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1
김해경. "Artists in the Classroom: How Teaching by Artists Benefits students, the School, the Museum and the Artists Themselves." Korean Journal of Culture and Arts Education Studies 7, no. 1 (2012): 201–16. http://dx.doi.org/10.15815/kjcaes.2012.7.1.201.
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Tsardoulias, Christina A. "Establishing and Evolving a Dance Community in Samos, Greece." Congress on Research in Dance Conference Proceedings 2016 (2016): 398–400. http://dx.doi.org/10.1017/cor.2016.52.
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Now celebrating its eleven-year anniversary, Samos School of Dance is the island's first dance school to date. This presentation aims to describe the challenge in offering quality dance education during the current economic recession while balancing aesthetics in concert dance at the isolated location. The school continues to collaborate with local and visiting artists to broaden its venues and audiences. Through volunteering and community service, Samos School of Dance hopes to empower its students to become active artists. The community continues to strive for dance on its shores and for dancers who may choose to search further beyond its waters.
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Low, Bronwen, Mindy R. Carter, Elizabeth Wood, Claudia Mitchell, Melissa Proietti, and Debora Friedmann. "Building an Urban Arts Partnership Between School, Community-Based Artists, and University." LEARNing Landscapes 10, no. 1 (2016): 153–72. http://dx.doi.org/10.36510/learnland.v10i1.726.
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This paper explores a partnership between a high school, university researchers, and community artists in the service of improved student learning, empowerment, and self-expression through the urban arts. The Urban Arts Project partners teachers at James Lyng high school with hip-hop and other urban artists to develop units across the curriculum, supported by subject-area specialists from McGill’s Faculty of Education. In this article, we introduce the project and what we have learned about processes of school reform through cross-sectoral collaboration from the rst year of our partnership. This includes sharing the perspectives of the teachers and artists most actively involved in the rst year’s initiatives (with video interview links).
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Lachapelle, Richard. "The Ottawa Roman Catholic Separate School Board’s Artists-in-Residence Program (1970-1988): One Point of View." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 42, no. 2 (2016): 3. http://dx.doi.org/10.26443/crae.v42i2.5.
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This paper documents an educational artist-in-residence program that was particularly active in some Ottawa Roman Catholic Separate School Board primary schools during the period 1970 to 1988. In schools where space was available, professional artists were assigned studio space as a means to encourage their participation in the day-to-day life of the schools. In exchange, the visual and performing artists offered non-teaching services that included mentoring and participation in stage plays, mural creation and art exhibitions. These activities mainly took place within the framework of the artists' everyday ongoing professional practice.
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Fraser, Lorinda Christine. "The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market." Arbutus Review 8, no. 1 (2017): 4–14. http://dx.doi.org/10.18357/tar81201716809.
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During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.
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Chemi, Tatiana. "Are You Coming Back Tomorrow? Artists' Multiple Voices in Artist/School Partnerships." Teaching Artist Journal 17, no. 3-4 (2019): 106–18. http://dx.doi.org/10.1080/15411796.2019.1680237.
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Zill, Lora H. "Teaching Artists and Local School Boards: Promoting the Arts in Public Education." Teaching Artist Journal 3, no. 1 (2005): 49–51. http://dx.doi.org/10.1207/s1541180xtaj0301_8.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Bowman, Deborah. "Folklife and Education." Practicing Anthropology 7, no. 1-2 (1985): 10–11. http://dx.doi.org/10.17730/praa.7.1-2.t87245726864k271.
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From 1980 to 1983, I served as the Folklife in Education Coordinator for the Ohio Arts Council. The program is an outgrowth of a collaboration between the Folk Arts and the Artists in Education programs, which the National Endowment for the Arts designed to incorporate folk arts and artists into AIE's Artists-in-Residence program. By 1980 twenty-seven states offered some kind of school or community program where folk artists spent a period of days or weeks working with students of all ages. These programs are increasingly popular. Most states now offer residency programs, curriculum materials, and other opportunities for bringing students into closer communion with the folk traditions of their culture or geographic area through state arts agencies, folklife programs or Parks and Recreation departments.
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Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.
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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.
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Taylor, Steven S. "Expertise, Teaching, and Craft." Journal of Management Education 43, no. 3 (2018): 297–303. http://dx.doi.org/10.1177/1052562918822119.
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My vision of the future: The business school is not an architectural masterpiece across the river from the main campus. It now sits squarely in the middle of campus, a slightly worse for the wear place where students of all disciplines come and go. On campus, it is not even called The Business School. Instead, it goes by its nickname, “The School of Getting Shit Done.” Small teams of students are gathered in small conference rooms working on projects to bring the work of the engineers, the artists, and the scientists into the wider world. They build the organizations that allow the rest of the university to have impact and fulfill its mission of benefiting society. This is where the business artists of the future learn their craft as they work with their peers across campus. Like most artists, they learn to work in many mediums, including money and buzz and connection between people. The faculty wander in and out of the business studios, offering practical demonstrations of craft skill, hands-on advice, and critique sessions. And you can feel the energy, you can feel that, indeed, shit is getting done.
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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.
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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
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Bolshakova, Svetlana Evgenievna. "Valaam Monastery School of Painting." Secreta Artis, no. 4 (January 21, 2021): 41–72. http://dx.doi.org/10.51236/2618-7140-2020-3-4-41-72.
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The article is dedicated to the formation of Valaam’s own school of painting for monks and novices of the monastery. This process consisted of several stages connected to both the historical development of the monastery itself, as well as the expanding influence of the Russian Imperial Academy of Arts. The official establishment of the painting school, which trained artists according to academic methods, dates back to the late 19th – early 20th centuries. The entire preceding history of the monastery paved the way for the inauguration of the school. In particular, the monastery gathered a carefully selected collection of engravings and reproductions of famous religious paintings, art manuals, human anatomy atlases and picturesque copies of popular works of art. Construction of the new Transfiguration Cathedral, to be supposedly painted by monastery artists, provided the main impetus for the eventual opening of the school. Gifted Valaam monks Alipiy (Konstantinov) and Luka (Bogdanov), as well as a student of the Russian Academy of Arts, V. A. Bondarenko, taught at the monastery’s school. Among some of the most diligent students of the school were hegumen Gavrill (Gavrilov), the main proponent of its establishment and its trustee, along with monk Fotiy (Yablokov), the future head of the icon painting workshop. The school continued to operate until the monks of the Valaam Monastery were forced to flee to Finland as a result of hostilities that broke out in the archipelago during the Soviet-Finnish war of 1939–1940.
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Beech, Dave. "Book review: Utilitarianism and the Art School in Nineteenth-Century Britain, written by Malcolm Quinn." Historical Materialism 22, no. 2 (2014): 237–56. http://dx.doi.org/10.1163/1569206x-12341358.
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Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy to the art school as the construction of a specifically bourgeois institution of art.
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Lovell, Margaretta M. "The American School: Artists and Status in the Late-Colonial and Early National Era." Journal of American History 104, no. 2 (2017): 481–82. http://dx.doi.org/10.1093/jahist/jax198.
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Apele, Diāna. "THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 15. http://dx.doi.org/10.17770/sie2017vol4.2417.
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Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.
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Veres, Mariia. "PLANNING FEATURES OF SMALL UKRAINIAN SCHOOL SPACES BETWEEN XIX–XX CENTURIES." Space&FORM 45 (March 30, 2021): 305–12. http://dx.doi.org/10.21005/pif.2021.45.e-04.
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This article analyzes the planning features of small school spaces in different regions of Ukraine between the XIX-XX centuries. The main constructive decisions of typical residential architecture which manifested itself in school construction are identified. On the example of Ukraine, we trace a large number of stylistic and planning borrowings from typical residential architecture of the folk artists and architects from different regions, which manifested itself in rural school construction.
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Hillbruner, Fred A. "The automated catalog of the Joan Flasch artists’ book collection at the School of the Art Institute of Chicago." Art Libraries Journal 18, no. 1 (1993): 26–28. http://dx.doi.org/10.1017/s0307472200008191.
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The Flaxman Library at the School of the Art Institute of Chicago started collecting, or rather, receiving artists’ books more than fifteen years ago. Access by author and title having proved inadequate, an automated catalog has been used to access the collection through a range of descriptors (including physical characteristics) since 1988. A prototype of a revised version of this automated system, version 3, is in the process of being developed. Of particular significance, this version, written using FoxPro2 software, will include a file of images of the artists’ books.
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Woets, Rhoda. "THE RECREATION OF MODERN AND AFRICAN ART AT ACHIMOTA SCHOOL IN THE GOLD COAST (1927–52)." Journal of African History 55, no. 3 (2014): 445–65. http://dx.doi.org/10.1017/s0021853714000590.
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AbstractThe formative influence of colonial art education on modern art movements in Africa has not attracted a great deal of scholarly attention. Yet, European art teachers in the Gold Coast challenged colonial prejudice that Africans were incapable of mastering European aesthetic forms. This article analyses the art education provided at the Teacher Training College at Achimota School where pupils learned both to revalue African art forms and to draw and paint in European, representational art styles. Modern artists built on and reshaped what they had learned at Achimota in order to respond to changing social and political conditions. The last section of this article explores the impact of colonial art education on the work of two of the earliest modern artists in Ghana: Kofi Antubam and Vincent Kofi.
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Akhmetova, Dina I. "Kazan art exhibitions of the 19th – 20th centuries as sources of formation of the city’s museum collections." Historical Ethnology 5, no. 3 (2020): 373–87. http://dx.doi.org/10.22378/he.2020-5-3.373-387.
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The creation of an art school in 1895 under the patronage of the Academy of Arts is an important milestone in the life of the Kazan Province center. As a result, Kazan combines various vectors of cultural activities: getting an art education, organizing exhibitions, and uniting the local creative intelligentsia. For the first time, rare but already regular exhibitions are held in the city. Initially, these were exhibitions of the academic school masters of the capital. Later, united by the school, Kazan artists felt up to the task of organizing their own exhibitions. The result of these events is the formation of the school’s museum, as well as the development of the city’s private collections. The City Museum also acquired works of art for its own funds. Artist A. Kandaurov laid the foundation of the school museum and presented two of his paintings in 1896. Afterwards it became a tradition – artists donated their works to the school museum. As a result, in 1902, the school petitioned the Academy “to create a museum and a gallery in the new school building using the stock of the Academy of Arts”. Many of the works purchased at such exhibitions were included in the collection of the Republic of Tatarstan State Museum of Fine Arts. The organization of art exhibitions made Kazan a part of the all-Russian cultural space of those years.
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Boitunova, S. I., S. V. Maksimova, and O. V. Shlykova. "BOOK CULTURE AND ART IN YAKUTIA." Arts education and science 1, no. 1 (2021): 164–71. http://dx.doi.org/10.36871/hon.202101019.
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The work reveals the specific features of book art, which integrates the achievements of artistic means and forms, as well as scientific research. The authors focus on the regional Arctic locus of book art. The article traces the origin of Yakut book illustrations from the first attempts of amateur artists on the pages of the periodical press in the 1920s to the activities of various institutions: the scientific research society "Sakha kehskileh" (1925–1930), the cultural and educational societies "Manchaary" and "Sakha omuk" (1920–1930) and The Union of Soviet Artists of Yakutia (since 1940s), that pioneered the accumulation of cultural practices and development of art trends in the region. The characteristics of the first Yakut artists-illustrators are presented: P. P. Romanov, who created illustrations to the image of the heroic Olonkho epos "Byudyuryubet Myuldzu Bege" and G. M. Turalysov, who illustrated the collection of poems and songs by Ilya Chagylgan "The Rise", thus initiating the development of professional graphic art in Yakutia. The creation of the art school in Yakutsk in 1945, the emergence of publishing houses became a new page in the development of the book graphics in the works of the first graduates of the school — E. Shaposhnikov, E. Shestakov, M. Lukin, O. Kovalevsky, V. Petrov and others. Special attention is paid to creativity of E. S. Sivtsev, the founder of Yakut prints. The First (1958) and The Second (1963) All-Union Exhibitions of prints opened to the public the names of Yakut illustrators. Later A. P. Munkhalov exhibited his series of engravings "My North" at the International Exhibition "Intergraphy — 67" in Berlin, and his engraving "Listening to the World" was included in the German school textbooks. The article also reveals the modern stage in the development of book art, from the activities of "Bichik" publishing house to graduate projects of The Arctic Institute of Culture and Arts and The Yakutsk School of Art.
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Brown, Rebekah Ann, and Elizabeth Ivanoff Holborn. "The Colour Strings Method for the Young Violinist." American String Teacher 44, no. 2 (1994): 53–57. http://dx.doi.org/10.1177/000313139404400222.
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Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in clinics and seminars and by artists-in-residence who are working with students and teachers. She uses both orchestral literature and American fiddle music with students for developing technique. She has also cataloged an extensive list of twentieth-century music for technical studies at all levels of proficiency.
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Crampton, Anne, and Cynthia Lewis. "Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms." English Teaching: Practice & Critique 19, no. 4 (2020): 447–62. http://dx.doi.org/10.1108/etpc-11-2019-0154.
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Purpose This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms. Design/methodology/approach This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities. Findings TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms. Social implications Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning. Originality/value This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.
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Andrews, B. W. "Seeking Harmony: Teachers' perspectives on learning to teach in and through the arts." Encounters in Theory and History of Education 11 (September 27, 2010): 81–98. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2411.
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This inquiry examined teachers' perspectives on learning to teach in and through the arts by administering multiple protocols - a focus group, questionnaire and survey - throughout an integrated arts professional development program involving artists. Findings indicate that when artists are involved in professional upgrading, teachers acquire the confidence to express themselves freely, they are willing to teach the arts in their own classrooms, they realize the potential and value of the arts within the school curriculum, and they develop arts-specific teaching expertise. Further, the teachers' sensitivity to their own creativity and openness to experimentation is heightened, and an awareness of the potential of the arts to develop a student's imagination, intuition and personal expressiveness is developed.
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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.
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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
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Пічкур, Микола. "BINARY SPECIFICITY OF EDUCATIONAL PREPATION OF FUTURE PROFESSIONAL ARTISTS IN A HIGHER VOCATIONAL ART SCHOOL." Psychological and Pedagogical Problems of Modern School, no. 2 (September 17, 2019): 95–102. http://dx.doi.org/10.31499/2706-6258.2.2019.178468.
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Mackler, Stephanie. "The Lone Liberal Artists in the Ed School: Reconnecting Foundations Scholars With the Liberal Arts." Educational Studies 50, no. 2 (2014): 103–22. http://dx.doi.org/10.1080/00131946.2014.880923.
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Wilson, Hope E. "The Picasso in Your Classroom How to Meet the Needs of Talented Artists in Elementary School." Gifted Child Today 32, no. 1 (2009): 36–45. http://dx.doi.org/10.4219/gct-2009-846.
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임채홍, Yang-Soon Hwang, and 장혜윤. "Empirical Analysis on the Effects of the South Korean Support Project for Artists in School Program Support Project Focusing on the Perception of Teaching Artists." Journal of Governmental Studies(JGS) 21, no. 2 (2015): 331–70. http://dx.doi.org/10.19067/jgs.2015.21.2.331.
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Hakala, Juha T., Taru Konst, Kari Uusikylä, and Esa-Matti Järvinen. "The Question of Creativity in the Finnish Elementary School Curriculum." Journal of Studies in Education 7, no. 3 (2017): 209. http://dx.doi.org/10.5296/jse.v7i3.11363.
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This article is intended to examine the role of creative education in the design of the national curriculum and the division of lesson hours during the period 2010-2014. During this process, pupils, private citizens and experts from different fields were given the opportunity to submit their contributions to the exercise. The article intends to examine whether the curriculum development exercise fulfilled the conditions for a wide democratic consultation process. Three professional groups, elementary school teachers, artists (writers, visual arts teachers, musicians) and academic engineers (n= 1163) were the main focus of this research project. Creativity related claims, which were posted on the internet, were presented to the research subjects. The results from the study indicated that in many respects, the subjects’ concept of creativity and creative education differed statistically from each other considerably. The views from the teachers and artists revealed that creativity is seen as a source of joy and wellbeing. Engineers tend to view creativity from its utilitarian perspective, particularly with reference to product development and innovation. The results also reveal the challenges of developing a national curriculum through a wide democratic consultation process, an apparently simple exercise, which however failed in its objectives and intentions.
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Nelson, Adele. "The Bauhaus in Brazil: Pedagogy and Practice." ARTMargins 5, no. 2 (2016): 27–49. http://dx.doi.org/10.1162/artm_a_00146.
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This article analyzes the rhetorical and discursive resonance of the claims by artists and art professionals in Brazil in the 1950s of a connection to the Bauhaus. I examine the curricula of two new art schools established in São Paulo and Rio de Janeiro, emphasizing the role of central figures, including Mário Pedrosa, and the works by artists trained at the schools, and study paintings by Lygia Clark that in part elicited Alfred H. Barr, Jr. in 1957 to dismiss Brazilian contemporary art as “Bauhaus exercises.” Rather than a case of imitation, as Barr suggested, Brazilian actors transformed Bauhaus ideas, mediated by Cold War re-interpretations of the German school and its approaches to artistic education, to articulate tactics of citation and adaptation and to assert a non-derivative, radical conception of modernism.
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Authors and Artists, Multiple. "Soft Walls." ti< 10, no. 1 (2021): 2–8. http://dx.doi.org/10.26522/ti.v10i1.2748.
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Catalogue of art exhibition Soft Walls at City Hall, St. Catharines, Ontario.
 Artists and authors from the Centre for Studies in Arts and Culture (STAC) and the Department of Visual Arts (VISA), Marilyn I. Walker School of Fine and Performing Arts, Brock University.
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Hudson-Miles, Richard, and Andy Broadey. "‘Messy Democracy’: Democratic pedagogy and its discontents." Research in Education 104, no. 1 (2019): 56–76. http://dx.doi.org/10.1177/0034523719842296.
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This paper reflects on a recent participatory installation by the artists’ collective @.ac, entitled Messy Democracy, as a case study to raise questions concerning the ‘distribution of the sensible’ within the neoliberal art school. The project set up a quasi-autonomous artists’ space within Hanover Project gallery 9 April–3 May, 2018 at University of Central Lancashire, Preston. This exhibition functioned as a space of collective pedagogy, co-labour and ‘dissensus’ situated in relation to the wider operation of the department of Fine Art. It also sought to operate as a critical alternative to contemporary models of the art school, rooted in notions of usefulness and romantic self-realisation, but re-structured in the service of ‘commodification’ and ‘financialisation’ in wake of the Browne Report (2010). Most importantly, Messy Democracy represented a ‘theatocractic’ ‘undercommons’ for alternate and counter-hegemonic subjectivities to emerge. However, hierarchical logics, resulting from the hegemonic ‘distribution of the sensible’ stubbornly persisted even within this nascent pedagogic democracy.
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Giuffre, Liz. "Top of the Tots: The Wiggles as Australia's Most Successful (Under-Acknowledged) Sound Media Export." Media International Australia 148, no. 1 (2013): 145–54. http://dx.doi.org/10.1177/1329878x1314800116.
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The Wiggles produce hugely successful CDs, DVDs and interactive entertainment for pre-school children. They are Top of the Tots, as their 2004 album of the same name proclaims. However, the artists have been largely overlooked by the popular music and media academies. I argue that this omission can be attributed to problems of categorisation, particularly existing frameworks in television studies that limit how we gauge ‘quality entertainment’ and its audience; and in popular music and sound studies traditions that are yet to formally engage with listeners who are of pre-school age. The Wiggles are artists whose target audience historically has been overlooked by sophisticated, diverse and evolving academic traditions. As a result, their pioneering cross-media and international successes have largely been ignored. In this article, I seek to explore The Wiggles in terms that go beyond the narrow parameters of ‘children's entertainment’, offering more ‘grown-up’ ways to understand the group's success.
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Ovsyannikova, Elena, and Vladimir Shukhov. "Phenomenon of the Russian Avant-garde. Moscow Architectural School of the 1920s." For an Architect’s Training, no. 49 (2013): 22–27. http://dx.doi.org/10.52200/49.a.hm02emc3.
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he phenomenon of the Russian Avant–garde architecture formed under the influence of the Moscow Higher School of Architecture and Art is today widely known by the name of VKHUTEMAS. This school is mentioned in the context of professional activity of the artists and architects who also worked in other institutes, but who had creative links. In the limelight is Nikolai Ladovsky, creator of the introductory course on architectural composition, lecturing along with many authoritative Moscow utilitarian architects, such as Alexander Kuznetsov, Vesnin brothers and others.
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Melekhova, Xenia A. "Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 64–74. http://dx.doi.org/10.17816/vgik10164-74.
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The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.
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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Ioannidou, Martha. "Artists as Inviting Personalities for Self Exploration and Social Learning at School." European Journal of Social Sciences Education and Research 11, no. 2 (2017): 52. http://dx.doi.org/10.26417/ejser.v11i2.p52-58.
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In today’s increasingly fast-paced societies, undergoing reformation in the aging schooling systems in order to prepare children to subdue the high amounts of pressure and stress and lead productive lives seems to be moving slowly, compared to the unexpected rhythms of the socio-economic changes. In that context a programme has been created at the School of Primary Education, based on the belief that art shouldn’t rest only in the frame, but become itself a frame of the children’s experiences, a means for self-exploration, enhancing at the same time social learning and cultural responsiveness in schools. At current stage we explore whether and how artists as inviting personalities can become an example to children for building their own identity, while opening widely the borders of relating effectively to others or to life’s varied phenomena, as they learn how to communicate the subtleties of who they really are and what they believe in ways that words usually fail to fully capture. Children are asked to choose as a self-companion through their school year an artist, who greatly benefited from the arts’ unique power as a tool for shedding light on his/her self-knowledge and for overcoming difficulties as well as a means of fostering meaningful connections with his/her social and cultural environment. Curricular goals and learning units are approached by adapting innovative and effective teaching practices through the arts, based on the life and work of the artists children have chosen.
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Hackett, Abigail, Steve Pool, Jennifer Rowsell, and Barsin Aghajan. "Seen and unseen: using video data in ethnographic fieldwork." Qualitative Research Journal 15, no. 4 (2015): 430–44. http://dx.doi.org/10.1108/qrj-06-2015-0037.
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Purpose – The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community. Design/methodology/approach – At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings. Findings – In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved. Originality/value – By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.
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Ey, Lesley-Anne, and C. Glenn Cupit. "Primary School Children's Imitation of Sexualised Music Videos and Artists." Children Australia 38, no. 3 (2013): 115–23. http://dx.doi.org/10.1017/cha.2013.15.
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Music media contains high levels of sexual content and children spend a considerable amount of time interacting with it. This poses the question as to whether children internalise and imitate the sexual behaviours displayed by music artists. This study observed the self-presentation of 366 children aged 5–14 years at two Australian primary school discos. Children of all age groups were directly imitating both sexual and non-sexual dress and behaviours seen in contemporary music videos. Approximately one third of children observed presented in a sexualised way, which suggests children more broadly may be adopting sexualised behaviours at an early age. The prevalence and nature of sexualised behaviours by children, and the impact of this on children's socio-sexual development, are matters requiring further investigation.
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Klütsch, Christoph. "Computer Graphic—Aesthetic Experiments between Two Cultures." Leonardo 40, no. 5 (2007): 421–25. http://dx.doi.org/10.1162/leon.2007.40.5.421.
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The author presents a summary of his research on the Stuttgart School and information aesthetics as developed by Max Bense in the 1950s and 1960s. Three artists, Frieder Nake, Georg Nees and Manfred Mohr, adopted the use of information aesthetics in computer graphics. The author investigates the relation between artistic practice and aesthetic theory.
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Tanieva, Guldona M., and Anvar G. Tadzhiev. "ART OF MINIATURE IN CENTRAL ASIA AND ITS HISTORICAL DEVELOPMENT." JOURNAL OF LOOK TO THE PAST 4, no. 8 (2021): 66–73. http://dx.doi.org/10.26739/2181-9599-2021-8-9.
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In present research is said about the steps of development of one of the kind of arts such as miniature in Central Asia, its specific aspects Forming of the Central Asian schools of miniature, about the role of the masters of Amir Timur's times and times of his descendantsand their influence on the school of miniatures of such countries as Turkey, Iran, Azerbaydjan in the 16-19 centuries.The article also provides information on students from the famous artists of their time and their works created in their art schools and their own paintings (miniature).Index Terms:Central Asia, fine arts, east, miniature, school, artist, Movaraunnahr, Herat, Samarkand, tradition, painting
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Nieroba, Elżbieta. "O potrzebie dialogu. Koncepcja zwrotu edukacyjnego w sztuce." Kultura i Społeczeństwo 61, no. 1 (2017): 135–55. http://dx.doi.org/10.35757/kis.2017.61.1.7.
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This article is about the educational turn in contemporary art. At present, many artists are interested in educational projects—the planning of events in which education is not reduced to an auxiliary role (as is traditional with an exhibition). Simultaneously, however, the artists distance themselves from the school system and are attempting to experiment with education, treating it as an autonomous, alternative cultural practice. The author describes the traits and circumstances of this artistic phenomenon (above all, transformations in the field of socially engaged art, and criticism of the idea of a knowledge-based economy). She analyses the role of pedagogical methods and ideas in artistic and curating practices, while focusing primarily on methods of using dialogue in artistic projects.
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.
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Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artists were established in all the important art centers of the country and an atmosphere of wash painting was created all over the country. In such a situation, after the Bengal School, Lucknow has emerged as the second center for wash depictions. Here, another developed form of wash came out, where opaque or opaque colors were used in Bengal, whereas in Lucknow it was avoided. The technique of wash painting was originally introduced by Avindnath Thakur in Calcutta. Some of his subjects were appointed in Lucknow Arts and Crafts College, thus the technique was further developed in Lucknow and later all these artists worked in this medium and developed it in which Arpit Kumar Haldar, Abdul Rahman Chughtai, LM Sen and Badrinath Artists like Arya kept experimenting with watercolor in the wash method.
 भारतीय आधुनिक कला की प्रारंभ 19वीं सदी के मध्य से मानी जाती है। जब अंग्रेजी शासक ने यूरोपियन कला में भारतीय कलाकारों को प्रशिक्षित करने के लिए मद्रास, कलकत्ता, मुंबई, लाहौर व लखनऊ में कला महाविद्यालय स्थापति करने का निर्णय लिया। इन कला महाविद्यालयों ने स्वाभाविक अंग्रेजी पद्धति से चित्रण करने वाले अंग्रेजी कलाकारों की नियुक्ति हुई। इसी दौरान जापान के कलाकार हिदिसा और ताईकान कलकत्ता आए जिन्होंने वाॅश पद्धति का प्रषिक्षण भारत में सर्वप्रथम अविन्द्रनाथ ठाकुर को दिया और इसी प्रकार भारत में वाॅश पद्धति का जन्म हुआ। जब भारतीय वाॅश पद्धति की बात आती है तो सबसे पहले बंगाल स्कूल का एक ऐसा वातावरण समाने आता है जिससे प्रशिक्षित होकर कलाकार देश के सभी महत्वपूर्ण कला केन्द्रों में स्थापित हुए और वाॅश चित्रण का एक वातावरण पूरे देश में सृजित हुआ। ऐसे में बंगाल स्कूल के बाद लखनऊ वाॅश चित्रण के लिए दूसरे केन्द्र के रुप में उभरा। यहां पर वाॅश का दूसरा विकसित रुप सामने आए जहां बंगाल में अपारदर्शी या अल्पदर्शी रंगों का प्रयोग हुआ वहीं लखनऊ में इससे बचा गया। वाॅश चित्रकला की तकनीक प्रारंभ मूलतः अविन्दनाथ ठाकुर ने कलकत्ता में किया था। उनके कुछ विषय लखनऊ कला एवं शिल्प महाविद्यालय में नियुक्ति हुए इस प्रकार वह तकनीक लखनऊ में और विकसित हुई तथा बाद में इन सारे कलाकारों ने इस माध्यम में काम करते हुए इसका विकास किया जिसमें आर्पित कुमार हालदार, अब्दूल रहमान चुगताई, एल0 एम0 सेन व बद्रीनाथ आर्य जैसे कलाकारों ने जलरंग से वाॅश पद्धति में प्रयोग करते रहे।
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Temmerman, Nita. "Children's participation in music: connecting the cultural contexts – an Australian perspective." British Journal of Music Education 22, no. 2 (2005): 113–23. http://dx.doi.org/10.1017/s0265051705006091.
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The cultural contexts of home, school and community all have important parts to play in the music education of children, but at present in Australia, these three entities are insufficiently connected on a number of fronts, not the least being an understanding about the purpose(s) of young people's engagement with music. This paper puts forward two specific proposals for action aimed to help build linkages among the three cultural contexts and ensure young people's on-going engagement with music. These proposals, which call on the education sector to assume leadership for action, have implications for policy makers, school personnel, as well as parents, individual artists and community arts organisations.
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Enns, Ed. "Math is Beautiful." Teaching Children Mathematics 21, no. 2 (2014): 73–76. http://dx.doi.org/10.5951/teacchilmath.21.2.0073.
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Each month, elementary school teachers have access to a problem along with suggested instructional notes. Teachers are asked to use the problem in their own classroom and report solutions, strategies, reflections, and misconceptions to the journal audience. This month's task focuses on how stained-glass artists repeat geometric shapes in interesting ways to create their beautiful designs.
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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.
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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversation was directed toward defining work and nonwork for men — specifically for white men. Tramping came to be viewed as an affliction of both mind and body, with writers, politicians, and reformers seeking to define the tramp and then theorizing how to put these newly codified bodies to work.Some of the most complex images of joblessness from this period were produced by the Ashcan school of artists, who frequently portrayed jobless men in their paintings and drawings. The Ashcan school, a group of six realist painters who lived and worked in New York City from 1900 to the First World War, established a national reputation as radicals rebelling against what they argued was a conservative artistic community woefully out of touch with modern American life. Ashcan artists depicted what they claimed to be the realities of the city around them — busy streets, shopgirls, ethnic communities, construction workers, and prostitutes, as well as tramps. John Sloan's The Coffee Line, 1905 (Figure 1), is typical of the kinds of images that Ashcan artists produced. The scene is a snowy winter's night in New York with a band of men in line to get a free cup of coffee. Jobless men are the stars here; unwitting leads in Sloan's slice of New York City life. The painting did much to communicate nationally a visual image of the tramp in New York City; it won honorable mention in 1905 at the Carnegie Institute International Exposition and was then exhibited in Chicago; Spartanburg, South Carolina; Dallas; and Seattle.
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Frawley, Jack. "Stand Up My Country, Stand Up! Aboriginal Views on Education Since Colonisation." Australian Journal of Indigenous Education 20, no. 5 (1992): 14–23. http://dx.doi.org/10.1017/s0310582200005459.
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Aboriginal artists, authors and songwriters have expressed their thoughts and experiences about Aboriginal education through plays, poems, short stories, novels and songs. Their views cover a broad spectrum of educational issues that focus on educational experiences since contact, the teaching of traditional Aboriginal knowledge as part of the school curriculum, and other issues in both ways education.
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Sliwinska, Maria. "Discovering intercultural relations in the digital age with school students. A few Polish-Italian cases." DigItalia 16, no. 1 (2021): 82–88. http://dx.doi.org/10.36181/digitalia-00027.
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This article briefly presents how the implementation of ICT in cultural institutions has improved education and research. The article emphasizes discovering the activity of Italian artists in Poland, thanks to digitization, which was carried out with particular intensity in the last two decades. Digitization has become a great achievement thanks to the funding of numerous international projects by the European Commission. Special recognition in this action should be given to Rossella Caffo and her team, under whose guidance the plan for the coordination of digitization in Europe and numerous detailed projects were created. In addition to the millions of digitized objects sent to Europeana, the project teams also developed several programs. One of them, MOVIO, software for virtual exhibitions, began to be used in projects with Polish schools. One of the virtual exhibitions was devoted to Elwiro Michał Andriolli, an outstanding artist of Italian origin. The exhibition was prepared on the basis of digitized materials available on Polish websites and in Europeana, where we also found unique French and Lithuanian materials. Unfortunately, no Italian objects were found there. We plan to continue searching for the achievements of Italian artists in Poland, in the CrowdSchool project (Creative Learning at School thanks to a collaborative Crowdsourcing Annotation Process), whose aim is to prepare didactic materials useful in distance learning and intercultural connections. Close cooperation is planned here between a Polish secondary school from Jarosław, interested in architecture, and a Liceo Artistico from Bologna.