首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 15 毫秒
1.
The philosophical foundation for teaching art criticism in schools has been dominated by formalist and expressionist aesthetics, while from a practical point of view it has been influenced by art criticism models that emphasise observation and linguistic practices. Instead of asking students to observe an artwork and make verbal or written statements, George Geahigan proposed an inquiry‐based art criticism learning model that engages students in personal response, research, and aesthetic concept and perceptual skill acquisition activities. Using inquiry‐based art criticism as a foundation for curriculum development and connecting the model to authentic situations in schools, the present study investigated the effectiveness of the model on student learning. Fifteen secondary school teachers were invited to participate. Eight teachers taught the experimental group (n=85) with inquiry‐based curriculum plans and the other seven teachers taught the control group (n=82) with their own school curriculum plans. Students of both groups were asked to write an art criticism essay before and after the implementation of the curriculum plans. The results demonstrated that the overall improvement of the experimental group after one academic year was significantly greater than that of the control group. This article reports on the theoretical framework, methodology and results of the study. It was found that the inquiry‐based approach was a successful strategy in improving students’ skills in analysing, judging and using aesthetic and contextual knowledge in art criticism writing. The discussion focuses on the improvements that were made in the art criticism essays of the experimental group.  相似文献   

2.
What are the main purposes of drawing in the secondary art and design curriculum? What are Scottish art teachers' views on the role and function of drawing? How is drawing taught in Scottish schools? These three broad questions formed the basis of the research reported in this article. The small‐scale study, carried out between June 2002 and June 2004 will, the authors hope, be of interest to art educators seeking to explore the teaching of drawing as a key component of art and design education. In this article, we report on the background to the study, the place of drawing in Scottish art education, the methodology used, discuss some of the respondents' comments and conclude with some reflections and thoughts for future study.  相似文献   

3.
This article describes the foundations, development and some of the findings from a research project about how the use of ‘the gaze’, as a key idea from critical art history, might affect the understanding of art by art educators. It shows how the use of this key idea involved not just the disruption of a modernist model of art interpretation (based on the author and the oeuvre), but also mediated the discursive production of the subjectivity of the interpreters as readers/writers of the work. The research was based in the interpretation of a specific artwork by Manet, A Bar at the Folies‐Bergère.  相似文献   

4.
Educational practices in art museums are determined, to a great degree, by ideas of art and interpretation put into play, consciously or not, by both museums and educators. This article presents the results of research conducted at Tate Britain in which we have analysed the concepts of art and interpretation that underlie the discourses of the educators interviewed in this gallery. To this end we have designed a methodological device, a model that proposes four ways of understanding and interpreting art commonly found in educational contexts. This model has arranged the various conceptions from more visual or perceptual approaches to the most experientially complex as those summarised below: works of art as a visual representation and interpretation as identification; works of art as a message to be revealed, and interpretation as decodification; works of art as an intellectual, historical and cultural fact, and interpretation as an opportunity for critical reflection; works of art as the materialisation of an experience, and interpretation as an opportunity for self‐development. We conclude that in interviews with educators working in the Tate Britain different narratives about the idea of art and the idea of interpretation coexist, which in many cases are complementary and in some others are contradictory. Examples of the interviews are presented throughout the article.  相似文献   

5.
In this study, two samples of 4‐year‐old Chinese children were given two drawing tasks, one very familiar task and one novel and challenging task. The first sample was drawn from a nursery that taught art in a similar way to that widely used in the West, with an emphasis on individual expression. The second sample was from a nursery where drawing was taught explicitly and directly in the traditional Chinese way. Results were compared between the two groups and with a British sample given the same task. Some very significant differences were found with both tasks, and these are discussed in the context of different ideas about young children's drawing and art education.  相似文献   

6.
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   

7.
In this project, 28 6‐year‐olds were taught skills involved in artistic claywork using principles of social modelling and cognitive learning in a classroom situation, over a series of six lessons. A further 28 students, serving as controls, were taught according to the normal art curriculum. The students’ clay models were photographed on pre‐test and post‐test, and rated by three expert judges (professional artists familiar with children's artwork) blind to treatment conditions. The cognitive social learning group evidenced strong gains on measures of creativity as defined by approximation to a three‐dimensional form, technical competency, decorative competency and aesthetic appeal. The control group students failed to evidence any significant change in rated creativity.  相似文献   

8.
The primary purpose of the study was to determine the content of art appreciation courses in the Illinois community colleges. Other purposes were to determine instructor characteristics, institutional characteristics, and the methodology used to teach the courses. A mailed survey was used to gather the data from the lead art appreciation instructor at each of 52 colleges. Thirty‐six surveys were returned, for a response rate of 69%. On average, nearly four art appreciation course sections, with a range of 1 to 20, were taught at each 2‐year college. Most instructors used textbooks; 15 different titles were furnished by the respondents. Cultural art, art production, and studio art were included in most courses. Numerous art periods and the works of many artists were studied.  相似文献   

9.
For many years art, anatomy and medicine have shared a close relationship, as demonstrated by Leonardo da Vinci's anatomical drawings and Andreas Vesalius' groundbreaking illustrated anatomical textbook from the 16th century. However, in the modern day, can art truly play an important role in medical education? Studies have suggested that art can be utilized to teach observational skills in medical students, a skill that is integral to patient examination but seldom taught directly within medical curricula. This article is a subjective survey that evaluates a student selected component (SSC) that explored the uses of art in medicine and investigates student perception on the relationship between the two. It also investigates whether these medical students believe that art can play a role in medical education, and more specifically whether analyzing art can play a role in developing observational skills in clinicians. An “Art in Medicine” 8‐week course was delivered to first year medical students at Brighton and Sussex Medical School. The use of art to improve observational skills was a core theme throughout. Feedback from the students suggests that they believe a strong association between art and medicine exists. It also showed a strong perception that art could play a role in medical education, and more specifically through analyzing art to positively develop clinical observational skills. The results of this subjective study, together with those from research from elsewhere, suggest that an art‐based approach to teaching observational skills may be worth serious consideration for inclusion in medical and other healthcare curricula. Anat Sci Educ 7: 370–378. © 2014 American Association of Anatomists.  相似文献   

10.
With the increase in state‐mandated high‐stakes testing across the USA, schools and school districts are considering ways of increasing instructional time for core curricular subjects such as mathematics, science, English, and social studies. One seemingly logical approach to improving test scores is to reduce the time spent in subjects that are not tested, most notably art, music, and physical education, thus increasing time for the tested subjects. In this study, data was collected from 547 Virginia elementary school principals who completed a survey indicating the time specialists taught art, music, and physical education in their schools. After controlling for socio‐cultural opportunities associated with the school community, partial correlations between time allocation and school‐level passing rates on the Virginia Standards of Learning tests indicated no meaningful relationship between time allocation to art, music, and physical education and school achievement. The findings from the study do not support the notion that a reduced time allocation to art, music, and physical education is related to higher test scores.  相似文献   

11.
Sustainable design is a philosophy adopted by people concerned with the health of society and the natural environment. The practice of sustainable design works toward the improvement of the quality of the built environment, while reducing or eradicating the negative impact on the natural environment (McLennan 2004). It is a philosophical approach that may be used in designing any type of built structure, to include architecture, public art, products and community planning. This article will describe concepts that may be addressed in art education about sustainable design to develop an environmental awareness through artistic activities. An approach to teaching sustainable design is explained with an example of a multi‐faceted project taught in a pre‐service secondary methods course of prospective art teachers.  相似文献   

12.
ABSTRACT

In this article, I highlight findings from a nine-day unit embedded within a larger, four-month long qualitative action research study set in a public middle school. My goal in conducting this research was examination of relationships between visual culture and art integration as a method of fostering students to find voice while taking risks. A collaborative process was central to the unit in which the non-art educator and I developed and taught persuasion using art and art history. Students engaged in creating collaborative ecological installations, the integration of visual culture bridged art and other curricular areas while creating spaces for authentic learning. Through making art, students built shared knowledge, engaged in safe discourse, and expressed empathy.  相似文献   

13.
The disciplines of art and experimental psychology share a number of interesting areas of overlap which are unknown and/or unconsidered by many. This purpose of this article is to elucidate topics that are of interest to both artists and psychologists in an attempt to encourage interdisciplinary collaborations. It is only on rare occasions that artists and psychologists engage in collaborative research efforts, however; here I discuss a number of topics in psychology (e.g. attention, expertise, object perception and mental representations) that would be of interest to both disciplines. The concepts that are often taught in the art studio can provide unique insight into perceptual processes that play a role in the creation and evaluation of art. However, collaborative research efforts are necessary better to understand these perceptual processes. Thus, the product of collaborative research in such areas can inform art education and psychology to mutual benefit. This article discusses topics of interest for art and psychology and poses possible research questions that can be investigated via artist–psychologist collaborations.  相似文献   

14.
Learning in the arts has the potential to be a co‐constructive means of inquiry for students, which enables experience of the self in relation to practice. This research explores a practice‐based investigation of agency as self‐definition, amid normative social constructions of the subject. The focus for data analysis is a project taught to BTEC Level 2 Art and Design students in a deprived area of North London (2010–12). A dialogue is presented between the implications for Sartre's theory of free‐will and a Foucauldian critique of social construction. Applications for this comparative theory are discussed here as a form of resistance to the compression of learning identities in art and design, and across the curriculum. This is an approach which encourages emancipated self‐representation, acknowledging cultural diversity, for a discursive environment viable at all levels of study. In exploring the data, a positioning of free‐will with social responsibility is identified as an inclusive forum for creative understanding, and the tolerance of difference.  相似文献   

15.
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   

16.
社会上存在很多对艺术教育的迷思,比如,艺术与教育的关系是什么?艺术是否可教?艺术完全是灵感的产物吗?艺术是否值得被教?艺术教育的作用是什么?符号理论可以表明艺术教育的可行性及价值。我们不应该将艺术仅仅视为达成某一具体目的的手段,而应该将其既看作目的,又视为手段。艺术完全是灵感的产物这一假设是没有根据的,学生的感觉回应和情感反应可以被教育,艺术教育是可能的,也是有价值的。  相似文献   

17.
To engage in discussions of artwork meaning is to engage in critical reasoning, a factor that is central to the interpretation of artworks in the art classroom. While this may appear as a common‐sense claim that reflects the tacit assumptions most art educators have about students' critical dispositions in art, it is also evident that little is known about the deeper structures underlying students’ critical reasoning and how such structures shape students’ interpretations of artworks. Drawing on my research on students’ theories of critical meaning in art, this article explores the nature of practical and theoretical constraints on students’ critical reasoning about the meaning of artworks. I account for how intentional beliefs, language and representational artefacts function as a nexus of real constraints that condition students’ advance into interpretations of the social meaning of art. After briefly outlining the design and methodology of my study, I examine students’ critical reasoning performances during the formative period of development between middle to late childhood. The findings reveal that with increasing age students gradually learn to exercise their own critical intentions and represent inferences that acknowledge the significance of constitutive rules and force of a collective intentionality in the artworld on their interpretations of artworks as artefacts. I then make some conclusions about the relationship of domain‐specific shifts in art understanding, the role of intentionality, representational understanding, beliefs about art and reasoning skills to the linguistic, theoretical and artefactual constraints conditioning students’ intuitive advance into real understandings of art.  相似文献   

18.
Teaching art in a multicultural society requires teachers to develop an understanding of the nature of artistic knowledge with regard to the cultural backgrounds of all children, so that the validity of art relates to the ethnic structure of contemporary society and takes full account of its historical origins. This requires a sound basis for interpretation of other cultures so that children can see the interrelated connections between what they are shown and know, and how this is always contingent upon historical antecedents of society and societies. No longer can artistic traditions be isolated or prioritised in hierarchies that alienate or marginalise the cultural roots of those children who happen to come from ethnic minorities. Therefore, to better teach the requirements of the National Curriculum in Art, with particular regard to Attainment Target 2, teachers need to be aware of their responsibilities in interpreting the traditions of non-indigenous cultures. This paper draws on experience of teaching art in a largely homogenised minority of Scottish Gaeldom, where historical perceptions of what constituted its tradition were profoundly significant to the aims of educating its young. And where, the teacher happens to come from outside that tradition, the importance of understanding the formation and interpretation of tradition[s] is a paramount consideration in deciding what and how to teach art. This paper focuses on the central issues and draws upon relevant literature to support the case that art must be taught with commitment to the context and artistic future of a multicultural society.  相似文献   

19.
This article is about the ways in which young people who have disengaged from learning in school can find a way back through leadership activities in art. It is based on a project which was funded by a small grant from the Wallenberg Foundation. The project explored the potential of an approach to developing positive leadership qualities in pupils who were not consistently committed to the school's learning purposes. This account describes and comments upon two pupils' guided attempts at peer teaching in art and its subsequent effect upon their selfesteem and attitude towards school. It was found that pupils who taught art to other pupils had an increased sense of self‐worth and were more positively affected towards learning. However, broader issues, such as the negative nature of some school systems and their role in de‐motivating pupils were highlighted.  相似文献   

20.
Collaborative learning has been gaining momentum as a promising pedagogy in higher education. Research on student collaboration is increasing. However, one arena is often overlooked—faculty collaboration. In this article, a cross‐institutional faculty collaboration is presented. The context is faculty collaboration on the design of an undergraduate engineering course. Specifically, this paper examines design issues encountered in the faculty collaborations associated with developing, delivering, and redesigning a senior‐level engineering design course that was taught simultaneously at two universities. This course was taught in state‐of‐the‐art distance learning classrooms. Both within class and outside class, participating students and faculty made use of a Web‐based environment that supported a variety of synchronous and asynchronous interactions. The course itself focused on team design projects and provided instruction on the engineering design process, in various specific skills needed for the students’ projects, and on how to function effectively as part of a geographically distributed engineering design team. The participating faculty members represented different backgrounds, academic disciplines, and academic cultures. Issues related to collaborations on development, delivery, and redesign are elaborated. Based on the lessons learned, suggestions for future cross‐institutional faculty collaboration in course development are provided.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号