Lion's Eye Favorite: Opening Eyes at Lamont Gallery, Through Writing

Ellen Wolff working with English students in Lamont Gallery

Lion's note: this story originally appeared in May, 2007.

Most of us don't imagine English class in an art gallery, but that's exactly what Exeter preps are experiencing this term. English instructor Ellen Wolff has asked her students to write about artwork in Lamont Gallery. They have responded with incredible writing, and a burgeoning appreciation for the experience of viewing visual arts.

Wolff instructs the students to "give the audience as full and precise an experience of the piece as you can, by way of both objective and subjective description." The focus is on recreating "the student's own visceral, intellectual, emotional experience of the piece," explains Wolff.

By emphasizing personal reactions, students are able to approach visual art, and writing, with a new spirit. "Before we went to the art gallery, I regarded photographs as simple expressions of beauty or emotion," says Madeleine, one of the students. "When our class started discussing the works, I began to think about the photographer's intention, which I now think is crucial in the consideration of a photograph." The students achieved "interpretations that were more personal, and in my opinion, more powerful," Madeleine adds.

The assignment led Jacky, another student, to a new understanding about writing. "Before I set the tip of my pencil on the piece of paper, I felt an unprecedented, deep sense of responsibility to the artist," she explains. "I could only stare back at the great photograph and try to understand every detail of the message being conveyed through the composition, colors and angles. I did not want to make any 'mistakes'. During this assignment, I learned there was no such thing as a mistake in writing. The emotions the photograph evoked for me were part of the artwork as well."

The assignment included reading the writing aloud to the class, in the gallery. "The reaction of my classmates and Ms. Wolff during the reading of my piece was very helpful," adds Jacky. "What I most appreciated was the sharing of ideas about the artwork. I could appreciate, experience, and see more in the photograph despite the fact that I had studied it countless times." Madeleine found great support from her fellow students: "We clapped after each reading, afterwards sharing reactions and honest critiques."

Karen Burgess Smith, Director of Lamont Gallery and art instructor, welcomes innovative projects like this. "While many local and other visitors come to the gallery, the space really comes alive when faculty members bring their classes in and build lessons around our exhibitions," she explains. "Ellen Wolff's incorporation of this term's shows into her curriculum meant that I saw the same classes several times, from the first perhaps tentative visit to a more confident follow-up class. I could imagine the questions: 'Are we going to have to write about art?' and 'WHY do we have to write about art?' I was in the gallery several times when students read to the group their reflections on a photograph or painting. I was delighted by the descriptions of the works, and the sense of a developing understanding of art."

"This type of assignment provides a great change of pace," explains Wolff, "especially after a particularly big or challenging text. It taps the kids' visual intelligence and sometimes coaxes less verbal students into language they didn't know they had."

Wolff has done this type of project with other classes and age groups. Will she do it again? You bet. "The students have enjoyed the project," she says. "Our conversations about the works have been great. I've been impressed by the writing that has emerged. As always, they're teaching me."

Below are excerpts from the student writing.

Based on the photograph, "Kabul, Afghanistan," 2003, by Zalmaï Ahad:

"To the right of this tree, though at least fifty feet behind it, is a building whose roof appears to have fled out of shame. There is no glass in the windows, only rectangular holes. The outermost layer of the building has been removed in patches that resemble birds in flight, though clearly no birds fly here." – Madeleine

Based on the painting, "Jar and Man," 2002, by Shehan Madawela:

"In the frame beneath the man rests the jar, dominating its desolate surroundings. It looms at the same height as the man, and is about twice as wide, bearing no realistic proportion to the man whatsoever. Like the man, the jar's image is a patched-up shadow with blotched gray and blue light shining from behind and through it. The menacing black from the man's frame also lurks near the jar, although there is not so much here as there is about the man; the black is relegated to the very edges of the rectangular border. On the face of the entire piece, tangled, writhing knots of dark painted, three-dimensional strands of string-like fabric squirm across everything, wrapping tendrils around the jar and grasping at the man's limbs. The sum of the ominous figures and muted grays, blues and oranges exude a feeling of numbed despair, so tranquil that it becomes almost restful and soothing to me, just as two fellow sufferers might find comfort in their shared misery." – Spencer

Interested in learning more?

Read about Exeter's English department offerings…

Learn about Lamont Gallery…