Note: Portraiture, Pottery, and Pedagogy: Examining Portraiture Methodology in the Contexts of Ceramics and Teaching by Courtney Lee Weida

Note: Portraiture, Pottery, and Pedagogy: Examining Portraiture Methodology in the Contexts of Ceramics and Teaching by Courtney Lee Weida

This post is a note for study after reading an article,"​Portraiture, Pottery, and Pedagogy: Examining Portraiture Methodology in the Contexts of Ceramics and Teaching by Courtney Lee Weida"

​-Researcher Corrine Glesne (2005) writes, “Learning qualitative research is like learning to paint,” in that you study the work of others, apply different methodologies, and apply your own research approaches.
Note: Importance of Qualitative Research, Why We Need to Extract Qualitative Interview Questions

-My main research question is: How do the women in this study experience the impact of gender on their artistic creations and practices?

-Discussions with other artists have shaped my thinking and research, creating composite portraits or landscape contours in my field.
Note: Why you need to go beyond your own isolated art world and constantly interact and discuss with other artists

- Portrait methodology focuses on the nuances of language and speech within research data and considers these to be the “texture” of the interview.
Note: Interviews have “texture” when they look for nuance in speech rather than simple yes/no or specific-answer questions.

- Feminist researcher Mary Maynard (1994) similarly noted that many women experience their lives with "different contours and patterns" than men. My research stems from an interest in the textures and patterns of gender experience as they emerge through art.

- Through interviews, participants were asked to reflect on their artistic experiences, works of art, and artistic identity related to gender issues. All participants were pre-interviewed through a series of open-ended questions. My interview questions were open-ended. To allow for what Stainer Kvale (2000) described as conversation co-produced by interviewer and subject, Reinharz and Chase (2001) also suggested using open-ended questions to allow women to speak more.
Note: The importance of open-ended research questions

- Because I focused on gender issues as an expected topic, I reflected on my own biases and experiences when looking for gender-related words and phrases such as feminine, masculine, makl, feminine, feminist, twin, lady, feminine, etc. .

- As a portraitist, I looked for and explained gender-related tensions, twists and corrections in interview scripts. When I asked artists about how male artists are perceived by society and how female artists are perceived by society, most participants responded that women are perceived as "harshist" potters, while men are often more "serious" potters. Alternatively, we identified contrasting notions of what was perceived as a professional potter. artist. While most artists interviewed argued that gender does not make a difference to pottery overall, they also argued that a lack of seriousness was the main perception of male and female potters.

- Participants described their notions of serious versus agreeable states as coming from a variety of sources.

- Additionally, Lawrence-Lightfoot (1995) pointed out the importance of “caricature” in her portraits, and I believe that a similar potential exists for transforming stereotypes and perceptions of individual women and the seriousness of their work and process into part of the work. I found that this exists.

- The variety of 'feminine' themes and the ways in which they were used varied greatly, with gender interacting with culture, race, religion, artistic style and many other factors.

"Diversity" by Myungja Anna Koh