Fine Arts Education

The Generative Code If we consider our viewpoints , perceptions, and conceptions the results of political, economical, or cultural exposures which are themselves the results of hugely disparate human and non-human constructs; and if we consider these as being magnified by advances in communications and technologies over the last century; if we understand that this has led to an altered perception of the production of knowledge which foregrounds its fragile and temporal nature, then we can establish that knowledge production has changed from being dependent on identity and definition, to one that produces movement and possibility. Modes of being/doing have been transformed by advances in science and technology. In addition to this, our understanding of being and doing has been transformed by discoveries at the heart of science and the nature of genesis. The new ideas and concepts that proliferate as a result of technological invention has revolutionised our relationship with the world in terms of thinking and perceiving. These altered relationships regarding our integration into the world provide an altered understanding of form as being /doing. This relationship has always been explored through the experimental art practice, never more than now has this relationship carried so much in terms of an understanding of our position as percievers and concievers in rapidly moving cultural predicaments. This is because the experimental practice redraws our relationship with knowledge production as socio-cultural and politico-economic processes instigated from collective purpose/content trajectories at the same time incorporating disseminated dialogues of intervention and chance. It provides a model or a blue print for how invention-the genesis of ideas, values and things-is created, established and utilised which can aid creative intervention across disciplines and borders.

In art and design education the relationship between student and tutor is close, developed through studio-based practice as described by Schön (1985) and others. Even when online learning is used in creative arts there is still an important dialogic element, a 'kind of exchange' (Shreeve et al 2010) which forms one of the signature pedagogies of art and design (Sims & Shreeve 2012). Studio learning is based on enquiry and transmission models of education are subverted to be replaced with 'reverse transmission' models where students tell the tutor about their learning (Orr et al 2014). This enquiry based approach to creative pedagogy configures the curriculum as active, generative, contingent and dynamic. This 'sticky curriculum' requires negotiation on the part of the student and the tutor (Orr and Shreeve forthcoming). The kinds of knowledges employed in creative practice are multiple and complex, and evidenced through doing, being and becoming. There is great interest across the disciplines in enquiry based learning EBL) and this approach – which is new in some disciplines (e.g. Duch et al 2001)-has underpinned studio pedagogy for decades (Schön 1985). Studio EBL is concerned with creating a learning activity usually based on a sticky and complex project, which has open ended solutions, deliberately setting out a scenario which requires engagement by the student who finds their own route through the task. Through engagement with materials, users and the environment (physically and socially) the student creates new and innovative products, artefacts, services or performances which have not been seen before. This new outcome places the student (even at undergraduate level) as the owner and originator of new knowledge changing the balance of expertise and power relations in the learning environment. This approach to pedagogy decentres the expertise of the tutor. A creative project brief will be ambiguous. The centrality of ambiguity challenges the orthodoxy of transparency found in contemporary education discourse (Austerlitz et al 2008). The concept of ambiguity is key to understanding art and design education ontology. Ambiguity is central to creative learning because it enables the individual students to gain confidence and autonomy as artists and designers. If students and tutors are unable to manage ambiguity in the learning environment the students may never pass over this 'threshold concept' (Osmond et al 2009) and become creative practitioners. The studio tutor has an ambiguous role which shifts and changes in response to individual learners, the demands of the university, the changing environment of cultural and professional practice beyond the university and the situations they themselves create as opportunities for learning. At times they will need to be an interpreter, a peer, a provocateur, a friend, a guide, a dictator, a parental figure, an ignorant schoolmaster (Rancière 1991, Orr & McDougall 2014).

W niniejszym artykule opisujemy sposób, w jaki kosztów funkcjonowania wdrażamy praktyczny profil studiów na Wydziale Zarządzania Kulturą Wizualną warszawskiej Akademii Sztuk Pięknych. Opisujemy techniki kształcenia ukierunkowane na rynek pracy w kontekście nowego zarządzania publicznego, czyli paradygmatu dominującego w szkolnictwie wyższym w Polsce i w Europie. W zakończeniu wskazujemy również inne spojrzenia na kształcenie praktyczne.

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to the mission of our colleges and universities?

Child's growth and development is a parent's full attention, especially when the child is in the golden age. According to experts on mental development of children, 80 percent of children's brains develop in the golden age. So at that time, the role of parents is needed in monitoring the growth and development of children's brains. During the golden age the child's brain develops so quickly that any information will be absorbed, without seeing the information is good or bad. In addition to playing a role as a supervisor for the growth and development of children, parents must also be tasked with increasing knowledge, especially around child growth. One of the activities that can be trained to children in increasing knowledge while providing stimulus to the child's growth and development process is drawing. Connecting lines and joining dots in the pursuit of making a drawing requires a certain level of problem solving. In order for a child to consciously draw an object, they first need to visualize the shape and then work out the best way to reproduce it on paper. The problem-solving skills that children develop from drawing will also transfer over to Journal of Article-Drawing and optimizing creativity at an early age 2 other subjects like maths, where visual representations can often help in finding a solution.

A arte faz de conta. Crianças, artistas fazem de conta que um rabisco, um objeto, um fragmento, um pensamento se transformam em outra coisa. Desenhar, brincar, poetar. Manchar, riscar, construir, se encantar. Transformar retalhos de tecidos em uma fantasia surreal, rabiscos em dragão alado, pensamentos em formas. Buscar o dizível no invisível. Modos singulares de ver, sentir, expressar e reinventar o mundo. Tanto crianças quanto aqueles adultos que persistem em deslocar a ordem estabelecida do mundo compartilham um pensamento similar, no sentido de que ambos propõem simulacros ou fingem que uma coisa é outra. Artistas e crianças percebem o mundo e dão sentido a ele através de formas singulares. Utilizam seus sentidos de modo mais aguçado do que a maioria dos adultos que deixaram para trás essa capacidade humana de ver, imaginar e simbolizar. Por muitos motivos e em um determinado período da infância (mais ou menos por volta dos seis ou sete anos), a maioria das pessoas abandona seus infindáveis processos de elaborar enunciados poéticos. Por outros motivos, alguns adultos persistem em suas buscas de alterar os sentidos das coisas, insistindo em transformar o ordinário em extraordinário, o vulgar em diferente. Aqueles que persistem em nos provocar com suas produções, sejam elas as mais tradicionais, como a pintura e o desenho, sejam as performances e as instalações, são denominados, na sociedade ocidental, de artistas. Estes brincam com o cotidiano, com a história, com os mitos e com os nossos pensamentos. Reconstroem significados em torno do já visto e do supostamente sabido. De muitos modos, os artistas, através de suas produções, anteciparam os saberes das ciências, como o Futurismo (1909), por exemplo, que vislumbrou a Lei da Relatividade, de Albert Einstein. Ou expressaram dores e massacres da humanidade, como Guernica (1937), de Picasso, e a instalação 111 (1992), de Nuno Ramos. Ou visualizaram os principais fundamentos de pensadores, como fez Gustav Klimt (1862-1918), ao "traduzir" a sensualidade das mulheres na teoria de Sigmund Freud (1856-1939). Enfim, artistas implementação do proinfância no rio grande do sul

Bill Viola (Nueva York, 1951) es seguramente el más influyente video creador de nuestro tiempo, y uno de los artistas más importantes del panorama museístico actual. Desde 1970, sus vídeos e instalaciones se han ocupado de temas tan universales como la percepción, la memoria, la conciencia o el dolor. Con las tecnologías más avanzadas de los recursos audiovisuales, continúa una larga tradición pictórica que llega hasta Dalí y el Surrealismo y se remonta al Cuatrocento (gótico o renacimiento), cuando el dominio de la perspectiva y del modelado permitió que la pintura alcanzara su máximo grado de verosimilitud. De unas imágenes inicialmente muy pegadas a la realidad (en clave de reportaje o documento), ha pasado recientemente a la recreación en estudio de estos mismos grandes temas humanos que le interesaron siempre. El atrezzo y la utilización de luces y recursos casi publicitarios, están justificados cuando ayudan a transmitir mejor, de modo más creíble, las emociones profundas que el artista pretende evocar. Ya Vasari, en su famoso estudio de las “Vidas” de los artistas florentinos, veía en el desarrollo de la habilidad de los pintores para la representación figurativa, no tanto la imitación de la naturaleza como el perfeccionamiento de los medios que han de servir a su principal función social: la evocación verosímil y conmovedora de un acontecimiento edificante. Si la ilusión de realidad que puede causar un cuadro o una estatua no es el objetivo primario, sino un medio de provocar en el espectador la ilusión dramática, las nuevas tecnologías digitales aparecen como el medio más idóneo, no sólo por sus enormes posibilidades creativas, sino sobre todo por su mayor potencial de credibilidad, y por tanto de eficacia emocional. Pero, ¿qué es lo que cambia en todo este proceso? ¿Qué ocurre en el museo cuando se deja entrar a las nuevas tecnologías? Trataré de responderlo en mi exposición.

These articles explore the artistic potential of digital photography from the earliest days to today. Illustrated with more than 150 photographs, Doble talks about digital photography from a number of perspectives including the influence of modern art, the relation to science, the evolving technology, and the history of the camera. One of these essays written in 1999, about the expressive potential of digital photography, was recently translated into Italian for the prestigious cultorweb.com site and called prophetic by that website. Rick Doble is the author of 3 books on digital photography and was a photography expert for the PIXIQ website which is no longer online. In this ebook he has collected 43 of his short, essay-blogs written during the last 15 years.

This study investigated the effect of an Interdisciplinary Approach impact on Creative Thinking & motivation among sixth grade students in studying Art & Craft in the schools of Salfit. To answer the questions about the study and testing of hypotheses, the researchers used the experimental method, as it has been working on the construction of the two tools study, Torrance formal scale, and measurement of motivation to investigate the effect of Interdisciplinary approach on motivation of the students. This study was applied in the first semester of the year 2015-2016 on a sample consisted of (74) students of the total (110) female students from the basic sixth grade of Bedia Girls' Elementary School. They were divided into two groups –each group includes (37) students - one group is follows a Traditional way of study and the other is experimental which studied a unit designed with Interdisciplinary Approach. The study found superiority of Interdisciplinary approach in the development of creative thinking and enhance students' motivation. In light of this, we recommended using Interdisciplinary approach in teaching arts and crafts and to train teachers to design through this approach, and to implement the scientific research on this approach, in particular the lack of availability in Arabic.

ABSTRACT

One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice.
The dying out of philosophy is not only cased by external social and cultural factors, but also by internal factors such as its methods and those concerning its subject-matter.
I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with.
All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias.

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Abstract: In recent years, the concepts of recycling and sustainability have been common facts in the fields of textile design, garment design, accessory design and textile craft. The fact that environmental pollution increases and that problems regarding the global warming reaching a level that threatens human health warns people to bemore conscious to the environment. Environmental pollution as well as destruction of our natural resources that we have lost due to unconscious and fast consumption habits is one of the most important issues that need to be taken measures. Scientists and artists are continuously looking for new environmentally friendly materials, technologies and production ways to draw attention to this issue, and conduct various researches and studies. It is also promising that conscious approaches to this issue have been shown in the textile industry in our country.
With regard to this issue, it has been observed that the projects that point out to the awareness of the concepts of recycling and sustainability have been continuing for many years in the Textile/Textile and Fashion Design Departments of the Faculty of Fine Arts of Universities, which educate conscious fabric, garment, accessory
designers and artists for the textile sector. Undergraduate students’ experimental designs with recyclable materials, weaving, knitting, printing, accessories and wearable/non-wearable projects that will raise awareness in the art and design courses in education programs between 2010-2020 in the textile and fashion design
departments of selected universities are included in this study, and it is aimed to present recycling and sustainability suggestions in the field of education on the scale of the country’s conditions. All of visual materials in this article have been used with the consent of individuals.
Structured Abstract: With the raise of consciousness for protection of environment at the end of 20th century and at the beginning of 21st century, it is seen that ustainability concept has grown in importance and that studies focusing on this matter have been given weight to. Today, it is aimed that raw material resources are recycled, recovered, and transformed into products again by serving a purpose other than the purpose of use, and also that they are consumed in a manner to leave the least waste to the environment. While the practices dealt with within this scope are in an ongoing industrial process, they are addressed as subject in the courses and project in undergraduate education of Faculty of Fine Arts, in order to raise awareness and to grow conscious designers. Designs and productions performed with a sustainable action constitute the main research subject of the study, within the scope of the curriculum of Faculty of Fine Arts, Textile/Textile and Fashion Design Department and under the concepts of recycling, recovery and reproduction. These designs and
productions were examined within the scope of the period dated between 2010-2020. The meaning and place of the concepts of recycling, recovery and sustainability in the curriculum has been researched. The study is examined through printing, weaving, knitting, clothing, accessories and artistic designs and projects produced within the scope of courses and projects. These productions/desings are examined and associated with the concept of sustainability. The method of the study is qualitative research and the main data collection method of the study is based on document analysis. The concept of sustainability, which is the subject of the study, was evaluated by examining the studies in the Textile/Textile and Fashion Design departments of the Faculties of Fine Arts of the universities located in Istanbul, Izmir, Adana and Mersin provinces. In the applied courses in these departments, recycling, recovery and reproduction processes are examined specific to student designs. In this research made to determine the designs and projects created in order to create awareness, approximately 72 designs of 32 students, all of which are made from surplus and waste materials and designed and produced on the basis of re-use principles, were dealt with. While determining the examples of the research, teachers and students who are open to cooperation were taken into consideration and, in this context, easily accessible (suitable) samples were analysed. As a result of the study, the daily life outputs of the productions within the scope of the Textile/Textile Fashion Design Departments of Faculties of Fine Arts are discussed in relation to the concept of sustainability, which is the rising value of today. During the research process, after the visual and written data collection stage, descriptive data analysis and interpretation have been made and the results have been reached. In the research which is examined in this context, it is followed that advanced cycling and reuse in textile and fashion design are addressed again within the life cycle of materials that are produced for
different aims and that they are transformed to and use as a textile or clothing object to be reused or an artistic object. It is seen during the design phase of textile products, with the concept of advanced cycling and reuse, that textile product is developed by considering how it can be recovered at the end of its lifetime. It has been observed that designer candidates create alternative different solutions to the current situation, that many different materials are handled and evaluated in the examples they present, that they are sorted out, and that expected or unexpected diversity has been realized. In the studies, it has been obtained from the opinions of students and teachers that surplus and waste materials are obtained through donation as well as research and
collection. In the research, the applicability of the materials that lost their function within the design possibilities was determined with the recycling technique in line with the information obtained from the lecturers. These techniques are formed by the combination, in printing design courses, of embroidery, applique, sewing techniques, which are used with filmdruck (silk/serigraphy/screen) printing technique on surplus or
waste fabrics and hand painting methods, with together with patchwork technique. Examples made within the scope of weaving design courses are observed to have been created by using surplus, waste and waste materials as weft yarn. In knitting designs on the other hand, it has been observed that plastic bags were thinned as a
result of manual intervention and used instead of yarn, that surplus and waste materials are used within the scope of artistic textiles/fiber art lessons, and that three-dimensional designs have been created with adhesive bonding and sewing methods. In the accessory designs realized within the scope of the project, new and functional designs have been created in tablet weaving technique with polyester yarns produced from plastic bottles (from waste materials), which is a good example of recycling. In the garment design lessons, it has been observed that new designs giving information and experience for practice, as well as designs, in which contemporary materials and traditional techniques are combined, have been created by redesigning old clothing
and fabric with deconstruction technique and also by using weaving, printing, macrame, knitting, sewing and adhesive bonding techniques. With these techniques, new surfaces have been used and applied with different textures, colors and materials, by applying changing techniques in creative processes. The fact that this understanding is a method in education brings along a sustainable approach, and exhibiting these practices with an artistic presentation shows how important it is for added value and has an aesthetic value. In the study, it is aimed that the subject handled develops new projects to create awareness on sustainability, in cooperation with school, university, related public institutions and organizations, non-governmental organisations. However, new designs can be made after the materials under the scope of surplus, leftover and waste are supplied to the faculties from waste collection facilities, textile firms and after they become recyclable materials upon establishing relevant units in the universities. It is hoped that the study will lead to emergence of new ideas about recovery and will create awareness in the society, and will form a certain consciousness to the environment.
Keywords: Recycling, Sustainability, Waste Material, Textile and Fashion Design, Education and Training.

The future of the arts in higher education--writ large--requires the examination, analysis, and synthesization of many central and peripheral issues if arts education is to be successfully sustained. Present-day and future leadership must not rely upon traditional and legacy-grounded knowledge in order to grow and improve our creative disciplines. This report is just the first of many that outlines certain issues in axiomatic and easily digestible form. Vol.1 focuses on the visual arts.

Giriş
Bir yandan İstanbul’un içinde kentten kopuk ve kapalı bir
yapı olarak kaldığı şeklinde eleştiriler yapılmış olsa da,
iyi yönleri sıkça vurgulanan 12. İstanbul Bienali tasarlanırken,
hem İstanbul ve dünya arasındaki ilişki, hem de
sanat-siyaset-kişisellik kavramları arasındaki ilişki gibi
düşüncelerin etkili olduğu belirtilmiştir.

The first Culture/Justice protocol was co-signed on the 25 th of July 1986 by Jack Lang and Robert Badinter.
Following the first international symposium about culture in prison (May-June 1985), this text formalised the
interdepartmental cultural policy in prison which had been in place since the beginning of the 1980's.
However, cultural activities have existed in French penal institutions since the Liberation. From choirs to
theatre groups including concerts, these were often categorised as educational, socio-cultural, recreational and
cultural activities. Initially organised by social assistants, they were then mostly led by prison educators. The
latter had been created as part of the Amor reform in 1946. Only a few penal institutions were affected by
these activites which were supposed to educate, observe and reform the prisoners. In the 1970's, because of
the prison crisis, a new reform was implemented which turned the cultural activities into a means of
rehabilitation and reintegration. In the early 1980's, this approach was transformed because of the intervention
of Minister Lang. New initiatives appeared ; for example, audio-visual technology. From then on, these were led
by artists, associations, and institutions from the world of creativity. The perspective of these new operators
was then to guarantee the right to culture for the detained individuals. Prison educators then had to convert
into coordinators. Consequently, activities depended on the local cultural fabric. Therefore, the penitentiary
administration had to reorganise in order to take on board these new operations
activities ; film club ;
reading club ; choir ; music ; drama ; télévision ; radio ; fine arts, audiovisual ; newspaper ; ;

In the Master of Fine Art, a new student charged two classmates with sexual harassment.  The only black classmate for supposedly bumping into her at the narrow entrance door in a ‘rhythmic, hip-swaying manner.’  Unsigned statements were made to damage three students’ lives.
                           
RMIT - Royal Melbourne Institute of Technology, Australia

This is a chapter from a book on artistic research, "SHARE: Handbook for Artistic Research Education," edited by Mick Wilson and Schelte van Ruiten (2013). My contribution is on "flavors" of the PhD for artists around the world -- i.e., different cultures, customs, or kinds of the PhD that I think are emerging as the degree spreads.

The full book is available online as a free pdf:
http://www.elia-artschools.org/images/products/120/share-handbook-for-artistic-research-education-high-definition.pdf

Özet: Resim Bölümü lisans eğitimi almak için aday olan öğrenciler farklı lise eğitimleri alan öğrencilerdir. Resim bölümü sınavını kazanan öğrenciler yetenek sınavına girerken desen sınavı ile okula kabul edilmektedirler. Desen dersi resim bölümü için önemli derslerden birisidir.
Bu Araştırmanın Amacı, öğrencilerin ortaöğretimde Aldıkları Desen- Görsel sanatlar eğitimlerini Bilgisayar-İnternet kullanım ilgileri arasındaki ilişkileri ortaya koyabilmektir.
Bu ilişkileri anlamak ve yorumlayabilmek için, Nicel araştırma yöntemi tercih edilmiştir. Bunun için bir anket formu geliştirilerek katılımcıların daha önce deneyimledikleri desen dersi, ilgileri,  tutumları, eğitim süreçleri, lisans eğitiminin birinci sınıfında bilgisayar ve internet kullanmaları arasında bir ilişki olup olmadığı varsa nasıl bir ilişki olduğu ortaya konmağa çalışılacaktır.
Anahtar Kelimeler: Desen, Bilgisayar, İnternet, Tasarım
THE RELATIONSHIP BETWEEN PATTERN DRAWING EDUCATION TAKEN BY PAINTING DEPARTMENT STUDENTS DURING THEIR SECONDARY EDUCATION AND THEIR COMPUTER –INTERNET INTEREST
Assoc. Prof.  Mustafa Cevat Atalay (Ph.D.)
Abstract: The students that are candidate for Faculty of Fine Arts Painting Department have background of various kinds of secondary school education. Candidate students are taken a drawing exam before they are accepted to Painting Department as a student. Pattern drawing is one of the most important lessons for a painting department.
  The aim of this research is to find out the correlation between the secondary school drawing/visual arts education of students and their interest of computer-internet usage.
  In order to understand and comment these relations, quantitative researching method is preferred. Accordingly, questionnaire form is generated. With the help of this form, we will try to find out whether there is any kind of relation between educational process, manner, previous experiences related to pattern drawing and computer/internet usage of the students  in their first educational year of undergraduate or not, and if there is, what sort of relation it is.
Keywords: Pattern drawing, Computer, Internet, Design.

The limits and definitions of art have become increasingly complex as a result of the conundrum addressed by numerous post-modern concepts and analyses on art and art history. Discussing artworks has been a rudimentary concept for viewers, particularly professionals, since the Baroque. Yet, it is unknown when and how interacting with art influences our perception of it, and this has probably to be scientifically examined. Traditional art evaluation no longer addresses all of the discussions and concerns that arise from the current world's multifaceted significance of art. Today's art education must diversify students' perspectives on art enjoyment.

Aİ WEİWEİ’NİN SANATI VE GELENEĞİN TARİH VE ANLIK ÜZERİNDEN ESTETİK YAPILANMASI

Doç.Dr. Mustafa Cevat Atalay

Özet: Çağımızın en önemli sanatçılarından sayılan Ai Weiwei  birçok farklı şekilde sanatsal ifade araçlarını kullanmaktadır. Sanatçı mimarlık, küratörlük, ressamlık, heykelin yanında yerleştirme ve video sanatı gibi birçok farklı disiplinde çalışmaktadır.
2018 yılında  İstanbul’da SÜ Sakıp Sabancı Müzesi’nde açtığı sergide porselen eserler ile içinde bulunduğu dünyanın sorunsallarına değinen bir yaklaşım geliştirerek, gelenek, göç, savaş ve bireysel olarak ülkesinde yaşadığı sorunları ele alan çeşitli sanat yapıtları bulunmaktadır.
Bu tebliğin konusu Ai Weiwei eserlerinde görülen gelenek ile yaşadığı ana dair görüntülerin kendi ifade biçimini bulduğu eserlerin yorumlamaları üzerinedir. Büyük boyutlu yerleştirmelerinde bulunduğu sanatçıda birçok farklı şekilde ve disiplinde iş üretmektedir. Yorumlamalarda bulanabilmek için Ai Weiwei  literatür bakımından incelenerek, yaptığı işler üzerine yorumlamalarda bulunulmuştur.
Sonuç olarak, Ai Weiwei yapıtlarında birçok farklı teknik ve ifadenin yer aldığını söyleyebiliriz. Gerçek, sahte ve replikalar üzerinden hareket eden sanatçı yapıtlarında takım çalışması içinde belirli yapıları oluşturmaktadır. Bu nedenle çok ve büyük ölçekli işler gerçekleştirebilmektedir. Tarihsel ikonik görüntülerden de yararlanan sanatçı, savaşın olumsuz yanlarına yapıtlarına konu edinmekte, insanlık tarihi üzerine düşünmektedir. Bu durum sanatçının estetik bakış açısında güzeli gösteren estetik biçimlerin yanında sorgulamacı ve provakatif bir ifade şeklinin olduğu söylenebilir.
Anahtar kelimeler: Ai Weiwei, Gelenek, Estetik, İfade Aracı

THE ART OF AI WEIWEI AND AESTHETICAL SETTLEMENT OF TRADITION OVER HISTORY AND INSTANT LIFE

Assoc. Prof. Dr. Mustafa Cevat Atalay
Abstract: Ai Weiwei, who is acknowledged as one of the most important artists of our era makes use of artistic means of expression in many different ways.  The artist works on different disciplines like video art, installation art in addition to architecture,  curating, painting and sculpture. At the exhibition he holded in the year of 2018 in Istanbul Sakıp Sabancı Museum, he developed an approach by his porcelain works that touch on problematics of the world he lives in. There are various kinds of works of art deals with problematics such as immigration, tradition,  war and his individual problems that he encounters in his homeland in the exhibition.  The subject of this notification is about interpretation of the works of Ai Weiwei,  that finds its own means of expression of tradition and images of his instant life. The artist has some large scale installations and he produces artworks in many different ways and disciplines. In order to comment his artworks,  literature was examined.        As a result, we can assert that many different techniques and expressions take part in Ai Weiwei's works.  The artist moves on facts,  fakes and  replicas and he generates certain structures by teamwork in his works. For this reason,  he can generate large scaled and great deal  of works.  He also benefits from historical iconic images and touchs on negative aspects of war,  thinks over history of humanity. It can be asserted that, the artist has provocative and interrogative way of expression in his aesthetical point of view, beside aesthetical styles that indicates beauty                 
Keywords: Ai Weiwei, Tradition,  Aetshetics,  a means of expression

Introduction to the catalogue of drawings in the Fondo dei disegni di Architettura in the Accademia di Belle Arti of Rome. Exhibited for the first time in Rome, Centro Studi Americani, July 2016
Catalogue contains also essays by P. Cimbolli Spagnsi, P. Roccasecca, B. De Iudicibus and entries by G. Neri, F. Rotatori, F. Sacchini.

In particular feminist perspectives have highlighted how the knowledge production practices of curators and of art educationalists are rarely considered to be of equal value. The fact that many artistic and curatorial formats draw on art educationalists’ knowledge and expertise as raw material but thereby neglect to name sources and references has also come in for criticism. What can we do to prevent knowledge production in the field of art education and outreach from being marginalised? How can we challenge the attributions laid down by and in art institutions?

Η Land Art στον σχολικό κήπο ως παιδαγωγικό εργαλείο - Θεοδώρας Χανδρινού - Άρθρο που δημοσιεύτηκε στον συλλογικό τόμο "Καρποί από τον κήπο της αειφορίας".
«Η τέχνη δεν επαναλαμβάνει το ορατό,αλλά κάνει ορατό ό,τι μέχρι τώρα δεν ήταν.» Paul Klee
Η οικολογική κρίση στο σύγχρονο αστικό περιβάλλον οδήγησε στην ανάπτυξη τηςφιλοσοφίας των «πράσινων πόλεων» με στόχο την πνευματική και την ψυχοσωματικήυγεία των πολιτών. Η καλλιέργεια οικολογικής συνείδησης, ο σεβασμός στους φυσικούςπόρους και η εκπαίδευση των παιδιών στην ορθή τους διαχείριση ξεκινά από τηνκαλλιέργεια δεξιοτήτων και στον σχολικό κήπο.Μοιραία ο νέος άνθρωπος καλείται να υιοθετήσει υγιείς συμπεριφορές που θα τονβοηθήσουν να βελτιώσει τη σχέση του με τη φύση αλλά και με τον ίδιο του τον εαυτό. Ηαυτάρκεια και η σωφροσύνη, η σχέση με την κατανάλωση και η ικανότητα διαχείρισηςπεριβαλλοντικών θεμάτων στην καθημερινότητα είναι αρετές που ζητούν την προσοχή μας.Καλλιεργώντας τον εσωτερικό μας κόσμο, πλουτίζοντάς τον με αρετές και πλησιάζοντας τοΘεό, μαθαίνουμε να εκτιμούμε την πολυτιμότητα της φύσης. Έτσι δημιουργούμε άμυνεςκαι βάζουμε βάσεις για ένα ομορφότερο περιβάλλον για εμάς και τους συνανθρώπους μας.Ο σχολικός κήπος απευθύνει κάλεσμα στους μαθητές για δημιουργία σχέσης με άξονα τηφύση. Η πρόσκληση περιλαμβάνει βιωματικές δράσεις: εξερεύνησης, γνώσης, προσωπικήςεμπειρικής επαφής, έμπνευσης και εικαστικής δημιουργίας, αλληλεπίδρασης καισυνεργασίας διαφορετικών γνωστικών αντικειμένων.Γέφυρα για να επιτύχουμε τους παραπάνω στόχους μπορούν να αποτελέσουν πολλά απότα μαθήματα που διδάσκονται στο σχολείο. Προτείνεται εδώ ως βάση το μάθημα τωνΕικαστικών, καθώς πιστεύω στην αποτελεσματικότητά του όπως έχει αποδειχτεί μέσα απότην εμπειρία της διδασκαλίας του στην Πρωτοβάθμια Εκπαίδευση.

This is the first course in the series.

If you write me at " artanddesignprofessor@gmail.com " from your ".edu" institutional email address, I'll send you all three courses, including editable documents, the course map, syllabus, lessons, lesson plans, quizzes, exams, answer keys, PowerPoints, everything.

This paper explores the conflicts engendered during the artist’s formation due to repeated submission to assessment in formal creative arts education. In a comparative qualitative study of two visuals arts practice undergraduate curricula, the underlying interpretative approaches to intentionality were uncovered to comprehend the impact of the hidden curriculum at those higher education institutions. Across both sites, nominal authenticity emerged consistently as the most valued criterion which artiststudents referenced in their self-assessments of the success and quality of their artworks, and of their identities as members of the professional community of practice. This criterion for self-assessment ran parallel to, and at times against, the persistent disregard of the artist-students’ actual intentionality as a valid referent within the summative assessment practices of both the academic institutions studied. Within this paper, constructions of creativity, authorship and the relationship of these to interpretation, set the scene for exploring the traces, slippages and nuances between the discourses of authenticity which emerged. Drawing from empirical qualitative data generated from artist-students, artist-academics, curriculum documentation and observations of assessment, the contexts around these emerging discourses are discussed, and their significance for the novice artist’s experience, and the agency of artist-teachers, explored.

Before there were written words, there was art – communicating ideas across boundaries of time, space, language, and culture. Long after other creations of humanity have outlived their usefulness or crumbled to dust, art remains. Artists compel every human being to engage with the story of the other. Our works are a cry of the heart; the yearning of a soul given physical form through color and light, sound and motion, image and imagination. From those who painted on living stone far beneath the sun's reach, to those who shape their thoughts with light and energy, artists are united in a single goal: to clothe the ephemeral in tangible garments, and breathe life into ideas. As an artist, I pledge to question the unquestionable, to speak the unspeakable, and to reveal that which has never before been perceived. My body, my breath, my very being serve my art. I refuse to be silenced, nor will I bow to the will of another, conforming my works to none but my own vision. My soul is my own. Without reservation, I express my skill, knowledge, and passion to light the paths where others have yet to tread. My dreams will shape the reality that is to come. I am an artist, and I lead the way.

This is the latest editorial for my journal Art, Design and Communication in Higher Education.  It gives a taster for each of the wonderful articles included in this edition. 
Link to journal
http://www.intellectbooks.co.uk/journals/view-Journal,id=139/