Abstract
This chapter addresses the ubiquity of the Elements of Art and the Principles of Design, the quasi-historical narrative of American exceptionalism that is maintained, and the affective consequences of using the Elements and Principles as foundational knowledge. This chapter traces the development of the Elements and Principles as a means of promoting British and American middle-class artists who preferred French esthetics. This chapter proposes teaching students to understand artwork through the contextualized disciplinary understandings that governed their production to move students past Stage II of esthetic development. This chapter also details an affective response protocol that maximizes students’ awareness of their embodied selves in responding to, planning, creating, and presenting artwork. Roger Fry and Clive Bell dominate a roster that includes John Singer Sargent, Jackson Pollock, Norman Rockwell, the CIA, Virginia Woolf, Miriam J. Throttlebody, and a racist professor of natural science.
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