Unveiling the Mary Macha Archives     

Suzanne Spunner 《档案与原稿》2019,47(1):164-170

ABSTRACT

Perth-based art dealer Mary Macha was engaged with Indigenous art for almost fifty years. She played a critical role in the development of Aboriginal art in Western Australia firstly in the government sector and subsequently as a private dealer. Her clients included Alistair McAlpine (Lord McAlpine) and Robert Holmes a Court. She was the key player in the development of what became known as the East Kimberley School of art and formed a close relationship with the key artists, Paddy Jamanji and Rover Thomas. After her death in 2017, her archive was sorted and collated by her executors with assistance from the University of Melbourne and vested with the Battye Library in Perth.  相似文献   

The temporal pocket: 1990s Beijing artist colonies     

Christen Cornell 《Inter-Asia Cultural Studies》2018,19(1):58-71

In recent years, a small but growing body of scholarship has emerged on the category of the Chinese art district, particularly its institutionalisation amidst twenty-first century creative industries polices. Such research presents important stories of Chinese artists’ negotiations with urban and political authority, thus nuancing paradigms for the comprehension of political work within contemporary China. This current article contributes to this growing research area by considering the spatial conditions for these socio-spatial categories’ emergence, namely, the urban structures in which they first took shape in 1990s Beijing. First occupying traditional villages (cunzi) and later ex-socialist work units (danwei), these arts colonies appropriated existing communal architecture, and turned their designs and physical buildings to their own communal ends. Importantly, these sites were made available by the dramatic reconstruction of the city, and in this sense these occupations were limited to the temporal realm. To describe the nature of occupations, and their eventual impact upon the shape of the city, this paper proposes the category of “the temporal pocket”: a cellular and temporary inhabitance, defined by the shared investments of its participants, and one that is both discrete (in the sense of its spaces) and discreet (in the sense that this can be understood as a non-oppositional politics). The article is informed by spatial and cultural theory, literature on Chinese urban planning and art history, as well as primary documents (such as documentaries, art works and archival material) and interviews conducted by the researcher in Beijing.  相似文献   

关注贫困家庭学龄前儿童的美国艺术博物馆课程及其启示——以克拉克艺术博物馆艺术开端课程为例     

温虹 《美育学刊》2020,11(2):20-26

美国克拉克艺术博物馆在全美“开端计划”基础上,结合艺术博物馆的公共教育资源策划和实施了面向贫困家庭学龄前儿童的艺术开端课程,这种发生在艺术博物馆里的正式幼儿教育课程对我国正在蓬勃兴起和发展的美术馆教育有重要的启发意义。通过研究艺术开端课程的策划与实施,可以针对国内美术馆幼儿教育现状提出从普遍性到针对性的幼儿群体课程开发、美术馆幼儿课程评价体系建立等一系列馆园合作方式与建议,以改变目前美术馆零散性亲子活动为主的现状,并能构建与幼儿园更好衔接的馆园合作课程。  相似文献   

核心素养时代高中美术鉴赏的"教"与"学"     

刘晓文 《美育学刊》2020,11(1):13-18

2013年教育部开始着手制定《中国学生发展核心素养》,由此启动普通高中美术课程标准的修订,这也标志中国的教育已经进入了核心素养时代。美术鉴赏是高中美术课程中重要的内容,但实际教学效果却不尽人意。教与学是一方主导、一方被动的分离状态,表现为教师为教而教,学生为知识而学习。学生无暇顾及与高考无关的课程,往往浅表性、单向度地接受碎片化知识的输入,因而不能有效地对情境中的图像进行识读和判断。核心素养下的高中美术鉴赏需要唤醒教与学双方主体的课程意识,同时也对教师的专业素质提出了更高的要求。创新教学过程和学生的学习方法是实现学生核心素养形成的必经桥梁,是值得专家学者和广大一线教师不断地去探究、发掘的重要环节。  相似文献   

Some Theory for the Conservation of Contemporary Art     

Rosario Llamas-Pacheco 《文物保护研究》2020,65(8):487-498

ABSTRACT

This article analyzes different ontological categories and how they relate to the conservation of contemporary art. Faced with the necessity of apprehending the work of art from an ontological point of view, a theoretical approach is made on the concepts that most affect the conservation of contemporary art: quiddity, truth-authenticity, identity, quality, consistency, and interpretation. These are analyzed from an empirical perspective, based on the experience of conservation and restoration. Since conserving and restoring require making decisions that will affect the material and conceptual plane of the works, several possible paradigms that must be introduced into the deontological code of the profession are analyzed. In addition, the study of a new paradigm is provided, that of the death of the work of art. This paradigm can serve as a frame of reference, given the impossibility of bringing the ‘Truth’ of the artwork into the world of the sensitive. This may occur due to different conditioning factors and limitations of a material, technical, or intentional type, which affect issues that were once established as essential to the entity. On the other hand, different types of time that are related to the conservation of contemporary art are studied: biological time, the eternal present of the work, time as a constructor agent, and destructive time as a facilitator of the appearance of ruin or ruin-relic in the work of art.  相似文献   

美术教育让民族文化由"遗产"转向"资源"     

王晓珍 《美育学刊》2020,11(2):14-19

在全球化的今天,要实现中华民族文化的繁荣,首先应客观了解我国民族文化形成过程中出现的多样性文化特点,实现文化自觉,坚定文化自信,才能真正激活民族性格中的文化基因。美术学科涉及中华民族物质文化与非物质文化的形态,从多样性文化的角度出发,通过引入图像学、艺术人类学等相关学科的专业知识与观察方法,将丰富的民族文化遗产实现当代文化资源的转变,在传承优秀民族文化的基础上拓展学生解决实际问题的创新能力,为美术学科实现社会价值提供更多样的思考。  相似文献   

审美视域下中国艺术人格的精神建构     

张嫣格 《美育学刊》2020,11(1):107-111

在新的文化语境下,作家、艺术家以中国艺术精神为参照系,在文艺创作中探索中国艺术人格的精神建构。在中西文化的对峙中,中国艺术人格立足于传统文人精神,着眼于和谐社会,强调主体审美自觉,追求人格的价值尺度,使中国人格美学思想既具有现实关怀又充满人文精神。  相似文献   

从“文斗”到“武斗”:礼法约束下“斗秧歌”田野调查     

滕希望  郭玉成 《上海体育学院学报》2020,(3):73-83

以海阳大秧歌中的民俗武术活动“斗秧歌”仪式为个案,运用田野调查等方法,从民俗学视角对“斗秧歌”的过程及民俗语境进行分析。认为:海阳大秧歌吸收了军事武术中的兵法谋略与民间武术技术动作,族群生存斗争与比武较技是“斗秧歌”吸收武术元素的重要动因,其逻辑形式表现为礼法约束下由“文斗”到“武斗”的递进,“文斗”体现兵法谋略智慧,武术是“武斗”的主要支撑力量。“斗秧歌”受到礼法约束,以强化乡间社会秩序的稳定,反映了中国传统社会治理中的礼法并施思想。剖析其民俗语境发现,“斗秧歌”是族群生存抗争的仪式手段、护卫生存环境的民间演习、展示个人魅力的艺术舞台,也是地域武术传播的民俗载体。武术与“斗秧歌”之间的融合互动关系,显示武术与民俗活动深厚的历史渊源及武术具有的多元价值属性。  相似文献   

高等院校普通话交际艺术课程教学现状及对策     

李静 《番禺职业技术学院学报》2011,(5):17-19,39

普通话交际艺术课是高等院校职业技能的一门重要课程。当前普通话交际艺术课程存在教学内容与课程名称不一致、缺乏实践教学环节、教师教学方式单一、课程考核评估体系不够完善等问题。普通话交际艺术课程应转移课程教学重心,改进教学方法,完善课程评价考核体系,促使普通话交际艺术课教学质量再上新台阶。  相似文献   

洞口■溪瑶族民居的艺术特色     

何娟 《邵阳学院学报(社会科学版)》2011,10(6):104-107

湖南洞口■溪瑶族民居融合了当地的民俗和自然的生态环境,形成了自己特有的建筑艺术特色,并具备其独特的艺术性。文章从造型结构、材质、民俗文化等三个方面并结合当地文化生活和风俗习惯简要阐明了其独具一格的艺术特色。  相似文献