共查询到20条相似文献，搜索用时 562 毫秒
1.
PAUL JOHNSON 《The International Journal of Art & Design Education》1994,13(1):21-32
Art education has tended to omit illustration from any serious discussion in the curriculum. However, literacy educators now encourage the ‘reading’ of illustrations in picture books and scrutinise the relationship between word and image in child cognition. It is time art educators began to look at illustration seriously in the context of visual education. 相似文献
2.
Joyce Millman 《Children‘s Literature in Education》2005,36(4):381-393
Faith Ringgold, best known for Tar Beach, her 1991 Caldecott award winning picturebook, has been addressing social issues
in her art since the early 1960s. The purchase of her Tar Beach story quilt by the Guggenheim Museum demonstrates the acceptance
of her fabric art by the fine arts community. An examination of the connections between Ringgold’s fabric art and picturebooks,
including connections between themes, characters, narrative style and her use of visual elements, points to the conclusion
that her quilts and picturebooks are related in their use of literary and fine art elements. Using Ringgold’s work as an example,
this article supports the view that picturebooks should be considered a fine art form.
Joyce Millman is an art teacher in the Philadelphia public schools and teaches in the Art Education Department at Moore College
of Art and Design. As a teacher and former Philadelphia Writing Project Scholar, she continues to explore art and literacy. 相似文献
3.
DAVE ALLEN 《The International Journal of Art & Design Education》1994,13(2):133-143
The statutory Order for art in the national curriculum identifies visual literacy as an essential aim of contemporary art education. In the Order visual literacy is located in the second attainment target. This paper suggests that, since the concept of literacy embraces reading and writing, the term visual literacy might be more usefully employed as an overarching concept embracing both attainment targets. This suggestion draws upon some of the extensive work carried out into literacy within the discipline of English. Further, the paper suggests that the ambition of the Order for art must be weighed against the dominant practices of art and design education and asks whether a curriculum which centres on painting and drawing can realistically be considered to be providing an adequate education for visual literacy in the 1990s. 相似文献
4.
Willem de Bruijn 《The International Journal of Art & Design Education》2020,39(2):290-305
This article describes a pedagogical approach to collage based on the work of art historians John Berger (1926–2017) and Aby Warburg (1866–1929). Its aim is to understand how images can be used to develop critical visual thinking skills within the context of architectural education and architectural theory in particular. Drawing on the notions of ‘visual literacy’ and ‘visual learning’ familiar from educational theory, the article proposes collage as a means to challenge the predominantly verbal modes of assessment prevalent in contextual and critical studies, where ‘contextual’ refers to the wider contexts (cultural, social, historical, theoretical) within which architecture is situated. The Collage Workshop, which the author has developed over the last five years whilst working closely with students at both undergraduate and postgraduate level, is a concrete attempt to implement visually oriented forms of learning and reduce the reliance on written assignments across the curriculum. By analysing some examples of collages produced by students who participated in the workshop, the article hopes to show how images can be used in the construction of an argument and, perhaps more crucially, how seeing assumes meaning in an image‐saturated world. 相似文献
5.
Avril Loveless 《The International Journal of Art & Design Education》2003,22(2):145-154
The paper presents a research perspective on a Secondary school‐based project,, Art on the Net, which explored the interaction between practising artists, students and teachers using digital technologies in the visual and performance arts in school settings. The study illustrated the role that art education plays not only in providing an authentic context for the use of digital technologies, but also in offering insights into conceptualising the nature of ICT capability. The analysis for this paper highlights key themes arising for participants engaged in such intervention projects and illustrates the interaction between professional knowledge and pedagogy in Art and ICT. 相似文献
6.
Nadine M. Kalin 《The International Journal of Art & Design Education》2018,37(3):367-376
How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism. 相似文献
7.
论艺术教育与科学教育的互动 总被引：1，自引：0，他引：1
艺术教育和科学教育有着不可分割的历史渊源。艺术教育离不开科学教育的支撑,反过来又推动着科学教育的健康发展;科学教育需要艺术教育的提炼与升华,同时也极大地影响着人类精神产品的生产。科学教育与艺术教育互动互惠,使人类文明进入新的境界,也为自身的发展开辟了无限的前景。 相似文献
8.
LARS LINDSTROM 《The International Journal of Art & Design Education》1994,13(2):189-201
‘What is art for?’ This provocative question was the motto of the 31st Annual Convention of the National Art Education Association (NAEA) held in Atlanta, Georgia, 1991. As a visiting scholar for a semester at Harvard Project Zero, I had rich opportunities to study art education programmes in higher education and public schools all over the United States. As a consequence, I felt complelled to reformulate the NAEA question, and ask ‘What is art education for?’ This essay argues for the importance of understanding and meaning-making in art education. It starts with a review of some common rationales for the teaching of art that stress both the alleged ability of the arts to promote ‘good’– i.e. creative, harmonious, and civilised – characters and the instrumental value of the arts as a means of communication. These rationales are then evaluated within the context of Nelson Goodman's philosophy, which emphasises the primary role of curiosity in the arts. The following two sections discuss the rationales, contributions and limitations of two art programmes that are currently being carried out in the United States: Arts PROPEL and Discipline-Based Art Education (DBAE). Arts PROPEL has introduced long-term, open-ended projects that integrate production (making) with perception (learning to ‘read’ art works and observe the world closely) and reflection (thinking about one's work and the works of others). The DBAE curricula are sequentially organised and integrate content from the disciplines of art creation, art criticism (learning what to look for and how to interpret), art history (studying contexts and alternatives of taste and style), and aesthetics (building a personal philosophy of art). In the final section, Arts PROPEL and DBAE are compared. In the context of previous rationales for the teaching of art, the similarity in aims of these programmes stand out as more important than the differences in approach. Neither do these programmes overstate the humanising power of art, nor do they focus on visual literacy per se. Instead, both programmes emphasise the role of reflection, interpretation, and understanding in art. Productive and analytic art activities are used as important vehicles in making sense of the world and of ourselves. It is concluded that Arts PROPEL and DBAE offer promising and supplementary approaches to promote curiosity and to teach art for the sake of understanding. 相似文献
9.
20世纪50年代中后期,伴随着流行艺术运动在英、美等国家的蓬勃开展,媒体素养教育流行艺术范式应运而生。基于甄别取向,该范式以其鲜明的文化包容和艺术欣赏的教育理念与实践,昭示着我国应当构建一种基于文化和审美等多维向度的、超越保护主义的媒体素养教育。 相似文献
10.
艺术教育的社会价值和功能是现当代素质教育中普遍关注的问题。艺术家的艺术教育思想和成就是艺术教育的基石。19世纪英国艺术批评家、美学家约翰·拉斯金的艺术教育思想影响了工业革命以后的英国乃至世界,他的艺术教育理论具有独特的历史地位和价值,在强调审美教育和素质教育的今天,对于我们更好地完善和普及艺术教育具有一定的现实意义。 相似文献
11.
陈伟 《上海师范大学学报(哲学社会科学版)》2004,33(1):52-57
本文以马克思主义的历史唯物主义观点为指导,从文艺美学学科产生的历史条件和社会要求来分析这个学科在上世纪80年代的应运而生,指出它的形成是中国国情的产物。同时认为,文艺美学在中国的诞生还有它的民族性基础和历史性基础:它是中国美学思想的表述方式,是中国传统文艺实践的评价准则。文艺美学与美学、文艺理论的学科区别主要体现在研究对象和研究视角上、研究的出发点和研究的方法上以及研究所用的学科话语上。 相似文献
12.
Lucy Howarth 《The International Journal of Art & Design Education》2014,33(2):258-271
In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post‐war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case‐study, and despite the difficulties inherent, art school building is approached as an imaginative and socio‐political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun). 相似文献
13.
Rebekka Kill 《The International Journal of Art & Design Education》2006,25(3):308-317
There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades. This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive. 相似文献
14.
Art therapy process groups can be used at university counseling centers (UCCs) to treat the mental health needs of higher education students. The authors, art therapists employed at a UCC, developed an art therapy group to engage undergraduate students in creative self‐expression to increase social connection and learn healthy skills to improve insight and emotional well‐being. Such groups offer unique benefits to participants and would be a valuable addition to current UCC services. 相似文献
15.
市场化、产业化--艺术设计职业教育发展之路 总被引：1，自引：0，他引：1
我国加入世界贸易组织后,市场的快速发展对高素质艺术设计人才的旺盛需求为艺术设计职业教育创造了有利的运行和发展环境.艺术设计职业教育走市场化、产业化的道路是职业高校与市场、经济、科技紧密结合的教育模式,这种模式改变了高校艺术设计职业教育同市场、经济、社会、科技相脱节的状况.艺术设计职业教育必须面向市场需求,艺术和市场的结合点在设计,设计的核心在于构思,好的构思是发明、是创新,艺术设计是一种新型的社会生产力.艺术设计职业教育与市场、产业的紧密结合更新了职业教育观念,提高了职业教育的社会效益,改变了艺术设计职业人才培养的模式,对职业教育的学科建设起到了促进作用. 相似文献
16.
媒介素养教学方法和教师培训 总被引：2，自引：0，他引：2
由于全球文化急剧变化以及素养在提高个人、社会和文化发展中的作用,如今的素养概念已经扩展为包括数字、视觉和电子媒介以及流行文化在内的一种内涵;这也就提升了媒介素养教育对个人和社会发展的重要意义。开展媒介素养教育可以在正规和非正规教育环境下进行,它将对学生学习动机的激发、师生关系的改善、公民技能的提高产生作用。 相似文献
17.
Marie Fulkova Teresa M. Tipton 《The International Journal of Art & Design Education》2008,27(1):27-42
Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school‐age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school‐age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic. 相似文献
18.
张艳 《山东教育学院学报》2014,(3):45-48
艺术设计专业与社会接轨密切,非常适合学生创业。艺术设计专业的学生迫切需要提高创业素质,将创业教育与专业教学融合起来,开设艺术设计岗位应用课程,积极寻找创业教育与专业课程的结合点,将艺术设计项目流程引入创业教育中,搭建以培养创新精神为核心的创业教学与实践平台,为自主创业打下坚实的基础。 相似文献
19.
Attwell Mamvuto 《Teaching Artist Journal》2019,17(1-2):34-44
African art education discourse is deeply enshrined in community visual arts and its programming. This article is an analytical narrative documentation of anecdotal historical debate on art education in Zimbabwe. The referential data-based entry provides a historical analysis of the evolution of art education and its programming as a post-CIET phenomenon. The CIET observations provide points of departure for continued debate on achievements and areas requiring further interrogation in art education and community visual arts in Zimbabwe. I conclude by coining a road map for art education in the quest for comparable programming against regional and international best practices. 相似文献
20.
王旭晓 《河北师范大学学报(哲学社会科学版)》2005,28(4):128-133
艺术教育是实施美育的重要内容、手段和途径，特别是在学校美育中，艺术教育占有突出的地位。然而，艺术教育并不是美育的全部，不能把艺术教育完全等同于美育。美育与艺术教育的异同，根源于审美活动与艺术活动的异同。 相似文献