Learners will be able to identify paintings, artists and art movements (genres) from 20th century Art History given representations or examples of paintings, or other information or clues telling them about artwork or an artist. The learners will reinforce what they have learned in their existing Art History class. Students will learn to distinguish the styles of the individual artists and the characteristics of the different genres and movements through a more social, entertaining method than that of traditional lecture and slide memorization.
The Art Gallery Game will encourage collaboration and competition among students, as well as reinforce visual identification--sometimes the only time the students see a specific work of art is in class during the slide show lectures--many times the same artwork is not in their textbook and yet they will be tested on it. With repeated viewings of specific works the students will start to categorize certain styles within certain genres and associate certain artists with their style of work. Other information (biographical, philosophical, cultural, critical and art related to other disciplines) will assist students in their awareness of a more systematic "big picture" view of their world (art and beyond).
Rationale: Memorization is the traditional way to learn art history. A board game will add fun to the memorization process and aid students in their classification skills. It will also be a way to discuss art with their peers. By seeing all the art throughout the game, they may recognize characteristics they had not noticed before or make new associations in their memory.
This game also conforms to the National Educational Standards for Visual Arts, Grades 9 to 12 (NA-VA.9-12.3 Choosing and Evaluating a Range of Subject Matter, Symbols, and Ideas and NA-VA.9-12.3 Understanding Visual Arts in Relation to History and Cultures):
target learner group(s) are junior high, high school or college Art
History students (a number of Art History classes are required to earn
a B.A. in art ). This game is also designed for individuals interested
in Art Appreciation for personal enrichment.
The game uses an Artist and Collector metaphor. Similar to "real life," artists try to "create" (compile) enough art work to have a gallery exhibition and art collectors also try to "collect" (compile) enough work from varied art periods to have a gallery exhibition. Whoever completes their collection first not only gets to have their own gallery exhibition, but they also gain recognition, fame and fortune. And, best of all, they win the game.
Complete your art collection before your opponents. Your collection
consists of one work of art from each of the 6 periods titled on your
1 board, 4 player pieces (cubes of primary colors), 1 die, 4 Collector easels and 4 Artist easels (2 sections each), 108 Gallery cards (includes 4 Wild cards and 4 Punishment cards), 100 Question cards, 18 Forgery cards and 7 artists Portrait cards (See Samples Images and Rules/Procedures for specific descriptions and detail)
The game would take about 2 minutes to set up: Unfold the board, organize, lay out cards, shuffle cards, determine roles of the players, roll die and start moving around the board. Playing time varies from 30 minutes to 1 hour. See Alternative Rules for possible changes in adjusting the length of play.
Our first thoughts were, let's learn more about games since that was our weak point. Two of us had not played a board game since we were very young. So we looked at existing games and searched the Internet for similar games (our Analysis phase). We, first, wanted to combine the Art History concept within a Mystery game. We took too much time trying to force the Mystery aspect. The best information was gathered by searching for "Boardgames" or "Mystery Boardgames" or "Bordgame Rules" then it took off from there following links within links etc. Unfortunately, after spending all that time searching, we had another brainstorming session and decided to drop the mystery aspect. There was too much information in the Art area to try to mix a mystery in with it--at least for now.
Regarding the Art aspect, two of us already have Art backgrounds and have digital collections of artwork and other information piled up so that part would be easy (we thought). However, after about one week, we found we lacked needed artwork or information in certain movements or we still needed certain artist portraits or biographies, so we went back to the web and to books and downloaded or scanned.
We wanted to use a work of art for the game board, but it had to not be too busy, loud or confusing and should have some sort of Path. Again, we thought, "Piece of Cake." WRONG! After some laborious searching nothing seemed right until we found the Josef Albers, "Homage to the Square." And we were glad to see that there were no copyright infringement problems since we would use this for educational purposes.
We were so happy with our first draft of the game; it seemed just perfect. WRONG!!! again. After playing the game only once, we realized we had to make MANY major revisions. This continued throughout the weeks: Play, Revise, Play, Revise, Play. Revise. So the game today is very, very different from the original draft--many changes were made. Finally, when we started having Fun and didn't want to stop playing the game we knew we had a playable Prototype.
Our biggest complaint: We spent way too much time and money (for paper and ink!) on production!!! We also never anticipated time-consuming technical difficulties (printer breakdown).
Comments and Critiques from the Boardgame Exhibition 10/29: 1) The Board could use a START square. (We had one, but eliminated it--will put it back and maybe give a reward every time someone passes over it). 2) We forgot to put on the board a copyright/acknowledgement of the artist who painted the painting that IS the actual board: Color Theorist, Josef Albers: "Study for Homage to the Square."
Books & Journals
H. H., (1979). History of Modern Art, (2nd Edition), NY: Prentice-Hall.
Ferrier, J.L., Pichon, Y.L. (1988). Art of our century: The chronicle of western art 1900 to the present. New York: Prentice Hall Press.
Fineberg, J. (2000). Art since 1940: Strategies of being. New York: Harry N. Abrams, Inc., Publishers.
Gallwitz, K. (1985). Picasso: The heroic years. New York: Abbeville Press.
M. (1987). Francis Bacon, Barcelona: La Poligrafa.
Malone, T.W., Lepper, M.R. (1983). Making learning fun: A taxonomy of intrinsic motivations for learning (Unpublished report) Conference on Aptitude, Learning and Instruction: Conative and Affective Process Analysis, Stanford University.
Seitz, W.C. (1983). Abstract Expressionist painting in America. Cambridge, Massachusetts: Harvard University Press.
Siegel, J. (1999). Painting after Pollock: Structures of influence. Netherlands: Overseas Publishers Association GB Arts International.
Sylvester, D. (1975). Interviews with Francis Bacon. NY: Thames and Hudson.
Thomas, D. (1976). Abstract painting. New York: E.P. Dutton.
Wilson, S. (1994). Surrealist painting. London: Phaidon Press Limited.
Boardgamegeek Home Page (2001). [On-line]. Available: http://www.boardgamegeek.com/viewitem.php3?gameid=118
Harden, M (2001) Artchive Home Page. [On-line]. Available: http://www.artchive.com
Central connector Home Page (2001). [On-line]. Available:http://www.centralconnector.com/GAMES/GameCab.html
Clue.net Home Page (2001). [On-line]. Available: http://www.theclue.net/games.shtml
Education world Home Page (2001). [On-line]. Available: http:// www.education world.com/standards/national/arts/visual_arts/9_12.shtml
Gamepile Home Page (2001). [On-line]. Available: http://www.gamepile.com
Gamereport Home Page (2001). [On-line]. Available: http://www.gamereport.com/bookstore.shtml
Last updated October xx 1999