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Relevant bibliographies by topics / Artists in education

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Academic literature on the topic 'Artists in education'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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Journal articles on the topic "Artists in education"

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Franc, Małgorzata. "Training of Artists or Artisans?" ART Space, no. 3 (2018): 8–11. http://dx.doi.org/10.28925/2519-4135.4.2018.3.2.

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The article analyses the situation in Polish art education after 1990. It is indicated that higher art education in Poland can be obtained in eighteen universities and five affiliates in eleven Polish cities. The complex situation of higher art education is examined. The role of applied arts is noted.

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Yu, Sang-Min, and Yun-Suk Lee. "A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists." Korea Association Of Cultural Economics 27, no. 1 (2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Sal

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Hill, Tony. "Education and Artists." Circa, no. 25 (1985): 30. http://dx.doi.org/10.2307/25557029.

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Balaišytė, Lina. "Dailininkas XVIII amžiuje: karjeros galimybės." Lietuvos Didžioji Kunigaikštystė Luomas. Pašaukimas. Užsiėmimas, T. 5 (November 14, 2019): 229–53. http://dx.doi.org/10.33918/23516968-005011.

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THE ARTIST IN THE EIGHTEENTH CENTURY: CAREER OPPORTUNITIES The article is dedicated to discussion about the opportunities artists had in the eighteenth-century Grand Duchy of Lithuania, what factors were defining artist’s career and his valuation and how it changed along with social and cultural shifts in the country. Historical sources retain names of around 700 artists that worked in the eighteenth-century Grand Duchy of Lithuania. The artists belonged to a peculiar inter-estate stratum with significant differences in education, social and economic situation. Majority of artists lived and wo

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Shields, Alison Lea, Ingrid Mary Percy, and Teresa Vander Meer-Chassé. "Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program." Canadian Review of Art Education 48, no. 1 (2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.

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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an

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Estevez, Lisandra. ":The Artist as Reader: On Education and Non-Education of Early Modern Artists." Sixteenth Century Journal 45, no. 1 (2014): 175–77. http://dx.doi.org/10.1086/scj24247511.

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Wickland, Shea B., Chelsea A. Tafoya, Ashley L. Miller, Nayla G. Kazzi, and Arno K. Kumagai. "Artists’ Statement." Academic Medicine 89, no. 7 (2014): 1074. http://dx.doi.org/10.1097/acm.0000000000000309.

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Perelstein, Elizabeth, Hong-Gam Le, Sean Huff, Leo Greenstone, and Arno K. Kumagai. "Artists’ Statement." Academic Medicine 90, no. 1 (2015): 53. http://dx.doi.org/10.1097/acm.0000000000000573.

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Sarmiento, Cristina, Kevin Schmidt, and Arno K. Kumagai. "Artists’ Statement." Academic Medicine 90, no. 6 (2015): 737. http://dx.doi.org/10.1097/acm.0000000000000730.

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Dissertations / Theses on the topic "Artists in education"

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Cole, Anne. "Partnerships : dance artists in education." Thesis, University of Surrey, 1993. http://epubs.surrey.ac.uk/804777/.

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Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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<p> David Mamet's book of essays <i>True and False: Heresy and Common Sense for the Actor</i> boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my M

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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.

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Thesis (Ed.D)--Teachers College, Columbia University, 1991.<br>Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).

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Kercheval, Aaron. "On the uses and abuses of the teacher-as-artist metaphor the responsibilities of educating teachers as artists /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3206868.

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Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0081. Advisers: David Flinders; Luise McCarty. "Title from dissertation home page (viewed Feb. 8, 2007)."

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Bauer, Christine, and Christine Strauß. "Educating artists in management: an analysis of art education programmes in DACH region." Taylor & Francis Group, 2015. http://dx.doi.org/10.1080/2331186X.2015.1045217.

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Labour force in the art sector is characterised by high qualification, but low income for those people who perform the core contribution in art, i.e. the artists. As artists are typically self-dependent in managing their business, they should have managerial skills besides those skills necessary to perform their artistic core activities. If the lack of managerial skills is a reason why artists fail to make a living from their talent, then this chain of cause and effect could be ruptured by adequate educational opportunities. This paper analyses the curricula of a wide range of institutions off

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McNeal, Joanne Carolyn. "Western Arctic women artists' perspectives on education and art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25113.pdf.

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Molaeb, Jamil Hammoud. "Artists and art education in time of war, Lebanon /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687173272.

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Sions, Hannah. "TEACHING ABOUT RACIALLY DIVERSE ARTISTS AND CULTURES." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5795.

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Art education scholars have redefined multicultural teaching practices to include a need for addressing social inequities. To understand art educators’ multicultural teaching practices, it is important to measure the extent to which they present cultural diversity in the classroom and present a racially diverse pool of artists. The purpose of this this quantitative, nonexperimental study was to measure the extent to which practicing K–12 art educators who are members of the National Art Education Association (NAEA) engage students with racially diverse artists and cultures within their curricu

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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.<br>Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).

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Stevelt, Kelly A. "Professionalization of Studio Glass Artists." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.

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Books on the topic "Artists in education"

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Mason, Rachel M. Artists in education: Training project. De Montfort University, 1993.

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Illsley, Roy A. Artists in education: Training project 1. De Montfort University, 1991.

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Rod, Taylor, and Turnpike Gallery, eds. Artists-in-education: The Wigan initiative. Turnpike Gallery, 1987.

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Thomas, Sue. Artists in education: Training project 2. De Montfort University, 1993.

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Thomas, Sue. Artists in education: Training project 1. De Montfort University, 1992.

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Council, Illinois Arts. Arts-in-education roster artists showcase. Illinois Arts Council, 1997.

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Oddie, David. Artists in schools: A review. Stationery Office, 1998.

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Paul, Hetherington, Wimbledon School of Art, and Tate Gallery, eds. Artists in the 1990s: Their education and values. Wimbledon School of Art in association with Tate Gallery, 1994.

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Hockey, Sandra. Dance and mime artists in education: A report. Arts Council, 1987.

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Robert, Kelly, and Leggo Carleton Derek 1953-, eds. Creative expression, creative education: Creativity as a primary rationale for education. Detselig Enterprises, 2008.

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Book chapters on the topic "Artists in education"

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Clover, Darlene E. "Feminist Artists and Popular Education." In Feminist Popular Education in Transnational Debates. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137014597_12.

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Wilson, Jenny. "Beyond Equivalency: Repositioning Artistic Research Within Higher Education." In Artists in the University. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5774-8_10.

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Wang, Yue. "Globalization’s Influence on Artistic Vision: Perspectives from Diverse Artists." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-259-0_19.

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Mateus-Berr, Ruth. "Artists as Translators in Societal Turns." In The Future of Education and Labor. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26068-2_10.

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Garces-Bacsal, Rhoda Myra. "Finding Flow in Artistic Skill and Technique: Narratives of Young Artists-in-Training in Singapore." In Education Innovation Series. Springer Singapore, 2013. http://dx.doi.org/10.1007/978-981-4560-55-9_18.

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Shahab, Palvasha. "The Land of Mourning: A Conversation with Adeela Suleman." In Interdisciplinary Studies in Human Rights. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73835-8_7.

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AbstractAdeela Suleman is a globally celebrated artist and sculptor. She was front and centre of the artists’ response to the Ali Enterprises Factory Fire of 2012. Under her leadership, the Vasl Artists’ Association sent out a call for submissions to artists across Pakistan and the overwhelming response was curated in the form of the exhibition titled: ‘Awaaz Baldia Factory Inferno: Artists Respond’ which was hosted by the Arts Council of Pakistan in February 2013. Her monument dedicated to those who lost their lives in the fire was also part of the one year anniversary of the fire has been pl

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Pindah, Chrisna, Mohd Zaki Fadil, and Mohd Faizol Haini. "Art Appreciation: An Introduction to Artistic Creativity Contemporary Artists of Sabah." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015). Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_28.

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Lehikoinen, Kai, Anne Pässilä, and Allan Owens. "Conflicting professional identities for artists in transprofessional contexts." In Expanding Professionalism in Music and Higher Music Education. Routledge, 2021. http://dx.doi.org/10.4324/9781003108337-7.

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Ridder-Vignone, Kathryn de. "Art, artists, and the wrong kind of science education." In Routledge Handbook of Art, Science, and Technology Studies. Routledge, 2021. http://dx.doi.org/10.4324/9780429437069-22.

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Meyer, Torsten. "A New Sujet/Subject for Art Education." In Post-Digital, Post-Internet Art and Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_8.

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AbstractFor some years now, fundamental ideas of newer theoretical trends in the context of Actor Network Theory have been leaking into the minds of that generation of (post-internet) artists who no longer regard the radical change in the socio-technical conditions of digital media cultures as something special or new. These trends are also leaking into the theories of the subject and thus also into the theory(s) of art education. This coincides with the assumption that the humanistic conception of the human individual as a subject, and the associated understanding of education in modernity, n

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Conference papers on the topic "Artists in education"

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Svansson, Einar. "THE BEAUTY OF GARBAGE_ART OF PHOTOGRAPHY MEETS ENVIRONMENTALISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.21.

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Artists and university professors face an increasingly complex environment. There is access to abundance of information and the AI revolution helps everyone to deliver more detailed and structured knowledge. This is an opportunity to try new methods and novel combinations in the artistic and learning processes and use more diverse ideas and methods. We want to highlight the development in recent years in our personal life in Iceland in the use of photography in this context. It all started in the Covid-19 pandemic crisis with lockout and exile at home. The parents of the university professor f

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Wright, Dr Angela. "Artist Graduates: Are they ready to do Business?" In HEAd'16 - International Conference on Higher Education Advances. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.

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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business &amp; commerce, only as a creative space. This research study investigates if there is a

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Freitas, Olga, Maria Ramalhosa, Cristina Soares, et al. "ARTISTS CONNECTION BETWEEN RECYCLING AND ENVIRONMENTAL EDUCATION." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.2613.

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Sabri, Indar, Muhammad Jazuli, Totok F, and Autar Abdillah. "Teaching system for pantomime artist Jemek Supardi for prospective Pantomime artists in Yogyakarta." In Proceedings of the 5th International Conference on Science, Education and Technology, ISET 2019, 29th June 2019, Semarang, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.29-6-2019.2290417.

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Li, Jueyun. "Homeless Existence of Floating Artists in Nocturnes." In 2nd International Conference on Education, Management and Social Science (ICEMSS 2014). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemss-14.2014.31.

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Vogt, Alexis. "Calling all artists, musicians, gamers, chefs, mechanics, and athletes." In Education and Training in Optics and Photonics. OSA, 2021. http://dx.doi.org/10.1364/etop.2021.th1a.2.

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Liu, Haiyang, WenQi Lv, Xiao Ma, and Zhaohui Chen. "Rescaled PageRank Algorithm on the Influence of Artists." In 2021 2nd International Conference on Big Data and Informatization Education (ICBDIE). IEEE, 2021. http://dx.doi.org/10.1109/icbdie52740.2021.00084.

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Mokina, A. Y. "MASTER CLASS AND EXHIBITION ACTIVITIES AS AN INCREASE IN THE MOTIVATION OF STUDENTS ' TRAINING IN THE DIRECTION OF DECORATIVE AND APPLIED ARTS AND CRAFTS." In INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION. DSTU-Print, 2020. http://dx.doi.org/10.23947/itno.2020.226-229.

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The article examines the issues of modern pedagogical science in the field of art education, namely, in the preparation of artists of decorative and applied arts. The actual issue of students ' motivation to the educational process and further creative professional activity is considered in the article through the formation and organization of the educational environment on the example of the Department of Decorative and applied arts of the Southern Federal University.

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Draghici, Maria. "Transpedagogy." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.32.

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What does school mean today? A place, an institution, a situation, a circumstance, a socio-cultural context, an attitude, a corpus of mobile ideas and practices or a constellation of all transference relations in obtaining, inventing and accumulating knowledge? In the last decade, we are witnessing a crisis of the school, in which the philosophy of education follows or is influenced by the current structure of the neo-liberal market, imposing in the education system the same two distinct categories: market owners and consumers (clients). Simultaneously, artists, philosophers and activists are

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Rusu, Alexandra, and Dragos Gheorghiu. "BLENDED LEARNING PRACTICES IN ARTISTIC EDUCATION. THE "TIME MAPS" PROJECT EXPERIENCE." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-269.

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Over the past decade the online learning options have increased, they became more accessible and popular, thus determining higher education institutions to adapt their curriculum to incorporate the new educational paradigm. Blended education either made the transition between the traditional learning practices and the online learning or emphasised the need to balance the two opposites: face-to-face (in classroom) and online education. It shifted the perspective on a more complex student-centred education, acknowledging the differences in needs, environments and learning spaces required. In the

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Reports on the topic "Artists in education"

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Näslund-Hadley, Emma. An Equal Start: Numeracy Education in Latin America and the Caribbean. Inter-American Development Bank, 2010. http://dx.doi.org/10.18235/0005962.

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This art exhibit, held at IDB's headquarters on June 7-11, 2010, embodies the hope and aspiration that all students will gain a level of numeracy essential for successful participation in school, work and everyday life. The artworks on exhibit were selected from over 250 pieces submitted by artists representing nineteen Latin American and Caribbean countries. The exhibition constitutes the visual launch of a new IDB effort focused on implementing policies that help children reach their full potential in mathematics and natural science.

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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draw

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Gattenhof, Sandra, Ulvund Marit, and Cecilie Haagensen. #YoungArt and Future Skills Report. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244541.

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#Youngart & Future Skills research project had two main foci. One was to develop and investigate models for collaboration between the art and education sectors, and the second to inquire whether the art programs and teacher/artist collaboration promotes the future skills of Creativity, Collaboration, Critical Thinking, and Communication. Two art programs were carried out in Norwegian secondary schools in 2022 and 2023. Art program A was developed by a theater company in collaboration with a teacher and four artists in a large secondary school class with 45 students in Trondheim. Art progra

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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, 2022. http://dx.doi.org/10.51163/creative-gen009.

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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and yo

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Brooks, Vincent K. Knowledge is the Key: Educating, Training and Developing Operational Artists for the 21st Century. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada254124.

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De Jesús, Dyanis, Alejandra Luzardo, and Michelle Pérez. Orange Economy: Innovations you may not know were from Latin America and the Caribbean. Inter-American Development Bank, 2017. http://dx.doi.org/10.18235/0006354.

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Who would have said that in the hands of creatives, designers, artists and entrepreneurs would be part of the response to the development challenges of Latin America and the Caribbean? This report is part of the Inter-American Development Bank's (IDB) Demand Solutions: Ideas for Improving Lives, which aims to give visibility to the region's creatives and to position creativity as an integral element of economic and social development. In 2015 the cultural and creative industries (CCI), which are part of what the IDB calls the Orange Economy, generated 1.9 million jobs in Latin America and the

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce

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Nezhyva, Liudmyla L., Svitlana P. Palamar, and Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], 2020. http://dx.doi.org/10.31812/123456789/4415.

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The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work

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Reséndiz, Diana, and Áurea Esquivel, eds. Almanaque extraordinario de experiencias comunitarias. Chair Magdala López Ramírez. Universidad Nacional Autónoma de México, Centro Cultural Universitario Tlatelolco, 2021. http://dx.doi.org/10.22201/ccut.001r.2021.

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Almanaque: Del árabe المناخ)pr.al-manakh) ‘calendario’, derivado del árabe “munakh” que significa ‘parada de un viaje’, ‘descanso’. Es aquí donde nos proponemos hacer una pausa para revisitar el camino recorrido y reunir las experiencias que al paso del tiempo hemos atesorado como extraordinarias. Estás por recorrer un proyecto editorial colaborativo que celebra los primeros diez años de la Unidad de Vinculación Artística (UVA). Diez años que se expresan en 10 fanzines o números donde cada uno representa una arista desde donde mirar esta primera década. Ubicada en el corazón de Tlatelolco, la

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of

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