Art Education

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The Role of Family Snapshots in Teaching Art

History Within a Dialogic Pedagogy

Kristin Baxter

To cite this article: Kristin Baxter (2012) The Role of Family Snapshots in Teaching Art History
Within a Dialogic Pedagogy, Art Education, 65:1, 11-18

To link to this article: http://dx.doi.org/10.1080/00043125.2012.11519155

Published online: 24 Nov 2015.

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 The Role of
Family Snapshots
in Teaching Art History
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within a Dialogic Pedagogy

B y K ristin B a x ter

H
ow can educators use dialogic teaching strategies to build
connections between artworks and life experiences of
students in a survey art history course? Can stories repre-
sented in ones family snapshots facilitate dialogue about formal content
and conceptual issues present in works of art in museums? My interest
in understanding if discussions of snapshots could facilitate students
insights into works of art was prompted, in part, by the work of historian
Julia Hirsch (1981). She investigates meanings of family photographs
by comparing twentieth-century snapshots of mothers and children,
weddings, and homes to works from art history, such as a fourth century
B.C. Roman marble stele depicting a wedding ceremony, Robert Campins
Annunciation triptych (Merode Altarpiece) (1427-32), and a documentary
photographic portrait from 1866 by Solomon Butcher depicting Nebraska
homesteaders. Hirsch argues, we still treasure paintings and create photo-
graphs which relate, no matter how tenuously, to ancient metaphors of
family unity and cohesion: we still seem to acknowledge the values we
have shed (1981, p. 28, 32).
Studying images of families in works of art and in snapshots is compel-
ling, and I further wondered if looking at both types of images side by
side might help students understand both kinds of images more fully.
Snapshots often prompt detailed and vivid stories among family members
and friends. Therefore, I wondered if dialogue about snapshots could be
used, in an introductory art history course, as a springboard to discussing
related works of art with students who are sometimes reluctant to fully
participate in group discussions.

January 2012 / Art Education 11

 This article presents evidence
that dialogue is essential
in the creation of meaning,
as students make critical
observations between works
of fine art and their personal
family snapshots.
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Other researchers argue that family
photographs and the stories associated with
them are primary sources of information
about cultural systems, social practices, and
family/community histories (Akeret, 1991;
Barrett, 1996; Cronin, 1996, 1998; Geffroy,
1990; Lowenthal, 1985; Walker & Moulton,
1989). In addition, researchers maintain that
family photographs and associated narra-
tives reveal interconnections between public
historical events and personal memory,
have communal and personal purposes
(Blomgren, 1999; Kuhn, 1995; Zelevansky,
1998; Zuromskis, 2006), and show potential
for improving family functioning if used in
therapeutic settings (Kobbe, 1993). At the
same time, by imagining what cultural prac-
tices are not represented in a collection of
family photographs, one can speculate what
is considered culturally taboo or mundane
(Beloff, 1985; Duncum, 1996; Holland,
1991).
The ubiquity of snapshots in daily life, the
cultural value they hold, and my own studio
art practice that incorporates the use of these
images (Baxter, Lopez, Serig, & Sullivan,
2008) prompted my dissertation research on
the educational potential of family snap-
shots, particularly for art education (Baxter,
2009, 2005a, 2005b). This research explored
how individuals organized, coded, and made
meaning of experience through material/
visual culture, especially family snapshots.
Though I propose a theoretical rationale
for using family snapshots within a visual
culture approach to art education, putting
theories to practical use in the classroom
lay outside the scope of this earlier research.
Therefore, this current research addresses
that limitation.
This article presents evidence that
dialogue is essential in the creation of
meaning, as students make critical observa-
tions between works of fine art and their
personal family snapshots. In doing so,
12 ART EDUCATION / January 2012
students internalize and construct personal
meanings about works of fine art, using
family snapshots as vehicles. Similarly, they
internalize and construct personal meanings
of their family snapshots using works of fine
art as the vehicles.
Exploring the Great Museums
of New York
Exploring the Great Museums of New
York is an introductory level, museum-
based art history course that I taught at
Fairleigh Dickinson University in Madison,
NJ. The course meets six times in total,
including three classroom sessions and
three all-day meetings at museums. It is a
survey of art history, beginning with the
study of Ancient Egyptian art through
contemporary American art. In the spring
of 2008, we visited the Brooklyn Museum,
the Metropolitan Museum of Art, Whitney
Museum of American Art, and the Newark
Museum. Through PowerPoint slide
presentations during the classroom sessions,
we studied the historical and cultural
significance of the works of art we would be
viewing the following day in the museums
and considered related snapshots from my
own and my students collections. Students
were instructed to bring in snapshots that
had conceptual and/or compositional
connections to the works of art that we
studied in class and would be viewing the
following day in the museums.
Prior to taking my class, I visited each
of the museums on my own to select the
works of art that we would be studying. The
rationale for selecting the works of art was to
provide students with a survey of the history
of art focusing on iconic works in each
museums collection. In addition, I selected
works that represented familiar themes
or activities, such as family portraiture,
travel, people at work, homes, and funerals.
Table 1 was included in the syllabus and
indicates the works of art that we studied
at each museum, along with the kinds of
photographs that students were to bring to
class and to the museums. Students brought
framed pictures that they took right off their
dorm room walls; others were digital photo-
graphs that the students printed off on copier
paper; still others were traditional snapshot
prints.
Class discussions both on campus and
in the museums were tape-recorded and
transcripts were made. After reviewing the
transcripts and reading reflective papers
the students wrote after each museum visit,
I identified two outcomes of using family
snapshots in a dialogic pedagogy. The first
outcome is that students connect ideas
generated by the works of art to experiences
with family members. The second outcome
of this approach was that students drew
parallels between the formal qualities of
works of art and snapshots. A discussion of
these outcomes follows a description of how
dialogue was used in the museums to foster
students meaning-making.
Dialogic Questioning
While in the museum galleries, a series
of dialogic questions were posed about
the works of art. Dialogic questioning was
inspired by what McKay and Monteverde
(2003) call dialogic looking. By this they
mean, viewers consciously articulate the
questions that arise while they look (p. 42).
Dialogic questions have three parts, each
part based on observations and each part
building on the next. They are grounded in
formal analysis, they ask viewers to create
meaning based on visual evidence, and
they connect to viewers life experiences.
Students are first asked, Describe the image.
What do you see? In doing so, the group
acknowledges formal qualities of the work
of art, allowing each person to point out
things he or she sees. Dialogic questions,
based also on the visual thinking strategies
developed by Housen and Yenawine (2001),
then asked students to probe for meanings
and make interpretations, such as Whats
going on in this picture?, What do you see
that makes you say that?, Why do you say
that?, and What else do you see? Finally,
questions were posed that asked students to
make connections between the work of art
and students life experiences, such as When
have you found yourself in this situation?
If you were the artist, how might you have
responded to this idea? What would you add
or change?
After discussing these questions while
viewing works of art in the galleries, I then
asked students similar questions in relation
to their snapshots. Students were asked to
describe their snapshots and the personal
meanings they hold. Then they were asked
what formal or conceptual characteristics
were shared between the work of art and
snapshot. Finally, I asked, How might
understanding your snapshot help us under-
stand the work of art? The purpose of using
snapshots with conceptual and/or compo-
sitional connections to works of art was to
encourage dialogue in galleries and to build
connections between artworks and the life
experiences of the students.
 Works of Art and Museum Themes of Related Student Snapshots
Brooklyn Museum Kitchen scene; dinner party
Judy Chicago, Dinner Party, 1974-79
Brooklyn Museum Memories, dreams, future goals
Miwa Yanagi, My Grandmother Series, 2000
Brooklyn Museum Any photo showing everyday objects
Arahmaiani, Display Case, Etalase, 1994/2007
Brooklyn Museum Portraitsgroups and individual, school
Egypt Reborn exhibition: portraits, wedding portraits, etc. Commemorates
Senwosret III an event
Senenmut
Relief from the Tomb of Akhenthotep
Family Group
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American Identities exhibition:

Gilbert Stuart, Portrait of George Washington, 1796
Metropolitan Museum of Art
Ancient Greek figurative sculptures
Brooklyn Museum A photo you consider a keepsake; or another
Egypt Reborn exhibition: object from the home that you consider a
keepsake or a good luck charm
Hippos, reclining dog, hedgehog rattle
Brooklyn Museum Any other object that tells a story, or triggers
Tejo Remy, Chest of Drawers, Model #45 You can lay a memory or is in some way nostalgic or
down your memories, 1991 meaningful
Visible Storage Study Center
Metropolitan Museum of Art
El Anatusi, Between Heaven and Earth, 2006
Joseph Cornell boxes and compare to the Meketre
models from Ancient Egypt
Newark Museum
Ballantine House
Brooklyn Museum A tourist photograph or a postcard
Albert Bierstadt, A Storm in the Rocky Mountains,
Mt. Rosalie, 1866
Brooklyn Museum Working on your computer; or a picture of a
Dana Schutz, Google, 2005 friend on the computer
Metropolitan Museum of Art Your home, or the home of someone you know;
Kwoma Ceiling, New Guinea, 1975/2002 how does it represent the owner/family?
Newark Museum
Ballantine House
Metropolitan Museum of Art Photographs taken at funerals; or a picture that
Ancient Greek Vase, Geometric Period makes you think of your own mortality

Damien Hirst, The Physical Impossibility of Death in the

Mind of Someone Living, 1991
Metropolitan Museum of Art Any place of worship
Temple of Dendur
Special exhibition: Blog.mode: Addressing fashion Someone wearing a special outfit
Whitney Museum of American Art Any photograph that challenges our perceptions,
Beth Campbell, The Following Room, 2007-2008 maybe you captured a really interesting angle of
a building, or its just a really strange depiction
of reality
Newark Museum New York City skyline or any cityscape
Joseph Stella, Voice of the City, 1920-1922
Table 1 Works of Art Studied at Each Museum and Themes of Related Students Snapshots

January 2012 / Art Education 13

 For instance, while in the gallery viewing
Judy Chicagos, Dinner Party at the Brooklyn
Museum, a student brought in a snapshot of
a Christmas dinner and made connections
between the order of the imagined atten-
dants at Chicagos dinner table and the order
that her family appeared in the photo. The
student explained,
Theres no order to where we sit and
we all just get up and move around at
the table. I guess we all come together
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work of art stimulated discussion of one
another. The discussions with students in the
museums and in the classroom, as well as
their written reflective papers, were analyzed
and two outcomes emerged.
Connecting Art to Experiences
Shared by Family Members
The first outcome is that students connect
ideas generated by the works of art to experi-
ences with family members. At the Brooklyn
documents a past, but also implies a future,
as does Yanagis image. While in the galleries,
Danielle explained,
You were talking about the future. And
this was nostalgic when I looked at it
and the memories from the summers I
spent [at my summer house in Ocean
Grove, NJ]. Every day I would go to the
beach. And the friends that I had there,
I still keep in touch [with friends] that

on Christmas Eve all the time and so its
kinda like how they all came together
for the party [the women represented at
the Dinner Party], theyre all different
people and they all bring something
different to the table but they still come
together for joint purpose. Were all
really different people but we all come
together. (excerpt from transcript,
discussion at the Brooklyn Museum,
February 2, 2008)
Another student brought in a photograph
of the elementary school classroom where
she completed her student teaching. She
explained that the women represented in
Chicagos Dinner Party, were all making a
difference in the world that they were living
in. So I feel like thats what I want to do. I
want to teach and make a difference in the
world (excerpt from transcript, discussion at
the Brooklyn Museum, February 2, 2008).
Using dialogic questions to stimulate
meaning-making led to a discussion of why
Chicago placed the women in the order she
did at her table and why she selected the
women she did. Students also suggested that
if all of the historical women were indeed
present at Chicagos Dinner Party, they
probably would not have gotten along. This
conversation then led back to the students
snapshots. Having the snapshots allowed a
way in or an introduction into a discussion
of Chicagos conceptually rich and multi-
layered installation. The snapshots and the
Museum, we discussed Miwa Yanagis, Yuka,
from My Grandmothers series (2000) (Figure
1). This Chromogenic print depicts a woman
with shocking red hair holding a cigarette
in one hand and riding in a sidecar of a
motorcycle. The motorcycle is soaring across
a bridge, which recedes deeply into the
background. Both the woman and the driver
of the motorcycle, a man appearing much
younger than the woman, smile broadly as
they whisk across the frame. For the My
Grandmothers series, Yanagi asked young
women to describe the types of women they
might become in the next 50 years. Inspired
by the womens descriptions, Yanagi created
photographs of fictitious grandmothers.
In that sense, the photographs illustrate
imagined, future biographies.
During classroom discussions in prepara-
tion for our visit to the Brooklyn Museum,
we studied the formal content and concep-
tual concerns of Yanagis photograph. I
invited them to bring a snapshot to the
museum that represented something they
hoped for themselves in the next 50 years.
The snapshot need not have compositional
connections to Yanagis, but it might have
similar conceptual interests, such as the
representation of a wish for ones future.
One student brought in a picture of herself
at the age of two (Figure 2), standing
and looking squarely at the camera; its
composition and formal qualities are much
different than Yanagis photograph. Yet
they do share conceptual connections. The
student described how the photo not only
Ive known since I was two, three years
old. We grew up on the same block and
we still keep in touch. And I just see
myself going back there in the future
and that still being part of my life. It
was part of my life, and I look forward
to it being part of my future. And when
I looked at this, I was like Wow, all these
memories automatically came back.
(excerpt from transcript, discussion
at the Brooklyn Museum, February 2,
2008)
Yanagis image represents a future based
on imagination and fantasy. Danielles
snapshot represents a hoped-for future, but
that future is based on real memories of
the past. The student recognized, through
dialogue, that experiences as a child, were
part of my life and I look forward to it being
part of my future. Dialogue is essential
in the creation of meaning, as the student
saw conceptual connections between her
snapshot and Yanagis photograph. In
doing so, the student has internalized and
constructed personal meanings about the
work of fine art, using her family snapshot
as a vehicle. Similarly, she has internalized
and constructed personal and rich meanings
about her snapshot, using the work of fine art
as a medium. Therefore, the act of creating
meaning from the work of fine art through
the discussion of snapshots is a reflexive act
(Dewey, 1934; McKay & Monteverde, 2003).
Through this act, the individuals method of
meaning-making is revealed.1

The student has internalized and constructed personal meanings about the
work of fine art, using her family snapshot as a vehicle. Similarly, she has
internalized and constructed personal and rich meanings about her snapshot,
using the work of fine art as a medium.

14 ART EDUCATION / January 2012

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Figure 1. Miwa Yanagi, Yuka, from the My Grandmothers series (2000), Chromogenic print on Plexiglas, mounted on aluminum.
Used with permission of the artist and Yoshiko Isshiki Office.

Figure 2. Danielle Bussani at age two. Family snapshot. Collection of Danielle Bussani.
Used with permission.

January 2012 / Art Education 15


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Figure 3. Statue of a Family Group. Old Kingdom, ca. 2371-2298 B.C.E. Limestone.
28 x 9 x 9 in. Brooklyn Museum, 37.17E Charles Edwin Wilbour Fund. Used with permission.
Parallels between Formal
Characteristics of Works of Art
and Snapshots
The second outcome of this approach
was that students drew parallels between
the formal qualities of works of art and
snapshots. For instance, in studying an Old
Kingdom limestone sculpture of a family
group from Saqqara, Egypt (Figure 3), we
discussed the postures and poses of the
figures, the proportions of their bodies,
16 Art Education / January 2012
2008). Another student wrote,
and their garments, and what these formal
qualities may say about the works meaning.
For instance, curators Fazzini, Romano, and
Cody (1999) suggest that in sculptures like
this family group, the fathers large size indi-
cates his dominance; the womans small size
and her embrace suggest her loving support;
the boys nudity, his hair pulled up on one
side, and the gesture of his finger to his lip,
indicate his youth.
After discussing the ancient Egyptian
sculpture of the family group, a student
shared a story in the galleries about her
family portrait from the early twentieth
century. She later further explained her
narrative:
[In] this snapshot [Figure 4], taken in
1911 of my great grandmother and
her parents, one smile is shown,
my great grandmother, Elsas. In 1911,
photos were taken without attraction
allowed. In this photo, I see myself, a
woman who sees society as a whole,
but knows there are ways to show indi-
viduality. If I learned anything from
my great grandmother it would be to
express myself in this ever-changing
world, because no one can take away
your smile or your heart. (personal
communication, September 16, 2009)
Discussion of the formal characteristics
of the Egyptian sculpture allowed students
to see and consider how a figures attri-
butes, pose, and gestures all shape meaning,
such as the recognition that men were
supposed to stand, and women did not
typically smile in early twentieth century
portraits. Another student suggested
that the standing male figure in both the
snapshot and the sculpture signifies how
significant the male role was and how it
is carried on through thousands of years
(student written reflection, February 2,
2008).
Implications for Art Education
Students expressed willingness to deepen
their understanding of works of art through
discussion of snapshots. For instance, one
student echoed Hirschs (1981) claims when
he wrote that this process helped show
that were still the same. Even though things
are different now, we may have different
symbols, but we still have the same tenden-
cies (student written reflection, February 29,
I think snapshots allow us to open up
our imaginations more than we ever
could because we all imagine things
very differently from one another.
By looking at any picture we already
formulate a story to go along with it.
I think it takes the [art] object out of
context and enlarges all the possi-
bilities and meanings behind the rele-
vance of the artwork. (student written
reflection, February 4, 2008)
Though the students responded favorably
to this investigation, there are criticisms
to consider. For instance, some students
 simply do not own a collection of family
photographs. Other students may have a
limited number of photographs or have
family members reluctant to describe painful
memories associated with images. Another
shortcoming of this approach to teaching art
history is that for seasoned museum-goers,
talking about snapshots in museums can be
cumbersome and interfere with a more purist
interaction with the works of art. Despite
these limitations, art educators may consider
expanded possibilities of using snapshots in
their own teaching contexts and consider
these points in doing so:
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Once you have selected the works of art

that you will study at the museum, give
students a list of the kinds of photographs
they should look for that will relate to the
works of art. This will help focus their
ideas. Give students time to locate the
images on their computers, in shoeboxes,
or in attics. The excavation is part of
the experience. Where were the images
stored? What other things were stored
with them? How do these contexts shape
meaning of the images?
Ask students to create a list of themes
present in their collection of family
photographs. Working in groups in a
museum, have students review their list
of themes and examples of snapshots
and ask them to identify works of art in
a museum that embody similar themes.
What are the similarities and differences
between the way the theme is presented
in a snapshot versus a work of art?2
Important human issues, or big ideas
(Walker, 2001), generated from discus-
sions of snapshots and works of art can
be the source of ideas for students studio
practice. Exploration of important human
issues, or themes (Anderson & Milbrandt,
2005), are vital if we want experiences in
art education to be a meaning-making
endeavor rather than simply the crafting Figure 4. Studio Family Portrait. Collection of Lauren Haller. Used with permission.
of a product (Walker, 2001, p. 1). Invite
students to interrogate the themes and
issues evident in their snapshots through
art-making activities.
members. The second outcome of forms within works of fine art seem
Conclusion this approach was that students drew less daunting, and meaning-making
parallels between the formal qualities of attainable.
Expanding understanding of snapshots is
works of art and snapshots. Moreover,
important because snapshots are tangible,
there is evidence that dialogue about Kristin Baxter, EdD, is Assistant
personal memory prompts that often provide
works of art and family photographs Professor of Art and Coordinator of the
a sense of comfort and familiarity when
is a reflexive act; the images and the Art Education Program at Moravian
viewed by family members and friends.
viewer generate and exchange ideas College in Bethlehem, PA. She can be
Analysis of the discussions that emerged
in a dynamic act of meaning-making. reached at kbaxter@moravian.edu
from my students familiar family snapshots
Snapshots can also be the scaffolding
yielded two outcomes. The first outcome
on which new ideas about works of fine
is that students connect ideas generated by
art can be constructed. This scaffolding
the works of art to experiences with family
would make unfamiliar concepts or

January 2012 / Art Education 17


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ENDNOTES
1 I thank artist and researcher, Clare Humphries,
for suggesting that not only are works of fine art
understood through connections to personal
experiences, but perhaps in doing so, the
students personal ways of meaning-making are
also revealed and understood.
2 The author wishes to thank one of the reviewers
for this suggestion.

Authors Note
The author wishes to thank Elizabeth Vallance,
Clare Humphries, Chizuru Kaplan, and Jan
Ciganick for their support in the preparation of
this article, and the students in the spring 2008
course, Exploring the Great Museums of New
York, at Fairleigh Dickinson University.

18 Art Education / January 2012