In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

Grammar is a word associated with the rules that govern language and its related pedagogy for articulating types of declarative knowledge. It can also refer to the organizational structure of practices and their related forms of knowledge, as described here by Ludwig Wittgenstein: “Essence is expressed in grammar.... Grammar tells us what kind of object anything is. (Theology as grammar.)”1 Wittgenstein’s remark about theology can be generalized to visual art, and, by extension, to the grammatical structure of art education. The (...) grammar of creative practices is described by George Steiner as the “articulate organisation of perception, reflection and experience, the nerve structure of consciousness when.. (shrink)

This article explores parallel tendencies in Ludwig Wittgenstein’s and Ernst Gombrich’s thinking that aimed to dissolve misconceptions about mind, culture, and art that emerged in modernity but that continue to influence current art education. Section one gives an overview of Wittgenstein’s and Gombrich’s therapeutic projects, which drew on perspicuity and genealogy to eliminate confusions in thinking, rather than advance new theories. The second section illustrates Wittgenstein’s and Gombrich’s curative response to modern misconceptions about mind and culture. The analysis is extended (...) in a thematic way to dissolve similar misconceptions that prevail in current art education. The aim of the article is to provide conditions for sustaining better practices of art education. (shrink)