Object-based Learning & the modern art school curriculum

15th March – Judy Willcocks, Jacqueline Winston-Silk & Georgina Orgill.

I attend this session live but online, learning about the teaching collection at CSM. Historically, aesthetic appreciation was a learned experience. In the late 19th century, a collection was formed. A number of governments funded art schools gathered objects to inspire generations of makers to challenge the perceived design hegemony of countries across Europe. CSM collected a wide range of materials such as German film posters, medieval manuscripts and rare books, hoping to inspire students to behave in a different way. The idea was to engage with objects in a studio environment and unpick them. In the 1970s, with a rise in the popularity of teaching art history and critical studies, collections were rediscovered. It was decided that the CMS collection should tell the story of the students, alumni and staff, it’s now used to support learning & teaching throughout the university. Question: how do you take a collection and use it in a way relevant to current teaching practice in terms of the curriculum? Historically museum learning was for primary schools and an older, passive audience. At CSM students are very proactive. I created an Attainment workshop with our course librarian where my students investigated the Zine collection at LCC, at the time I did not realise that this was the teaching technique of object-based learning. Could this technique be at the heart of curriculum development?

It’s importance to recognise the use of space to display and learn as part of this experience, where you can communicate your offer and engage with your audience. How might we display the course reading list in out studio space or show examples of previous sketchbooks to highlight examples of the learning outcomes such as show ‘evidence of enquiry’? The early 20th Century phycologist John Dewey and Jean Piaget established ‘learning as a communal & democratic process’. Bruner states ‘interest & curiosity are key motivations for learning.’ David Kolb considered education practice post 1992 was to prepare students for the world of work. I need to consider the importance of experimental learning particularly in art and design is about what we read and do. I worry my students don’t read enough; I wonder how I can inspire them?

Object based learning is an academic discipline within HE. The meaning of the object is held in the transition between the object and the learner. Philip Jana Wine & Abigail Hussan considered visual thinking strategies. They looked at what happened when students engaged in object-based learning, they used transferable skills such as communication, teamwork, research and analysis leading to richer, deeper learning experiences. Being able to handle the object and feel, being a key part of the embodiment experience. This was thrown by lockdown and something we experimented with in the session. We were asked to write and then share our thoughts on the experience from viewing objects we had at home in person and then online. The object becomes as a focal point for meaning making and self-reflection. Students are encouraged to explore their research practice, habits of mind and frames of reference through this experience – fantastic to get them away from constantly using google for research purposes. I created a workshop for my third-year students where we brain stormed and created a primary and secondary research check list they could use as a starting point and inspiration for any project brief. Discussion points guide students. Questions can lead to assumptions that will drive all the thinking behind the research. A framework methodology Jules Prone ‘material culture’ 1980s examination of objects through description, deduction and hypothesis. Again, this reminds me of the importance of ‘noticing’ as with our earlier lecture in the unit. The experience creates collaborative meaning making, a framework for students to engage with objects more deeply. respecting difference and an understanding that peers all see objects differently, everyone brings something to the table. There is no right or wrong. Make sure your practice is based on the student experience. Museum lead projects are embedded in the courses at CSM, how might we do something similar at LCC? OBL is written into the learning and teaching enhancement strategy for Ual 2015-2022. Consider the challenges – decolonise a white western collection, policy to acquire objects that speak of race and gender. Teaching collections in the UK important part of current teaching practice.

Object-Based Learning and Well-Being Exploring Material Connections Edited By Thomas Kador, Helen Chatterjee 2020.