Relevant bibliographies by topics / Children as artist

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Children as artist'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Children as artist"

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Smith, Victoria F. "Exhibiting Children." Journal of Juvenilia Studies 1 (July 4, 2018): 62–81. http://dx.doi.org/10.29173/jjs101.

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This intimate exchange between real children and the stories we tell about them is at the fore of juvenilia studies, as scholars examining texts children produce must balance attention to the young person as author or artist with a critical awareness of systems of publication, reception, and analysis that are typically managed by adults. The focus of this paper is an investigation into the challenges of researching and writing about child-produced culture amid the often-overpowering constructs of childhood that surround it, taking two young artists as case studies: Daphne Allen, and Pamela Bianco, whose work can be challenging to access in ways that arise in part from the idiosyncrasies of their cultural moment, understood here as one that combined lingering Romanticism and burgeoning modernism. Analysis of the two child artists suggests that both were savvy and self-aware in negotiating, through their art, the discourses that surrounded them; it also presents methodologies that may be useful to other scholars in the field of juvenilia studies more broadly.
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McCracken, Penny. "Sculptor Mary Thornycroft and Her Artist Children." Woman's Art Journal 17, no. 2 (1996): 3. http://dx.doi.org/10.2307/1358460.

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Fitzsimmons Frey, Heather. "A Small Festival for Small People." Theatre Research in Canada 40, no. 1-2 (2020): 64–82. http://dx.doi.org/10.7202/1068258ar.

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The WeeFestival, English Canada’s first performance festival dedicated to children from ages 0 to 5, acts as an advocate for the early years demographic and for the artists who create for them through three key elements of festival structure: programming, space, and creative/artistic exchange. Engaging with research by Ben Fletcher-Watson, Lise Hovik, Matthew Reason, and Adele Senior, this article uses company archives, artist interviews, and the writer’s personal experiences to analyze how the WeeFestival temporarily establishes an alternative public sphere that challenges policy-makers, funders, and artists to rethink relationships between arts, very young citizens, and urban life. Even though very young citizens may not initially know that they want to experience art, the festival attends to the interests and responses of young people, demonstrates respect for their capacity to be emotionally and intellectually engaged by artful and thoughtful productions, and establishes festivalized spaces that put an alternative public sphere into action, gesturing to the possibility of real social change. Taking into account the significance of programming for artists, educators, and policy-makers alongside the significance of meaningful audience-artist exchange, the analysis suggests that events like the WeeFestival have the capacity to gently shift how urban dwellers perceive very young children and the way they interact with the arts in daily life.
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Mayor, Susan. "Artist consults children over works for new centre." BMJ 336, no. 7641 (2008): 410.4–410. http://dx.doi.org/10.1136/bmj.39496.664398.db.

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Walshe, Nicola, Elsa Lee, and Millie J. Smith. "Supporting Children’s Well-being with Art in Nature: Artist Pedagogue Perceptions." Journal of Education for Sustainable Development 14, no. 1 (2020): 98–112. http://dx.doi.org/10.1177/0973408220930708.

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There is increasing concern about children’s mental well-being and an urgent need for research into how to support positive mental health; including as part of the United Nations Sustainable Development Goals (SDGs). Alongside this is the heightened awareness about diminished access to green spaces and diminished exposure to the arts for children. Our research aims to show the potential for addressing these three issues in tandem through a qualitative case study exploring the work of one charity, Cambridge Curiosity and Imagination (CCI). The charity undertakes arts-based projects in nature with children. In particular, this article considers the implications of CCI artist pedagogues’ perceptions of their nature-based practice for children’s well-being. The research comprised a ‘talk and draw’ focus group followed by individual interviews with CCI artists. Findings show artist pedagogues’ work has the potential to support aspects of children’s well-being through promotion of agency, developing confidence and providing inspiration to support creativity.
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Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.

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The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is the heirs to an estate who are faced with the task after the artist's death. The immediate family (widow, widower, children) understand the importance of the work and feel a sense of obligation. But the second generation (grandchildren) questions what to do with “all this stuff”? Often the heirs do not have the expertise, understandably, and are overwhelmed by the financial and other costs of appropriate storage for the permanent preservation of the material.4 How to professionally accommodate, develop and make such collections accessible? In the following, several models for the handling and storage of artist estates are presented, with specific reference to the issues of sifting, recording and selection.
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Binder, Marni J. "Bringing the Arts to the Everyday Lived Experiences of Young Children." Art/Research International: A Transdisciplinary Journal 3, no. 2 (2018): 262–95. http://dx.doi.org/10.18432/ari29384.

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The purpose of this arts-based education research was to explore the complex art forms in Bali, Indonesia, for a cross-cultural understanding of the everyday importance of the arts in the teaching and learning of young children. Five Balinese artists and one Javanese artist were interviewed to discuss their journeys as artists from a young age, their practicing art forms, and perceptions of the importance of the arts in their communities, cultural identity, and in the everyday lived experiences of children. While there is literature on the historical and complex art forms of Bali, giving context to the importance of time and place and hierarchies of the culture, little is documented on the interconnection between the arts as a paradigm that shapes culture and informs an understanding of the arts as important to teaching and learning. This research experience aimed to deepen the researcher’s understanding of how the arts are embodied and woven together in Balinese culture, and how this knowledge can be connected to the teaching and learning of children in the Canadian context.
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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.

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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 26, no. 3 (2009): 239–40. http://dx.doi.org/10.1017/s0265051709990015.

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In this issue the majority of articles focus on performance. Within this context we are invited particularly to reflect upon the perspectives of students, parents and children, all of whom may share the delights of music learning, musical knowledge and engagement but who experience and apply them in very different settings. Understanding how we learn music, how musical skills develop, how musical knowledge is represented and how music teachers can best teach and inspire, are challenging topics for music educators across all phases whether they be early music teachers, artists in residence or artist educators.
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McCrary, Jan. "Ethnic Majority/Minority Status: Children's Interactions and Affective Responses to Music." Journal of Research in Music Education 48, no. 3 (2000): 249–61. http://dx.doi.org/10.2307/3345397.

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This study is an examination of the effect of classroom ethnic majority/minority status on third-, fifth-, and seventh-grade children's ( N = 118) interactions and affective responses while these children listened to and discussed a Latin salsa artist, an African-American rhythm and blues artist, and a European-American folk artist. Classroom ethnic-group proportions determined African-American and European-American children's classroom status. The study also examined the children's preference ratings for each artist. The researcher recorded the children's interactions on a laptop computer while they listened to and discussed the performers. The findings suggested that classroom status affected girls' interactions more than boys'. The study reports statistically significant differences among the children's music preferences.
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Dissertations / Theses on the topic "Children as artist"

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Evans, Michelle Louise. "Socioeconomic status and domains of creativity: Is the artist really starving?" CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3240.

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Socioeconomic status (SES) influences many aspects of a person's life, and stereotypes concerning level of SES and the domain of creativity exist. It was hypothesized that children classified as low SES would perform more creatively in the visual arts and language arts domains of creativity than in the mathematic and scientific domains.
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West, Veronica Mary. "What children make of things and what we make of them : process, intention & intuition in the visual works of young children & the adult artist." Thesis, Staffordshire University, 2013. http://eprints.staffs.ac.uk/2726/.

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The thesis is in two parts: the first is an empirical and philosophical investigation of children's drawing practices, with particular reference to an interpretation of the work of Georges-Henri Luquet 1876 – 1965. Luquet's work is interrogated first by additional empirical evidence, and second by drawing philosophical resources from both Bergson, and from the phenomenological tradition. The second part of this thesis is a body of work, which explores types of process (some of which are derived from observations of children's processes), through experimentation in my own Fine Art practice; and reflection upon its development and significance is found throughout the written thesis, but especially in Chapter 3. Additional empirical evidence, documentation, and papers on both parts, are found in the Appendix and in an exhibition timed to coincide with the doctoral examination. The first chapter both presents and critically examines the elements Luquet identified of 'intention', 'interpretation', 'the type', 'the internal model' and 'predilection' in relation to attention and intentionality. Luquet's analysis and observations will be used to construct an initial model of process, which is critically re-examined and expanded in Chapter 2 through a historical revision of process in Fine Art and analyses of material made by children spontaneously and without instruction using found materials. Chapter 3 is comprised of a series of reflections on series in my own practice, and experiments derived from the taxonomy of processes constructed from analysis of the material presented in Chapter 2. It raises questions about the nature of certain types of intuition and attention, which are then discussed in Chapter 4 through examining the relation between attention and intentionality, and 'categorical intuition' as defined by Husserl. Luquet's term Circumspection will be compared with Heidegger's use of the term (Umsicht),in Being and Time, and reference will be made to the later development of Heidegger's thought in 'The Origin of the Work of Art', in particular the concepts of Ereignis and Gelassenheit. A fully revised model of process is proposed at the end of Chapter 4. It will be argued that the questions raised can only be answered if at all, through our embodied relation with the world via late Husserl, and Merleau-Ponty's concepts of operative intentionality; the practical cogito; and the pre-cognitive realm. The Conclusion presents the findings of the enquiry, what Phenomenology has brought to it, and directions for future research.
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Caddell, Heather E. "The corporeal word : an examination of the body and textuality in Salman Rushdie's Midnight's children and Don DeLillo's The body artist." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313069.

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This study examines the complex interplay between textuality and bodily performance by tracing their development within these two novels. Both texts are fundamentally concerned with the body and its interaction with a dominant culture. Often, the corporeal frame is posited as a physical text in which the social mores, cultural ideologies, and historical framework of a character's society are expressed through the bodies of its citizenry. However, both protagonists struggle to achieve an autonomous subject position outside the realm of the dominant culture, with varying degrees of success. At the end of Midnight's Children, Rushdie subverts the body's position as authoritative text by aligning the voice of record with textual production. Conversely, DeLillo's protagonist refutes the ability of linguistic representation to adequately convey her pathos, and instead utilizes her body art as the most effective means of communicating the atmosphere of alienation and fear which characterizes the twentieth and twenty-first centuries.<br>Department of English
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Merle, Amélie. "Le livre d'artiste pour enfants : une approche esthétique et socioculturelle de l'enfance." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2021.

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Cette thèse observe le phénomène du livre d’artiste pour enfants. L’objectif premier de l’étude est de relier notre objet à une interrogation plus fine concernant la place de l’art et une forme de pratique artistique spécifique dans la construction du concept d’enfance en résonance avec des problématiques éducatives. Nos travaux tentent de mettre au jour une esthétique de l’enfance présente dans un contexte de renouveau socioculturel des années 1968. En effet, c’est dans cette même période que l’on peut observer des mouvements et pratiques artistiques issus de l’avant-garde ayant participés à l’élaboration d’un autre regard sur l’enfance au moyen de l’art pour et auprès de l’enfant. Notre réflexion s’inscrit dans le champ des sciences de l’éducation mais aussi dans celui de l’histoire de l’art car le livre d’artiste fait partie de ces objets hybrides situés à mi-chemin entre le livre et l’œuvre d’art. On interroge ainsi notre objet : si d’une façon générale, le livre pour enfants est porteur d’une certaine représentation qu’une société se fait de l’enfance, s’il est comme un miroir de ce qu’elle souhaite offrir comme modèles d’enfances, le livre spécifique qui nous intéresse, le livre d’artiste pour enfants, ne peut-il pas nous dire lui aussi quelque chose de spécifique au sujet de l’enfance d’aujourd’hui ? Afin d’appréhender notre objet dans toutes ses dimensions, il semble pertinent d’interroger l’évolution de l’image de l’enfance dans le livre mais également d’interroger les artistes qui créent les livres artistiques destinés à la jeunesse comme Leszek Brogowsky (2010) le préconise dans le cadre d’une méthodologie d’étude des underground artistiques. On procède alors à un examen attentif des livres d’artistes considérés comme des dispositifs, des espaces alternatifs (Dupeyrat, 2012), lieux d’expression d’un certain regard porté sur l’enfance. C’est en interrogeant les artistes, en tentant de retracer leur trajectoire (Passeron, 1990) que notre objet deviendra également plus lisible et visible. Pourquoi des artistes à part entière ont fait ce choix de créer pour l’enfance ? En quoi le livre d’artiste pour enfants peut-il être représentatif d’un nouveau regard sur l’enfance ? Nos travaux mettent au jour des regards croisés afin d’observer l’art et l’enfance autrement<br>This thesis observe the phenomenon of the artist book for children. The primary objective of the study is to link our object to a deeper questioning concerning the place of art and how a form of specific artistic practice can take part in the concept of childhood and educational issues. The research attempt to clarify an aesthetic of childhood in the years 68, a significant development in a context of socio-cultural change in progress. Indeed, it is in this same period we can observe avant-garde artistic movements and practices which take part in the development of another perspective on childhood with art for and with children. Our reflection is in the field of the sciences of education but also in the history of art because the artist's book is part of these hybrid objects located halfway between the book and the work Of art. We question our object: if in a general way, the children's book carries a certain representation that a society makes of childhood, if it is like a mirror of what it wants to offer as Models of childhood, the specific book that interests us, the artist's book for children, can not it also tell us something specific about the childhood of today? In order to understand our object in all its dimensions, it seems pertinent to question the evolution of the image of childhood in the book but also to question artists who create art books intended for youth such as Leszek Brogowsky (2010) advocates it in the context of the study of specific artistic practices . We then proceed to a careful examination of artists' books considered as devices, alternative spaces (Dupeyrat, 2012), places of expression of a certain regard focused on childhood. It is by interrogating the artists, while trying to retrace their trajectory (Passeron, 1990) that our object will also become more readable and visible. Why have full-fledged artists made this choice for creation for childhood? How can the artist book for children be representative of a new look at childhood? Our work wish brings to light new looks to observe art and childhood otherwise
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Karlsson, Matilda. "Vera Nilsson : konstnär, kvinna och mor." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125551.

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Uppsatsen undersöker Vera Nilssons liv och konstnärskaputifrån hennes sociala position som kvinna och ensamstående mor. Nilsson föddes 1888 och debuterade som konstnär 1917. 1921 föder hon dottern Catharina, även kallad Ginga. Under en fjortonårsperiod avporträtteras dottern frekvent och Nilssons barnporträtt får stor uppmärksamhet. Studien har en historigrafisk ansats och undersöker kvinnors villkor inom det konstnärliga fältet.<br>The thesis examines Vera Nilsson's life and artistry from her social position as a woman and single mother. Nilsson was born 1888 and debutated as an artist 1917. 1924 she gives bearth to her daughter Catharina, also called Ginga. During a period of fourteen years the daughter is often seen in her work and Nilsson's portraits of children gets a lot of attention.The study has an historiographical approach and investigates women's condition within the artistic field.
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Kuylenstierna, Ann. "Ondskans ansikte : från brodermord och barnamord i medeltida konst till det onda skildrat av dagens konstnärer." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-203492.

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The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.
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Kuang, Ching-Chen. "Exploring the Artistic Intelligence of Taiwanese Children." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193728.

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The purpose of this study was to explore the visual images that Taiwanese children created to represent their mental images and ideas. They responded to three different prompts and used different materials in their constructions and drawings. The study was an empirical investigation using qualitative research methodology to analyze the artistic products that were made by Taiwanese children. Participants, 150 kindergarten through fifth grade students in three different elementary schools located in the northern region of Taipei, completed three artistic tasks during their regularly scheduled art classes. The children generated products in their classrooms. They demonstrated their artistic abilities by constructing colored, geometric-shaped pieces (Improvisation/Task One), drawing as a response to one of two wordless picture books (Speculative Drawing/Task Two), and creating and drawing the most interesting way to go to school (Creative Drawing/Task Three). As part of the study, they also completed a questionnaire about their feelings toward the artistic tasks. The children's products were analyzed and interpreted to identify the works' distinguishing characteristicsIn the Improvisation Task, the connectors were a key factor in making complex and free standing three-dimensional products. Using connectors adeptly allowed the children to display their skills of depth perception. Also, children who could manipulate shapes and color masterfully created symmetric products more frequently. In the two drawing tasks, the children used a variety of representational symbols to illustrate their individual perspectives. Those who chose to complete cartoon-style drawings demonstrated their artistic abilities most strongly. The participants were shown pictorial narratives and created drawings based upon their memories or imaginations. The children used their art as a tool that allowed them to transfer their ideas and/or realities through art mediums of their choosing. The children reflected upon the artistic tasks in their answers to a questionnaire and indicated the enjoyment they felt in completing their products. Suggestions for practical applications and ways to change the research design in further research are discussed.
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Huang, Jui-Yi. "An artist of Tai Chi : a critical study of the life, art and culutral philosophy of the children's literature artist Ed Young /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204281593.

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Aldoyhi, Mohammed Hussein Adullah. "Children's drawings in Saudi Arabia: a comparative study between the drawings of Saudi children who have lived in the United States and Saudi children who have never resided outside Saudi Arabia /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487856076414369.

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Christine, Deborah. "The teaching of children's artistic expression." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276714.

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The development of Discipline-based Art Education (DBAE) has focused attention on curricular structure, especially as it relates to the concept of students' creative expression. Creative self-expression, the focus of many school art programs, is to encourage students' art production. Discipline-based art education in contrast strives to develop students' artistic expression. Achievement of artistic expression requires conceptually focused instruction of art content from four art disciplines, art history, art criticism, studio production, and aesthetics. A discipline-based lesson can be examined for the way artistic expression is fostered as a part of production. Specific examples drawn from one lesson are used to illustrate that artistic expression can be recognizable, sensitive to instruction, and subject to evaluation.
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Books on the topic "Children as artist"

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Growing artist: Teaching art to young children. 3rd ed. Delmar Thomson Learning, 2004.

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Bob the Artist. Laurence King Publishing, 2016.

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Chamberlain, Diane. The escape artist. HarperCollinsPublishers, 1997.

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Chamberlain, Diane. The escape artist. HarperPaperbacks, 1998.

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Chamberlain, Diane. The escape artist. Thorndike Press, 1997.

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David, Mitchell. The young martial artist. Overlook Press, 1992.

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Winer, Andrew. The marriage artist. Thorndike Press, 2011.

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Alexander, Liza. Big Bird the artist: A story about addition and substraction. Western Pub. Co. in conjunction with Children's Television Workshop, 1989.

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ill, Cooke Tom, Henson Jim, and Children's Television Workshop, eds. Big Bird the artist: A story about addition and subtraction. Western Pub. Co. in conjunction with Children's Television Workshop, 1989.

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Jack, Keats Ezra, ed. Ezra Jack Keats: Artist and picture-book maker. Pelican Pub. Co., 1994.

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Book chapters on the topic "Children as artist"

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Massari, Alice. "Introduction." In IMISCOE Research Series. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71143-6_1.

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Abstract“How do we see refugees? The refugee has become a multifaceted symbol, the most prominent political figure of our time” states the brochure of an art retrospective by Khaled Hourani, a Palestinian artist reflecting on the reduction of refugees to abstract symbols of victimhood by humanitarian representations. In the eyes of the artist, the blue figure (Fig. 1.1), so common in relief organizations´ visual depictions, is the migrating human being, without a specific national, religious, ethnic, or gender identity. Yet, the visual landscape of contemporary displacement is anything but abstract. Images of overcrowded boats in the Mediterranean, refugee camps, improvised shelters along migration routes, children and families in need, and people stranded behind fences and walls have come to constitute a powerful reminder of contemporary conditions of displacement for people on the move. Yet, the question remains: how do we see refugees?
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Ribeiro, Luís Campos. "The Children of Mercury: the Image of the Artist and the Scientist in Medieval Astrological Texts and Iconography." In Textes et Etudes du Moyen Âge. Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.tema-eb.4.000181.

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Dekker, Rudolf. "Children of an Artisan." In Childhood, Memory and Autobiography in Holland. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62377-8_4.

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Baldacchino, John. "Modernity's Children." In Art’s Way Out. SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-794-3_3.

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Hull, Richard, and Jo Reid. "Designing Engaging Experiences with Children and Artists." In Funology. Springer Netherlands, 2003. http://dx.doi.org/10.1007/1-4020-2967-5_17.

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Hull, Richard, and Jo Reid. "Designing Engaging Experiences with Children and Artists." In Human–Computer Interaction Series. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68213-6_30.

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Brown, Nancy. "Children’s Voices and Artistic Expressions." In Internationalizing Early Childhood Curriculum. Routledge, 2019. http://dx.doi.org/10.4324/9781351971560-5.

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Bravo, Laura. "The Myth of the Artist in Children’s Illustrated Literature." In The Mediatization of the Artist. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66230-5_12.

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Cinquemani, Shana. "Artistic Encounters: Ethical Collaborations Between Children and Adults." In Communities of Practice: Art, Play, and Aesthetics in Early Childhood. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70644-3_5.

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Heggen, Marianne Presthus, and Anne Myklebust Lynngård. "Curious Curiosity – Reflections on How Early Childhood Lecturers Perceive Children’s Curiosity." In International Perspectives on Early Childhood Education and Development. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72595-2_11.

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AbstractCuriosity and wonder are considered fundamental for children’s development. However, no precise definition of curiosity exists, and there is little research on the nature of curiosity. There is also a lack of knowledge and ideas about how pedagogy can sustain and stimulate curiosity. Drawing upon empirical material from semi-structured interviews with seven Early Childhood Teacher Education (ECTE) lecturers from the disciplines of mathematics, arts, literature, drama, pedagogy, science and physical education about their view of children’s curiosity, the authors aim to explore the lecturers’ understanding of children’s curiosity and how this understanding varies between disciplines. Children enact their curiosity in a cultural-historical context. The cultural-historical tradition of outdoor play is a part of the institution’s practices influencing the children, while the children may use curiosity to influence the content of these practices. Although the lecturers are from different disciplines, their understanding of curiosity were consistent, particularly with regards to their focus on bodily expressions of curiosity. Expanding the concept of curiosity, we suggest the term bodily curiosity to recognise and operationalise a sensory, active and embodied search for answers. Similarly, we suggest the term bodily wonder about a kind of embodied philosophising.
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Conference papers on the topic "Children as artist"

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Świt-Jankowska, Barbara. "Let’s play with Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.891.

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Abstract: The research focuses on the possibility of transferring theoretical ideas of Le Corbusier into educational programs of the very young children – between three and six. The worldwide development of civilization changed the natural environment of the human. For the average European citizen a city is more natural place for living than a forest. Simultaneously, in these days many inhabitants present an extremely conformist approach to life and to the surrounding space. The participation of members of the society in the shaping of public spaces is possible only through the involvement and practice, but the democratic responsibility does not appears out of nowhere. It must be fostered and nurtured as early as in childhood. According to developmental psychology, children in the age of 3-6 are very susceptible to the acquisition of new skills and learn it in an intuitive way. The proper education program using Le Corbusier’s lectures and theory could help them to understand the space better. The seeming simplicity of above rules is an advantage in this case – thereby it can be explained to even such an audience as small children. On the other hand, some kind of abstract and hidden difficulty included in this theory becomes an opportunity to create a very absorbing and stimulating workshops that follow the needs of younger and older children. Le Corbusier’s legacy includes not only physical issues and can be used in many different ways. As Pablo Picasso once stated: every child is an artist, the problem is staying an artist when you grow up. For those reasons, incorporating such an innovative strategy for kids’ education reveals a great potential. Resumen: Los estudios realizados enfocan en comprobar las posibilidades de usar las ideas teóricas de Le Corbusier en los programas educativos para niños de tres a seis años. El desarrollo de la civilización ha cambiado el entorno natural del ser humano - una ciudad para el ciudadano promedio de Europa es un lugar más natural para vivir que el bosque. Al mismo tiempo, hay que reconocer que muchas personas muestran el enfoque muy conformista a la vida, tanto al espacio circundante. Esta situación se podría mejorar mediante la participación consciente de los miembros de la sociedad en la creación del espacio público, su compromiso y la práctica. Pero la responsabilidad democrática no aparece sola, se debe estimularla y nutrir ya en la infancia. De acuerdo con la psicología del desarrollo, los niños de 3 a 6 años son muy susceptibles a la adquisición de nuevas habilidades y aprenden de una manera intuitiva. Programa educativo que utiliza los cursos y la teoría de Le Corbusier puede ayudarles a entender mejor el medio ambiente. La aparente sencillez de los principios proclamados por él en este caso es una ventaja. La abstracción y escondidas dificultades incluidas en ellos,nos permiten a crear actividades estimulantes que correspondan a las necesidades de los niños pequeños, tanto y mayores. Como afirmo Pablo Picasso: "Todo niño es un artista. El problema es cómo mantenerse siendo niño una vez que se ha crecido". Keywords: Architectural education, children, Le Corbusier. Palabras clave: Enseñanza de la arquitectura, los niños, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.891
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Chu, Eun Sun, and Jinsil Hwaryoung Seo. "ARtist: Interactive Augmented Reality for Curating Children's Artworks." In VRST '20: 26th ACM Symposium on Virtual Reality Software and Technology. ACM, 2020. http://dx.doi.org/10.1145/3385956.3422103.

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Chu, Eun Sun, Jinsil Hwaryoung Seo, and Caleb Kicklighter. "ARtist: Interactive Augmented Reality for Curating Children's Artworks." In C&C '21: Creativity and Cognition. ACM, 2021. http://dx.doi.org/10.1145/3450741.3465395.

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Bindman, Samantha Worzalla, Kiley Sobel, Sara M. Behbakht, Riddhi A. Divanji, Ella Shahn, and Mike Scanlon. "“Let’s Draw Chocolate Milk Together”: Supports and Challenges for Families’ Joint Engagement with Artistic Tablet Apps." In IDC '21: Interaction Design and Children. ACM, 2021. http://dx.doi.org/10.1145/3459990.3460693.

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Coviza, Elena Carmen. "Artistic Plastic Creativity Of Children With Musical Skills." In EduWorld 2018 - 8th International Conference. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.08.03.238.

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Fedotova, Natalia Aleksandrovna. "The problems of children' artistic perception development in art." In 8th International research and practice conference, chair Ulia Fedorovna Katahanova. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-114639.

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Pevnaya, Maria. "PROFILE OF CHILDRENS NON-PROFIT ORGANIZATIONS LEADERS: CASE OF CHILDREN AND YOUTH ASSOCIATIONS IN RUSSIA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/33/s12.071.

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Fedotova, Natalia Aleksandrovna. "The question of preschoolers' and elementary school children artistic perception." In X International Scientific and Practical Conference, chair Ulia Fedorovna Katahanova. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-115663.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Bekeeva, Aigul Muratovna. "Artistic System Of Dagestan Children'S Poetic Folklore." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.18.

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Reports on the topic "Children as artist"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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Evidence Update for Clinicians: Narrow- versus Broad-Spectrum Antibiotics for Common Infections in Children. Patient-Centered Outcomes Research Institute (PCORI), 2018. http://dx.doi.org/10.25302/eu5.2018.10.

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Comparing Narrow- vs. Broad-Spectrum Antibiotics for Common Infections in Children. The choice of antibiotic to treat acute bacterial upper respiratory tract infections in children can affect both symptom resolution and the risk of side effects such as diarrhea and vomiting. The findings of a PCORI-funded study published in JAMA can help clinicians treating children for acute respiratory tract infections (ARTIs)—including acute otitis media, Group A streptococcal pharyngitis, and acute sinusitis—make decisions with parents about the medicine that is best for the child. The study, led by Jeffrey Gerber, a pediatrician and researcher at the Children’s Hospital of Philadelphia, included 30,086 children ages 6 months to 12 years taking narrow- and broad-spectrum antibiotics to treat ARTIs.
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