Art Education

The publication of the 'First Report of the National Advisory Council on Art Education' (1960), otherwise known as the first ‘Coldstream Report’, is a graspable moment of displacement in the British art world. It represents a shift between an educational system based on disciplined studies of techniques and crafts to one based on conceptual thinking and design. Its legacy is marked by trauma and confusion that deepened as the decade matured, spilling over into creative outbursts and political revolt. It has become a symbol of oppressive, narrowly defined rigour and prejudiced artistic values. As such, both the report and the painter and educator who leant it his name, William Coldstream, have been blamed and demonised. This paper approaches the report as an image, for it is not only invested with symbolic, representational meaning, but it also is among those victims of iconoclasm – works of art, signs, inscriptions or pictures – that act in the words of theorist Bruno Latour “as a mediation to access something else”. The Report is a window to a set of values for education, but also for the perception of the artist’s relationship to society. Half a century later, it is important to carefully weigh the document itself against the politics and motivations of the diverse committee members who authored it. Using ministerial archival records opened in the late 1990s, this paper reflects on how such a document presents a methodological conundrum in tracing intention and effect, as well as the dangers of conflating it with any one participant.

This article discusses an action research project in which critical
Disability Studies pedagogy was integrated into two Art Education courses for preservice art teachers. Research participants investigated Disability Studies literature and disability visual culture and designed lesson plans, teacher art examples, and artist’s statements that confronted ableism. Attitudinal surveys were administered before and after
the project, and several participants were interviewed. First, the project is described; then, student outcomes are examined to illuminate Fiona Campbell’s research on ableism, specifically the two core elements that are central to regimes of ableism: the notion of the normative and normate individual and the enforcement of an able/not-able constitutional divide. Data suggest that preservice art teachers are ready and willing to engage Disability Studies pedagogy in pK–12 classrooms; as
such, this study anticipates a Disability Studies Art Education agenda and exemplifies how Art Education can inform Disability Studies in expanding beyond academia.

ÖZET Sanat eserinin sanatsal karakteri izleyiciye sunulduğunda sadece sanat eserinin görünen yüzü ifade edilebilir. Analiz etmek, sanat eserinin derinlerinde bulunan duyguları ve sanatsal değerinin anlaşılmasını sağlamaz, sadece eserin sergilenebilir durumunu ortaya çıkarır. Eserin derinliklerine inmeyi amaçlayan estetik, sergilenen objenin temelinde anlatılanı çözmeye çalışmaktadır. Bu anlatımı anlama çabası içinde olmak, çağlar boyunca süre gelen bir düşünce sistemidir. Estetik algı, objenin ya da olgunun kişide yarattığı hazzı kendisinin fark etme becerisinin gelişmesidir. Estetiğin sanatı anlama ile ilgili olduğu kabul edilmektedir. Sanatı anlamak, sanat ürünü dediğimiz objelerin zihinde canlandırdığı etkiyi araştırmayı ya da algısal problemlere eğilmeyi gerektirir. Estetik anlayış ve algılamayı oluşturmak, çevreye bakış açısında düzen, sorgulama becerisinde yalınlık, algı kapasitesinde ve hazzı fark etmede seçicilik kazandıran estetik kazanıma ulaşmak, sanat eğitiminin temeli olan estetik eğitimi ile mümkündür. Estetik eğitimi sanatsal algılamada kazandırılacak disiplin için gerekli bir unsurdur.

Educators practice performance pedagogy as the method where an educator/facilitator is seen as a performer or actor (Pineau 1994, p. 4). This paper presents an analysis of the historical roots of performance pedagogies in Fluxus pedagogies and performance pedagogy practices within participatory art events in Lithuania as exemplified by festivals AN88 (1988) and AN89 (1989). The case of my research rests on the contemporary implementation of performance pedagogy techniques during the course The Temporary Department of Time, Space, and Action for BA students at the Vilnius Academy of Arts in Lithuania. This research aims to define the concept theories within performance pedagogy in the art academy education, which developed behind the terms Human Semiotics (Ander-sen 2002), Hyper Performer, 1 and InterMedia (Higgins 1984). This project was implemented using the strategy of critical utopian action research in the context of the Vilnius Academy of Arts. The empirical material was gathered during my employment as a guest lecturer and the implementation of my pedagogical internship at the Vilnius Academy of Arts. 2 These concept theories are defined through. a reflexive analysis of archive material on the historical origin of performance pedagogies, originating in Fluxus pedagogies, local Lithuanian participatory art, and data from the contemporary case of my project The Temporary Department of Time, Space and Action (2018), in the form of archive material, photographs, interviews, observations, notes, and my diary. The results of this research are the application of performance pedagogy concepts and terminology to the art and education projects and the definition of the key concept theories within this field. These results can be useful for artists and those practicing university pedagogy.

Painting, like other areas of the visual arts, is a complex field that defies any single method or style. In the visual arts, we are taught and we learn that there is never a true answer to the problems that we face. Each of us must find our own way. Unlike other traditional subject matter there are no manuals or directives to aid the painter in devising a teaching curriculum. Few artists have written about how to teach art. Although some have written rich narratives about their teaching experiences, they offer little advice to artists who want to teach. We must rely upon our own knowledge and experience as we enter into the studio classroom. We must also learn how to translate that which we know into something that can others can learn. The aim of this arts-based research is to create a bridge between the practice of the artist and the practice of the teacher, constructing a dialectic relationship between the two. It is an exploration into artistic knowledge, artistic process and t...

Finding the connection between art and teaching can be a difficult task for preservice teachers who do not have a background in the arts. This qualitative case study explores the journey of a group of pre-service elementary teachers in an art methods course considering what it means to teach and to be an artist. The way in which these students defined the arts and teaching changed over the course of the semester and found connective threads, productively tying together the work of teaching and the creative process. Findings from pre-service teacher course work indicated three important themes: connections between art and teaching, finding connections to self, and becoming a teacher. Data revealed implications for pre-service teachers making productive connections, beginning to see themselves as capable, creative teachers, able to encourage the creativity of their future students. Practicing teachers and teacher educators are also implicated as art and teaching find authentic connect...

The current state in the area of visual art creation, characterized by a continuous as well as a radical expansion of its boundaries, sets forth an issue for an analogous diversification in the art teaching field. Within this context, various questions and proposals are set forth as to the direction that a teaching intervention, able to promote and handle subjectivity, fluidity and relativity in the artistic work, may take. Should we promote a “safe” approach, should the educational condition further “loosen”, or should the cognitive field be radically transformed? These concerns constitute three essentially different viewpoints, all of which are examined in this article. Within the scope of the approach hereby adopted, a synchronization with artistic reality urges art education towards an exceptionally wide and multifaceted teaching approach, strengthening the need of children to perceive, comprehend, interpret and criticize the variety of visual forms available to them. KEYWORDS A...

The mid-19 th century saw the rise of institutional collections which brought together artifacts from cultures and industry around the world for the enlightenment and entertainment of the public, and to raise the standards of the products of the industrial age. Inexpensive digital imaging and the internet have radically changed how we disseminate these artifacts in the best way to the most people. A charge to digital humanities collections now is to make the quality and significance of the virtual representation meet or exceed that of the original object and to create user interactions which are "conducive to information foraging" [1]. This paper discusses an inter-disciplinary, multi-cultural project to develop a best practices digital archive for historic costume using advanced digital technology to realize new ways of interpreting, examining and contextualizing historic fashion and how these realizations translate into real world application and effective classroom tools.

Game online (disponível até 2021) + Site de Apoio ao Educador - Resultado de projeto com Ceart/UDESC, selecionado no Edital Universal CNPq, para re-design de jogo recomendado pela Secretaria de Educação Básica do Ministério da Educação, através do Guia de Tecnologias Educacionais (SEB-MEC, 2009 e 2011).

Hier gibt es ein konkretes Arbeitsblatt für den Kunstunterricht in der Sekundarstufe I, anhand von idealen Körperfiguren der Renaissance modische Entwürfe zeichnerisch zu üben. In der Zusammenschau lassen sich Kleidungsstile, -vorschriften, -materialkombinationen, -proportionen (geschlechtsspezifisch) etc. kategorisieren und reflektieren.

Sing Man Lee (Figure 1), also called "Uncle Man, " is a Hong Kong-based paper-tearing artist who has used the handcraft of paper tearing to build the bridge between traditional Chinese cultures and contemporary life. Lee created his fi rst paper-tearing artwork on the Chinese Lunar New Year Eve in 1983. A bowl of mandarin oranges was placed at his mother-in-law's house. Beside the mandarin oranges were several red papers on the table. Lee used this red paper to make a Chinese phrase, Da Ji (an abundance of good luck), to decorate the bowl of mandarin oranges. Now retired from working as a courier from a shipping company, Lee teaches students to learn paper-tearing techniques. In his leisure time, he loves to share his paper-tearing skills and artwork at the Kowloon Walled City Park in Hong Kong (Lee, personal communication, December 19, 2017).

This visually appealing resource presents milestones in children’s artistic development in early adolescence using youth-centered behaviors that include: “I am thinking” (cognitive development). “I am growing” (physical development).  “I am feeling” (social/emotional development).  “I am creating” (artistic development). Its outline format is derived by research on children’s artistic development theories and best practices presented in the textbook Teaching and Learning in Art Education: Cultivating Students' Potential from Pre-K through High School (Routledge, ISBN# 9781138549326).

This chapter addresses the question of what an art educator should do in the face of visual culture's influence on political decision making regarding reproductive rights. I recount dialogues about two overtly political artworks that I created shortly before the 2012 presidential election. The chapter engages with Julia Serano's (2007) concepts of oppositional sexism, cissexism, and transmisogyny to focus analysis of the dialogues. I ask in my analysis: Who is included and excluded in discussions about reproductive rights legislation? How does institutional policy and practice affect the context in which such discussions take place? How do assumptions based on oppositional sexism shape these discussions? How does meaning in art about reproductive rights shift based on the changed gender of the artist? How has the focus on gender shifted for the current political cycle?

I listened to many classes about hermeneutics, and after each class I seemed to be filled with the same feeling of confusion. It was not so much a confusion about what hermeneutics was, but more a perplexed feeling about how this style of inquiry was going to impact my life as ...

The Framing Student Success: Connecting Rigorous Visual Arts, Math and LiteracyLearning experimental demonstration project was designed to develop and test an instructional program integrating high-quality, standards-based instruction in the visual arts, math, and literacy. Developed and implemented by arts-in-education organization Studio in a School (STUDIO), in partnership with the New York City Department of Education, the Framing Student Success curriculum was designed by experienced professional artist instructors collaborating with schoolbased visual arts, math, and literacy specialists and classroom teachers. The Framing Student Success curriculum units were designed to make explicit connections between subjects (visual arts and ELA or math), while maintaining the integrity, depth and rigor of instruction in both subject areas. While students were receiving arts-integrated instruction during each of the twelve six-week units, classroom teachers and arts specialists were rece...

The purpose of this study is to critique the existing approaches to art education with an emphasis on Deleuze’s value perspective. The research method is critical analysis. There are various approaches to art education that, according to Deleuze’s approach, have been criticized, including the traditional approach, the production-oriented approach, the approach of receiving emotion and meaning, the approach of cultivating superior intellectual origins, the aesthetic knowledge approach, and the discipline art education approach. Based on Deleuze’s approach and his activist vision, there are criticisms of each of these approaches to art education. The results of the study indicate that Deleuze’s attitude is an intermediate and comprehensive approach to art education. Deleuze relates art education to moral virtues and offers a rhizomatic and transversal approach to art education. The results indicate that Deleuze’s value-oriented approach has important points for art education, such as changing the media role of art by relying on the transition from representation to representation and the transition from art as a conduit and transmission of facts to influence. It is investing and activism.

This resource guide provides information and tools that introduce arts teachers to conflict resolution skills and processes. The guide also contains various arts-based exercises that can be used to introduce conflict resolution concepts to young people in the classroom. These exercises serve merely as a starting point; arts teachers are encouraged to develop their own activities that will work best within the settings in which they teach. Because this guide wad developed after four years of the Partnership's initiative to integrate conflict' resolution into arts programs, it contains descriptions of how arts organizations have integrated conflict resolution into their work with youth, schools, and other community organizations.

As many art instructional kits and sets available for purchase purport to teach art skills, it is important to discern what what types of kits and sets are available and what teaching methods and philosophy/pedagogy is used. In order to understand the historical foundations of currently available offerings- and thus, why consumer-oriented art instructional kits are important for Art Educators to study- requires an understanding of their roots in the beginnings of Art Education in the United States. This paper will examine the foundations of contemporary consumer art instructional sets and identify areas for further research.

Participation in school-based arts education programs can have a positive impact on students' engagement with learning, according to recent ACER research. However, there was little statistical evidence of improvement in academic progress as a result of participation in arts education. Jennifer Bryce reports on the study. Anecdotal evidence from Australian arts programs and overseas studies suggest that exposure to the arts provides positive general learning outcomes, particularly for young people who are Indigenous, in remote or regional communities or from disadvantaged backgrounds. Four Australian school-based arts programs were evaluated, with a focus on the following questions: • What is the impact of each arts program on participating students' academic progress, engagement with learning and attendance at school? • Are empirical or anecdotal examples of improved learning outcomes substantiated? • What are the attributes of arts programs that are of particular benefit to students? Four schools were selected for the study because they were seen as examples of good practice that might substantiate claims that exposure to the arts provides positive general learning outcomes. There was a range of ages and a diverse range of backgrounds among the participating students. Data were taken from a range of sources, including administrative records, interviews, observations, questionnaires and tests and other assessments administered as part of the study. The following arts programs were included in the study.

How do the characteristics and behaviours of creative people mesh with their roles as faculty members? How do the opportunities and demands of today's college environments play into the work lives of arts faculty? And what are the implications of these questions for thinking about how best to lead artists and arts scholars in colleges and universities? This article explores these questions through an examination of servant leadership, an approach that focuses on service as an underlying principle of leadership. Intertwined with a discussion of creative people and optimal characteristics of those who lead them, I describe current conditions of colleges and universities and what being a college leader may be like.

In this essay, Albertson and Davidson explore the attributes of photography and ceramic arts education to identify eight key elements integral to engagement in these art studios for under-served and disenchanted learners. They suggest that these key elements can provide numerous clues as to how teachers and school communities might reimagine both their mission and approach to classroom practice. Through this exploration, they relate literature on apprentice models of teaching and learning, relational education, resiliency theory, and care in the context of classroom practice to their experience and research into teaching and learning in photography and ceramic arts. Albertson and Davidson believe that what is good for the most vulnerable learners, is

In this article, I provide an overview of the National Arts Action Summit (NAAS), a two-day opportunity to learn arts advocacy and represent concerns to elected representatives in their offices in the Capitol. I discuss the specific components of the summit, what I learned that may be of particular interest to various art educators, and make suggestions for incorporating arts advocacy in theory and in practice.

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Die mobile Anwendung „Mit Marion durch den Blauen Reiter“ wurde für den Besuch der gleichnamigen Ausstellung in der Städtischen Galerie im Lenbachhaus und Kunstbau konzipiert und mit fabulAPP umgesetzt. Im folgenden Beitrag werden Ziele und Umsetzung des digitalen Vermittlungsprogramms vorgestellt sowie einige Einblicke in das Forschungsprojekt gegeben.

RESUMO: O presente artigo se coloca como uma investigação dos processos de educação realizados em espaços expositivos e centros culturais voltados para arte. Em vista disso, se abordará a mediação nos espaços expositivos, falando de como a mudança no campo artístico incorporou ao sistema a necessidade de um educador, neste caso específico de um arte-educador, dentro do espaço museológico. Será também explicitada a origem do termo mediação, trazido de Lev Vygotsky, para substituir os ultrapassados termos visita guiada e monitoria. E, por fim, o artigo trabalhará questões estritamente ligadas à exposições de arte, enfatizando a importância e o papel do mediador. PALAVRAS-CHAVE: Mediação; arte-educação; espaços expositivos. 1-As mudanças na arte e a necessidade de um diálogo Nos tempos contemporâneos, onde houve um redimensionamento dos limites poéticos e parece que tudo pode ser objeto artístico, fica cada vez mais difícil a Arte não ser colocada como área de conhecimento para poucos iniciados. Ao público leigo que entra em prévio contato com a arte geralmente através de exposições, parece estranho deparar-se com um ready made 1 Ao tornar-se limitada a uma elite detentora de conhecimento, proprietária do habitus culto e participante do campo, a arte promove-se cada vez mais complexa e de difícil compreensão para o público em geral, conforme Bourdieu (1989, p. 285-6): de um objeto qualquer sendo categorizado como obra. Da mesma forma, causa estranhamento chegar a um museu ou espaço cultural e ser impassível diante de um vídeo onde o artista se mutila, colocando sua vida em risco. "A experiência da obra de arte como imediatamente dotada de sentido e de valor é um efeito da concordância entre as duas faces da mesma instituição histórica, o habitus culto e o campo artístico que se fundem mutuamente: dado que a obra de arte só existe enquanto tal, quer dizer, enquanto objeto simbólico dotado de sentido e de valor, se for apreendida por espectadores dotados de atitude e da competência estéticas tacitamente exigidas, pode-se dizer que é o olhar do esteta que constitui a obra de arte como tal, mas com a condição de ter de imediato presente no 1 Conceito de apropriação de objetos colocados dentro de espaço expositivo, re-significando o objeto e colocando-o como obra de arte. Criação de Marcel Duchamp, em 1917, ao enviar um urinol (A Fonte) para um Salão de Artes em Paris.

I reflect on the decade I spent as an art teacher in a Chicago high school where so-called "behavioral issues" are rampant, as well on my experience working with incarcerated adults, in order to explain the concept of the school-to-prison pipeline with the aid of recent research on discipline and policing. I go on to talk about a September 2019 thread in an art teacher group on Facebook. On this thread, predominantly white teachers overwhelmingly called for a teacher who was hit while breaking up a fight to press charges against the student who struck him, purportedly for the students' own good. I examine all of these experiences in light of America's history of racial repression and control, and throughout the essay I reflect on the important role played by teachers' feelings in determining the material fates of students and their families

It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counter-parts. Combined with this is a prevalent perception that dyslexia predominantly affects students' writ-ing and linguistic ability and it is this, as ...

Social reconstructionist art education is rooted in such critical terrains as feminism, multiculturalism, critical visual culture, issues-based education, activism, counternarrative, and institutional critique. One goal of social reconstructionist art education is to investigate prejudices or biases in visual culture with the ultimate goal of reconstructing a just and democratic society. This educational approach enables art students to develop critical thinking when examining important social issues, encouraging them to engage in a meaningful discourse in the community. Such an educational approach is based upon the assumption that individuals can fulfill their goals and potentials in society regardless of their age, race, ethnicity, culture, religion, and gender. Exploring the issue of homelessness aligns with social reconstructionist art education in that the latter emphasizes fostering students' empathy and sense of agency, helping them understand relevant issues of homelessness

Interested in learning about current perceptions of success held by high school students, we carried out a qualitative research study in order to examine what adolescents identify as success in different contexts. Through discourse analysis, we found that the students’ artworks served as a means to communicate their current challenges, values, and goals. We also learned that the students often reflected the messages about success that they received from society. Though they valued personal expression in their artwork, students struggled in identifying art education as important.