In my last post, I briefly shared what Visual Thinking Strategies (VTS) might entail in a classroom. I learned about VTS methodology and put it into practice, lots of practice, during the week long Smithsonian American Art National Teacher Institute in Washington, DC. After a brief overview of the theory and watching the Smithsonian’s presenters facilitate the thirty-ish teachers from across the globe in observing, commenting, listening and “reading” a painting, it was our turn after lunch on day one of the training to try out our new legs.
Guiding intimate groups of four or five institute participants through a portion of the massive historic structure was a museum education specialist. Our task? The insecure group of newbies were charged with meandering through the museum like a mouse following cheese and stopping abruptly at a piece of art sight unseen. After a few seconds of gazing, the group would be asked who wished to facilitate the conversation about the painting, someone would inevitably raise their hand (albeit feebly and with knocking knees) and then be asked to guide a high level discussion about said piece of unknown art. Knowing little about art, this was immensely challenging for me. Frankly, my eyes scanned the doorways in desperate search of an exit sign a time or two. But I pushed through the pain and persevered.
After encouraging our “students” to gaze at the selected piece for a few minutes sans comments, probing questions were tossed to our “class,” namely -what’s going on in this picture, -what do you see that makes you say that, -what more can you find? When listening attentively to the responses, the facilitator was expected to -listen carefully, -point to what is mentioned, -paraphrase each comment, -accept each comment neutrally, -neutralize biased/negative language, -link comments that relate.
It sounds pretty straight forward, right?
Um. No, actually it’s not. Added to the pressure of knowing zilch about a piece of art, standing in front of your (very clever) peers you know relatively nothing about, and trying to follow the “rules” of facilitating a rich discussion, did I fail to mention that we were given only seven minutes from start to finish?
Oh, and one more cherry on top of the teetering ice cream sundae…we were warned that the art would become more and more challenging as our little tour progressed. Therefore, it was in our best interest to be among the first volunteers should we be feeling a little bit uneasy about the process. I, of course, did not heed those sage words and had the dubious task of facilitating a discussion about this little piece of art:
Dreams No. 2
1965 Jacob Lawrence Born: Atlantic City, New Jersey 1917 Died: Seattle, Washington 2000 tempera on fiberboard 35 3/4 x 24 in. (90.8 x 61.0 cm.) Smithsonian American Art Museum Gift of the Sara Roby Foundation 1986.6.95 Smithsonian American Art Museum 2nd Floor, North Wing

Yeah, that’s what I thought, too. Strangely, though, going through the process of both acting as facilitator of a discussion as well as playing the role of student really opened my eyes. Wide. There are benefits to looking at a piece of art (cold or otherwise) and going through the VTS process.
1. Having a partner(s) can provide an additional set of eyes to someone who might be feeling a bit sheepish (namely me). With a partner(s), you can bounce ideas off of them and see what sticks. A partner(s) also provides affirmation and helps to clarify your thinking. In case you weren’t paying attention, this is what educational experts like to call “21st century learning.” It’s community building 101.
2. In a time of rush, rush, rush and go, go, go, Visual Thinking Strategies allows teachers some breathing room. Rush, rush, rush through the curriculum. Go, go, go through the TEKS because the checkered flag (standardized testing) is not so much as waving to us in the fast approaching horizon as it is mocking us. The argument of “we don’t have time for this” loses its punch because the truth is-VTS actually SAVES teachers time.
3. VTS pushes the observer to think using the highest of the higher order thinking skills. Listening, speaking, reading (you are actually reading a work of art when you consider the message, characters, setting…) and writing. Your brain is firing on all pistons. Isn’t that what we want our kids to do?
4. Writing. Ah, writing. Yes, looking at great works of art with a group of trusted friends (and trust me, after feeling and sometimes looking like a fool in front of relative strangers, they are friends), actually helps us with writing specificity. You try describing an item tucked cleverly in the corner of frame or a thought about the overall them of a piece without sharpening your word skills. And that pays off big time when the pencil hits the paper (or the hand hits the key). You get the idea. Honing the art of description using art allows the mind to flow freer and translates to a freer thinking mind no matter what the writing (or speaking, or listening, or reading) tool.
And we all win in the end.
So what do you think? Go ahead and explain what’s going on in the picture above. What do you see that makes you think that? {<–That’s text evidence, by the way.} What more can you find?
Need some help with this? Click here.
Still not convinced? Check out Art Is by Bob Raczka and pay particular attention to the use of verbs. Then ask yourself what they demand of the reader. (Because I’m a spoil sport, I’ll give you a hint: think observe, infer, and inquire to name a few). Don’t you just LOVE those words when you talk about ELA and History?
Inhale deeply.
Ah.
That’s the smell of art infused into an ELA/History classroom.