop.

16

2/16/15
Febbreak

Designandtestrunanactivityaboutoriginalitytryingtocreateartwork
entirelyoriginal/neverdonebefore.

17

2/23/15

Finishplanningouttheworkshop.Visittheworkshoplocation.

18

3/2/15

Testrunentireworkshopandedit.Designpostworkshopsurvey.Hostthe
workshopontheweekend.

19

3/9/15

Collectandreviewresultsoftheworkshop,recordobservationsand
analysis

20

3/16/15

Compilematerialforphotobookandedit

21

3/23/15

Finisheditingandprintphotobook

23

3/30/15

DEADLINEFORFINALPROJECT
term3endson4/2/15

5.

Statehowthisresearchwilladvancethefrontiersofknowledgeand/ormatter
andbesignificantinameaningfulway.

Artisextremelyimportanttothehumanracewebeganmakingartbeforewedeveloped
farming.Inthehistoryofart,therehavebeenmanyartistswhohavebeenmisunderstoodby
theircommunities.Eventodaythereisalackofappreciationforcertainstylesofartinthe
generalpublic,whichrevealsasignificantbias.Intodaysworldwhereacceptanceismore
andmorepromoted,itisimportantforacceptancetobebroughttotheartworld,forallartists
tobeappreciatedfortheirart,forallpeopletonaturallyacceptartworkinsteadofnaturally
judginganddismissingartwork.

6.

Stateanticipatedpotentialpitfallsorproblemsofthisresearcheffort

OnepitfallthatImayencounterinitiallyhastodowithidentifyingthebias.Thegeneral
preferencewhenitcomestoartmaynotbeasprevalentordefinedasIhadthought,andfrom
thereitwouldbemoredifficulttotargetthebias.
Itmaybehardtofindparticipantsfortheworkshop.Theremaynotbealotofpeoplewho
areunderappreciativeofartwhowanttoparticipateinaworkshopaboutart.ThosewhoIdo
findmightnotbediverseenoughformyresultstoseemuniversallyapplicable.
Duringtheworkshop,itmaybehardtoengagetheparticipants.IfIamexpectingquiteafew
peoplewhodonotknowmuchaboutart,theymayfeeluncomfortablediscussingtheartworks
welookatintheworkshop,acrucialpartoftheresearch.
Apossiblepitfallintheworkshopistheparticipantslackofexperience.Thosewhohave
neverworkedwiththeartsupplieswewillbeusingintheactivitiesmayfreezeupandfeel
uncomfortableparticipating,thusdrawingbackfromthemeaningfulnessoftheresultsofthe
activities.

7.

Stateyouratentativeplantolocateandreviewtheliteraturerelatedtoyour
project.Thisincludesprinted/publishedsourcesandonlinesources.[The
researchstrategy,part#1]

Iwilllocatemostofmyliteratureonlinethroughwebsitesandscholarlydatabases,andatthe
libraryforprintedinformation.Mostofthesesourceswillberelatedtoartcriticismandart
educationtechniques,soIwillresearchindividualartcriticsorresearchteamswhodealwith
thepsychologyofart.ToreviewtheliteratureIwillreadtheimportantpartsofeachworkand
writeasummaryoftheinformationaswellasashortaanalysispaper.Wheneverpossible,I
willalsocomparethesourcesthroughwritingaswell,addinginmyownhypothesesorideas.
Thesewriteupswillbeusefulincompilingmyphotobook.
8.

Stateatentativeplanforresearchanddatacollection.(Datacollectioncantake
multipleformssurveys,testgroups,interviews,observations,etcetc.Thiswill
differfromprojecttoproject.[Theresearchstrategy,part#2]

Iwilldesignsurveystoidentifythebiasinitially,andtoreviewtheparticipantsofthe
workshopabouthowtheiropinionschangedafterwards.Iwilldefinitelytestoutthesesurveys
insmallgroupsfirsttorefinethequestions.
Iwillusetestgroups,probablycomposedofmyclosefriendsorpeopleIfeelcomfortable
around,totestouttheactivitiesIplanonfacilitatinginmyworkshopsoIcangaugewhich
onewillwork/notworkandhowIwillhavetogoaboutexecutingthemsothattheywillrun
assmoothlyaspossibleandengagethepeopleasmuchaspossible.
IwilluseinterviewstocollectbackgroundinformationaboutthetypesofartthatIhave
foundareeasilydismissedbymany,andIwillalsoasktheinterviewees,expertsoncertain
genresofart,aboutwhytheythinkthesestylesareunderappreciated.Iwillalsoconductsome
personalinterviewswithrandompeople/viewersofartworktosupplementmyinitialsurveys,

togetsomemoreindepthinformationstohelpmefigureoutwhycertainworksaredismissed.
Imayalsouseobservationtoidentifythebiasbygoingtoamuseumandsittinginaroom
thatcontainsartworkofvarietyofstyles,andobservingwhichworksgetthemostattention
andwhichonesgettheleast.
9.

Stateatentativeplanforresearchanddataanalysisandinterpretation.[The
researchstrategy,part#3]

ThesurveysIconduct,thoughIamnotcertainyetofwhattheywilllooklike,shouldbe
fairlyeasytoreadthroughandevaluatethedata.Iwillreviewthemlookingforatrend
intheresponsesthatindicatespreferenceforsomeartoverothers,andIwillrelatethat
tobroaderstylesorgenres.Supplementingthiswithpersonalinterviewswithsome
viewers,Iwillwritedownorvoicerecord(withtheirpermission)theirresponsestothe
differentworksofartIshowthem,andiwillbeabletoanalyzetheirwordsandtoneto
getadeeperunderstandingofhowtheyfeelaboutthevariousartstyles.My
observationinmuseumswillalsoaddtoidentifyingthebias.Icanrecordhowmany
secondsonaverageapersonlooksatworkofartxversusworkofarty,andcreatean
infographictohelpvisualizethisdata.Withallofthesesourcesofinformation,Iwill
hopefullybeabletorelatetheresultstoadefinedbias.
OnceIknowthebias,andhavingpreparedmybackgroundresearchandworkshopplans,
mytestrunswithsmallgroupswillhelpmedeterminehowtoteachtheworkshop.I
willplayofftheresponsesofmyfriendstotheactivitiesIpresenttothemandtohowI
goaboutfacilitatingthem,bothobservingtheirbehavior,andaskingtheiropinions
outright.Theywillbeabighelpformetopreparefortheworkshop.
Finally,aftertheworkshopisover,thesurveyIdistributeabouthowtheiropinionshave
changedwillbeopenresponse,probably,andIwillreadalloftheirresponsesandkeep
atallyofthewaysitaffectedthem.Iwillsupplementthiswithmyobservationsof
theirbehaviorintheworkshop,bylookingforchangesintheirattitudetowardthe
artworkevidentthroughhowtheyparticipateindiscussions/activities.

9.

Listthetoolsyouwillneedtocompletethiseffort.Identify(withanasterisk*)
toolsthatmightcurrentlybeunavailabletoyou

Iwillneedacomputerforresearch,whichIhave.Fortheworkshop,Iwillneedaprojector
andcamera,whichIhaveaccessto.Intheend,Iwillneedawaytoproducemyphotobook,
andIhaveheardgoodthingsaboutShutterfly.Iwillalsoneedartsuppliesfortheworkshop
forsomeoftheactivities.IamstillunsureaboutexactlywhatartmaterialsIwillneedbecause
Ihavenotdonemyresearchyet.AsIdeterminethebiasandzeroinonspecificworkstobase
mypaintingactivitieson,IwillknowexactlywhattypesofpaintandsurfacesIneedandhow

much.Theartwinghasalotofmaterialsalready,someofwhichImaybeabletouse.Iwill
probablynotneedtobuybrushesastheyarereusableandthereareplentyatschool.Theart
supplieslistedinthetablebelowareestimates.
Budget:whatmaterialsdoyouanticipateneedingforyourproject?Pleaseprovidealist
withquantitiesandanapproximatecostperitem,alongabriefdescriptionofwhyyou
needthisforyourproject.

item
(pleasebe
specificbrand,if
relevant,anditem#

quantity
ofthis
item

costperitem

retailerwhereyou
wanttopurchasethis
(andthesourceof
yourprice)

whyyouneedthisitemfor
yourproject

Shutterfly10x10
PhotoBooks

$44.99

Shutterfly

Thiswillbethefinalproductof
myproject.

37mlWinsorand
Newtonoilpainttubes

$7.19

Blick

Thesepaintswillbeusedinthe
paintingactivitiesinmy
workshop.

12x16BlickStudio
GalleryCanvas

10

$12.34

Blick

Thesecanvasseswillbeusedin
thepaintingactivitiesinmy
workshop.

11.

Bibliographyearlydraft.Thisbibliographymustincludeatleast5books,5
scholarlyjournalarticles,5websites,andleastonepotentialsourcewhoyou
mightinterview.Useproperbibliographiccitation(MLAorAPAformatyour
choice).YouarewelcometouseEasyBiborrefertotheformattingtemplate
createdbyPurdueUniversity:https://owl.english.purdue.edu/owl/Explainwhy
youanticipate(atthispoint)thatthesesourceswouldberelevant.

Books
Funch,BjarneSode.ThePsychologyofArtAppreciation.Copenhagen:MuseumTusculanum,
1997.Print.
(goesintohowartaffectsthemind,informationthatIcanusetodeterminethebias)
Chave,Anna.MarkRothko:SubjectsinAbstraction.NewHaven:YaleUP,1989.Print.
(indepthstudyofRothko,anexampleIcoulduseintheworkshoporonthesurveys)
Banaji,MahzarinR.,andAnthonyG.Greenwald.Blindspot:HiddenBiasesofGoodPeople.
NewYork:Delacorte,2013.Print.
(abouttheimplicitassociationtest,amethodIcouldusetofindthebiasinthiscase)
Hickman,RichardD.WhyWeMakeArtandWhyItIsTaught.Bristol,UK:Intellect,2005.
Print.
(thiswillhelpmeexplainwhymyprojectmattersintheworldtoday)

Judovitz,Dalia,andMarcelDuchamp.DrawingonArt:DuchampandCompany.
Minneapolis:UofMinnesota,2010.Print.
(looksatsomeartistsImayuseasexamplesandalsoexamineshowartistsinfluenceeach
otherandhowartistshavecomeupwithacompletelynewideabyactuallyderivingtheir
work)
Yenawine,Philip.VisualThinkingStrategies:UsingArttoDeepenLearningacrossSchool
Disciplines.Cambridge,MA:HarvardEducation,2013.Print.
(describeshowtoapproachaworkofart,VTS)
Yenawine,Philip.HowtoLookatModernArt.NewYork:H.N.Abrams,1991.Print.
(Howtoapproachaworkofart,mayhavesectionsspecifictotheartIamfocussingon)

ScholarlyJournalArticles
Ahmad,PaulineJ."VisualArtPreferenceStudies:AReviewofContradictions."VisualArts
Research11.2(1985):10007.JSTOR.Web.20Oct.2014.
(astudyofwhysomeartispreferredoverothers,informationIcanusetoidentifywhythe
biasexists)
Foss,SonjaK."THEAESTHETICRESPONSETONONREPRESENTATIONALART:A
SUGGESTEDMODEL."ReviewofResearchinVisualArtsEducation6.2(1980):
4049.JSTOR.Web.20Oct.2014.
(abouthowweperceivenonrepresentationalart,usefulforfindingoutwhypeoplemay
dismissthistypeofartsoIcanfigureouthowtocombatthebias)
Burchenal,Margaret."ThinkingthroughArt:TransformingMuseumCurriculum."TheJournal
ofMuseumEducation32.2,CriticalThinkingSkillsintheMuseum(2007):11122.JSTOR.
Web.20Oct.2014.
(anexaminationoftheVTSteachingmethod,atechniqueIcouldusetoengagetheworkshop
participants)
Smith,Terry."TheStateofArtHistory:ContemporaryArt."TheArtBulletin92.4(2010):
36683.JSTOR.Web.20Oct.2014.
(astudyofhowcontemporaryartisperceivedtodayusefulforidentifyingthebiasand
explainingthesignificanceoftheartmovementsthataredismissed)
Coomaraswamy,Ananda."TheAppreciationofArt."TheArtBulletin6.2(1923):6164.
JSTOR.Web.20Oct.2014.
(anoutdatedreviewofhowartshouldbeappreciated,Icancompareittomoremodernideas
aboutartappreciationandcompareittothemindsetsofpeopletoday)

Websites
"ARTCRITICISMANDFORMALANALYSISOUTLINE."ARTCRITICISMAND
FORMALANALYSISOUTLINE.UniversityofWisconsinGreenBay,n.d.Web.20Oct.
2014.
(anapproachtointerpreting/appreciatingaworkofartthatIcouldincorporateintomy
workshop)
"HomeVisualThinkingStrategies."VisualThinkingStrategies.N.p.,n.d.Web.20Oct.
2014.<http://www.vtshome.org/>.
(themainwebsiteforVTS,ateachingmethodIcoulduseintheworkshop)

"PietMondrian:TheEvolutionofPureAbstractPaintings."EmptyEasel.N.p.,n.d.Web.20
Oct.2014.
(backgroundinfoandhistoricalsignificanceofMondrian,anartistIcoulduseasanexample)
"TheArtStory:MovementsandStylesinModernArt."TheArtStory.N.p.,n.d.Web.20Oct.
2014.
(lotsofinformationabouthowmodernartmovementsdevelopedandwhytheywere
significant)
"LearnHowtoAppreciateArtinaFewMinutes."Lifehack.N.p.,n.d.Web.20Oct.2014.
(containsaninfographicthatIcouldbuildoffof,beinspiredby,orpossiblycriticize)

People
Mergel,Jen.BealSeniorCuratorofContemporaryArtattheMuseumofFineArts,Boston,
MA.
(closebyandknowsalotaboutmakingmodern,avantgardeartstylesinterestingand
engagingforviewers)
Burchenal,Peggy.EstherStilesEastmanCuratorofEducationandPublicProgramsatIsabella
StewartGardnerMuseum,Boston,MA.
(ExpertinVTS)

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