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1.
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   

2.
ABSTRACT

This article presents an educational approach that merges ideas of critical pedagogy with those of visual culture. According to this approach – termed visual critical pedagogy – art is an integral part of the textures of society and culture and their manifold and complex visual expressions, including the more controversial and subversive among them. It objects to locking art and visual culture in art departments, and to restricting art history to a formalist analysis of ‘masterpieces’ – which represent primarily the Western art market and its underlying politics. It likewise rejects the conception of art history as the history of artists and art movements – a conservative approach still prevalent in many academic institutions. Integrating critical pedagogy with visual culture provides fertile ground for an educational practice within art classes and beyond them. Visual critical pedagogy is formulated using the concepts exposure, deciphering, representation and visibility, shared by both critical pedagogy and visual culture. These are discussed in the context of educational projects and activities planned and implemented by Jewish and Arab students enrolled in an education-through-art program in an academic college in northern Israel.  相似文献   

3.
Abstract

This article investigates the ways in which global art making and cultural practices have been conveyed in U.S. schools and considers questions about how art education can engage in decolonization. This special issue's theme of Diversity, Globalization, and Education is approached through the window of visual art by examining the work of three contemporary Senegalese artists and one U.S. artist in the sociopolitical contexts of history and current events, and asserting ways in which curriculum in U.S. schools may be considered with a decolonizing lens by integrating the artists’ perspectives.  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.
Many universities today are businesses, embracing the priorities and values of any other consumerist enterprise. There is an argument that, insofar as the phenomenon of marketisation is a function of what (Michaels, F. [2011]. Monoculture: How one story is changing everything. Red Clover Press) terms a global economic ‘monoculture’, these developments are inevitable. Nevertheless, this article argues against such rhetoric that embraces the neoliberal principle of unrestrained growth and that has public universities adopting a business model, applying managerialist approaches, measuring and – most importantly in the context of this article – expressing worth and purpose in corporate terms, as these prioritise commerce over the cultivation of creative and critical thought essential to healthy social functioning. It argues for an educational environment that enables multiple ways of seeing, thinking and living to flourish. The particular focus is on the deleterious effects of corporatising language within universities. I reflect upon how this language is used to express notions of value and to shape identity. In (Fairclough, N. [2004]. Analysing discourse: Textual analysis for social research. London: Routledge) phrasing, texts ‘have causal effects upon, and contribute to changes in, people?…?actions, social relations, and the material world’; thus, I examine language-based conceptual inadequacies, misrepresentations, and what Bourdieu terms ‘unconscious inclusions’ – within many contemporary universities. I then consider what style of language, what other attitudes and approaches, actually support the university as a learning place with a specific cultural role, rather than presenting it as another ‘multi-output organisation’.  相似文献   

6.
Community-based arts projects can act as powerful learning opportunities in a variety of lifelong and life wide contexts. Many of these projects involve artists, who usually undertake a leading role to ensure that some type of transformation takes place for those involved. The impact on the leaders—in this case the artists—is difficult to identify, even if they have been involved in several community-based arts projects. In this paper I provide insights drawn from my doctoral thesis. There I explored the cumulative impact on artists who work on community-based arts projects, what transformations and learning occurred for them as a result of working on these projects, and how those experiences contributed to their identities. My study involved hermeneutic phenomenological/narrative research approaches based on in-depth semi-structured interviews with 12 visual artists. Data were analysed using a recursive and spiralling process and were subsequently presented thematically as a neonarrative. The findings discussed in this article relate to the artists’ attempts at reconciling aspects of their individual, social and cultural identities by challenging their own as well as the community’s perceptions of artists. The cumulative effect of being involved in community-based arts practice also provided the artists with ongoing identity capital in that they came to realize that they learnt about themselves by connecting with others. The findings contribute to the emerging debate that challenges the narrow view of measuring the value of community-based art projects based on instrumental and public worth, and invites exploration of the private and intrinsic impact on individuals.  相似文献   

7.
This paper gives a summary of a presentation made by Glen Coutts and an exhibition organised by Mark Dawes at the InSEA conference held in Glasgow during July 1997. It concerns recent developments and initiatives using artists, designers and students in Scottish schools. The presentation at InSEA was supported by slides of the students’ work and an outline of the processes used in each of the workshop sessions. During the presentation the conference had the opportunity to view the results of collaboration between artists, students and school children aged between 10 and 14 years. These projects took place over a period of five to six months, and have resulted in an ambitious project which will be completed during 1999, Glasgow’s year as UK City of Architecture and Design. The projects used visual artists to expand and enhance the art activities normally taking place in the schools. This paper reports on the following areas: developments in Art & Design Education in Scotland – the context for artists in schools, Artists and Education – two case studies and future developments – towards 1999.  相似文献   

8.
This paper reports the findings of research into cross-cultural influences on Korean contemporary art and the artists’ aesthetic and cultural values and beliefs. Findings were that predominant Western influences during the Korean modern period have been American-Abstract Expressionism and Minimalism, but that these trends have been acculturated rather than assimilated; that Korean Modern Art continues to dominate the Korean fine art world since it is practised by very established artists and master-craftsment; and the work of the younger less-established artists who are absorbing postmodern values, is more representational and eclectic stylistically, and sets out to convey messages and meanings about social problems in contemporary Korean life. The growing concern with Korean cultural identity is interpreted, in part, as a response to the demands of the international art market, but is represented through the artists’ use of traditional Korean content and processes, or pursuit of Korean metaphysical/philosophical ideals.  相似文献   

9.
ABSTRACT

An examination of the community youth theatre practice of two groups of culturally and linguistically diverse emerging artists from refugee backgrounds reveals the importance of ‘messages’ in their work and the strong connection to social context. This connection is illustrated by comparing the emerging artists’ perception of the meaning of their art-making (in terms of cultural representation and identity politics) to community audiences’ response to performances. This complex social dynamic is contrasted with the growing practice of using of standardised categories and metrics in an attempt to quantify the value of such arts practice. This approach is problematic because it imposes cultural values on communities and can distort the meaning of community arts performances reducing their social value. The concept of intrinsic value is analysed in relation to the current theoretical discourse on this subject and the criteria used for measuring it are scrutinised and critiqued. The article argues for the importance of allowing community audiences to respond to performances in their own terms because this is integral to the process of how meaning is generated through performance.  相似文献   

10.
Thematic work that integrates different knowledge areas is considered suitable for developing young children’s knowledge and skills in early childhood education. This paper reports evidence from a survey of early childhood teachers’ work with mathematics and art integrated in thematic work. In this study, we aim to explore how teachers perceive mathematics learning and teaching integrated with art. Data for analysis were collected from a questionnaire answered by 27 early childhood teachers from Finland and Sweden. Influenced by a sociocultural theoretical framework, the analysis concerns the teachers’ expressed goals for learning and their strategies for achieving these goals. The analysis reveals qualitatively different approaches to the learning goals addressed by the teachers – process-oriented, product-oriented, development-oriented and providing awareness – which, respectively, seem to generate different meanings of mathematical learning integrated with art. This study offers an overview of teachers’ approaches to teaching mathematics and art in thematic work, and of how different approaches may influence what mathematical meaning is offered to children to explore.  相似文献   

11.
Abstract

This article reports on a two-year study of one principal’s professional learning practices in ‘Transform,’ a professional learning program in Edmonton Catholic Schools, Alberta, Canada. Transform was designed to be a bottom-up, morally-oriented professional learning approach in which principals and teachers worked as partners on critical, participatory action research projects. This article examines the research question ‘How are principals shifting from technically- to morally-oriented professional learning practices in their schools?’ and explores one theme – co-creating social spaces for risk-taking – to illustrate how principals shifted from being managers of teachers’ learning to being partners with teachers in researching and refining classroom practices.  相似文献   

12.
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   

13.
Social workers practice in rapidly changing and complex environments where they encounter challenges that include increasing evidence-based practice requirements, a shifting information landscape, and diminishing workplace resources. To address these challenges, social workers need to engage in lifelong learning. The purpose of this article is to explore conceptual elements and assumptions underlying lifelong learning; propose social work specific approaches to lifelong learning; present a conceptual model to orient social work educators to the possibilities inherent in lifelong learning for practice, with inclusion of suggested practice behavior; and offer a research agenda for practice.  相似文献   

14.
Internationally, an interest is emerging in a growing body of work on what has become known as ‘diffractive methodologies’ drawing attention to ontological aspects of research. Diffractive methodologies have largely been developed in response to a dissatisfaction with practices of ‘reflexivity’, which are seen to be grounded in a representational paradigm and the epistemological aspects of research. While work on ‘reflexivity’ and ‘critical reflection’ has over the years become predominant in educational and social science research methodology literature, our reading indicates that there is still important conceptual work to be done putting these two practices – reflection and diffraction – in conversation with each other and exploring their continuities and breaks as well as examining the consequences for research methodologies in education. This article raises important questions about how the concepts of diffraction and reflection are defined and understood and discusses the methodological implications for educational research.  相似文献   

15.
While there is a growing body of scholarship on the creative industries and on the career trajectories of graduates from creative industries programmes, there has to date only been a limited amount of research that examines in detail, the careers of fine arts graduates. Fine art is arguably the least ‘vocational’ of creative disciplines, in that there are relatively few employers that seek to employ fine artists as fine artists. If fine arts graduates are not employed in their chosen field – that is, in the ‘Creative Trident’ terminology, in a core creative occupation – how do their careers parallel or differ from those of other creative graduates? Do they find employment as ‘embedded creatives’, using or applying their experience and practice in sectors beyond the core creative industries, or as ‘support workers’, enabling and facilitating the creative work of others? Do they experience portfolio careers? And how do their artistic training and attitudes to creativity affect their working relationships and experiences? This article draws on rich qualitative data about the experiences of a small group of graduates (including the author) who all graduated from the same course at the same institution in the UK in 1994, to provide some insights into the career paths and trajectories of a sample of fine arts graduates.  相似文献   

16.
This article discusses, contextualises and locates in contemporary theory, an autobiographical case study of an artist‐teacher in the ‘learning community’ of a Sixth Form College art department. It reflects on the educational potential of enabling teachers of art and their students to investigate issues of culture and identity through engaging with contemporary art practice. It seeks to explore the extent to which exposure to contemporary art practices (and in the second year sixth form, textiles‐based, cases discussed) creates a more conceptual approach to student project work, which can act as a catalyst to develop students' understanding of issues‐based practice. The discussion of the selected pieces is located within a feminist paradigm that foregrounds the body and gender theories. This article elucidates how a conceptual approach to working, as opposed to a more traditional skills‐based approach, can act as a vehicle for moving students towards becoming self‐motivated artists and, in the case studies described, take their practice beyond that which is normally achieved within the constraints of timed, exam‐based work.  相似文献   

17.
This article explores the use of Biographical Narrative Interpretive Methods (BNIM) in research on motivations for trade union learning. Our use of BNIM – a new methodological approach for us – was intended to test our own research practice in an effort to get further inside the ‘felt world’ and ‘lived life’ of the union learner. We concluded that educational deficit, employability, ways of learning and collectivism motivate union learners and that BNIM, though problematic, exposes a raw subjectivity in union learner agency and motivation which may not be fully invoked in traditional interview approaches, and which is of interest methodologically to multiple research fields including industrial relations. Whilst we have concerns that BNIM may privilege subjectivity and obscure social locations, we also find that semi-structured interviews may prompt learners to adopt hegemonic frameworks, whereas BNIM can allow the articulation of wider social relationships, desires and counter-hegemonic impulses.  相似文献   

18.
This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student‐centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text‐based form such as writing. The resulting images were discussed in a seminar and a sub‐group of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art‐based approach to educational research. As a result, I advocate in this article a greater use of arts‐based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning.  相似文献   

19.
ABSTRACT

Internationalisation of curriculum (IoC) practices promote students developing knowledge of other cultures, attitudes, values and ethics. This conceptual article argues that embedding critical reflection in the IoC program – through integrating insights from both IoC thinkers and critical reflection literature – may allow educators and students to not only gain understanding and/or competency in other cultures but better address questions of privilege, power and colonisation and thereby interrogate their own normative cultural understandings. Borrowing from debates within IoC pedagogy, as well as from Ahmed’s work on critical reflection, this article also argues that cross/intercultural understanding should be understood (and taught) not as a competency but a disposition towards thinking, analysing and understanding the world which is based on critiquing the ‘self’ and its relationship with the ‘other’.  相似文献   

20.
This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.  相似文献   

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