#ArtGoals: Fostering Artistic Engagement in Early Adolescent Students

Introduction

By the time students reach their teens, they often abandon art as a form of understanding and expression (Graham, 2003). This could be due to their perception that the technical competence and mimetic representation necessary for creating “good art” is unattainable (Amorino, 2009). Another theory suggests that the preoccupations of this group are just too difficult to identify and illustrate using their limited visual language. There may also be pressure from teachers or parents to focus on other academic areas (Simmons, 2001). In the book, Creative and Mental Growth, coauthored by W. Lambert Brittain, art education theorist Viktor Lowenfeld (1970) proposed that adolescence is one of the most challenging stages of artistic development (Amorino, 2009). During this time, learners also seek to find themselves as they transition into adulthood. These students want independence, yet they are still susceptible to peer pressure as they also crave social acceptance (Amorino, 2009). Additionally, they are less inclined to view adults as the authority on many subjects (Amorino, 2009). This outlook can be accompanied by rebellious behavior as adolescents begin to express strong feelings and emotions (Amorino, 2009). While these students are still children, they have matured enough to tackle most problems (Amorino, 2009). So, their engagement in art may be influenced more heavily by motivation than by ability.

According to Amabile (1996), motivation stemming from students' positive and individual response to the attributes of a task is considered intrinsic (Jaquith, 2011). Conversely, extrinsic motivation has external roots and can be positive or negative (Jaquith, 2011). Jaquith (2011) suggested that while it may be challenging for art educators, teaching strategies that accommodate self-directed learning and autonomy promote intrinsic motivation. In this environment, teachers provide support and encouragement, additional resources, and challenges, if needed, functioning more as a facilitator than as an instructor (Jaquith, 2011). An example of this can be observed in constructivist pedagogy. In this teaching strategy, the art educator acts as a facilitator because students exercise a level of ownership over their particular learning processes (Hesser, 2009). Here, pupils fill the roles of active, creative, and social learners (Hesser, 2009). As active learners, students participate in determining learning criteria, processes, and assessment (Hesser, 2009). Open-ended problems allow creative learners to find multiple solutions (Hesser, 2009). Mistakes are also considered opportunities for further learning. Lastly, in a constructivist classroom, social learners are encouraged to engage in discussion and collaboration as part of the learning process (Hesser, 2009). Therefore, given the nature of this environment, it can be useful for addressing not only students' developmental needs but also their artistic engagement.