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Art Practice (art + practice)
Selected AbstractsDomain Poisoning: The Redundancy of Current Models of Assessment through ArtINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2006Tom Hardy With the National Foundation for Educational Research concluding that schools which include Contemporary Art Practice (CAP) in their curriculum add significant value to their students' art experience, [1] and at a time when much of the discussion around contemporary art questions the value of the art object itself, this article addresses the question: how are we to engage students with the contemporary and, at the same time, make value judgments of their own work? And, while the professional fine art world subscribes increasingly to the ,rhizomatic' [2] template of art processes, how do we square this with current assessment criteria which require that students produce work where the preparation and finished product occupy separate domains and rely on ,procedures and practices that reach back to the nineteenth century'? [3] By way of a postscript to the inconclusive findings of the Eppi-centre art and design review group [4], this article will also address what we have lost in the drive for domain-based assessment and how to regain some of the ground lost since the introduction of Curriculum 2000. [source] What is Art in Education?EDUCATIONAL PHILOSOPHY AND THEORY, Issue 2 2007New Narratives of Learning Abstract In this paper I address some questions pertinent to the development of school art education. I begin by considering how we relate to art and how we might understand the notion of this relation in terms of human subjectivity and the art object. To do this I describe particular art practices that have broadened social conceptions of art, which in turn, become part of art itself and shape performances of understanding, learning and practice. Implicit to this discussion is a change in how artists, art practice and engagement with art are conceived. I then consider some art events in school art education and analyse how human subjects, art practices and objects are understood in this context. This leads to further remarks about how learners and practice in school art education might be discerned in the light of the preceding discussion. [source] Making Art, Teaching Art, Learning Art: Exploring the Concept of the Artist TeacherINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 2 2010James Hall 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. [source] The Necessity of Studio Art as a Site and Source for Dissertation ResearchINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2008Kristin Baxter The issue raised by the authors in this article question why studio art continues to be ignored as a site and source for research in art education. The necessity of the field to be able to participate within the research community in addressing cultural, social, educational and political concerns is acknowledged. It is argued, however, that the exclusive use of methods of inquiry that align with the conventions of social science research has been done at the expense of fully appreciating the capacity of artistic research undertaken in studio contexts. This tendency is especially prevalent in doctoral research in higher education. Three accounts of dissertation research are given that incorporate studio activity as a central agency of inquiry in conceptualising and theorising issues. Each highlights the capacity of art practice to reveal insights that are a consequence of what the researcher did in the studio setting as issues, ideas and interpretive stances emerged, and problems were re-conceptualised. What is different in these accounts from more mainstream approaches to research is the readiness to accept that constructing new knowledge is a creative and critical process. [source] Expressing the Not-Said: Art and Design and the Formation of Sexual IdentitiesINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2005Nicholas Addison Central to this paper is an analysis of the work produced by a year 10 student in response to the ,Expressive Study' of the art and design GCSE (AQA 2001). I begin by examining expressivism within art education and turn to the student's work partly to understand whether the semi-confessional mode she chose to deploy is encouraged within this tradition. The tenets of expressivism presuppose the possibility that through the practice of art young people might develop the expressive means to give ,voice' to their feelings and come to some understanding of self. I therefore look at the way she took ownership of the ,expressive' imperative of the title by choosing to explore her emerging lesbian identity and its position within the normative, binary discourses on sex and sexual identity that predominate in secondary schools. Within schooling there is an absence of formal discussion around sex, sexual identity and sexuality other than in the context of health and moral education and, to some extent, English. This is surprising given the emphasis on self-exploration that an art and design expressive study would seem to invite. In order to consider the student's actions as a situated practice I examine the social and cultural contexts in which she was studying. With reference to visual semiotics and the theoretical work of Judith Butler, I interpret the way she uses visual resources not only to represent her emerging sexual identity but to counter dominant discourses around homosexuality in schools. I claim that through her art practice she enacts the ,name of the law' to refute the binary oppositions that underpin sex education in schools. This act questions the assumptions about the purpose of expressive activities in art education with its psychologically inflected rhetoric of growth and selfhood and offers a mode of expressive practice that is more socially engaged and communicative. [source] Art & Design:The Rhetoric and the PracticeINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2000John Bowden In this paper I will outline what I perceive to be the current context in which Art and Design activities operate in Primary and Secondary Schools in England. I will argue that significant advances in the teaching of the subject in the last two decades are being threatened, particularly in the primary sector, due to the impact of a number of factors, including the new ,standards' agenda, and constraints arising from limitations in resources, teaching expertise and deployment, and the effects of assessment. The under achievement of boys will be considered in relation to some observations on differentiation in the subject at Secondary level. The paper will suggest that the attempts by teachers to offer an art curriculum that covers all aspects of artistic activity has led to a superficiality of experience for pupils, and therefore a ,depth' rather than a breadth approach to art curriculum planning is now necessary. The variable impact of Critical Studies activities will be considered, including that of Artists in Schools, and I will suggest that there is an opportunity to extend current art practice encouraging greater risk-taking, through an open-ended problem-solving approach, and a development of work which celebrates pupils' own cultures and interests. [source] What is Art in Education?EDUCATIONAL PHILOSOPHY AND THEORY, Issue 2 2007New Narratives of Learning Abstract In this paper I address some questions pertinent to the development of school art education. I begin by considering how we relate to art and how we might understand the notion of this relation in terms of human subjectivity and the art object. To do this I describe particular art practices that have broadened social conceptions of art, which in turn, become part of art itself and shape performances of understanding, learning and practice. Implicit to this discussion is a change in how artists, art practice and engagement with art are conceived. I then consider some art events in school art education and analyse how human subjects, art practices and objects are understood in this context. This leads to further remarks about how learners and practice in school art education might be discerned in the light of the preceding discussion. [source] Pedagogy Against the StateINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 3 2008Dennis Atkinson The text of this article was originally presented in a public lecture in February 2008. It presents a description of earlier research on children's drawing practices which considers the ingenuity of learning and meaning-making through drawing. Then the focus moves to the language of assess-mentto consider how, art practices, such as drawing, as well as learner and teacher identities, are constructed and regulated within such linguistic practices (discourses). Bearing in mind the regulatory effect of such practices (and that all discourses are in some way regulatory) the final section introduces the idea of pedagogy against the state in order to think again an ethics of pedagogy concerned with becoming; an ethical imperative for pedagogy concerned with expanding our grasp of what learning is. [source] ,Download': ,Postcards Home' Contemporary Art and New Technology in the Primary SchoolINTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2005Steve Herne ,Postcards Home' using photography, scanning, digital image manipulation, text and colour printing was the third ,Download' project devised by the education department of the Whitechapel Art Gallery, London, England. It was led by artist Laurie Long with teachers and pupils from Pooles Park primary school in Islington, an inner city borough in North London. Based on the production of a postcard featuring an image of personal significance, the children were involved in exploring and constructing their own and others' identities whilst developing their technology skills in creative ways. The project raises interesting questions about the applicability of contemporary art practices to the primary classroom. The research is based on participant observation and includes the voices of the artist and teachers involved. [source] | ||||||||||