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1.
Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.  相似文献   

2.
This paper reports the initial findings from Contemporary Visual Art and Identity Construction—Wellbeing Amongst Older People: a two-year research project that aims to understand how the lives of older people can be improved by examining their use of contemporary visual art in the art gallery and museum. It will focus on data relating to lifelong learning for postretirement people. The paper investigates the impact of engaging with contemporary art on a sample of 43 participants aged 64+.  相似文献   

3.
This paper reflects on a collaborative project between Manchester City Art Gallery and Manchester Metropolitan University (2003–2004). The project's aim was to attract very young children and their families to the gallery. This paper will not report directly on the research methods used or the outcomes of the project but, rather, will explore questions raised about art galleries and art education in relation to young children. It will ask if it is possible to use art education as a tool for thinking about the world, rather than as a vehicle for expressing a pre‐existing and unitary self, or for representing a pre‐existing and unitary reality. Merleau‐Ponty's philosophy of perception will be used to assist in this attempt to open up current notions of art education, and the art gallery space.  相似文献   

4.
This research project examines how using the visual arts can develop medical insight, as part of a pilot programme for two groups of medical students. It was a UK study; a collaboration between Liverpool and Glynd? University's and Tate Liverpool's learning team. Tate Liverpool is the home of the National Collection of Modern Arts in the North of England and one of the largest galleries of modern and contemporary art outside London. The project adapted Tate Liverpool's Opening Doors course in devising and piloting a single day programme that engaged students in exploring perception, communication, emotion and narrative. Opening Doors introduces participants to modern and contemporary art and empowers them to work in new ways with groups and individuals. The exercises used as part of the programme allowed us to observe what connections and interpretations were made, and to discuss with the participants what influenced student choice and decision making in relation to specific works of art. This article will focus on the use of gallery education to highlight examples of contemporary culture to develop links between art and medicine, alongside the development of transferable skills. The study is of professional interest because it is using a cross‐disciplinary approach, broadening the disciplines involved in teaching medical skills; and could form a model for further cross‐curricular and cross‐discipline work.  相似文献   

5.
艺术画廊作为一种独特的艺术传播形式,承载发现、包装艺术家,把艺术作品有机转化为艺术商品的功能,适应着当今的商品经济和消费背景,艺术作品只有在画廊里,才成就了它的社会价值。消费社会是艺术画廊的重要基石,而艺术画廊又通过这种与社会紧密结合的关系,将社会和艺术精神顺利搭接,从而也实现了自身在二者的互动促进中,不断发展。  相似文献   

6.
Within an emerging philosophy of contemporary gallery education, new pedagogies are required to meet the demands of looking at art, with increasingly varied constituent groups. Strategies that aim to empower young learners come from an ideological framework in which knowledge is negotiated and local significances are produced conversationally by learners and facilitators. Tension exists between the ideological position and the role of the gallery as ‘expert’: this conflict creates ambivalence towards the learner. The discourse of the ‘expert’ and the discourse of ‘local negotiation’ employ different pedagogic strategies, creating tension in the ways in which knowledge is reproduced for the visitor and participant. This article explores interrogatory pilot work with young people at Tate Modern. I use a hermeneutical approach to explore the interpretive roles of facilitator and participant when language‐based strategies are used to look at art. This research aims to construct a pedagogy that enables young people to learn about art in ways that take account of their situation as learners.  相似文献   

7.
This article discusses the ways in which a fine art department has successfully enabled pupils, staff and the local community to gain access to exciting and wide‐ranging art experiences. Through the creation of temporary installations and exhibitions the art department at Trinity School regularly becomes a gallery resource centre for part of the year. Children across all key stages create art inspired by artists in residence (including an artist teacher) in response to challenging contemporary issues. In 2005 three collaborative installations were produced in response to a potentially disruptive phase within the educational establishment. ‘Sleep‐Eternal Rest’ involved pupils' contributions to the installation, gallery visits and the study of different artists' work. For the exhibition ‘Flesh, Fur and Feathers’, a resident artist worked with students in response to a hanging deer, game and a table laden with fruit. In a building about to be demolished a group of recently graduated artists collaborated on an exhibition entitled ‘Somewheretogo’. This collaborative partnership led to art becoming a central resource for different curriculum areas as well as PSHE. The success of the venture led to pupils' own work becoming an accessible artistic resource, to which they themselves could respond. As well as avoiding the potential limitations of examdriven targets and assessment, it became a source of enrichment in personal, educational and creative terms.  相似文献   

8.
高等院校应通过多种途径来营造校园和谐文化氛围,而美术馆则是构建高校校园和谐文化的重要组成部分。充分发挥高校美术馆在高校文化建设中的作用,并将高校美术馆打造成提高当代大学生文化艺术素质的平台,这应是新时代高校发展的重要条件之一,也是我国高校走向世界,与国际对话交流的一种有效途径。  相似文献   

9.
Partnerships between informal learning environments and schools have been cited as an innovative, effective way for museums, galleries and schools to work together to enrich classroom curricula, support student success, and facilitate the utilisation of available community museum and cultural resources. This article reports on findings from a multi‐year, exploratory arts outreach programme for 31 elementary and secondary visual art educators from a rural school district in the American South. The outreach programme was conceived in partnership with faculty from the neighbouring university's art department, school of education and university art gallery. Utilising a partnership framework, the travelling exhibit was developed through a collaborative research relationship with the participating visual art educators. Findings from this programme indicate that travelling exhibits can be an effective mode of programme delivery for informal learning environments while also supporting the content needs for classroom arts educators if the programme stresses transformative partnerships across all invested parties.  相似文献   

10.
Learning through art in the museum is a Masters’ level module established in 2006 through collaboration between the School of Education at Roehampton University, London and Interpretation and Education staff at Tate Britain and Tate Modern. On completion of the module, participants were asked to reflect on how the experience had altered their perspectives on the collection and their strategies for teaching and learning in art and design. The aim of this article is to explore some of the themes that emerged from these interviews and from other dialogue between tutors and students on the module, themes that are then discussed within the wider context of museum and gallery education. The article concludes by reflecting on broader notions of knowledge and understanding in the context of museum and gallery education. It is argued that the juxtapositions of historical, modern and contemporary art that have been a distinctive feature of Tate's curatorial strategy since 2000 have shed fresh light on older works in the collection and provide opportunities for art educators to reappraise the emphasis currently placed upon the interpretation of modern and contemporary work. It is suggested that developing knowledge and understanding of art is partly about embracing notions of ambiguity and mystery: that engaging with multiple and shifting interpretations of artworks should play a more central role in art education and that part of the process of engaging with art is the experience of not knowing and not understanding.  相似文献   

11.
This article looks at the concept of Black History Month and its implications for teaching and learning in art and design education. It argues that the concept of Black History Month should be discarded because it tends to promote a separatist notion of culture and that it deflects from an understanding of culture as a plural and intermeshing process. The paper interrogates history as a discourse, problematising our use of the word. The article then looks through the eyes of two groups of African Caribbean young people at Black History Month, as a curriculum initiative. The first group was interviewed at a south London gallery and the second at a conference for African Caribbean learners in Oxford. Two art and design educationalists who participated in the research project that included the south London young people make a significant contribution to the paper. It concludes with a personal interpretation of movements in art and the practice of a contemporary artist whose work endorse the key philosophical position posited in the text that culture is always a process on interweaving.  相似文献   

12.
This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.  相似文献   

13.
This article discusses a current research project being undertaken by Tate Liverpool with a local university. The study is exploring the impact of a school‐in‐residence programme on children, teachers and the gallery. The invitation to schools to undertake these residencies fits with current agendas within the museum and galleries sector where institutions internationally have increasing ambitions towards handing over to their audiences, encouraging them to take ownership of their physical and intellectual spaces. However, the power dynamics at play, in terms of who makes the invitation and on what terms, have ethical implications that make taking up this offer challenging and potentially limiting. This article will begin to explore the possibilities of Place‐Based Education and its pedagogy as a practice to challenge these positions for both the teacher and gallery.  相似文献   

14.
Recent research shows that young people list media entertainment as one of the sources where they find information about what they really want to know about sex and what is not taught through the school curriculum – namely, relationships and eroticism. This paper addresses the potential role that may be played by small independent alternative feature films such as 52 Tuesdays in the sexual education of young people. While 52 Tuesdays’ purpose was never explicitly pedagogic, the subject matter – family relationships, sexual experimentation, sexual identity and agency, and transgender experience – situates it firmly within the concerns of contemporary young people.  相似文献   

15.
Recent policy on inclusion has had an impact on the development of museum galleries and related educational provision. Museums are used as learning organisations and, as such, need to consider how to create an inclusive environment. However, inclusive provision for people with learning difficulties in museums tends to be isolated and small scale, lacking the formal structure found within schools. While much can be learnt from the development and evaluation of practice in schools, there is little research or published literature that explores the inclusion of people with learning difficulties in museums. This article, by Hannah Shepherd, Exhibition Co‐ordinator at Freeman College in Sheffield, analyses an example of a specific exhibit within a gallery development. This example reflects an approach that uses guidance from the literature to create a more inclusive experience for visitors, particularly those with learning difficulties. A case is made for the use of consultation and partnership to develop inclusive museum provision.  相似文献   

16.
从现代传媒与艺术展览的关系角度审视艺术作品展览的策划理念,主要表现在艺术展览的艺术性和现代性两大环节,艺术展览的艺术性和现代性的创新与发展承担着引领和指导作用。艺术展览除具有较高的艺术性之外,还要用现代化的传媒形式对展览的艺术性加以传播、宣传、推广。将艺术信息和作品形式通过多维空间及互联网数字技术传递给受众者,使受众者对艺术从认识到深层次领悟,从而提高受众者的审美水平。  相似文献   

17.
This paper focuses on the production of introductory videos for gallery exhibitions through collaborations between young people, professional artists and gallery staff. Fundamental to this process is the quality of encounter young people involved have with original works of art, artists and gallery staff. Their enquiries about the work on show and critical response is valued by the gallery and its diverse audiences for its unique and individual perspective. Students are invited to explore and familiarise themselves with the work prior to articulating their ideas and views on video within the exhibition spaces. Recorded footage is then edited to a professional standard and shown in the gallery during the run of each show. The videos are also posted out to local schools, marketed as peer‐led introductions to each exhibition, in order to offer up questions and ideas to students and teachers prior to their gallery visit. A commissioned, external evaluation of the videos, against their stated aims and objectives, was undertaken by Goldsmiths College's Art in Education team.  相似文献   

18.
This paper examines the onto‐epistemic status and understanding of contemporary material culture and of visual art, particularly in the context of gallery education. It does so through a case study of the response of 15 year‐old school students in the Czech Republic and in England to a recent photographic exhibition, I.N.R.I., created by artists Bettina Rheims and Serge Bramly. It supports and develops further the proposition that the tradition grounded in the concept of a single ‘objective’ interpretation of a work of art has been significantly undermined by the paradigmatic change that has taken place in the last decades. In the course of this process the vocabulary of signification (e.g. doves, the royal blue, temptations of Christ, class struggle) inherited from the age of ideologies and grand narratives has been significantly weakened. In its place there emerged the vocabulary of signs born out of the language of high tech media. It takes the form of dynamically constituted units identifiable via daily exposure to techno processes, e.g. familiar from advertising and networking, at best mere fragments of traditional narratives. The recognition of reality is couched in terms of consumer units originating in objects (e.g. gadgetry) and object‐based practices filling (indeed constituting) the living place of today. This shift is particularly apparent among English young people, brought up in a more consumer‐oriented society, and to a lesser degree among Czechs. This is well in keeping with the concept of the post‐modern ‘empirical spectator’ developed in recent literature on art and material culture education.  相似文献   

19.
This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.  相似文献   

20.
ABSTRACT

‘Changing Play’ is an ongoing project initiated by education curators from the Serpentine, a prestigious London art gallery, working with the Portman children’s centre nursery. Viewed by curators as a collaboration between artist, children’s centre staff and parents, and the gallery, Changing Play combines art and action research, and expands the boundaries of the gallery. In the words of one of the education curators, ‘the project is about social change’. It is not for the gallery curators to develop proposals but to ‘co-develop work’. Ethnographic evidence employing narrative, visual arts informed analysis is being used by the gallery to report to funders, inform iterative planning and inform future directions. The paper focuses on methodological questions on ways in which ethnographers might meet artistic projects both during and after being in the ‘field’. It takes the form of a ‘loose parts’ montage which reflects the ways in which the art project was conducted.  相似文献   

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