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Kylie Budge 《The International Journal of Art & Design Education》2016,35(2):243-258
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education. 相似文献
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Claire Gibb 《The International Journal of Art & Design Education》2012,31(3):237-244
Room 13 is a global uprising of creative and entrepreneurial children who are responsible for a growing international network of student‐organised art studios. Each Room 13 studio facilitates the work of young artists alongside a professional adult artist in residence, providing an exchange of ideas, skills and experience across the ages. The result is an ongoing collaboration between adults and young people and a thriving culture of philosophical enquiry driven by a motivation to think and to learn. My own experience with Room 13 spans from that of the student, to adult artist and practitioner. Working under the direction of subsequent student‐management teams, I have been fortunate to be involved in the process by which Room 13 has gone on to establish an international network of student‐run art studios, serving an expanding global community of young artists. The emerging global movement surrounding these studios calls for a serious revaluation of what art is – and who is qualified to make it. Room 13 not only augments the case for the work of young artists, but presents a challenge to the current systems for art education. As the quality of formal arts education is eroded by a universal need to standardise educational experiences, the training that Room 13 provides motivates individuals and develops their creativity in a way that outstrips anything that schools, or even art colleges, can currently offer. 相似文献
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Curriculum and pedagogy in undergraduate fine art can promote an approach to learning creativity that is more about being an artist than knowing about art. Lecturers can provide a road map for developing particular dispositions, in relation to student ideas and perceptions, to foster personalised creativity. This requires that lecturers have an ability to harness the range of learning approaches and interests that students bring to their studio learning environments. One way of doing this is to construct learning activities in ways that engage students' multiple intelligences so they may acquire deeper understandings of their own creative processes. Fostering this kind of creative think tank is artistry of an educational kind. In this article we explore such a creative think tank by examining a particular lecturer's pedagogical approach. We discuss how and why this lecturer designs activities in a way that draws on multiple intelligences to stimulate learning and foster creativity. Using narratives, we analyse this particular curriculum through the lens of multiple intelligence theory and explore how the pedagogical approach develops the whole person. We found that by attending to relationships and focusing on a plurality of intellect this particular curriculum and pedagogy promotes transformative learning in students studying fine art. 相似文献
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How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow. 相似文献
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Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that are provisional, socially constructed and ever changing. Traditionally, art schools provided these conditions unchallenged because they were autonomous. Since the 1980s, however, art schools have been integrated into the academy, and face increasing pressure to meet the institutional demands of being in a university. Some argue this changed status means the academy, with its research and pedagogic traditions, is actually straitjacketing creativity. Furthermore, contemporary art practice has changed as artists are increasingly experimenting with interdisciplinary modes of working. This article discusses a two‐year major change initiative, undertaken within an urban Australian art school, designed to respond to this complex set of changed circumstances. It considers ways to address institutional compliance and viability demands while maintaining deeply held values about how to foster creativity in undergraduate students. The outcome is a new organising structure and renewed curriculum for the largest programme offering in the school: the fine art undergraduate degree. Educational renewal is conceptualised as a creative process and the approach to change is thus adapted from creative research methodologies. By treating pedagogy and curriculum design as a creative process, this change initiative, rather than straitjacketing creativity, has re‐envisioned an epistemological framework for undergraduate fine art that will sustain creativity education into the future. 相似文献
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Kylie Budge 《The International Journal of Art & Design Education》2012,31(1):44-52
Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market. 相似文献
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Cynthia B. Loza Allan B. De Guzman Regalado T. Jose 《The International Journal of Art & Design Education》2010,29(1):61-71
This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist‐teachers as participants in an in‐service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist‐teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. The findings reveal that artist‐teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist‐teachers beyond teaching in the classroom and extend their tasks to research. 相似文献
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Anna Goulding 《Thinking Skills and Creativity》2009,4(1):1-14
The International Centre for Cultural and Heritage Studies at Newcastle University has been investigating the impact of artists working with young people in cultural sites and schools. This paper focuses on Transfer by the artist Wolfgang Weileder; the construction and de-construction of a full-scale replica of Milton Keynes Gallery at Station Square, Milton Keynes by construction students. The art project involved collaboration between the artist, two Further Education colleges and a construction company involved in the training of construction students. This paper will investigate how the different cultures interacted during the creative learning experience, concentrating on the impact upon the construction students.Transfer provided training opportunities for the students, who simultaneously developed an understanding of contemporary artistic practice and began to take on ownership of the piece. Insights from this project will be presented in order to draw out implications for future collaborations. 相似文献
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Emily Pringle 《The International Journal of Art & Design Education》2009,28(2):174-182
Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond. 相似文献
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张树俊 《顺德职业技术学院学报》2011,9(1):61-65
郑燮是我国清代著名的思想家和艺术家,他主张师法自然,强调向生活学习。他认为,艺术的根基在生活,作诗书画功夫都在平时的训练和对自然景物的观察与体悟之中,同时要感受社会,真实地反映社会生活。当然真实地反映社会生活,并不是对生活景象的复制,文学艺术不仅要反映生活,还要高于生活。高于生活必须在在尊重自然与社会规律的基础上对生活进行提炼、揣摩、概括,使诗词书画更＂切于日用＂。 相似文献
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Joanne Haroutounian 《Roeper Review》2017,39(1):44-58
After decades of fluctuating presence in gifted education, the arts are surprisingly establishing themselves in academic classrooms, spurred by arts integration with science, technology, engineering, and mathematics (STEM) curricula or science, technology, engineering, art, and mathematics (STEAM). This renewed interest provides the opportunity to recognize the artistic process as an effective way to deepen and enlarge the scope of academic content. Teachers can readily identify potentially talented students in their classrooms who immerse themselves in arts activities. Students in every classroom, if provided with substantive arts integrated curricula, can learn to perceive with discrimination, metaperceptively mold creative interpretations, and communicate these performances/products expressively to others with insightful critiques. Artistic ways of knowing mirror the artistic process and provide the opportunity for every student in every classroom to think like an artist. 相似文献
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Fabia Ling‐Yuan Lin 《The International Journal of Art & Design Education》2019,38(1):153-167
This article argues that thematic analysis could aid artist‐researchers in enhancing the arguments they construct in their fields of interest as they move through research projects. It discusses some of the distinctive features and obstacles of practice‐led research in art and design and relates them to the use of thematic analysis. Artistic research often includes acts of interpretation, where the artist‐researcher reflects on his or her artistic work process and the context of the artefacts created during the process. A systematic thematic approach is important for the whole process, because it supports the separate work periods of artmaking and conceptualising and binds them to the study. In its theoretical freedom, thematic analysis provides a flexible and useful research tool that can bridge the two realms of knowing in practice‐led research, potentially providing a rich and synthesised account of the creative experience. The benefits of thematic analysis will be demonstrated by examining two examples. 相似文献
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宋生贵 《广播电视大学学报》2010,(3):68-73
艺术创作作为一种精神世界的创造,始终是严肃而神圣的,对于创作者有着很高的要求。其中,艺术创作要从总体上体现出艺术家的胸怀境界,以及艺术责任心,与艺术视野、创作境界乃至艺术生命之间存在着潜在关系。一部人类艺术史告诉我们,自觉或自发地怀着与全人类命运相沟通,以至与整个宇宙相交融的精神世界的艺术家,则可能在自己的创作中闪烁出具有人类意识的东西,拥有久长不灭的感人力量。我们确信胸怀境界的调养与建树,是成就艺术家、乃至成就艺术的重要的主体性前提,同时也特别指出,这恰恰是当前中国文艺界应该注意的一个极为现实的问题。 相似文献
18.
Eunji J. Lee 《The International Journal of Art & Design Education》2023,42(2):294-311
Artmaking, when used as a form of pedagogy and approached in a socially-conscious manner, has the potential to promote agency and create a democratic learning environment for students. This study examines one such project, "The Council," created by artist Adelita Husni-Bey in collaboration with former Teen Program attendees of the Museum of Modern Art. The Council is a collection of large-scale photographs created from a series of workshops in which 13 young adults imagined themselves reshaping the museum's societal role after a major global crisis. The final photographs were exhibited in the museum's main galleries, representing a participatory, socially-engaged artwork produced from a pedagogical process. While there is a prevalence of these types of pedagogy-based artworks, contemporary art literature tends to focus mainly on the artist, disregarding the participants. Therefore, from the stance of an art educator, I examined the learning experiences of the participants as well as the pedagogical framework of the artist. The reviews from the participants were overwhelmingly positive, with many noting a significant increase in their confidence and a greater sense of agency. A liberating experience of collaboration was also stated as a common experience. These outcomes were attributed to the artist's innovative use of multimodal learning and effective facilitation grounded in Francesc Ferrer's philosophy of anarcho-collectivism and integral education, as well as critical pedagogy. This study suggests that creative methodologies can significantly enhance intrinsically motivated learning and emphasises the importance of nurturing the next generation as they envision a more equitable and just society. 相似文献
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Anna Öhman 《Vocations and Learning》2018,11(3):425-448
The aim of this study is to explore feedback practices and how such actions of assessment emerge from embodied participation in classroom interactions between teachers and students. Using video recordings of teacher and student interactions in hairdressing education, I look at how feedback practices within creative subject content are produced between the participants as social actions situated in interaction, using conversation analysis. Feedback is contingent upon an embodied moment-to-moment monitoring and collaboration between the teacher and student, and is organized as a trajectory from problem detection through exploration until a final solution is found. Feedback within creative subject content is displayed as a multifarious exploration of embodied as well as materially situated professional knowledge. Overall, the findings show how feedback is mutually produced in a process, making tacit dimensions of hairdressers’ knowing explicit. This allows for improving the quality of the work over time in a trajectory of problem solving phases gradually displaying how to assess creative subject content of the material product worked on. 相似文献
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Rita L. Irwin Dónal O'Donoghue 《The International Journal of Art & Design Education》2012,31(3):221-236
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud's theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates' experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers. 相似文献