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Journal articles on the topic 'Education of the artist'

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Published: 4 June 2021
Last updated: 12 February 2022

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1

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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2

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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3

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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4

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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5

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

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6

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

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7

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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8

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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9

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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10

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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11

Fogarty. "Editorial: The Education of an Artist." Antioch Review 77, no. 3 (2019): 411. http://dx.doi.org/10.7723/antiochreview.77.3.0411.

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12

Cooper, Patrick K. "Hip hop education = informed artist citizens." Journal of Popular Music Education 3, no. 2 (2019): 359–62. http://dx.doi.org/10.1386/jpme.3.2.359_1.

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What follows is a spoken word piece delivered at the Suncoast Music Education Research Symposium in February of 2019 to a group of higher education faculty and doctoral students. It is the intersection of hip hop lyrics and my white privilege, effectively composed as an artistic response to demonstrate the deep knowledge contained within hip hop lyrics and the value gleaned from their critical analyses. The impetus for this piece was my desire to show the conference attendees an alternative to perpetuated and damaging stereotypes about hip hop, a problem which I perceive as the prevalent understanding of hip hop culture and the dominant critique used to oppress this beautiful art form in educational spaces. A caveat about how I chose to sample some of the lyrics is worth mentioning. In some cases, the first-person perspective of the artists, embodied by their use of ‘I’ or ‘we’ in a song, was not appropriate and lyrics were altered to ‘they’ or ‘them’. This choice was to show internal reflection rather than to imply a lived or even co-opted experience by the author. It is important to stress ‘they’ have informed ‘me’. Jvaust as listening to a piece of music would likely be more powerful than studying the score, this piece may best be received by watching the performance.
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13

Osborne, Frederick S. "The Classical Education of an Artist." Art Journal 53, no. 3 (1994): 14–27. http://dx.doi.org/10.1080/00043249.1994.10791642.

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14

Babkie, Andrea M. "About the Artist." Intervention in School and Clinic 37, no. 4 (2002): 246–47. http://dx.doi.org/10.1177/105345120203700410.

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15

Hammond, Mark. "ESP for Ceramic Artists: Exploring the Demonstrative Artist Talk Genre." JALT Postconference Publication 2019, no. 1 (2020): 238. http://dx.doi.org/10.37546/jaltpcp2019-28.

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By exploring the spoken genre of demonstrative artist talk, or demo, this study is an initial step of an ongoing project to support and train Japanese ceramic practitioners to use English as a foreign language in authentic contexts of the international community of the ceramic arts. As a common component of ceramic arts education, these artist talks combine live hands-on demonstration with simultaneous commentary, for the purpose of sharing technical knowledge and creative processes. Borrowing from methodologies employed in research of a similar genre (architecture student critiques), the current study uses qualitative coding to unpack the discourse of nine talks given at the international conferences of the National Council on Education for the Ceramic Arts. By identifying five salient levels of communicative functions, the analysis provides a point of departure for the development of pedagogical approaches to be implemented at universities and colleges of the arts in Japan. 本研究は、実演的な作家トーク（デモ）という話しことばのジャンルを探求することで、陶芸分野の国際社会での実際の場面で、日本の陶芸従事者が外国語としての英語を使えるようにサポート・訓練するプロジェクトの最初の一歩とするものである。この作家トークとは、陶芸教育のごく普通の一要素で、技術的知識と創作的過程を共有する目的をもって、生の実演とその同時進行のコメントを結びつけるものである。類似のジャンル（建築学生の批評）の研究で使われる方法論を借用して、この研究では、質的なコード変換を行って、陶芸教育全国評議会(the National Council on Education for the Ceramic Arts)の国際大会で行われた9つのトークの談話の流れを解析する。この分析は、五つの顕著なコミュニケーション機能を特定して、日本の芸術系の大学で実践される教育方法の開発への出発点を与えることを目的とする。
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16

Mather, Nancy. "Police Artist." Journal of Learning Disabilities 18, no. 2 (1985): 116. http://dx.doi.org/10.1177/002221948501800211.

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17

McDermott, Dana Sue. "The Apprenticeship of Robert Edmond Jones." Theatre Survey 29, no. 2 (1988): 193–212. http://dx.doi.org/10.1017/s0040557400000661.

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“Art is a kind of innate drive that seizes a human being and makes him its instrument.” With this statement and related discussion Carl Jung suggested that the decision to work as an artist is involuntary; however he did not actually explain the nature of being “seized.” Working with numerous artists, reading about many others, and examining the specific example of Robert Edmond Jones, I would suggest that the artist is both seized by and seizes the innate drive and that it is a process which occurs over time. An examination of Jones's childhood, education, and early production experience reveals the complex nature of his progression toward a career as a theatre artist.
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18

Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.
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19

Amos. "The Education of an Artist in London." Antioch Review 77, no. 3 (2019): 414. http://dx.doi.org/10.7723/antiochreview.77.3.0414.

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20

Minchberg, Małgorzata. "Education through art: an artist at school." Edukacyjna Analiza Transakcyjna 7 (2018): 221–32. http://dx.doi.org/10.16926/eat.2018.07.13.

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21

Hughes, William O. "Arts/Music Education: Specialist, Generalist, Visiting Artist?" Design For Arts in Education 87, no. 6 (1986): 53–55. http://dx.doi.org/10.1080/07320973.1986.9937398.

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22

HIROSE, Shigeo. "Creativity Education and Street Artist Robot Contest." Journal of Jsee 42, no. 6 (1994): 31–35. http://dx.doi.org/10.4307/jsee1953.42.6_31.

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23

Caire da Silva, Regiane Aparecida. "A formação do artista botânico no século XIX: fronteira entre ciência e arte." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 823–35. http://dx.doi.org/10.23925/2178-2911.2019v20espp823-835.

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ResumoA imagem botânica percorreu tendências e possibilidades técnicas singulares ao longo da sua história. Diferentes teorias influenciaram na representação das imagens das plantas, bem como a importante relação entre artista, desenhista, gravador e cientista, uma confluência entre teoria e prática - ciência e arte – apresentadas em edições fundamentais da historiografia botânica. Houve, portanto, a necessidade de formação do ilustrador para as edições científicas e de distingui-lo do artista paisagista ou pintor de flores. Contudo, essa distinção foi tênue, levando-se em conta que a própria Taxonomia de Lineu, com a publicação da obra Systema Naturae (1735), por destacar a flor na classificação, fez com que as imagens científicas estivessem muito próximas às pinturas florais decorativas. Necessitou-se da parceria do artista com o botânico, uma combinação que não ficou reservada às edições de livros e trocas de informações teóricas, mas difundiu-se igualmente na metodologia de ensino em botânica.Cabe notar que, além de desenhos ou gravuras para o aprendizado, também existiam tratados e manuais direcionados para a formação inicial do artista botânico. Este trabalho pretende mostrar que a instrução do ilustrador botânico era complexa e dependia substancialmente de esforços colaborativos entre o cientista e o artista. Principalmente na sua integração às concepções e orientações científicas para se diferenciar do pintor comum, e não apenas da habilidade artística.Palavras-chave: História da Ciência. Artista botânico. Ensino. AbstractThe botanical image has traced trends and unique technical possibilities throughout its history. Different theories influenced the representation of plant images, as well as the important relation between the artist, the draftsman, the engraver and the scientist, a confluence of theory and practice - science and art – featured in fundamental editions of botanical historiography. Therefore, there was a need for illustrators to be trained for scientific editions and to distinguish themselves from landscape artists or flower painters. However, this distinction was subtle, with the very Taxonomy of Linnaeus in his work Systema Naturae (1735) containing images that resembled decorative floral paintings due to the flowers being highlighted for classification. The partnership between the botanist and the artist became necessary not only in publishing and for scientific communication but was also incorporated in methodologies used for botany teaching. It is noteworthy that, in addition to drawings and engravings used as learning material, there were also treatises and manuals intended for the initial training of botanical artists. This work intends to show that the instruction of the botanical illustrator was complex and depended substantially on collaborative efforts between the scientist and the artist. Mainly in its integration to the scientific conceptions and orientations to differentiate itself from the common painter, and not just artistic ability.Keywords: History of Science. Botanical artist. Education.
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24

Sanguedolce, Maria E. "Teaching Artist Tribute." Teaching Artist Journal 4, no. 1 (2006): 47–49. http://dx.doi.org/10.1207/s1541180xtaj0401_8.

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25

Denio, Allen A. "Art hazards - Educating the artist." Journal of Chemical Education 62, no. 9 (1985): 772. http://dx.doi.org/10.1021/ed062p772.

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26

Shalyapin, Oleg Vasilyevich, and Marina Olegovna Kucherevskaya. "Training of undergraduates in modern art and pedagogical education." Siberian Pedagogical Journal, no. 5 (November 18, 2020): 68–74. http://dx.doi.org/10.15293/1813-4718.2005.06.

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The article describes the essence of master’s education, actualizes the problems of master’s training of artists and teachers in modern Russia. It is suggested that the lack of qualification of the previous level of specialized education for master’s students violates the specifics of training in higher art education. The purpose of the article is to update the problems of master’s training of specialists who do not have a diploma in art and pedagogical education. Methodology. The study is built on the basis of a contextual approach, which made it possible to identify a problem relevant to the current state of art education related to the master’s training of an artist-teacher. The theoretical method was chosen as the main research method (analysis of regulatory documents and literature on the research problem, analysis and synthesis, comparison, generalization and interpretation of data). Research result. The analysis of the state of implementation of the master’s training of the artist-teacher in Russian education made it possible to identify a problem that must be addressed at the legislative level. Artistic and pedagogical education has its own specifics, which must be taken into account when organizing recruitment for a master’s degree in the field of “Art Education”. The lack of thought of innovations has a negative impact on the quality of training of graduates who do not have a previous level of specialized education. Conclusion. In conclusion, the authors argue that applicants with a non-core education experience difficulties in a master’s program in art education, since they do not have a list of competencies required by the master’s training of an artist-teacher.
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27

Kind, Sylvia, Alex de Cosson, Rita L. Irwin, and Kit Grauer. "Artist-Teacher Partnerships in Learning: The in/between Spaces of Artist-Teacher Professional Development [Abstract]." Canadian Journal of Education / Revue canadienne de l'éducation 30, no. 3 (2007): 839. http://dx.doi.org/10.2307/20466665.

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28

Iosefo, Fetaui, Lilomaiava Ema Tolua Fetu Vui Siope, Faavagaga Siope, and Joshua Iosefo. "Way Finding Faasinomaga (Identity-I/Eye) in Higher Education." Departures in Critical Qualitative Research 7, no. 4 (2018): 97–105. http://dx.doi.org/10.1525/dcqr.2018.7.4.97.

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This piece is a contribution by a combination of authors and artists who are genealogically from the same family. Lilomaiava Ema Siope (our sister) is our Traditional Sailing Master; her collective poetic interludes represent a side of her multifaceted life. Faavagaga Siope (our brother) is our aiga (family) ethics committee artist; he shares his collective art. These collective pieces bring together the echoed voices of temporal and spiritual migration throughout Oceania as their whispers traverse into higher education. Joshua Iosefo (our son) closes with a collective poem about the reclamation of our faasinomaga (identity).
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29

Strickland, Christopher M. "The Way of the Artist Educator paradigm: Fusing artistic studio practice and teaching pedagogy." International Journal of Education Through Art 16, no. 2 (2020): 227–44. http://dx.doi.org/10.1386/eta_00028_1.

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The purpose of this autoethnographic study is to examine the experiences of visual arts educators who identify themselves as Artist Educators. In particular, this article investigates how these Artist Educators perceive the fusion of their artistic studio practice with their teaching pedagogy, and how the perception defines their identity and impacts their creative and classroom practices. This study involved a focus group of six individuals, including the researcher. All the participants were practising artists, currently employed or recently retired K-12 visual arts educators certified in the states of Maine or New Hampshire, and members of the Kittery Art Association. This study used a combination of interviews and an arts-based method for data collection. All the data were analyzed and resulted in seven findings that culminated in the Way of the Artist Educator ‐ an alternative paradigm for a quality and holistic twenty-first-century visual arts education. This article presents the paradigm, discusses the study’s implications and offers suggestions for future research.
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30

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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31

Lovejoy, Albert E. "Letters: Artist Should Get More Credit." Academe 80, no. 4 (1994): 3. http://dx.doi.org/10.2307/40250630.

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32

Morris, Libby V. "Rosa Parks, Leadership Artist and Designer." Innovative Higher Education 30, no. 5 (2006): 305–7. http://dx.doi.org/10.1007/s10755-005-9003-3.

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33

Lopez, Diana. "Disability Justice, Race & Education: Artwork." JCSCORE 6, no. 1 (2020): 209–10. http://dx.doi.org/10.15763/issn.2642-2387.2020.6.1.209-210.

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Diana Lopez is a self-taught Deaf artist from Los Angeles, CA. She has been a freelance artist over the past five years. Her work is involved the complexity of human emotions that they are difficult to put in words. Diana is able to express those deeply feelings through colorful brushstrokes and textured paintings, where it can be felt, touched and seen through sensory experiences. Her deafness is a huge part of her identity. You can find her work on Instagram @duppet_puppet and on Facebook @DuppetPuppet.
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Bush, Sarah B., Karen S. Karp, and Jennifer Nadler. "Artist? Mathematician? Developing Both Enhances Learning!" Teaching Children Mathematics 22, no. 2 (2015): 61–63. http://dx.doi.org/10.5951/teacchilmath.22.2.0061.

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This department publishes brief news articles, announcements and guest editorials on current mathematics education issues that stimulate the interest of TCM readers and cause them to think about an issue or consider a specific viewpoint about some aspect of mathematics education.
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35

Day, Michael D. "Artist-Teacher: A Problematic Model for Art Education." Journal of Aesthetic Education 20, no. 4 (1986): 38. http://dx.doi.org/10.2307/3332595.

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36

Wilde, Carolyn. "Theory in the Education of the Fine Artist." Journal of Art & Design Education 18, no. 1 (1999): 49–53. http://dx.doi.org/10.1111/1468-5949.00153.

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37

Shin, Un-Chol. "Ortega's Concept of Artist." Journal of Aesthetic Education 20, no. 3 (1986): 19. http://dx.doi.org/10.2307/3332430.

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Cervo, Nathan. "Kafka's a Hunger Artist." Explicator 50, no. 2 (1992): 99–100. http://dx.doi.org/10.1080/00144940.1992.9937915.

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O’Hagan, Andrew. "Can You Make an Artist?" Changing English 20, no. 1 (2013): 29–33. http://dx.doi.org/10.1080/1358684x.2012.757058.

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Becker, Carol. "The Artist as Public Intellectual1." Review of Education, Pedagogy, and Cultural Studies 17, no. 4 (1995): 385–95. http://dx.doi.org/10.1080/1071441950170402.

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Stelmackowich, Cindy. "Artist Statement: “The Disaster Series”." Academic Medicine 85, no. 4 (2010): 665. http://dx.doi.org/10.1097/acm.0b013e3181daa3a0.

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42

Sanders, James H., and Casey Doyle. "Casey Doyle: Artist at Play." Journal of LGBT Youth 5, no. 2 (2008): 1–8. http://dx.doi.org/10.1080/19361650802092325.

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43

Jorgensen, Estelle. "The artist and the pedagogy of hope." International Journal of Music Education os-27, no. 1 (1996): 36–50. http://dx.doi.org/10.1177/025576149602700105.

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Taking Paulo Freire's Pedagogy of hope as a point of departure, I explore points of intersection between Freire's educational perspectives and my own regarding aspects of the artist's role in society and education in the arts. I suggest that education ought to seek to realize such ideals as freedom, justice, equality of opportunity, and civility, and a more just, humane society. I agree with Freire that hope provides the impetus in the struggle to improve the situation. The artist is an educator who imaginatively envisions how things are, how they might be, and presents lived reality for our intellectual contemplation, emotional grasp, and corporeal response. The arts provide means whereby hope can be instilled and a more humane society foreshadowed. If education is to grapple with the central issues of life, it ought to be vitally concerned not only with deconstructing and struggling against present realities but envisioning and celebrating alternative and prospective realities. The arts are uniquely suited to this project. As such, they ought not only to be at the centre of general education, but the artistic community can and ought to constitute a beachhead for hope, faith, and joy in the school, and a model for an education still to come.
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Budge, Kylie, Narelle Lemon, and Megan McPherson. "Academics who tweet: “messy” identities in academia." Journal of Applied Research in Higher Education 8, no. 2 (2016): 210–21. http://dx.doi.org/10.1108/jarhe-11-2014-0114.

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Purpose – The purpose of this paper is to investigate the growing use of Twitter in academic and artist practices. The authors explore commonalities, overlaps and differences within the reflections on the initial and ongoing motivations, usage and learnings the authors have encountered whilst immersed in this environment. Design/methodology/approach – The authors locate the particular inquiry by drawing on the literature surrounding digital identities, academic literacies and digital scholarship. Departing from other studies, the focus is on a narrative inquiry of the lived experiences as academics and as artists using Twitter. Findings – Academics use of Twitter plays a distinctly social role enabling communication that connects, and fostering accessible and approachable acts. It enables a space for challenging norms of academic ways of being and behaving. In addition, the authors draw conclusions about the “messiness” of the interconnected space that incorporates multiple identities, and highlight the risk taking the authors associate with using Twitter. Research limitations/implications – Academic practice is ever changing in the contemporary university. This initial study of academic and artist practices and the use of Twitter suggests future developments including participants using similar questions to elicit notions of practice to engage in a deeper understanding of motivations and behaviours. Practical implications – In using social media tools such as Twitter, individual academics and their practices are modified; the impact of this practice is visible. Originality/value – The authors contribute to emerging discussions and understandings about academics, social media and identity. The authors argue that by participating in the use of Twitter, the authors are part of the collective process of challenging what it means to be an academic and artist.
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Hall, Christine, Pat Thomson, and Lisa Russell. "Teaching like an artist: the pedagogic identities and practices of artists in schools." British Journal of Sociology of Education 28, no. 5 (2007): 605–19. http://dx.doi.org/10.1080/01425690701505466.

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Osthoff, Simone. "Art & Design Education Centered Around Democratic and Disruptive Practices." DAT Journal 4, no. 2 (2019): 84–96. http://dx.doi.org/10.29147/dat.v4i2.133.

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This article emphasizes approaches to design which are centered on democratic and disruptive practices. By focusing on artists and designers who embrace a critical edge of the discipline, it begins describinga few themes explored in the symposium Matters of Art & Design Education (MADE), at the Pennsylvania State University, and examines some of the theoretical horizons they point to. In the second part of the article, the author interviews the artist and designer Carlos Rosas, who helped develop, and is currently the Professsor in Charge of the IDS—Interdisciplinary Digital Studio program, a Bachelor of Design (B.Des) program in the School of Visual Arts, at that prestigious research University.
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Hunter-Doniger, Tracey. "Forming Artist/Scientist Habits." Art Education 74, no. 2 (2021): 16–21. http://dx.doi.org/10.1080/00043125.2020.1852376.

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Hansen, Yvonne Brenden, Dag Hensten, Gro Benedikte Pedersen, and Magnus Bognerud. "Norwegian Artist Names Authority List of Artists in Norwegian Art Collections." Heritage 2, no. 1 (2019): 490–506. http://dx.doi.org/10.3390/heritage2010033.

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How can one best transform a paper-based publication into a living online resource? This is the theme of a project at The National Museum of Art, Architecture and Design in Norway, supported by the Arts Council Norway. The National Museum aims to create, publish and maintain an authority list of Norwegian artists, architects, designers and craftsmen. The objective is to ease the digitisation process for other museums, scholars and the public in general and contribute to better data quality in Norwegian online collections. The list will in part be based on the Norsk Kunstnerleksikon (Encyclopaedia of Norwegian Artists in English), published in 1982–1986 and subsequently digitised in 2013. With the help of other public collections in Norway, the purpose is to make the new resource as complete as possible and available in both human- and machine-readable formats. Although the original paper publication contains biographical texts as well as lists of exhibitions, education, travels, publications and more, the data in the new authority list will be constrained to a set of core biographical data. It will however carry references to online biographical resources such as Norsk Kunstnerleksikon (NKL), Wikidata, Union List of Artist Names (ULAN) and Virtual International Authority File (VIAF). This article discusses the process of defining the scope of and setting constraints for the list, how to enrich and reconcile existing data, as well as strategies to ensure that other institutions contribute both as content publishers and end users. It will also shed light on issues concerning keeping such a resource updated and maintained.
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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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Travis, Sarah. "“Artists, We Need You”: Artist Identity, Creative Agency, and the Urgency of Action." Studies in Art Education 62, no. 2 (2021): 142–61. http://dx.doi.org/10.1080/00393541.2021.1896250.

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