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1.
This research project examines how using the visual arts can develop medical insight, as part of a pilot programme for two groups of medical students. It was a UK study; a collaboration between Liverpool and Glynd? University's and Tate Liverpool's learning team. Tate Liverpool is the home of the National Collection of Modern Arts in the North of England and one of the largest galleries of modern and contemporary art outside London. The project adapted Tate Liverpool's Opening Doors course in devising and piloting a single day programme that engaged students in exploring perception, communication, emotion and narrative. Opening Doors introduces participants to modern and contemporary art and empowers them to work in new ways with groups and individuals. The exercises used as part of the programme allowed us to observe what connections and interpretations were made, and to discuss with the participants what influenced student choice and decision making in relation to specific works of art. This article will focus on the use of gallery education to highlight examples of contemporary culture to develop links between art and medicine, alongside the development of transferable skills. The study is of professional interest because it is using a cross‐disciplinary approach, broadening the disciplines involved in teaching medical skills; and could form a model for further cross‐curricular and cross‐discipline work.  相似文献   

2.
Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.  相似文献   

3.
Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.  相似文献   

4.
The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.  相似文献   

5.
This article outlines art education courses undertaken in museum and gallery contexts as a component of the Certificate Programme in Visual and Material Culture within the University of British Columbia's Department of Curriculum Studies. With the creation of this programme and through the forging of relationships with area museums, unique ways have evolved for graduate students from diverse areas of education and art teacher education candidates to interact with works of art, museum professionals, artists, and the museum space itself. The purpose of these courses is to use museum and gallery settings as sites to test ideas, critique educational programmes, and advance new approaches for teachers to use museums in more creative and integrated ways in their teaching while expanding theoretical knowledge and interpretive repertoires. Through participating in this collaborative venture we have learned that when you invite teachers into museums, make efforts to increase their comfort within these spaces, while recognising what interpretive insights they offer as active participants in museum discourses, points of convergence between teachers, universities, and museums are formed.  相似文献   

6.
This paper reports the initial findings from Contemporary Visual Art and Identity Construction—Wellbeing Amongst Older People: a two-year research project that aims to understand how the lives of older people can be improved by examining their use of contemporary visual art in the art gallery and museum. It will focus on data relating to lifelong learning for postretirement people. The paper investigates the impact of engaging with contemporary art on a sample of 43 participants aged 64+.  相似文献   

7.
Within an emerging philosophy of contemporary gallery education, new pedagogies are required to meet the demands of looking at art, with increasingly varied constituent groups. Strategies that aim to empower young learners come from an ideological framework in which knowledge is negotiated and local significances are produced conversationally by learners and facilitators. Tension exists between the ideological position and the role of the gallery as ‘expert’: this conflict creates ambivalence towards the learner. The discourse of the ‘expert’ and the discourse of ‘local negotiation’ employ different pedagogic strategies, creating tension in the ways in which knowledge is reproduced for the visitor and participant. This article explores interrogatory pilot work with young people at Tate Modern. I use a hermeneutical approach to explore the interpretive roles of facilitator and participant when language‐based strategies are used to look at art. This research aims to construct a pedagogy that enables young people to learn about art in ways that take account of their situation as learners.  相似文献   

8.
This article discusses a current research project being undertaken by Tate Liverpool with a local university. The study is exploring the impact of a school‐in‐residence programme on children, teachers and the gallery. The invitation to schools to undertake these residencies fits with current agendas within the museum and galleries sector where institutions internationally have increasing ambitions towards handing over to their audiences, encouraging them to take ownership of their physical and intellectual spaces. However, the power dynamics at play, in terms of who makes the invitation and on what terms, have ethical implications that make taking up this offer challenging and potentially limiting. This article will begin to explore the possibilities of Place‐Based Education and its pedagogy as a practice to challenge these positions for both the teacher and gallery.  相似文献   

9.
ABSTRACT

The quote in the title of this paper is taken from the first line of Marc Depaepe’s article “An Agenda for the History of Colonial Education”, published in The Colonial Experience in Education (Ghent, 1995). This presentation takes as its focus the informal learning space of the museum and the art gallery, and the emergence in recent years of curatorial activism. It seeks to explore the changing discourse and politics around addressing through display the history of colonialism and its meaning in today’s globalised world.  相似文献   

10.
This paper examines the onto‐epistemic status and understanding of contemporary material culture and of visual art, particularly in the context of gallery education. It does so through a case study of the response of 15 year‐old school students in the Czech Republic and in England to a recent photographic exhibition, I.N.R.I., created by artists Bettina Rheims and Serge Bramly. It supports and develops further the proposition that the tradition grounded in the concept of a single ‘objective’ interpretation of a work of art has been significantly undermined by the paradigmatic change that has taken place in the last decades. In the course of this process the vocabulary of signification (e.g. doves, the royal blue, temptations of Christ, class struggle) inherited from the age of ideologies and grand narratives has been significantly weakened. In its place there emerged the vocabulary of signs born out of the language of high tech media. It takes the form of dynamically constituted units identifiable via daily exposure to techno processes, e.g. familiar from advertising and networking, at best mere fragments of traditional narratives. The recognition of reality is couched in terms of consumer units originating in objects (e.g. gadgetry) and object‐based practices filling (indeed constituting) the living place of today. This shift is particularly apparent among English young people, brought up in a more consumer‐oriented society, and to a lesser degree among Czechs. This is well in keeping with the concept of the post‐modern ‘empirical spectator’ developed in recent literature on art and material culture education.  相似文献   

11.
In the last decades theories that emphasise visitors’experience as the key element in the process of meaning‐making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge‐based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced‐based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.  相似文献   

12.
This paper reflects on a collaborative project between Manchester City Art Gallery and Manchester Metropolitan University (2003–2004). The project's aim was to attract very young children and their families to the gallery. This paper will not report directly on the research methods used or the outcomes of the project but, rather, will explore questions raised about art galleries and art education in relation to young children. It will ask if it is possible to use art education as a tool for thinking about the world, rather than as a vehicle for expressing a pre‐existing and unitary self, or for representing a pre‐existing and unitary reality. Merleau‐Ponty's philosophy of perception will be used to assist in this attempt to open up current notions of art education, and the art gallery space.  相似文献   

13.
通过阐释当代漆艺教育的发展历程,分析当代漆艺面临的主要问题,并结合漆艺在当代文化语境中的多重身份,探讨了当代漆艺教育的发展方向。当代的漆艺教育要兼顾漆艺研究、漆艺教学与相关产品设计开发的均衡发展,坚持大漆技艺传承的基础上,促进教学形式的多样化,并结合文化创意产业发展,促进当代漆艺与现代生活的融合。  相似文献   

14.
ABSTRACT

Art can provide a vehicle for animating learning. Teachers bring ideas to life through curriculum, while artists realize their ideas through images, often translating between forms, media and spaces. This paper describes the context, content and format of a residential Summer Arts Academy for gifted and talented middle and high school students, held on a university campus. In 2013, the theme of the visual art program at the Summer Arts Academy was animation, which linked to the summer exhibition at the local art museum. Collaborations among university faculty, public school teachers, community artists, and art museum and gallery staff have potential to animate learning for students, while stimulating additional forms of public engagement.  相似文献   

15.
Educational practices in art museums are determined, to a great degree, by ideas of art and interpretation put into play, consciously or not, by both museums and educators. This article presents the results of research conducted at Tate Britain in which we have analysed the concepts of art and interpretation that underlie the discourses of the educators interviewed in this gallery. To this end we have designed a methodological device, a model that proposes four ways of understanding and interpreting art commonly found in educational contexts. This model has arranged the various conceptions from more visual or perceptual approaches to the most experientially complex as those summarised below: works of art as a visual representation and interpretation as identification; works of art as a message to be revealed, and interpretation as decodification; works of art as an intellectual, historical and cultural fact, and interpretation as an opportunity for critical reflection; works of art as the materialisation of an experience, and interpretation as an opportunity for self‐development. We conclude that in interviews with educators working in the Tate Britain different narratives about the idea of art and the idea of interpretation coexist, which in many cases are complementary and in some others are contradictory. Examples of the interviews are presented throughout the article.  相似文献   

16.
This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.  相似文献   

17.
‘Art Now in the Classroom’, was a joint venture between Goldsmiths College Education Department, Tate Modern and six Primary Schools in and around the London area (Sandhurst, Pilgrim's Way, Hawesdown, Hawkesmoore, Lauriston and Myatt Garden.) It ran from September to November 2000, beginning initially with the placement of two Goldsmiths students at each school then continuing with school visits to Tate Modern, and four Fridays spent working in the classroom, culminating in an exhibition at Tate Modern where the children from all six primary schools got to see their own work publicly displayed. This paper is an account of the work produced by the children from Sandhurst Primary School and an assessment of both the educational opportunities it provided for the primary classes involved and for the Goldsmiths students involved. The aims of the project were to demonstrate effective ways to work collaboratively with contemporary art, to support the development of teaching strategies at KS2 and KS3 and to offer possible approaches for working with contemporary material in the classroom.  相似文献   

18.
This article demonstrates the outcomes of taking a hermeneutic phenomenological approach to architectural design and discusses the potentials for imaginative reasoning in design education. This study tests the use of literature as a verbal form of art and design and the contribution it can make to imaginative design processes – which are all too often limited by physical constraints. It has been observed that a person reading a novel can choose to suspend their disbelief and become entangled in the events of the book – where they become involved with the art not only subjectively, but also as a form of play. In the words of Hans‐Georg Gadamer: ‘understanding occurs in interpreting’. This study asked design students to read three of Franz Kafka's books –The Metamorphosis, The Trial and The Castle– prior to designing a Franz Kafka museum. The students found themselves drawn into numerous worlds that they were compelled to play along with; and demonstrating the productive role that literature can play in studio design, the students were observed to reconstruct the text and authorial context as a spatio‐temporal frame of reference, in this case a museum, and thus provide museum visitors with a Kafkaesque spatial experience of the narrative world in terms of design.  相似文献   

19.
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20.
Abstract

Education policy proposals by the UK Coalition government appeared to be based on a process of consultation, participation and representation. However, policy formation seems to prioritise and confirm particular ways of knowing and being in the world. This article recognises the ontological and epistemological invalidation at work in education policy by examining the shared context for policy formation in special educational needs (SEN/D) and art and design education. There is value in recognising plurality, acknowledging the ways in which apparently singular policies relating to special education are understood through subject or disciplinary perspectives. The neoliberal aim to foster an economically productive ‘subject’ is evident in policy formation relating to art and design education as well as SEN/D. Both subjects, the disabled child and art and design education, are defined as excessive and are excluded where they do not conform to particular notions of productivity. The article explores theoretical frameworks that are essential for recognising meaning in education when subjects cannot be put to work.  相似文献   

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