Pub Date : 2014-06-01DOI: 10.1111/J.1476-8070.2014.01775.X
Jeong-ae Park
This article reports research on New York-based Korean artists' dynamic processes of identity-shaping and the implications that these processes have for art education. The study uses postcolonial theories that illuminate the dialectical process of hybrid cultural production in the global dimension. The artists' identities narrated elucidate the recognition of difference with others; this identification emerges as the artists simultaneously escape from and discover their Korean identities. The artists' childhood experiences and memories work as reflective thinking in their different context, and because of their search for an individual identity, Korean culture is an important factor in their art making. When their identity formation and practice are in constant negotiation with difference, this results in learning and translating from others. They assume an ‘open universalism’ necessary to communicate at an international level, and as a consequence these artists' identity formation always involves the process of a doubling and dividing of reflections of existing Korean identities as well as the building of new ones. In this dualistic state, the artists' multiple identities remain heterogeneous, composed of contradictory factors that are revealed in the artists' hybrid artworks.
{"title":"Korean Artists in Transcultural Spaces: Constructing New National Identities","authors":"Jeong-ae Park","doi":"10.1111/J.1476-8070.2014.01775.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01775.X","url":null,"abstract":"This article reports research on New York-based Korean artists' dynamic processes of identity-shaping and the implications that these processes have for art education. The study uses postcolonial theories that illuminate the dialectical process of hybrid cultural production in the global dimension. The artists' identities narrated elucidate the recognition of difference with others; this identification emerges as the artists simultaneously escape from and discover their Korean identities. The artists' childhood experiences and memories work as reflective thinking in their different context, and because of their search for an individual identity, Korean culture is an important factor in their art making. When their identity formation and practice are in constant negotiation with difference, this results in learning and translating from others. They assume an ‘open universalism’ necessary to communicate at an international level, and as a consequence these artists' identity formation always involves the process of a doubling and dividing of reflections of existing Korean identities as well as the building of new ones. In this dualistic state, the artists' multiple identities remain heterogeneous, composed of contradictory factors that are revealed in the artists' hybrid artworks.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"51 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":"120957315","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.1476-8070.2014.01770.X
B. T. Čerkez
In order to verify how important the ability to process visual images and sounds in a holistic way can be, we developed an experiment based on the production and reception of an art work that was conceived as a multi-sensorial experience and implied a complex understanding of visual and auditory information. We departed from the idea that to foster processes that encourage constructions of significant meanings it is necessary to abandon vision/audio-centric notions of objecthood and offer a general definition of the perceptual object. The test was realised between the participants after modifying the performance conditions: some could not see the visuals, some could not hear the sound and others could appreciate the performance as a whole. Considering the results, we could infer that only the possibility to ‘read’ the performance as a whole encouraged construction of significant meanings. It would be possible to upgrade the approach, turning visual literacy into perceptual literacy, to contextualise artistic production that stimulates hybrid sensitive experiences. The education of critical perceivers should also enable transformations in responses to different stimuli. This is important if we consider the individuality of each student, his or her needs, affinities, cultural background, gender and so on.
{"title":"Perceptual Literacy and the Construction of Significant Meanings within Art Education","authors":"B. T. Čerkez","doi":"10.1111/J.1476-8070.2014.01770.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01770.X","url":null,"abstract":"In order to verify how important the ability to process visual images and sounds in a holistic way can be, we developed an experiment based on the production and reception of an art work that was conceived as a multi-sensorial experience and implied a complex understanding of visual and auditory information. We departed from the idea that to foster processes that encourage constructions of significant meanings it is necessary to abandon vision/audio-centric notions of objecthood and offer a general definition of the perceptual object. \u0000 \u0000The test was realised between the participants after modifying the performance conditions: some could not see the visuals, some could not hear the sound and others could appreciate the performance as a whole. Considering the results, we could infer that only the possibility to ‘read’ the performance as a whole encouraged construction of significant meanings. It would be possible to upgrade the approach, turning visual literacy into perceptual literacy, to contextualise artistic production that stimulates hybrid sensitive experiences. The education of critical perceivers should also enable transformations in responses to different stimuli. This is important if we consider the individuality of each student, his or her needs, affinities, cultural background, gender and so on.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"2 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":"123285898","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.1476-8070.2014.12003.X
Y. Song
This article explores how Johanson's ecological public art and landscape design addresses current social issues and community necessities. It also examines how her designs may serve as a communication tool for the surrounding society, and how her public art may provide new perspectives for community members, scientists, artists, engineers, architects and government officials in shaping the future of their communities. The purpose of this study was to inspire art and design students in thinking about their future projects. This phenomenological case study highlights Johanson's works as a model for these students. Furthermore, it discusses some educational implications as seen among university students who first studied Johanson's works and then designed their own public art projects.
{"title":"A New Vision for Public Art and Functional Landscape Design","authors":"Y. Song","doi":"10.1111/J.1476-8070.2014.12003.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.12003.X","url":null,"abstract":"This article explores how Johanson's ecological public art and landscape design addresses current social issues and community necessities. It also examines how her designs may serve as a communication tool for the surrounding society, and how her public art may provide new perspectives for community members, scientists, artists, engineers, architects and government officials in shaping the future of their communities. The purpose of this study was to inspire art and design students in thinking about their future projects. This phenomenological case study highlights Johanson's works as a model for these students. Furthermore, it discusses some educational implications as seen among university students who first studied Johanson's works and then designed their own public art projects.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"3 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":"122255750","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.1476-8070.2014.01771.X
Shelley Piasecka
This is the peer reviewed version of the following article: Piasecka, S. (2014). Fishing in Puddles, Place and Space in Performance Research. International Journal of Art & Design Education, 33(2), 235-241. DOI: 10.1111/j.1476-8070.2014.01771.x, which has been published in final form at http://onlinelibrary.wiley.com/doi/10.1111/j.1476-8070.2014.01771.x/abstract. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving
{"title":"Fishing in Puddles: Place and Space in Performance Research.","authors":"Shelley Piasecka","doi":"10.1111/J.1476-8070.2014.01771.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01771.X","url":null,"abstract":"This is the peer reviewed version of the following article: Piasecka, S. (2014). Fishing in Puddles, Place and Space in Performance Research. International Journal of Art & Design Education, 33(2), 235-241. DOI: 10.1111/j.1476-8070.2014.01771.x, which has been published in final form at http://onlinelibrary.wiley.com/doi/10.1111/j.1476-8070.2014.01771.x/abstract. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"42 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":"123964509","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.1476-8070.2014.12051.X
J. Steers
{"title":"Obituary for Elliot W. Eisner 1933–2014","authors":"J. Steers","doi":"10.1111/J.1476-8070.2014.12051.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.12051.X","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"138 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":"121415025","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.1476-8070.2014.01714.X
Tyler E. Freeman
The disciplines of art and experimental psychology share a number of interesting areas of overlap which are unknown and/or unconsidered by many. This purpose of this article is to elucidate topics that are of interest to both artists and psychologists in an attempt to encourage interdisciplinary collaborations. It is only on rare occasions that artists and psychologists engage in collaborative research efforts, however; here I discuss a number of topics in psychology (e.g. attention, expertise, object perception and mental representations) that would be of interest to both disciplines. The concepts that are often taught in the art studio can provide unique insight into perceptual processes that play a role in the creation and evaluation of art. However, collaborative research efforts are necessary better to understand these perceptual processes. Thus, the product of collaborative research in such areas can inform art education and psychology to mutual benefit. This article discusses topics of interest for art and psychology and poses possible research questions that can be investigated via artist–psychologist collaborations.
{"title":"The Reconciliation of Art and Psychology","authors":"Tyler E. Freeman","doi":"10.1111/J.1476-8070.2014.01714.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01714.X","url":null,"abstract":"The disciplines of art and experimental psychology share a number of interesting areas of overlap which are unknown and/or unconsidered by many. This purpose of this article is to elucidate topics that are of interest to both artists and psychologists in an attempt to encourage interdisciplinary collaborations. It is only on rare occasions that artists and psychologists engage in collaborative research efforts, however; here I discuss a number of topics in psychology (e.g. attention, expertise, object perception and mental representations) that would be of interest to both disciplines. The concepts that are often taught in the art studio can provide unique insight into perceptual processes that play a role in the creation and evaluation of art. However, collaborative research efforts are necessary better to understand these perceptual processes. Thus, the product of collaborative research in such areas can inform art education and psychology to mutual benefit. This article discusses topics of interest for art and psychology and poses possible research questions that can be investigated via artist–psychologist collaborations.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"9 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":"126322185","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.1476-8070.2014.01768.X
M. Duh, Tomaž Župančič, B. Cagran
Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year-old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum.
{"title":"Development of Art Appreciation in 11–14 year‐old Students","authors":"M. Duh, Tomaž Župančič, B. Cagran","doi":"10.1111/J.1476-8070.2014.01768.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2014.01768.X","url":null,"abstract":"Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year-old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"108 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":"124992142","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 : 2013-10-01DOI: 10.1111/J.1476-8070.2013.12024.X
M. Sclater, V. Lally
The dialectical relationship between social justice, active participation and the development of aesthetic sensibilities is re-emerging as a theme among art and design educators as concerns mount for the future of art and design education in the curriculum – particularly in the UK, but also internationally. This article explores the potential of virtual worlds to support the development of young people's voices using creative practices – photography, film-making and fashion – as the principal means of engaging young people in developing their understanding of active citizenship. The use of creative practices to support a range of wider educational aims in virtual worlds has not yet been investigated and, we contend, is an area of serious research endeavour. We report on the research of an EPSRC/ESRC-funded project called ‘Inter-Life’ which examined how virtual worlds could be used to support the development and acquisition of life skills to enhance the management of important life transitions. The project investigated the extent to which young people's engagement in creative practices within these environments assisted with these processes. Some implications for future research are outlined.
{"title":"Virtual Voices: Exploring Creative Practices to Support Life Skills Development among Young People Working in a Virtual World Community.","authors":"M. Sclater, V. Lally","doi":"10.1111/J.1476-8070.2013.12024.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2013.12024.X","url":null,"abstract":"The dialectical relationship between social justice, active participation and the development of aesthetic sensibilities is re-emerging as a theme among art and design educators as concerns mount for the future of art and design education in the curriculum – particularly in the UK, but also internationally. This article explores the potential of virtual worlds to support the development of young people's voices using creative practices – photography, film-making and fashion – as the principal means of engaging young people in developing their understanding of active citizenship. The use of creative practices to support a range of wider educational aims in virtual worlds has not yet been investigated and, we contend, is an area of serious research endeavour. We report on the research of an EPSRC/ESRC-funded project called ‘Inter-Life’ which examined how virtual worlds could be used to support the development and acquisition of life skills to enhance the management of important life transitions. The project investigated the extent to which young people's engagement in creative practices within these environments assisted with these processes. Some implications for future research are outlined.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"118050432","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 : 2013-10-01DOI: 10.1111/J.1476-8070.2013.12037.X
Jeff Adams
{"title":"Creativity and Democracy: iJADE Conference Issue","authors":"Jeff Adams","doi":"10.1111/J.1476-8070.2013.12037.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2013.12037.X","url":null,"abstract":"","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"1997 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120126415","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 : 2013-02-01DOI: 10.1111/J.1476-8070.2013.01745.X
Jean Carabine
What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not-knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.
{"title":"Creativity, Art and Learning: A Psycho‐Social Exploration of Uncertainty","authors":"Jean Carabine","doi":"10.1111/J.1476-8070.2013.01745.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2013.01745.X","url":null,"abstract":"What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not-knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"118079293","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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