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1.
The CinBA Live Project sought to engage students of contemporary craft courses in the UK with Bronze Age creativity. We aimed to explore the ways in which the creativity inherent in prehistoric craft may be used as inspiration in contemporary making. It simultaneously offered institutions a unique opportunity to offer a practice‐led, research‐based live project which was distinct to those generally known to be available to art and design institutions. It offered a different experience within this established pedagogical model in art and design education by using the Bronze Age as a source of inspiration for creative practice through practice‐based research in contemporary craft within the framework of an international academic research project, and suggesting new roles for the interpretation of the prehistoric past through creative work. This article reports on the CinBA Live Project. It outlines the context of the opportunity, details our methods of facilitation, describes the activities undertaken by the students and considers the outputs and post‐project impact of the activity.  相似文献   

2.
The article seeks to explore some of the difficulties that may be experienced within higher art education both by the student of art who is lesbian and by researchers focusing on the subject of lesbians and art. For those interested in this area of study there may be particular obstacles which are not present for heterosexual students and which act as a barrier to exclude more readily available information and images. The potential importance and relevance of these exclusions for the lesbian student of art are examined in relation to the political and social oppression which lesbians have experienced, the effects of which can be seen in both historical and contemporary lesbian images and artwork. The article also examines possible issues around ‘coming‐out’ and homophobia for lesbian students and researchers within education generally, the prevalence of assumptions of heterosexuality, and the importance of awareness of these issues for educators of gay students. The conclusion drawn is that there is diversity inherent within any grouping but a more inclusive art education policy would inform the culture of all.  相似文献   

3.
This article examines a case study of an A‐Level student's work and how the inclusion and integration of my own practice as artist‐teacher into the classroom has changed the teacher‐student relationship, resulting in a more collaborative environment. It investigates how the mutual sharing of practice supports opportunities for pupils to discuss and investigate socially provocative issues and raises the issues of censorship. Through the case study the following questions will be addressed: how a collaborative classroom environment impacts on process and outcomes; the effect of discussing social/ political/ cultural issues within the art and design classroom; and the issues of censorship and ownership within the environment of a comprehensive secondary school context.  相似文献   

4.
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   

5.
Art educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.  相似文献   

6.
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   

7.
This article explores why art education after modernism needs to engage with and assess two forms of knowledge. It distinguishes procedural knowledge or ‘knowing how’ from declarative knowledge or ‘knowing that’, and argues that current classroom practice and more general thinking in art education in the UK confuses evidence of procedural knowledge with evidence for declarative knowledge. A corollary is that assessment evidence for ‘knowing how’, which is shown or demonstrated, is confused with assessment evidence for ‘knowing that’, which requires spoken or written forms of reporting. This conceptual confusion is currently embedded in the national, flagship examination known as the General Certificate of Secondary Education, taken by students at the age of 16, resulting in that examination requiring evidence of understanding the meaning of art in its socio‐historical context while at the same time denying the necessity of written or spoken work to reveal such knowledge. The article advocates a Wittgensteinian, socio‐cultural solution to the confusions of current practice.  相似文献   

8.
This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013.  相似文献   

9.
This article considers how primary teachers might introduce children to critical studies, in the light of an examination of recent developments in art theory, to show how these can inform our approach. It looks at the work of one teacher, Caron Ementon, to show how this relates to contemporary art theory. Thus, practice is contextualised within theory and vice versa. Some procedural principles are suggested which, in responding to developments in art theory, can provide an approach to critical enquiry that is educationally enriching. This approach can enable children to relate to the work of other artists in ways that are appropriate to their own level of development. It also lays the foundations for later learning, in terms of procedural knowledge both for interpreting art works, and, ultimately, for understanding that theory itself. Furthermore, the metacognitive dimension of critical enquiry, implicit both in the theory and the concomitant processes of learning described, opens up rich possibilities for developing critical thinking.  相似文献   

10.
This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three‐year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game‐like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult–child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long‐standing, non‐interventionist art educational theory also known as ‘child art’ and its contention that a prerequisite for a creative individual is expression free from social and adult influence.  相似文献   

11.
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12.
In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making.  相似文献   

13.
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   

14.
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   

15.
Many social work students approach the end of their formal training unprepared to utilize self-care approaches to prevent burnout. Providing students more comprehensive self-care training can help address this issue. One approach to fostering self-care and addressing stress and burnout in social work students is the attitude and practice of self-compassion (SC; i.e., compassion directed inward). Training in SC can be helpful, as it has been shown to be effective in addressing stress and burnout, as well as enhancing practice. This article explores the benefits of integrating an SC approach within professional social work education. A definition, review of the SC literature, and a conceptual sketch for integrating SC approaches in social work education are presented.  相似文献   

16.
This article explores and attempts to rectify current conceptual confusion found in secondary art education in the UK between procedural knowledge or ‘knowing how’ and declarative knowledge or ‘knowing that’. The paper argues that current practice confuses procedural knowledge with declarative knowledge. A corollary is that assessment evidence for ‘knowing how’, which is shown or demonstrated, is confused with assessment evidence for ‘knowing that’, which requires spoken or written forms of reporting. The confusion is replicated in the national examination, the General Certificate of Secondary Education, taken by students at the age of 16. The article traces this confusion to three dualisms: the Cartesian dualisms of mind and body, an individual mind and the distributed mind of culture, and the more recent mind‐in‐brain hemisphere dualism. The article advocates a Wittgensteinian embodied, socio‐cultural view of mind as a way of solving the current conceptual confusion that prevails in art education in the UK.  相似文献   

17.
Ideas and issues based contemporary art is often seen as something to be avoided in schools, as the controversial subjects that it broaches are often perceived as problematic and inappropriate. However, by censoring education, it can be seen that educators are missing vital opportunities to confront the relevant personal, social, political and cultural issues that shape young peoples' lives in our postmodern, contemporary society. This article reflects on the experiences of an artist/teacher gained through the Recreating Landscapes (Illuminate Project), which aimed to utilise LeWitt's concept of the ideas ‘machine’ to broaden the way that Key Stage 3 art is taught and explore student voice. The construct of the teacher as giver of knowledge was challenged, informed by Barthes' work on the deconstruction of the modernist concept of Authorship. Issues were derived from a pupil voice workshop and the ownership of response to this stimulus belonged to the students. The aim was to challenge mimetic, technical achievement often favoured in ‘traditional’ school art pedagogy, allowing ideas and discussion to be the lynchpin, shifting away from the emphasis commonly placed on outcomes. Through this practice it was hoped that the ‘landscape’ of the learning environment would be recreated: a discursive setting where issues perceived as ‘challenging’ could be broached in a supportive environment, enabled by a reconsidered, culturally relevant pedagogy.  相似文献   

18.
Predetermined assessment criteria and target levels threaten to constrain and limit teachers’ desire to provide a balanced and innovative curriculum for their pupils. Through the collaborative production of annual installations, the fine art department at Trinity Catholic School has attempted to confound the effects of a comprehensive school's limitations. These installations allow hundreds of participants of all ages to collaborate in a partnership ethos exploring contemporary issues and modes of practice and enable both pupils and teachers to engage with art as a creative process. The installation is used as a gallery resource centre both in‐house and by the local community. The recent installation entitled ‘Laboratories’, analysing links between art and science, becomes a case study to examine the avoidance of limitations imposed by exam‐driven targets. Instead an environment was fostered that actively promoted a ‘learning for all’ philosophy including teachers and mature students.  相似文献   

19.
Student‐led design projects undertaken within healthcare settings raise considerable ethical challenges, primarily resulting from collaboration with service users. This article emerged out of the experiences of design from a New Zealand university undertaking real world projects in acute health care contexts. A human‐centred approach to design is underpinned by a requirement for students to immerse themselves in the user context to optimise design outcomes. Several issues exist in relation to the management of the ethical complexities arising from these projects. Multiple formal ethical review processes were triggered when students’ projects were defined as research. These processes were perceived as onerous and disproportionate to the scale of the projects, and students were ill equipped to identify ethical issues and engage with formal review processes. This resulted in either abandoned projects or the use of compromised methods. A review of codes of practice and design industry approaches identifies a gap in guidance for both students and qualified designers. Some designers describe their projects as service improvement, and not subject to formal ethical review. This article argues for embedding consideration of ethics in all design projects to enhance the process, to be true to the underpinning philosophy of human centred design and to produce ethically aware graduates. To achieve this, a multi‐pronged pedagogical approach which encompasses both hypothetical, class‐based and real‐world learning experiences is described, with the ultimate goal of normalising the consideration and development of ethical standards for students and best practice across the industry.  相似文献   

20.
Using teaching cases in professional education programs has gained increased attention in the past several decades. While the use of teaching cases has been an important part of social work education, the majority of current casebooks focus on micro or direct practice issues and settings. Over the past forty years only four major casebooks have focused exclusively on the macro practice of social work. This analysis of case‐based learning is divided into the following components: 1) the search for practice wisdom emerging from analyzing cases within the context of management knowledge and skills, 2) case discussion in the classroom, including student and instructor preparation, case selection and integration into the course, case debriefing, student‐designed cases, and conceptual frameworks for teaching management, 3) a conclusion that identifies the benefits and limitations of case‐based learning.  相似文献   

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