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1.
The article explores the concept of the artist teacher, drawing upon an overview of relevant literature and two related pieces of research: the first investigated practices within the Artist Teacher Scheme (ATS); the second sought to understand the perceptions of practice‐based coursework in an MA Art Education programme at Roehampton University in London. Commonalities and differences between the perceptions and understandings of artist teachers (including masters' students), their tutors and gallery educators were explored. The data for each piece of research were collected through unstructured, open‐ended interviews. A significant reflexive and autobiographical dimension for the research was motivated by my own identity as an artist teacher, and by the exploration of reflective practice as a potential framework for realising and sustaining an artist teacher identity and practice. The research concluded that connections between art practice and teaching are complex, diverse, difficult to articulate, challenging to implement and do not easily lend themselves to simple impact measurement. The ATS operates in a context that includes languages, cultures and identities from frameworks in education and art that can be both complementary and oppositional. Artist teachers need to develop skills of negotiation through which they can articulate and continuously reappraise their art practice and, at an appropriate stage, use that practice to inform their teaching.  相似文献   

2.
The United Kingdom Artist Teacher Scheme (ATS) commissioned a study of the artistic and pedagogical practices of students on a recently established Artist Teacher Scheme MA (ATS MA). The aims of this study were to: investigate the motives and objectives teachers/educators have for undertaking this ATS MA programme, the impact the programme had on their artistic and pedagogical practices and their pupils’ learning; and make recommendations for future development of ATS MA programmes. Through the analysis of questionnaires it was found that the ATS MA’s strength lies in the development of communities of practice and peer support, artist teachers’ renewed confidence in their extended artistic and pedagogical practices, the professional development of artist teachers, and significant development of the art and design curriculum.  相似文献   

3.
Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond.  相似文献   

4.
This article reflects my experiences of learning art in the 1970s and 1980s and my teaching career in school art education in twenty‐first century South Korea. This autobiographical reflection shows how I have struggled with my identity as an art teacher in the post‐colonial context of Western influences on Korean society since World War II. There has been greater tension and a greater struggle for different values, practices and identities when new values and practices have been introduced into the particular socio‐cultural context of South Korea. My struggles with particular kinds of pedagogic identity valued within the rapidly changing political, economic and cultural context of Western influences on Korean art education demonstrate the hidden structural mechanism of the relationship between culture, power and identity in the post‐colonial world of globalisation. This study as an autoethnographical research provides critical insights into how identities are produced by pedagogic discourses and practices of art education that are constructed through the specific systems of practice and language which transmit and regulate such identities and values.  相似文献   

5.
Two intensive drawing weekends were held to at Bath Spa University College, School of Art & Design – in September 2001 and again in 2002. The weekends are designed as ‘taster’ events for the NSEAD Artist–Teacher Scheme and have been a joint venture between the Society and ‘Power Drawing’ the education programme of ‘The Campaign for Drawing’. The Artist–Teacher Scheme is based on the simple belief that art and design teachers who maintain their own creative practice are significantly more effective in the classroom or studio and more likely to be satisfied with their work in education. The scheme aims to provide opportunities for artist–teachers to review and develop their creative practice in relation to the highest levels of contemporary practice in the contexts of higher education institutions and art museums and galleries. The Campaign for Drawing is led by the Guild of St George, a charity founded by John Ruskin. It aims to promote visual literacy as an integral part of learning at all ages, to investigate the functions of drawing across the curriculum and to develop appropriate learning and teaching strategies. Artist Teachers who have led the weekends include Eileen Adams (Education Programme Leader Power Drawing), Sonia Boyce, Bob Briggs, Peter Feroze, John McNorton, Sheila Paine, Lesley Sanderson and Tom Wood. Over 100 teachers have experienced the drawing weekend to date and another event is planned for 2003.  相似文献   

6.
Over the past twenty‐five years as an art teacher I have sought answers to three questions: 1. In what ways and to what extent can drawing practice explore both conscious and unconscious thought processes? 2. In what ways can the participant individuate his or her experience through the practice of drawing? 3. In what ways can drawing form a dialogue between personal philosophy and experience? Refering to my own experience and pedagogy I define some of the historical, pschological and philosophical contexts for my perception of drawing, including comments from my students, in the process making no special distinction between child and adult art. I have studied the evolution of pupil’s drawing practices and particularly those of my own children, as they assert their own perceptions and responses to experience, conceptualising feelings both sensuous and emotional through telling stories and defining realities. Throughout history the will to draw has persisted, its function differing and changing through time and cultural contexts. Beuys commented that everyone can be an artist, if they want to be; can anyone really afford not to draw?  相似文献   

7.
This article examines a case study of an A‐Level student's work and how the inclusion and integration of my own practice as artist‐teacher into the classroom has changed the teacher‐student relationship, resulting in a more collaborative environment. It investigates how the mutual sharing of practice supports opportunities for pupils to discuss and investigate socially provocative issues and raises the issues of censorship. Through the case study the following questions will be addressed: how a collaborative classroom environment impacts on process and outcomes; the effect of discussing social/ political/ cultural issues within the art and design classroom; and the issues of censorship and ownership within the environment of a comprehensive secondary school context.  相似文献   

8.
‘Artist‐teacher’ is a conceptually rich term in the field of art and design education used to describe the professionally distinct roles of artist and teacher. George Wallis (1811–91), a nineteenth‐century artist and teacher, the subject of this article, first used the term ‘artist‐teacher’ to describe himself and his theories of art education. To better understand this new term, the researcher organised the diverse aspects of Wallis's life from 1811 to 1845 as a network of enterprises to track the streams of thinking that contributed to this professional statement. Through comparison, ordering and sequencing the various enterprises, a deeper and reflective understanding of Wallis's teaching developed. In fact, the network of enterprises displays the growth of Wallis's thought as a slow and evolving process, eventually highlighting the turbulent situation that provoked Wallis to defend his theories and practices when he conjured the new term.  相似文献   

9.
Affect often arises unexpectedly within the process of making art (along with other creative activities). In this article I argue for affect as a necessary and constructive dynamic within educational processes specifically for art and design. After a consideration of its recent neglect within art education, I revisit the notion of affect with reference to a number of thinkers who provide different perspectives, but particularly through the lens of the US psychologist Silvan Tomkins. Through him and others I seek to understand how affect can be recognised and cultivated in pedagogic situations. I do so by reflecting on the making and teaching experiences of students following an MA in Art and Design in Education and a practice‐based PhD, as witnessed by me (supervisor/co‐tutor), as recounted by students and as discussed in post‐event conversation/semi‐structured interviews.  相似文献   

10.
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11.
In 1999, the Italian Arte Povera artist Michelangelo Pistoletto and other artists laid the foundations of The University of Ideas (UNIDEE), an exceptional international artist‐in‐residence programme with a strong ideological foundation. As a sociologist of culture I had the opportunity to do research in the huge organization for a month by doing participant observation, in‐depth interviews and discourse analysis. In this article the educational programme of UNIDEE is interpreted in sociological terms. First of all it will be contextualized in the artistic work of Michelangelo Pistoletto through his concept of the mirror and his a‐modern idea of ‘The Minus Artist’. In the second part Pistoletto's artistic, political and economic movement Cittadellarte, in which UNIDEE is based, will be described. Finally UNIDEE will be analysed as a model for art education on the border of modernity attempting to redefine the position of art and of the artist in a globalizing world.  相似文献   

12.
This article discusses, contextualises and locates in contemporary theory, an autobiographical case study of an artist‐teacher in the ‘learning community’ of a Sixth Form College art department. It reflects on the educational potential of enabling teachers of art and their students to investigate issues of culture and identity through engaging with contemporary art practice. It seeks to explore the extent to which exposure to contemporary art practices (and in the second year sixth form, textiles‐based, cases discussed) creates a more conceptual approach to student project work, which can act as a catalyst to develop students' understanding of issues‐based practice. The discussion of the selected pieces is located within a feminist paradigm that foregrounds the body and gender theories. This article elucidates how a conceptual approach to working, as opposed to a more traditional skills‐based approach, can act as a vehicle for moving students towards becoming self‐motivated artists and, in the case studies described, take their practice beyond that which is normally achieved within the constraints of timed, exam‐based work.  相似文献   

13.
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14.
This article explores teachers’ experiences of implementing the problem‐solving approach; a learner centred pedagogic innovation prescribed by a centrally mandated curriculum in Uganda. It presents teachers’ interpretations of the pedagogic principles suggested by the innovation as well as their accounts of challenges of implementing the pedagogic approach. The findings suggest that the teachers’ implementation of the problem‐solving approach was far more regulated by contextual affordances and constraints within schools and the broader education system and society than by their interpretations of the official curriculum. These findings highlight the influence of structural contextual factors in regulating pedagogic practice and teachers’ take‐up of learner‐centred pedagogies in Africa. The evidence from this paper suggests the need for education researchers in developing countries such as Uganda to focus on helping teachers develop strategies for teaching large classes as learner‐centred pedagogies have a bleak future in the region.  相似文献   

15.
Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.  相似文献   

16.
小说《饥饿艺术家》写了艺术家从受欢迎到被人遗忘的过程,铁笼是饥饿艺术家的生活的空间,他拒绝与外在的世界交流,孤独地进行着饥饿表演。他的艺术得不到人们的认同,一直处于生存的被遗忘状态。艺术家坚持自己的选择,他的这一选择充满了荒诞性,同时也注定了他的悲剧命运。  相似文献   

17.
Reviews     
In Teacher Education and the Cultural Imagination: Autobiography, Conversation, and Narrative, Florio‐Ruane and deTar present an account of their investigation of the use of autobiography and the role of conversation in teacher education. To facilitate rich autobiographically‐focused teacher‐to‐teacher conversations, Florio‐Ruane draws on a book‐club format. As a veteran primary‐grade teacher who has worked hard to enact culturally‐informed, child‐responsive literacy practices in the classroom, as a teacher educator who advocates the use of autobiography as a site for teacher learning, as a curriculum theorist who sees autobiography as a rich source of both curriculum theory and curriculum practice, and as a researcher who witnessed first hand the power and potential of the ‘book‐club’ model for teacher professional development, I found Teacher Education and the Cultural Imagination both engaging and informative. In the essay that follows, I discuss the significance of this new book in terms the enduring realities in US education. I also situate the book within the educational literature concerning autobiographical‐based curriculum inquiry, and, finally, I link Florio‐Ruane's new book to my own research on the professional lives of teachers working under intensified conditions of educational accountability.  相似文献   

18.
In this article, taking three selected works by the Danish artist Julie Nord as my point of departure, I will analyse and discuss the role of art in educational theory and practice. In this analysis and discussion I present two concepts, ‘resistance’ and ‘undecidability’, which are rooted in the theories of Dutch professor of education and director of research Gert Biesta and the French philosopher Jacques Derrida, respectively. The two concepts are used to analyse the three works of art and then come to grips with the empirical part of the study. The empirical part explores how a Danish fifth‐grade class (ages 11–12) interacts with works of art characterised by these very things, resistance and undecidability. The point the article makes is that it is not always what is easy and unambiguous that offers the best conditions for learning and gives school pupils a desire to learn. Rather it is often what is full of resistance and is difficult to decipher and understand.  相似文献   

19.
This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.  相似文献   

20.
How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow.  相似文献   

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