In my experience, I have come to realise that the style of teaching in the UK for the subject of Art is lacking in multiple areas. Having studied art throughout my school life, I was stunned by the change in perspective that occurred from my A level teachers, who were confined by the strict procedures of exam boards, to my degree level professors. It is perplexing as to why the education system for under 18s takes the rigid, academic stance that it does on the subject of art when those that are most knowledgeable, that teach in universities, practice it in their work, and write ground-breaking pieces of literature, have a much more free flowing, theoretical attitude. In addition, the way in which the art of children and young adults is viewed is also rather skewed - it appears to me that many value art for the degree to which it has been informed by history, inspired by other works, and for the status of its artist.
During my research on this subject, I came across an exhibition at HOME Theatre in Manchester - the Open Exhibition 2024 - which displayed the work of 473 artists from age 5 to 83. No piece was given more value than another with the nature of its presentation, all were shown closely neighbouring the next, with only numbers to indicate names in a booklet. This ensures that no opinions are formed preemptively, and that the art is viewed solely for the value of its content.
I found many pieces that were recognisable as having been executed by a younger person due to their more naive style - but this naivety did not deduct from them; rather, it was fascinating to see that those children had a firm grasp on the qualities that make a great piece of art, simply by nature and not by acquisition through lengthy education, even if this skill was as yet less refined than an established artist.
My first example of this theory is this piece, titled appropriately, Sad Face. In my view, a very significant factor of art is its portrayal of emotion. Art is intended to evoke emotion in the viewer, and illustrate the emotion of the artist. I feel as if it is a common acknowledgement that when children draw they are most likely to attempt to reflect the world exactly as it is onto paper; a ritual of mimicking rather than an emotional, poetic practice as we consider the work of adults.
But, in this piece, a child has made many emotional choices in their work, such as the showing of only half of the face, and the tear flowing across the page. They capture the
