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1. Problems of Interdisciplinarity: Evidence-Based and/or Artist-Led Research? (EJ815424)
Author(s):
Mason, Rachel
Source:
International Journal of Art & Design Education, v27 n3 p279-292 Oct 2008
Pub Date:
2008-10-00
Pub Type(s):
Journal Articles; Reports - Evaluative
Peer-Reviewed:
Yes
Descriptors: Art Education; Art Teachers; Teacher Education; Educational Research; Interdisciplinary Approach; Evidence
Abstract: Art education as a distinct academic discipline is relatively recent and closely related to the growth of specialist teacher qualification programmes in university education departments. Opportunities for art teachers to engage in research were first provided in advanced diploma courses and specialist masters programmes set up in university education departments. Later these were followed by specialist doctoral degrees. Since the majority of such programmes are located in education departments, research training has tended to be social science based. Recently there has been a flurry of publications by art and art education specialists devoted to explaining and extolling the idea of art practice as an alternative paradigm. This article analyses and discusses this development and the status of research in the specialist field, drawing on the author's recent experience of carrying out two systematic reviews of studies in art education. It examines strengths and weaknesses in the two research paradigms and suggests ways forward for improving training in art education research. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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2. Mapping Eco-Art Education (EJ822675)
Inwood, Hilary
Canadian Review of Art Education: Research and Issues, v35 p57-73 2008
2008-00-00
Journal Articles; Reports - Descriptive
Descriptors: Art Education; Pilot Projects; Concept Mapping; Ecology; Environmental Education; Educational Research; Art Expression; Role Perception; Foundations of Education; Discourse Analysis; Literature Reviews; Foreign Countries
Abstract: In recent years, the author relates how she had been on a journey to explore the role of art education in fostering ecological literacy. While she had tracked discussions about eco-art education back over three decades in the literature, the author relates how she was still working through exactly what eco-art education is and how it contributes to developing learners' ecological literacy. She had previously reported on a pilot study in this area and had began mapping her journey into this emerging field of study. This map has continued to develop since that time. In this article, the author tracks some of the theoretical and pedagogical discourse she has found most intriguing in recent years. She also proposes new directions in which eco-art education can grow, hopefully encouraging other educators and scholars to expand it beyond its current boundaries, contributing to the greening of art education and to the growth of ecological literacy in general. (Contains 4 footnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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3. Notes for a Dialogue on Art Education in Critical Times (EJ774977)
Desai, Dipti; Chalmers, Graeme
Art Education, v60 n5 p6-12 Sep 2007
2007-09-00
Journal Articles; Opinion Papers
Descriptors: Global Approach; Political Issues; Corporations; Justice; Democracy; Art Education; Censorship; Correlation; Influences; Art Expression; Elementary Secondary Education; Public Schools
Abstract: Schools have always been subject to an overwhelming variety of socio-political demands, which shift in response to the political climate--impacting art education in different ways. The current debate on social and political issues in art education is not new. Beginning with McFee (1966), and particularly since the 1970s, there has been a growing body of literature relating art education to social issues. However, its resurgence at this particular historical moment requires the authors to revisit the question: "What should the relationship be between art education in schools and society at large?" This question is not simply academic but also has real consequences in such perilous times for the future of art education in schools. The war on terrorism, the curtailing of civil liberties under the Patriot Act, the censorship of civil society, and the increased militarization of life have created a state of uncertainty. Adding more layers to these unsettling times are the forces of globalization that contribute to a world that is simultaneously connected, yet extremely fragmented; racism, often state sanctioned, has been implemented in different ways around the globe; and the world's economy, dominated by transnational corporations, has increased the gap between the rich and poor. In order to keep the possible roles of art in a democratic society alive in teaching, the authors focus on two beliefs that shape understanding of social justice art education and also explore contemporary art practices that may assist and inspire students in engaging critically with a variety of pressing issues. (Contains 2 endnotes and 1 table.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
4. The Praxis of Art's Deschooled Practice (EJ815414)
Baldacchino, John
International Journal of Art & Design Education, v27 n3 p241-250 Oct 2008
Descriptors: Art Education; Educational Practices; Educational Philosophy
Abstract: Art's relationship with education is often characterised by paradox. Yet art is often reified within an education system that refuses to see the pedagogical strengths of paradox. This article approaches art education from three positions. The first is that art is a construct that is neither "natural nor necessary." The second is that there are no aesthetic or pedagogical imperatives, but that art education is the recognition of "groundlessness" where paradox facilitates learning. The third approach is to reposition art with regards to its relationship with learning, education and schooling. Here it is argued that art's only choice is to "deschool" learning. The latter is moved by an underlying dilemma as to whether art, considered as an autonomous human act, could ever engage with systems of learning without being turned into a "tool" or a "thing." Unless art education is deschooled, the teaching and learning of art remains trapped between the assumptions of "process" and "product." So the idea of art and education as "shared practices" within schooling remains somewhat dubious unless art's practices are recognised in parts perceived as wholes and where conclusions are marked by open-endedness. No possibilities for art or learning could ever emerge unless a radically different set of conditions give way to a state of affairs where knowledge is a matter to be "discovered" but never "determined," and where a fixed ground is transformed into a wide horizon. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
5. Aesthetic Modernism in the Post-Colony: The Making of a National College of Art in Pakistan (1950-1960s) (EJ815426)
Tarar, Nadeem Omar
International Journal of Art & Design Education, v27 n3 p332-345 Oct 2008
Descriptors: Art Education; Higher Education; Educational Change; Handicrafts; Fine Arts; Painting (Visual Arts); Educational History; Foreign Countries
Abstract: With the formation of Pakistan as a modern Islamic republic in 1947, the institutions of art and design education were transformed under the sway of modernization theories of development. A conceptual and physical infrastructure was put in place to modify existing institutions and to create new ones for encouraging modern art and artists in the country. The 1950s saw major developments taking place in the former Mayo School of Art which was upgraded to the National College of Arts to train designers, artists and architects to meet the requirements of a new nation. The distinction between arts and crafts formed the discourse through which the changes in art education were articulated. The process of change unleashed in art education is emblematic of the changes taking place in the other sectors of economy and culture. The Bauhaus influence which formed the initial impulse to bring artists and craftsmen in the service of national industry gave way to the competing fine art movements in painting resulting in abandoning the synthesis of arts and crafts envisaged in the earlier approaches to art education. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
6. National Art Education Association Strategic Plan: Advancing Art Education, 2007-2010 (ED500536)
N/A
National Art Education Association
2007-07-23
Reports - Descriptive
Descriptors: Professional Associations; Organizational Objectives; Strategic Planning; Visual Arts; Art Education; Access to Information; Professional Development; Advocacy; Communication Strategies; Educational Research; Educational Policy
Abstract: The 2007-2010 strategic plan for the National Art Education Association places a priority on creating a learning organization that will help to advance the mission of the organization and effectively meet the challenges of the 21st century. The plan is guided by four major strategic goals: (1) Learning: Focus on exemplary professional development initiatives that build member capacity to be effective educators, leaders, and advocates for art education; (2) Community: Focus on building a more cohesive professional community among art educators and museum art educators through enhanced communication strategies; (3) Advocacy: Focus on communicating the importance of student learning and lifelong learning in the visual arts to art educators, policy makers, parents, and the community; and (4) Research and Knowledge: Focus on expanding access to information on current and emerging policy issues that affect art education. For each goal, position(s) responsible for meeting targets, timeline, and measures of success are identified. [For the 2004-2007 NAEA Strategic Plan, see ED495938.] Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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7. The Intertextual Method for Art Education Applied in Japanese Paper Theatre--A Study on Discovering Intercultural Differences (EJ783549)
Paatela-Nieminen, Martina
International Journal of Art & Design Education, v27 n1 p91-104 Feb 2008
2008-02-00
Descriptors: Art Education; Art; Cultural Differences; Postmodernism; Evaluation Methods; Art Appreciation; Visual Arts; Visual Stimuli; Asian Culture
Abstract: In art education we need methods for studying works of art and visual culture interculturally because there are many multicultural art classes and little consensus as to how to interpret art in different cultures. In this article my central aim was to apply the intertextual method that I developed in my doctoral thesis for Western art education to explore whether the method would also work from a non-Western point of view. My hypothesis was that it is possible to find local and global differences that arise from selected texts and study them interculturally. As postmodernism calls attention to marginal areas, I applied my method to a form of visual culture that is not well known in the European art education context, the Japanese "kamishibai" which can be translated as Japanese paper theatre. Based on the results, my study will propose a method for understanding visual culture and the multiple relations--local and global--between different cultures. Japanese paper theatre also offers an interesting potential for using visual and verbal stories in the theory and practice of art education. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
8. Machinic Assemblages: Women, Art Education and Space (EJ810230)
Tamboukou, Maria
Discourse: Studies in the Cultural Politics of Education, v29 n3 p359-375 Sep 2008
2008-09-00
Descriptors: Females; Art Education; Womens Education; Womens Studies; Educational Sociology; Social Psychology; Art History; Hermeneutics; Phenomenology; Politics of Education
Abstract: In this paper I explore connections between women, art education and spatial relations drawing on the Deleuzo-Guattarian concept of "machinic assemblage" as a useful analytical tool for making sense of the heterogeneity and meshwork of life narratives and their social milieus. In focusing on Mary Bradish Titcomb, a fin-de-siecle Bostonian woman who lived and worked in the interface of education and art, moving in between differentiated series of social, cultural and geographical spaces, I challenge an image of narratives as unified and coherent representations of lives and subjects; at the same time I am pointing to their importance in opening up microsociological analyses of deterritorializations and lines of flight. What I argue is that an attention to space opens up paths for an analytics of becomings, and enables the theorization of open processes, multiplicities and nomadic subjectivities in the field of gender and education. (Contains 1 figure and 12 notes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
9. Eyes Wide Shut: The Use and Uselessness of the Discourse of Aesthetics in Art Education (EJ766980)
Tavin, Kevin
Art Education, v60 n2 p40-45 Mar 2007
2007-03-00
Journal Articles; Opinion Papers; Reports - Descriptive
Descriptors: Elementary Secondary Education; Aesthetics; Art Education; Discourse Analysis; Aesthetic Education; Art Teachers; Creativity; Art Appreciation; Social Influences; Political Issues
Abstract: The discourse of aesthetics appears repeatedly throughout literature in art education and is employed frequently through K-12 classroom practice. This article discusses the use and uselessness of the discourse of aesthetics in art education. Discourse, as used in this article, refers to the specific term "aesthetics," and all the individual and institutional rules, codes, and conventions for thinking about, discussing, and experiencing aesthetics in art education--in things and in minds. Art educators use the discourse in part to refer to art, artistry, artistic choice, beauty, connoisseurship, creativity, experience, feeling, form, heightened awareness, judgment, meaning, meditation, perception, quality, refinement, reflection, senses, style, taste, and vision. Despite, or perhaps because of its innumerable application and bewildering character, many art educators deploy the discourse to generalize the complexity and richness of all human experiences and cultural products into a single referent--"aesthetics." This author contends that the discourse of aesthetics in art education conceals its history and disavows its politics through its tacit claim of transcendantal common sense and supreme value. He presents a brief history of aesthetics and explains why he considers the discourse of "aesthetic experience" in art education as a vehicle that serves specific social and political interests, while simultaneously masking those interests. He goes to to suggest that the challenge to art education today is to help students and teachers view, interpret, and respond to the world through a language ideally unfettered by the discourse of aesthetics, with all of its loaded categories, ideological baggage, and troubling taxonomies. (Contains 4 endnotes.) Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
10. Winter Art Education Project (EJ776062)
Jokela, Timo
International Journal of Art & Design Education, v26 n3 p238-250 Oct 2007
2007-10-00
Descriptors: Teaching Methods; Foreign Countries; Workshops; Seminars; Continuing Education; Art Education; Environmental Education; Climate; Physical Environment; Community Programs; School Community Relationship
Abstract: The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community-based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know-how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter-oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment-based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project. Note:The following two links are not-applicable for text-based browsers or screen-reading software. Show Hide Full Abstract
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