This paper offers an exploration of the art room as part of a broader project to consider the ways in which normative practices in art and design education can include and exclude students. The art classroom is explored here as a ‘disrupted space’ and one that can promote movement between the structures and boundaries that affect our ways of being in, and experiencing the world. The art room offers a space for colonising otherness, as well as an ‘alternative’ or risky physical space, a refuge, or one with the potential to disrupt the dominant educational landscape.
{"title":"Inclusion and art education: ‘Welcome to the big room, everything’s alright’","authors":"C. Penketh","doi":"10.1111/JADE.12084","DOIUrl":"https://doi.org/10.1111/JADE.12084","url":null,"abstract":"This paper offers an exploration of the art room as part of a broader project to consider the ways in which normative practices in art and design education can include and exclude students. The art classroom is explored here as a ‘disrupted space’ and one that can promote movement between the structures and boundaries that affect our ways of being in, and experiencing the world. The art room offers a space for colonising otherness, as well as an ‘alternative’ or risky physical space, a refuge, or one with the potential to disrupt the dominant educational landscape.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117736364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The National Arts Education Archive (NAEA) is housed and maintained by the Yorkshire Sculpture Park (YSP), and managed by YSP coordinators and educators with a well established volunteer programme. This year, 2017, as part of the celebrations of the YSP’s 40th anniversary, the Archive will hold its own exhibition entitled Treasures Revealed: a collection of items selected by people who have been involved in the Archive, whether as donors, volunteers, researchers, artists, trustees or steering group members. In parallel with the exhibition, this article aims to give voice to a selection of individuals and groups associated with the Archive, discussing their interests and experiences of it, and their thoughts on its value and importance as a repository of arts education materials, ideals and practices. Our primary motivations were to consider these different voices in relation to the purpose, direction and relevance of the NAEA today. These exchanges raise fundamental questions and debates about what art education is and what it might become, and how these historical collections, and creative engagements with it, might help to shape our contemporary thinking.
{"title":"The UK National Arts Education Archive: Ideas and Imaginings","authors":"Jeff Adams, Rowan Bailey, Neil Walton","doi":"10.1111/JADE.12150","DOIUrl":"https://doi.org/10.1111/JADE.12150","url":null,"abstract":"The National Arts Education Archive (NAEA) is housed and maintained by the Yorkshire Sculpture Park (YSP), and managed by YSP coordinators and educators with a well established volunteer programme. This year, 2017, as part of the celebrations of the YSP’s 40th anniversary, the Archive will hold its own exhibition entitled Treasures Revealed: a collection of items selected by people who \u0000have been involved in the Archive, whether as donors, volunteers, researchers, artists, trustees or steering group members. In parallel with the exhibition, this article aims to give voice to a selection of individuals and groups associated with the Archive, discussing their interests and experiences of it, and their thoughts on its value and importance as a repository of arts education materials, ideals and practices. Our primary motivations were to consider these different voices in relation to the purpose, direction and relevance of the NAEA today. These exchanges raise fundamental \u0000questions and debates about what art education is and what it might become, and how these historical collections, and creative engagements with it, might help to shape our contemporary thinking.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124429252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Feel the Fear: Learning Graphic Design in Affective Places and Online Spaces","authors":"A. Nottingham","doi":"10.1111/JADE.12058","DOIUrl":"https://doi.org/10.1111/JADE.12058","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127180801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Perfect Marriage?--Language and Art Criticism in the Hong Kong Public Examination Context.","authors":"C. Lau, C. Tam","doi":"10.1111/JADE.12071","DOIUrl":"https://doi.org/10.1111/JADE.12071","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115154656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When conducting research with young people, studies consistently cite the need to establish trust and rapport with participants. However, what frequently goes unreported is how to evolve these often highly fragile research relationships, and the subtle tensions and negotiations that can occur. In this article I reflect on my experience of collaborating with a group of young people, identified by their school teachers as vulnerable and at risk of falling through the educational net post compulsory schooling. Through a reflexive approach, this article explores how the use of a participatory filmmaking method enabled and sustained a research relationship between the participants and myself, outlining how trust and rapport gradually emerged. Drawing on relational ethics, I describe the catalysing and democratising role creativity played in gaining insights into group dynamics and the implicit strategies adopted by the young people in the search for social self‐empowerment.
{"title":"Sustained Engagement to Create Resilient Communities: How a Collaborative Design Approach Can Broker and Mobilise Practitioner-Participant Interaction.","authors":"Marianne McAra","doi":"10.1111/JADE.12115","DOIUrl":"https://doi.org/10.1111/JADE.12115","url":null,"abstract":"When conducting research with young people, studies consistently cite the need to establish trust and rapport with participants. However, what frequently goes unreported is how to evolve these often highly fragile research relationships, and the subtle tensions and negotiations that can occur. In this article I reflect on my experience of collaborating with a group of young people, identified by their school teachers as vulnerable and at risk of falling through the educational net post compulsory schooling. Through a reflexive approach, this article explores how the use of a participatory filmmaking method enabled and sustained a research relationship between the participants and myself, outlining how trust and rapport gradually emerged. Drawing on relational ethics, I describe the catalysing and democratising role creativity played in gaining insights into group dynamics and the implicit strategies adopted by the young people in the search for social self‐empowerment.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119228726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This discursive article proposes that the learning and teaching regimes provided within art school are uniquely placed within higher education to foster nomads. It suggests, however, that nomadism is not enough. Rather it emphasises that to reconcile art and design education with sustainability, such nomadism needs both to be prophetic and collaboratively based. Prophetic nomads are defined here as mobile, social influencers able to change perspectives through calling forward uncomfortable awakenings. They achieve this by creatively reframing what is at stake if we continue to act and be as we are. The presentation will explore the similarities between key concepts in the literacy of sustainability and the elements of prophetic nomadism. It will challenge us to reconsider these in the light of their potential generation through three ingredients of learning within art and design: reason, aesthetics and making. It will finish by declaring that as educators we should have the courage to more formally craft our pedagogies to call forth (evoke) and push-out (provoke) sustainability-oriented creativity through these domains.
{"title":"Prophetic Nomadism: An Art School Sustainability‐Oriented Educational Aim?","authors":"V. Gunn","doi":"10.1111/JADE.12121","DOIUrl":"https://doi.org/10.1111/JADE.12121","url":null,"abstract":"This discursive article proposes that the learning and teaching regimes provided within art school are uniquely placed within higher education to foster nomads. It suggests, however, that nomadism is not enough. Rather it emphasises that to reconcile art and design education with sustainability, such nomadism needs both to be prophetic and collaboratively based. Prophetic nomads are defined here as mobile, social influencers able to change perspectives through calling forward uncomfortable awakenings. They achieve this by creatively reframing what is at stake if we continue to act and be as we are. The presentation will explore the similarities between key concepts in the literacy of sustainability and the elements of prophetic nomadism. It will challenge us to reconsider these in the light of their potential generation through three ingredients of learning within art and design: reason, aesthetics and making. It will finish by declaring that as educators we should have the courage to more formally craft our pedagogies to call forth (evoke) and push-out (provoke) sustainability-oriented creativity through these domains.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119116341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Professional training for designers is crucial in the field of design studies. The characteristics of novices versus those of expert designers have been identified in the literature; however, studies exploring the issue of professional training processes in the actual workplace are not well developed. Our study addresses the topic by using qualitative research methods along with flexible design. Collected data from the interviewees with different work experience were analysed by open, axial and selective coding. Herein, we argue that the processes by which a designer transforms from a novice into an expert in the industry are constructed through the interaction of several complicated factors. The re-learning inherent in design professions is implemented through knowledge transfer gained from participation in design projects, particularly regarding tacit knowledge. Also, the novice's process of learning and training yields the characteristics and skills that companies and firms require of designers; this process involves a series of disciplinary sub-processes, from destructive to reconstructive, implemented by employers. In these sub-processes, the subjectivity of designers is neglected, leading to the suppression of imaginative expression and feelings of alienation among these workers.
{"title":"The Metamorphosis of Industrial Designers from Novices to Experts","authors":"Ju-Joan Wong, Po-Yu Chen, Chun-Di Chen","doi":"10.1111/JADE.12044","DOIUrl":"https://doi.org/10.1111/JADE.12044","url":null,"abstract":"Professional training for designers is crucial in the field of design studies. The characteristics of novices versus those of expert designers have been identified in the literature; however, studies exploring the issue of professional training processes in the actual workplace are not well developed. Our study addresses the topic by using qualitative research methods along with flexible design. Collected data from the interviewees with different work experience were analysed by open, axial and selective coding. Herein, we argue that the processes by which a designer transforms from a novice into an expert in the industry are constructed through the interaction of several complicated factors. The re-learning inherent in design professions is implemented through knowledge transfer gained from participation in design projects, particularly regarding tacit knowledge. Also, the novice's process of learning and training yields the characteristics and skills that companies and firms require of designers; this process involves a series of disciplinary sub-processes, from destructive to reconstructive, implemented by employers. In these sub-processes, the subjectivity of designers is neglected, leading to the suppression of imaginative expression and feelings of alienation among these workers.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"180 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119760677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main argument of this article is that the problematic nature of the artist teacher concept might not be the duality between art and education, but might refer to a limited understanding of education, in such a way that art would appear to be contrasting to education. A different definition of education is required to understand the qualities of the artist teacher. Pre-existing pedagogical practices where children initiate their own learning, like Reggio Emilia and the Dutch project Toeval gezocht, transcend the boundaries of the educational paradigm. These democratic pedagogies can inform the notion of ‘artistic teaching’ in such a way that the artist teacher concept is no longer one of conflicting paradigms but instead becomes a critical model for teaching.
{"title":"The Problematic Nature of the Artist Teacher Concept and Implications for Pedagogical Practice.","authors":"M. Hoekstra","doi":"10.1111/JADE.12090","DOIUrl":"https://doi.org/10.1111/JADE.12090","url":null,"abstract":"The main argument of this article is that the problematic nature of the artist teacher concept might not be the duality between art and education, but might refer to a limited understanding of education, in such a way that art would appear to be contrasting to education. A different definition of education is required to understand the qualities of the artist teacher. Pre-existing pedagogical practices where children initiate their own learning, like Reggio Emilia and the Dutch project Toeval gezocht, transcend the boundaries of the educational paradigm. These democratic pedagogies can inform the notion of ‘artistic teaching’ in such a way that the artist teacher concept is no longer one of conflicting paradigms but instead becomes a critical model for teaching.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"119891136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-06-01DOI: 10.1111/J.1476-8070.2014.12022.X
J. Hallam, D. Hewitt, Sarah Buxton
Despite the numerous benefits art has for children, research suggests that there is a lull in the development of expression in children's drawings during the primary school years and that many children give up on art between the ages of 10 and 12. Research investigating this phenomenon has taken an educational focus and aimed to identify potential shortcomings in the primary education system which could impact negatively on children's artistic development and interest in art. This article builds on previous educational research by exploring children's perceptions of the art education they receive. In this small exploratory study semi-structured interviews were conducted with six children in each of the Key Stages of English compulsory education: Key Stage 1 (5–6 year olds); Key Stage 2 (7–8 year olds); Key Stage 3 (11–12 year olds) and Key Stage 4 (14–15 year olds). A qualitative thematic analysis is used to explore children's experiences of art in the classroom, the kinds of support they receive in art lessons and how art lessons can be improved. It is hoped that the exploration of children's experiences of art in the classroom will enable movement towards an engaging and relevant approach to art education.
{"title":"An Exploration of Children's Experiences of Art in the Classroom","authors":"J. Hallam, D. Hewitt, Sarah Buxton","doi":"10.1111/J.1476-8070.2014.12022.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.12022.X","url":null,"abstract":"Despite the numerous benefits art has for children, research suggests that there is a lull in the development of expression in children's drawings during the primary school years and that many children give up on art between the ages of 10 and 12. Research investigating this phenomenon has taken an educational focus and aimed to identify potential shortcomings in the primary education system which could impact negatively on children's artistic development and interest in art. This article builds on previous educational research by exploring children's perceptions of the art education they receive. In this small exploratory study semi-structured interviews were conducted with six children in each of the Key Stages of English compulsory education: Key Stage 1 (5–6 year olds); Key Stage 2 (7–8 year olds); Key Stage 3 (11–12 year olds) and Key Stage 4 (14–15 year olds). A qualitative thematic analysis is used to explore children's experiences of art in the classroom, the kinds of support they receive in art lessons and how art lessons can be improved. It is hoped that the exploration of children's experiences of art in the classroom will enable movement towards an engaging and relevant approach to art education.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125011508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-06-01DOI: 10.1111/J.1476-8070.2014.01767.X
Lucy Howarth
In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post-war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case-study, and despite the difficulties inherent, art school building is approached as an imaginative and socio-political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun).
{"title":"Art School Building: The Old/New Chelsea.","authors":"Lucy Howarth","doi":"10.1111/J.1476-8070.2014.01767.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01767.X","url":null,"abstract":"In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post-war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case-study, and despite the difficulties inherent, art school building is approached as an imaginative and socio-political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun).","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124628753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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