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1.
Elsa Lenz Kothe 《The International Journal of Art & Design Education》2016,35(1):86-106
This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research. 相似文献
2.
Ricardo Marin‐Viadel Alicia Arias‐Camison Ana Varea 《The International Journal of Art & Design Education》2019,38(3):627-638
Social a/r/tography combines three dimensions of a/r/tography (artistic creation, education and research) incorporating a fourth collaborative, participatory community‐based approach. This ongoing project began in two primary and secondary schools located in the slums of Tegucigalpa, Honduras, as cooperative action for curricular development in art education. As participatory action, students created a mural drawing inspired by Sol Lewitt's wall drawings, as well as photo pairs on the theme of body and nature inspired by a lithograph by Uta Barth. The drawings and photographs created by the students in Honduras were presented at an event in the Exchange space of the Tate gallery in Liverpool as visual provocation for the creation of drawings and visual metaphors. The concept of visual dialogue, which we define as ‘to teach human beings to have visual conversations with other humans through the visual content of images’, helps us to consider images as questions which are answered with new images whose meaning is subsequently transformed in function of artistic, school and social contexts. 相似文献
3.
Rita L. Irwin Dónal O'Donoghue 《The International Journal of Art & Design Education》2012,31(3):221-236
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud's theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates' experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers. 相似文献
4.
ZOU Jian-li 《高等教育研究》2008,(2)
潘天寿先生是现代中国画教学的主要奠基人。"为人生"而艺术,"中西绘画拉开距离"的艺术主张,是其艺术教育思想的精髓,是其一生艺术教育活动和创作实践的结晶,是其典范人格和民族人文精神的集中体现。潘天寿先生视教育为自己的终身职业,将画画视为副业,而这往往为潘天寿研究者所忽视。正视和弘扬潘天寿的艺术教育思想,对当今艺术教育的改革与发展具有重要的借鉴和指导意义。 相似文献
5.
ABSTRACTWhere is the moving body in our written bodies of work? How might we articulate truly unspeakable and deeply moving moments of understanding? In what ways can we reflect and honor the knowledge of those who do not use academic words, English words, or any words at all? How might art move us to answer these questions differently—and more importantly, to ask different questions? These lines of inquiry have driven arts-based research movements within many fields including nursing, medicine, and education. In this article, we explore existing and potential uses of arts in adapted physical activity research and practice. We weave theoretical exploration, artistic engagement, and our personal experiences as researchers, practitioners and disabled movers. We do so in order to demonstrate how artistic epistemologies can enrich and expand our inquiry, understanding, and engagement in adapted physical activity. 相似文献
6.
: This study explores pre-service teachers’ knowledge of visual arts education and their ability to undertake creative processes. It is a study conducted with 88 primary school student teachers from a university in southern Spain. The participants were required to produce an artistic piece in which they were asked to reflect their thoughts on visual art education. The resulting pieces served as a tool for inquiry which enabled us to evaluate their theoretical and practical knowledge after performing an analysis of their form and content. After analysing the data, we concluded that future teachers are aware that arts education develops many types of skills, although they are only partially able to carry out a satisfactory artistic creation process. Therefore, it is essential to reinforce the training of pre-service teachers in the domain of artistic processes. Questioning pre-service teachers directly, and doing so through artistic creation, has allowed us to ascertain their level of knowledge of the visual arts. 相似文献
7.
Kyong-Mi Paek 《British Journal of Sociology of Education》2015,36(6):915-933
Over the past decades, many art advocates have argued for the intrinsic value of learning in the arts. Nevertheless, the arts continue to struggle to find a secure place within the school curriculum. Concerned about the arts’ impact on classroom practice, this paper aims to cast light on diverse realities constructed by art teachers as insiders in marginal contexts. This will be done by reviewing a critical cultural inquiry into art education practice in South Korea. Two interpretive analyses of individual teachers’ life stories have disclosed the practitioners’ relationships to established power dynamics between the dominant practice and a developing alternative practice network within the system. The discussion focuses on the inherent contradictions and opportunities identified within the context of Korean education. This paper provides cultural resources for conscious professional transformation of practitioners and contributes to broader discussions on the socio-educational status of art in education. 相似文献
8.
Matjaž Duh Tomaž Zupančič Branka Čagran 《The International Journal of Art & Design Education》2014,33(2):208-222
Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year‐old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum. 相似文献
9.
朱志荣 《安徽师范大学学报(人文社会科学版)》2001,29(4):515-519
宗白华作为一位中国现代美学的开拓者，对20世纪中国美学作出了卓越的贡献，他那非凡的艺术气质，独特的知识结构，留学德国学习美学和哲学的经历，以及对中国艺术的深切体验，使得他在美学的研究方法和研究思路上，能以西方美学为参照，以中国传统思想为本根，以体现生命意识的中国艺术为核心，为后人的美学研究提供了范式，在审美的人生观方面，宗白华推崇一种既超尘脱欲又积极进取的人生境界，反映了艺术化的心灵境界。同时，他还继承中国传统的诗学观，将意境看成艺术家由情景交融而创构的境象，其中体现着艺术家的人格涵养，在虚实相生的意境中，宗白华特别强调了艺术的动静相成，在叔本华的影响下，宗白华对中国艺术中的音乐精神有深刻的感受和见解。 相似文献
10.
Nadine M. Kalin Daniel T. Barney Rita L. Irwin 《Mentoring & Tutoring: Partnership in Learning》2013,21(4):353-367
In this article we articulate a view of mentoring that extends into interactive and relational forms, fostering a redefinition of traditional roles and practices within mentor‐protégé models. From the perspectives of a senior administrator and two assistant professors, we revisit the mentoring spaces and relations within which we were engaged while working in an approach to arts‐based educational research known as a/r/tography during dissertation research projects. From our interconnected experiences, we propose a framing of the intersections between a/r/tographic research and mentorship informed by complexity thinking. We analyzed our work together while deconstructing the ways in which we have supported and unsettled each other. Through narrative inquiry we share reflections from dissertation research experiences, while also describing patterns of an emerging pedagogy of mentoring within higher education that we term complexity thinking mentorship. Borrowing from complexity theory, this conception of mentorship attends to the specific conditions of redundancy, decentralized control and diversity as being facilitative of evolving change and insight within graduate student research development. 相似文献
11.
试论美术教育中的情感体验 总被引：2，自引：0，他引：2
朱建华 《海南师范大学学报(社会科学版)》2006,19(5):117-120
美术是情感艺术，美术学科蕴含着丰富的情感教育内涵，对提高学生的审美情趣、完善学生的人格修养、陶冶学生的情操等都有着不可忽视的作用。通过对美术表现情感特质的揭示，强调情感教育是美术教育的生命所在，情感体验是美术教育不可忽视的重要目标，美术学科应特别注重对人的情感的研究与探索。论文提出了实现这一目标的基本途径：创设最佳的教学情境，引导情感投入；构建积极乐观的心理环境，促进情感交流；利用美术作品的美感效应，获得情感体验；鼓励大胆的艺术创造实践，推动情感升华。 相似文献
12.
牛富强 《山西广播电视大学学报》2010,15(3):85-87
根据新现实主义领军人物、画家忻东旺的多部论著,对其关于画面形式、艺术感知与想像、艺术的静态与动态和学院课堂写生诸方面的论述与实践进行分析探讨,试图从中寻觅忻东旺绘画艺术观点和独到见解,进而接近他的绘画思想和理念。 相似文献
13.
朱晓江 《华东师范大学学报(哲学社会科学版)》2002,34(5):111-117
从表面上看,丰子恺“中国美术优胜论”的提出,只是基于世界范围内艺术发展的“表现主义”趋向(中国化)的客观事实。然而这种“客观性”基础乃是丰氏本人架构起来的。在他的艺术思想中,印象派以后西洋美术的演进趋势,一方面是科学主义的凸显,另一面同时也是作者主体意识不断强化的过程,即所谓朝着“表现的艺术”迈进的过程。这使他敏感地意识到了科学对艺术的入侵。正由于此,出于对艺术独立地位的维护,他刻意“遗忘”了印象派以后西洋美术的科学主义特性,而竭力张扬了它的“表现主义”倾向,并将这种“表现主义艺术”与中国传统的艺术精神在理论的层面沟通起来。丰子恺“中国美术优胜论”的提出,实际上负有一种遏止科学实用精神、维护艺术独立地位的使命,并且和当时中国“立人”的时代主题是一脉相承的。 相似文献
14.
Nicole Lee Ken Morimoto Marzieh Mosavarzadeh Rita L. Irwin 《The International Journal of Art & Design Education》2019,38(3):681-690
This article explores walking as a form of inquiry within a study group at The University of British Columbia committed to a/r/tography. Three propositions are explored and as a result we think more deeply about being present, truly present, to that which we never anticipated. The first proposition, ‘Go for a walk outside, find an object and do something with it’, leads us to think more deeply about being present to possibility: kicking the rock. The second proposition, ‘Walk around your neighbourhood with another. When you find unfamiliar ground, pause, and ground yourself’, leads us to appreciating being present in‐between place and relationality. The third proposition, ‘Follow one another in a line without stopping or speaking’, invites us to explore being present to interiority. Walking in response to these propositions and coming to think deeply about the impact of being present to presence, became important to us as a community of a/r/tographers. 相似文献
15.
陈晓萍 《泉州师范学院学报》2010,28(5):100-103
近年来,泉州当代艺术呈现出活泼多元的创作格局。而活跃在泉州艺术界的黄坚等人,尤其具有代表性。黄坚教授敏锐的艺术触觉延伸至水墨艺术、数字艺术,以及剪纸、影像等等。从他的艺术作品可知他是一位具有全球视野,但又不失本土色彩的艺术家,在传统与现代之间开辟了属于自己的艺术之路。对他艺术的研究,有助于我们了解泉州当下艺术的现状与走向。 相似文献
16.
The pedagogical integration of computing is interesting in educational contexts based on the contributions of Seymour Papert and Wing’s concept of computational thinking. Integrating arts in education can lead to the design of activities using Scratch combined with devices. The main goal is to evaluate the integration of computational thinking in art education making use of technological resources, sensor cards and minicomputers, with a student-centred pedagogical approach. This research assesses the results of a control group of 35 students and an experimental group of 109 students in four different schools, using Mann-Whitney’s U-test for independent samples assessing ‘Active Learning’, ‘computational concepts’ and ‘fun’ scales. Applying data triangulation, and consistent with design-based research, the results of interviews and focus groups reinforced the results obtained in the aforementioned test, providing validity to the study. There are advantages regarding student interest, motivation and commitment related to programming technologies in art and education, particularly pedagogical sessions with music. Handling devices, sensors and Raspberry Pi provides participating students with a factor of commitment and enthusiasm, with significant improvements. Working with coding and devices brings an additional advantage in the development of computational thinking and digital competence. The results show an increase in creativity and artistic competence related to the ability to create music from the activities and technological resources described in the technological intervention. 相似文献
17.
梁福根 《桂林师范高等专科学校学报》2011,25(3):19-23
艺术兴学的办学思想是一种公共艺术教育理念。丰子恺先生20世纪30年代末在桂林从事艺术教育工作期间,结合自己的艺术教育思想,在艺术教育与社会性实践方面都做了有益的探索。他多方面、多形式地在校内外、课内外开展了艺术教育实践,力图通过艺术教育实践实现艺术兴学的目的,培育学生真善美三足鼎立的健全人格,培养学生的艺术实践能力。 相似文献
18.
林曦 《福建工程学院学报》2008,6(5)
基于知识更新快速、学科交叠的现代教育,探讨培养高素质的艺术设计人才的教学。认为艺术设计专业美术基础教育要同样重视文化知识学习和技能训练;艺术学习要有轻松自由的游戏心态;培养多方面的兴趣爱好,以积极的态度关注艺术与生活;在专业学习与借鉴中,逐步形成具有时代精神的个性风格;培养健康自信的人格;积极参与比赛,提高专业素养。 相似文献
19.
邓彬 《湖北广播电视大学学报》2008,28(4):80-81
素描是所有造型艺术的基础,坚实的造型训练是完成每一件成功造型艺术作品的必经之路,是美术家风格形成发展的趋势。素描教学深刻地影响着每一个造型工作者的成长,影响着每所美术院校乃至一个国家的美术发展。以契斯哈柯夫为代表的“苏派”素描教学方法,在特定的时期深刻影响着中国的美术教育,成为中国所有美术教育改革的一个重要基点。 相似文献
20.
季明举 《北京师范大学学报(社会科学版)》2002,(4):122-127
"有机批评"是19世纪俄国经典美学和艺术批评中有重大理论意义的派别,为批评家格里高里耶夫所创立.它视艺术为活的生命有机体,主张立足于人民性根基,在理性直觉的基础上对艺术作整体的有机探讨.这一学说具有深刻的哲学基源和现实启示作用,为艺术批评实践活动开辟了新领域. 相似文献