Relevant bibliographies by topics / Education of the artist

Contents

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

Academic literature on the topic 'Education of the artist'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Education of the artist"

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Moore, George. "Education of the Artist." Janus Head 15, no. 1 (2016): 29–37. http://dx.doi.org/10.5840/jh201615111.

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Kazragytė, Vida. "The Combining the Roles of a Teacher and an Artist: the Analysis of the Prospective Theatre Teachers’ Action Research." Pedagogika 125, no. 1 (2017): 68–80. http://dx.doi.org/10.15823/p.2017.05.

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The article deals with the empirical study, which inquiries in the combining the roles of an artist and of a teacher during artistic creation and education processes. The data were obtained by making the qualitative analysis of the accounts of the prospective theatre teachers’ action research reports (N – 24). The prospective theatre teachers were creating the theatrical performances and taught the students who performed the roles in their performances.
 There were not found any statements which would indicate that the roles of an artist and of a teacher are considered to be opposite to each other or hard to combine. The prospective theatre teachers are performing these roles in some types of combination: a) artist-teacher; b) artist- teacher specialist and 3) teacher-artist according to the different communication situations. During the performing of artist-teacher roles, communication with students is as if they were already artists. That is a way to raise the creative-artistic goals for students and encourage students to achieve them through learning. It can be said that this combination of roles is important, in view of the final objective. The artist- teacher specialist roles require to communicate with the imaginary artistic results (scenario), and the students work on the stage. In other words, to combine what is imaginary with what appears real. Also to determine which students’ skills are necessary to develop for the imaginary result to be closer to reality. This combination of roles is important, for to the evolving artistic result. According to the teacher-artist roles performing and communication is aimed at students “to grow up” to their actual role as artists. The teachers as artists take care of the development of the new students’ artistic abilities to be correct, based on what the students already have appropriate. And they try to develop the new student’s abilities needed for the performances. This makes the content of the education more purposeful and meaningful.
 The prospective theatre teachers do not mention any difficulties associated with the combining of roles. Only when the artistic creation and education processes slow down or are no longer productive, they analyzed their communication and found dissonance stemming from the loss of the role of a teacher. It can be assumed that this is due to lack of teaching experience and the fact that a lot of time and concentration has been spent on the communication in the world of imagination. Imbalance occurs also when they lack the knowledge of theory.
 The prospective theatre teachers combine the roles of an artist and of a teacher intuitively, without their explicit realisation. So, it is necessary to provide the students with knowledge about the combination of roles during the study process.
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Klāsone, Inta. "Aspects of the professional development of the artist – educator." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 319. http://dx.doi.org/10.17770/sie2012vol1.53.

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<span>The article reveals the involvement of the artist – pedagogue into the process of education and some important interconnected aspects of professional qualification development. Alongside with that, the tendencies of the epoch and activity orientation of the artist – pedagogue in accordance with Sustainable Development Strategy of Latvia until 2030 have been characterized. Involvement of a professional artist in the pedagogical process demands to acquire pedagogical science: significant aspects of teaching and upbringing. The article deals with components and functions of the concept of education, revealing its characteristic features in nowadays society and giving insight into the future system of education. The dynamics of the artist – pedagogue forms of qualification development. As a result, the conclusions have been worked out. The aim of the research is to reflect the aspects of the artist – pedagogue professional development, based on docoments analysis, on the findings of pedagogues, art historians and survey of artists – pedagogues.</span>
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Caris, Arthur, and Gillian Cowell. "The artist can’t escape: The artist as (reluctant) public pedagogue." Policy Futures in Education 14, no. 4 (2016): 466–83. http://dx.doi.org/10.1177/1478210316633379.

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Stelmackowich, Cindy. "Artist Statement." Academic Medicine 86, no. 2 (2011): 193. http://dx.doi.org/10.1097/acm.0b013e318204b539.

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Goldin Stahl, Darian. "Artist Statement." Academic Medicine 91, no. 9 (2016): 1275. http://dx.doi.org/10.1097/acm.0000000000001318.

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Sajeva, Monica, and Gustavo Grandal Montero. "London Centre for Book Arts (LCBA): serving the community." Art Libraries Journal 41, no. 3 (2016): 160–70. http://dx.doi.org/10.1017/alj.2016.27.

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The London Centre for Book Arts (LCBA) www.londonbookarts.org is an artist-run studio providing education programmes for a wide community of users and access to resources for artists and designers. Its mission is to foster and promote book arts and artist-led publishing in the UK through collaboration, education, and by providing open-access to printing and bindery facilities.Established at Britannia Works, Fish Island (London E3) in October 2012, LCBA was founded and is run by artists Simon Goode and Ira Yonemura. We met them in 2015 and early 2016 to talk about their experiences over the last three years, current projects and future plans. They are an example of purposeful, pragmatic idealism.
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Fesmire, Steven A. "Educating the moral artist: Dramatic rehearsal in moral education." Studies in Philosophy and Education 13, no. 3-4 (1995): 213–27. http://dx.doi.org/10.1007/bf01077680.

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Stephens, Jonathan. "Artist or Teacher?" International Journal of Music Education os-25, no. 1 (1995): 3–13. http://dx.doi.org/10.1177/025576149502500101.

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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.

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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.
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Dissertations / Theses on the topic "Education of the artist"

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Lund, Kimberley Ann 1955. "Transition from artist to artist teacher: A case study of graduate student studio teaching." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292007.

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This work is a qualitative inquiry, using naturalistic, descriptive methods of educational anthropology to form a case study of the teaching and learning environment in a particular graduate teaching assistant's (GTA) University Foundations drawing classroom. Data reveal relationships, patterns and forms in the GTA's teaching behaviors, classroom phenomena and the student's learning behaviors. Inferences are drawn from the descriptive data and hypotheses are formulated that concerns itself with how the particular graduate student teaches studio art and why. By recording a GTA's personal pedagogical evolution and investigating the assumptions and values that underlie the process, the researcher has discovered general characteristics of university visual arts teaching for structuring knowledge in that area. Conclusions are education in the arts is personality driven, good teaching is a sustained and willful act and curriculum must be sequentially ordered for optimum student learning.
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Bennett, Garry. "An artist teacher's portrayal." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359888.

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Pringle, Emily. "The artist as educator : an examination of the relationship between artistic practice and pedagogy within contemporary gallery education." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10006682/.

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

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Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0081. Advisers: David Flinders; Luise McCarty. "Title from dissertation home page (viewed Feb. 8, 2007)."
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Thornton, Alan. "Educating the artist teacher." Thesis, Anglia Ruskin University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401318.

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Kim, Yŏng-suk. "The artist-teacher as college music educator /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.<br>Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).
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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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Dominguez, Menendez Liliam. "Portraits of Artist-Teachers in Higher Education| Pedagogy as Creative Practice." Thesis, Barry University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=13422656.

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<p> In this dissertation study, the researcher explored how pedagogy affects the creative process of visual artists who are also higher education art teachers. In order to understand and conceptualize the relationship between pedagogy and art making through the artist-teacher lens, the method and the methodology of Portraiture (Lawrence-Lightfoot &amp; Davis, 1997) enabled the re-storying of the participants&rsquo; experiences into written portraits, putting an emphasis on the voice of the researcher as well. The experiences of seven artist-teachers were developed into portraits after interviewing, observing, and carefully reflecting on the context and voices of participants. The theoretical framework of Pedagogical Content Knowledge (PCK) by Shulman (1986), Community of Practice (CoP) by Wenger, McDermott, and Snyder, (2002), and Creativity by Feldman, Csikszentmihalyi, and Gardner (1994) allowed me to interpret and share the artist-teachers&rsquo; context as a hybridized and complex identity by incorporating one of the hallmarks of the Portraiture methodology: to portray success and find goodness in any lived experience. Findings indicate that teaching by intuition rather than teaching by design taps into a variety of creative sources when reflecting upon artist&rsquo;s practice and process in relationship to pedagogical practices.</p><p>
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Brown, Tamara D. "Education Through Meaning-Making: An Artist’s Journey from Quarterlifer to Educator." ScholarWorks @ UVM, 2011. http://scholarworks.uvm.edu/graddis/32.

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Meaning-making is an important process to the personal and professional development of students in higher education. Today’s educators need to acknowledge and encourage the meaning-making process in order for these quarter-life students to enjoy an enriched life of meaning, as well as excel in academia. I challenge educators to apply meaning-making to their own lives in order to gain a deeper understanding of their personal purpose in their lives and as educators on college campuses. Written within a Scholarly Personal Narrative methodology, my thesis proposes that, through the deep and personal meaning-making process, students and educators can create a more meaningful experience in the classroom on today’s higher education campuses.
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Eldridge, Laurie A. "Ruthe Blalock Jones Native American artist and educator /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3232583.

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Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction, 2006.<br>"Title from dissertation home page (viewed July 10, 2007)." Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2852. Adviser: Enid Zimmerman.
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Books on the topic "Education of the artist"

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Artists in schools, artists in communities: 1995-97 artist roster, guideline & application forms. The Council, 1995.

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Fenton, Peter. Eyeing the flash: The education of a carnival con artist. Simon and Schuster, 2005.

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Abdul, Aziz. Abdul Aziz in Rome, 1959-1965: The education of an artist. Istituto Italiano di Cultura, 2009.

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Lesser, May H. An artist in the university medical center. Tulane University Press, 1989.

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Röhr-Rouendaal, Petra. Where there is no artist: Development drawings and how to use them. 2nd ed. Practical Action Pub., 2007.

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Röhr-Rouendaal, Petra. Where there is no artist: Development drawings and how to use them. Intermediate Technology, 1997.

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Röhr-Rouendaal, Petra, and Petra Röhr-Rouendaal. Where there is no artist: Development drawings and how to use them. 2nd ed. Practical Action Pub., 2007.

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Daichendt, G. James. Artist scholar: Reflections on writing and research. Intellect Ltd, 2011.

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

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McKean, Barbara. A teaching artist at work: Theatre with young people in educational settings. Heinemann, 2006.

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Book chapters on the topic "Education of the artist"

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Buschkühle, Carl-Peter. "An Education in Artistic Thinking." In Artist-Teachers in Context. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-633-0_8.

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Zurayk, Afaf. "Presence and Absence in Art Education." In Artist-Teachers in Context. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-633-0_16.

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Fesmire, Steven A. "Educating the Moral Artist: Dramatic Rehearsal in Moral Education." In The New Scholarship on Dewey. Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-011-0071-7_5.

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Vasconcelos, Flávia Pedrosa. "Building Bridges Between the Arts and Arts Education." In Artist-Teachers in Context. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-633-0_5.

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Wands, Bruce. "The Education of a Digital Fine Artist." In Museums and Digital Culture. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_21.

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Ewing, Robyn Ann, and John Nicholas Saunders. "The School Drama Partnership: Beyond an Artist-in-Residence Program." In Education and Theatres. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_10.

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Tham, Hong Wan. "Art Education in Singapore and the Possibility of Living Differently." In Artist-Teachers in Context. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-633-0_10.

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Hahn, Annemarie. "Educating Things: Art Education Beyond the Individual in the Post-Digital." In Post-Digital, Post-Internet Art and Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_13.

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AbstractCurrent digital infrastructures have not only profoundly changed the way people communicate with each other, but also the material conditions in which people relate to other people, people relate to things, and also things relate to things. These emerging alliances have an impact on relationships between human and non-human actors, and thus also on concepts of individual subjectivity. In the field of art, with neo-materialistic theoretical approaches, a new relationship can be observed between the artist-subject and the art-artifacts, which places the materials in the focus of the dissonance. This displacement is to the disadvantage of the individual artist-subject. In this chapter, these theoretical considerations are exemplified by an examination of the relations between people and things in the exhibition “Co-Workers - Network as Artist” at the MAM in Paris (2015/16). The exhibition is particularly interesting because of its understanding of digital materiality.
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Brown, Neil C. M. "The Spectacle of the Artist in Art Education." In Studies in Philosophical Realism in Art, Design and Education. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_9.

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Jokela, Timo. "Searching the Ways of the Art of Art Education in the North." In Artist-Teachers in Context. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-633-0_9.

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Conference papers on the topic "Education of the artist"

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

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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business &amp;amp; commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.
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Sabri, Indar, Muhammad Jazuli, Totok F, and Autar Abdillah. "Teaching system for pantomime artist Jemek Supardi for prospective Pantomime artists in Yogyakarta." In Proceedings of the 5th International Conference on Science, Education and Technology, ISET 2019, 29th June 2019, Semarang, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.29-6-2019.2290417.

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Kramer, Ed. "From production artist to educator." In ACM SIGGRAPH 2014 Panels. ACM Press, 2014. http://dx.doi.org/10.1145/2614208.2615539.

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Avariento-Adsuara, Maria, and Paloma Palau-Pellicer. "ARTIST BOOK: EXPERIENCES IN EDUCATION THROUGH THE WORK OF CARMEN CALVO." In 12th International Technology, Education and Development Conference. IATED, 2018. http://dx.doi.org/10.21125/inted.2018.1650.

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Xu, Rui. "Role Changes of the Artist and the Curator." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.327.

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Tao, Feng. "Artist and Collective Subject: Adorno on Subject of Art." In 2020 4th International Seminar on Education, Management and Social Sciences (ISEMSS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200826.041.

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Kuzina, Lisa. "Tantric Corporeality Concept and Indian Modern Artist Jagdish Swaminathan." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.119.

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Undiana, Nala Nandana, Irwan Sarbeni, and Arief Johari. "Art Residency Program as a Form of Creative Process for Artist." In 2nd International Conference on Arts and Design Education (ICADE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.021.

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Zhumabekova, Dana. "People’s Artist of the Republic of Kazakhstan, Kobyzist Galia Moldakarimova." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.023.

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Purik, E. "Problem-Based Methods As A Means Of Compositional Thinking Development Of Artist Students." In Humanistic Practice in Education in a Postmodern Age. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.83.

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Reports on the topic "Education of the artist"

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Atienza, Josefina Atienza, and Loren Renz Renz. Foundation Funding for Arts Education. Foundation Center, 2005. http://dx.doi.org/10.15868/socialsector.6400.

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Hylander, Lance E. The Operational Artist as Creative Artist. Defense Technical Information Center, 1995. http://dx.doi.org/10.21236/ada298173.

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Paquette, Jamie C., and Christopher J. Collins. Solar 2 Green Energy, Arts & Education Center. Final Scientific/Technical Report. Office of Scientific and Technical Information (OSTI), 2011. http://dx.doi.org/10.2172/1018955.

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Tang, Jane, Robert R. Gamache, and Bodo W. Reinisch. Progress on Artist Improvements. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada219799.

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

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus &amp; Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Pierson, Ted A. Saddam Hussein: Operational Artist or Madman? Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada348338.

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Fuh, Chiou S., Kong-Yee Pun, and Robert M. Owens. ARTIST: A Silicon Assembler for Mesh Arrays. Defense Technical Information Center, 1986. http://dx.doi.org/10.21236/ada184861.

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Galenson, David. Painting by Proxy: The Conceptual Artist as Manufacturer. National Bureau of Economic Research, 2006. http://dx.doi.org/10.3386/w12714.

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Luksik, Lance J. The Operational Artist and the Air Power Palette. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada470755.

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Kibler, Amanda, René Pyatt, Jason Greenberg Motamedi, and Ozen Guven. Key Competencies in Linguistically and Culturally Sustaining Mentoring and Instruction for Clinically-based Grow-Your-Own Teacher Education Programs. Oregon State University, 2021. http://dx.doi.org/10.5399/osu/1147.

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Grow-Your-Own (GYO) Teacher Education programs that aim to diversify and strengthen the teacher workforce must provide high-quality learning experiences that support the success and retention of Black, Indigenous, and people of color (BIPOC) teacher candidates and bilingual teacher candidates. Such work requires a holistic and systematic approach to conceptualizing instruction and mentoring that is both linguistically and culturally sustaining. To guide this work in the Master of Arts in Teaching in Clinically Based Elementary program at Oregon State University’s College of Education, we conducted a review of relevant literature and frameworks related to linguistically responsive and/or sustaining teaching or mentoring practices. We developed a set of ten mentoring competencies for school-based cooperating/clinical teachers and university supervisors. They are grouped into the domains of: Facilitating Linguistically and Culturally Sustaining Instruction, Engaging with Mentees, Recognizing and Interrupting Inequitable Practices and Policies, and Advocating for Equity. We also developed a set of twelve instructional competencies for teacher candidates as well as the university instructors who teach them. The instructional competencies are grouped into the domains of: Engaging in Self-reflection and Taking Action, Learning About Students and Re-visioning Instruction, Creating Community, and Facilitating Language and Literacy Development in Context. We are currently operationalizing these competencies to develop and conduct surveys and focus groups with various GYO stakeholders for the purposes of ongoing program evaluation and improvement, as well as further refinement of these competencies.
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