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1.
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   

2.
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   

3.
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   

4.
This article addresses how older people understand and engage with contemporary art in the gallery context – whether there is something unique to the art, the format of the visits, the pedagogical approaches used by gallery educators, the social contact, or a combination of all these factors. It also addresses the psychosocial barriers to engagement. It draws from ‘Contemporary visual art and identity construction – wellbeing amongst older people’, a two‐year research project funded by the cross‐research council New Dynamic of Ageing Programme. Over 21 months, 43 participants aged 60–92 made three visits to contemporary art galleries in north‐east England. The potential for art galleries to develop lifelong learning opportunities for post‐retirement people has implications for the cultural, health and voluntary sector.  相似文献   

5.
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   

6.
This article examines the strategies that can be used to enhance students' understanding of how subjects link together and whether cross‐curricular approaches, through a gallery project, have any real impact on students' understanding of the links between subjects. A substantial part of this article, however, describes the methodological aspect of the project. A phenomenological case study approach was used in order to engage fully with individual students' learning experiences. It was found that the students who were involved directly with the study felt that the links between subjects had more relevance to their learning when the teacher made such links explicit. They were unaware of the relevance of many cross‐curricular links made in lessons, but the study indicated that cross‐curricular learning can enable students to transfer skills and knowledge in order to understand concepts more fully.  相似文献   

7.
This paper takes the form of a conversation about gallery education between Carmen Moersch and myself Mariam Sharp. It will draw from in‐depth research by Moersch who is currently undertaking a PhD comparing Gallery Education in Germany and England and considers the differences in England and Germany and to some extent Europe generally. The article touches on Carmen's role as an artist and relates to the role of the artist in socially engaged arts practices. In England outreach practices extend the work beyond the gallery and Moersch's research explores case studies in the UK that develop these models of working. The conversation started at the Engage conference at the Baltic in Newcastle in November 2002 and continued into early 2003 via email and was informed by my experience as the lead officer for gallery education at the Arts Council of England's National Office.  相似文献   

8.
Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to ‘art‐wash’ schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be ‘art‐washing education’.  相似文献   

9.
《Support for Learning》2006,21(4):204-209
This article considers the issues of attendance and non‐attendance, the latter of which has been recently linked with ‘behaviour’ in a range of policy initiatives in England. John Dwyfor Davies and John Lee review some of the existing material on non‐attendance and then draw on data they have collected in one large English city. The authors summarise their discussions with 13 non‐attending young people and some of their parents, as well as conversations with 35 students who have a satisfactory attendance record, together with a perspective from educational professionals. The authors address the issue of why certain students, who apparently will gain little from school, in terms of certification, continue to attend school. They argue that ignoring the reasons why such students actually attend school is a major oversight in current research.  相似文献   

10.
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   

11.
This article outlines art education courses undertaken in museum and gallery contexts as a component of the Certificate Programme in Visual and Material Culture within the University of British Columbia's Department of Curriculum Studies. With the creation of this programme and through the forging of relationships with area museums, unique ways have evolved for graduate students from diverse areas of education and art teacher education candidates to interact with works of art, museum professionals, artists, and the museum space itself. The purpose of these courses is to use museum and gallery settings as sites to test ideas, critique educational programmes, and advance new approaches for teachers to use museums in more creative and integrated ways in their teaching while expanding theoretical knowledge and interpretive repertoires. Through participating in this collaborative venture we have learned that when you invite teachers into museums, make efforts to increase their comfort within these spaces, while recognising what interpretive insights they offer as active participants in museum discourses, points of convergence between teachers, universities, and museums are formed.  相似文献   

12.
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13.
人本主义心理学对邀请模式的启示   总被引：2，自引：0，他引：2  
本文在探讨邀请模式内涵的基础上,进一步分析邀请模式建立的主要理论根基———人本主义心理学思想,即人本主义的人性观影响邀请模式理念的确立,罗杰斯的治疗关系论和马斯洛的良好条件论分别启示了有意识邀请态度和邀请环境的形成。  相似文献   

14.
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15.
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16.
This article explores the possibilities of the diorama medium as a method to investigate educational realities and ideals. Contemporary artistic examples of dioramas deconstruct traditional associations of the diorama as a form of explanatory storytelling and critically contest the problematic reproduction of existing hierarchies, which seem to occur when dioramas are used in museums and schools. In contemporary dioramas, the gaze of the spectator is instead invited to engage and contribute to multiple interpretations of spatial creations. The article explains how dioramas have been employed in a doctoral research project on artist teachers and democratic pedagogy and how making dioramas as a research method in arts‐based educational research has been adopted to engage in a dialogue with visitors to a contemporary gallery to collaboratively investigate the spatiality of democratic learning spaces.  相似文献   

17.
Civic service through schools: an international perspective   总被引：1，自引：0，他引：1  
Civic service, which refers to activities that seek to improve the local, national or international community either through community service or service learning, is widespread in secondary schools around the world. Despite this pervasive presence, there are few studies that approach the subject from a cross‐comparison perspective. This article addresses this gap by providing a comprehensive review of the international literature on civic service in terms of history, theory, research and practice. In terms of history and theory, the article brings together the work of several key proponents of civic service who, despite working in different countries and continents, placed civic service high in their educational agenda. In terms of research, it presents the most up‐to‐date research on the potential benefits and pitfalls of civic service. In terms of practice, it lists various limitations related to its implementation and presents possibilities for overcoming these. This section stresses the importance of establishing a respectful and honest relationship with intended beneficiaries to avoid fostering unhealthy social patterns, a key problem of many civic service programs. The article ends with areas for future research.  相似文献   

18.
中国闽台缘博物馆是展示中国大陆与宝岛台湾紧密联系的国家级博物馆,基于WebGIS和虚拟现实的闽台缘虚拟美术馆是对闽台缘博物馆的补充,可以通过InternetZ维动态地展示美术馆,满足人们随时随地欣赏画作的需求．文章从虚拟美术馆的系统架构设计、系统功能设计及三维模型设计与实现三个方面阐述闽台缘虚拟美术馆的设计,并应用VRML构建了虚拟美术馆的具体模型及其虚拟场景展示．  相似文献   

19.
This paper examines the value of a task‐based approach to engaging with original works of art and focuses in particular upon the experiences of a group of PGCE Art and Design trainees when they visited an exhibition entitled, Air Guitar: Art Reconsidering Rock Music, to carry out given tasks. The extent to which a task‐based approach might creatively disrupt trainee teachers' thinking and the nature and significance of such thinking within an educational context is considered, as is the impact of the tasks on their developing understanding of the need for a diversity of approaches to critical engagement. It draws extensively upon selected responses to the tasks and the trainees' subsequent reflections on the experience. Comparisons are made between trainees' responses to particular works and references to these works that are detailed in the exhibition catalogue. This is undertaken with the intention of examining the interrelationship between understanding and knowledge when reading and responding to works of art in the gallery context. A further concern is to generate debate and challenge assumptions regarding the nature and dynamics of gallery based activities and contribute to a process of development and innovation in which all participants can play an active part.  相似文献   

20.
Techno‐pedagogy or the powerful combination of various technologies and pedagogy provides new opportunities to support a range of learning environments. This article describes how the Centre for Individual Language Learning (CILL) at Temasek Polytechnic in Singapore applies techno‐pedagogy to a conversational self‐organised learning (S‐O‐L) environment. The concept of S‐O‐L is explained in terms of conversational constractivist learning events within a social context. We also review the pedagogy of S‐O‐L in terms of delivering task management components within a learning organisation. We then show how the CILL facility functions as a self‐organised conversational learning environment with its adapted working model of S‐O‐L pedagogy. We then discuss the three key technologies available in CILL and explain how the integration of these three technologies provides for a conversational scaffolding learning environment that helps deliver the CILL curriculum. This pedagogic process facilitates in learners the development of independent learning skills through both collaborative and individualized language learning encounters that enables them to take increased responsibility for self‐organising their own learning in both school and the community. The article concludes by discussing the benefits of techno‐pedagogic solutions and how these have shaped learning within a self‐organised conversational learning environment at CILL.  相似文献   

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