Pub Date : 2008-10-01DOI: 10.1111/J.1476-8070.2008.00585.X
J. Bianchi
The article presents the rationale, methodology, and selected outcomes from More than a body's work, a collaborative, international, arts educational interactive research project. The project, taking place in both New York and England, explored the ways in which young people construct and ‘perform’ identity through the construction of their body and its appearance. The project's central intention was both to investigate diversity in young people's personal and cultural experience, and demonstrate their potential for creative engagement in mediating and expressing identity through a visual form. With its inclusive ethos, More than a body's work facilitated opportunities for young people who may not ordinarily have access to the arts to be partners in collaborative arts production, generating models of wider participation through innovative participatory approaches to visual art and interdisciplinary practice. The ongoing project is developmental, continuing to involve young people as participants, responding to the synthesis of local, national and international influences creatively deployed within youth culture. In considering More than a body's work's significance as a model for inclusive practice within art education, the article will discuss its strategies and its potential impact in relation to current initiatives and policies within the arts, culture and education.
{"title":"More than a Body's Work: Widening Cultural Participation through an International Exploration of Young People's Construction of Visual Image and Identity","authors":"J. Bianchi","doi":"10.1111/J.1476-8070.2008.00585.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00585.X","url":null,"abstract":"The article presents the rationale, methodology, and selected outcomes from More than a body's work, a collaborative, international, arts educational interactive research project. The project, taking place in both New York and England, explored the ways in which young people construct and ‘perform’ identity through the construction of their body and its appearance. The project's central intention was both to investigate diversity in young people's personal and cultural experience, and demonstrate their potential for creative engagement in mediating and expressing identity through a visual form. With its inclusive ethos, More than a body's work facilitated opportunities for young people who may not ordinarily have access to the arts to be partners in collaborative arts production, generating models of wider participation through innovative participatory approaches to visual art and interdisciplinary practice. \u0000 \u0000 \u0000The ongoing project is developmental, continuing to involve young people as participants, responding to the synthesis of local, national and international influences creatively deployed within youth culture. In considering More than a body's work's significance as a model for inclusive practice within art education, the article will discuss its strategies and its potential impact in relation to current initiatives and policies within the arts, culture and education.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"2013 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127429933","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 : 2008-10-01DOI: 10.1111/J.1476-8070.2008.00586.X
R. Mason
Art education as a distinct academic discipline is relatively recent and closely related to the growth of specialist teacher qualification programmes in university education departments. Opportunities for art teachers to engage in research were first provided in advanced diploma courses and specialist masters programmes set up in university education departments. Later these were followed by specialist doctoral degrees. Since the majority of such programmes are located in education departments, research training has tended to be social science based. Recently there has been a flurry of publications by art and art education specialists devoted to explaining and extolling the idea of art practice as an alternative paradigm. This article analyses and discusses this development and the status of research in the specialist field, drawing on the author's recent experience of carrying out two systematic reviews of studies in art education. It examines strengths and weaknesses in the two research paradigms and suggests ways forward for improving training in art education research.
{"title":"Problems of Interdisciplinarity: Evidence-Based and/or Artist-Led Research?","authors":"R. Mason","doi":"10.1111/J.1476-8070.2008.00586.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00586.X","url":null,"abstract":"Art education as a distinct academic discipline is relatively recent and closely related to the growth of specialist teacher qualification programmes in university education departments. Opportunities for art teachers to engage in research were first provided in advanced diploma courses and specialist masters programmes set up in university education departments. Later these were followed by specialist doctoral degrees. Since the majority of such programmes are located in education departments, research training has tended to be social science based. Recently there has been a flurry of publications by art and art education specialists devoted to explaining and extolling the idea of art practice as an alternative paradigm. This article analyses and discusses this development and the status of research in the specialist field, drawing on the author's recent experience of carrying out two systematic reviews of studies in art education. It examines strengths and weaknesses in the two research paradigms and suggests ways forward for improving training in art education research.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124277853","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 : 2008-10-01DOI: 10.1111/J.1476-8070.2008.00588.X
Steve Herne, Celia Burgess-Macey, M. Rogers
This article focuses on a carnival in the curriculum project designed to revitalise the arts in the experience of students in Higher Education preparing to become primary school teachers. It argues the relevance of a combined arts or trans-disciplinary artform in the remit of a visual arts education journal and explores carnival as a complex, inclusive, multifaceted and multidimensional cultural practice with deep historical and social roots. It locates carnival within theory and the debate about the arts in schools in the UK from the early 1980s. Drawing on the analysis of interviews with students and teachers in carnival project schools, issues and themes such as student involvement, creativity, artists in schools, and cross-curricular learning are explored, concluding that carnival in the curriculum provides an opportunity for agency within the regulated official curriculum.
{"title":"Carnival in the Curriculum","authors":"Steve Herne, Celia Burgess-Macey, M. Rogers","doi":"10.1111/J.1476-8070.2008.00588.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00588.X","url":null,"abstract":"This article focuses on a carnival in the curriculum project designed to revitalise the arts in the experience of students in Higher Education preparing to become primary school teachers. It argues the relevance of a combined arts or trans-disciplinary artform in the remit of a visual arts education journal and explores carnival as a complex, inclusive, multifaceted and multidimensional cultural practice with deep historical and social roots. It locates carnival within theory and the debate about the arts in schools in the UK from the early 1980s. Drawing on the analysis of interviews with students and teachers in carnival project schools, issues and themes such as student involvement, creativity, artists in schools, and cross-curricular learning are explored, concluding that carnival in the curriculum provides an opportunity for agency within the regulated official curriculum.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127289296","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 : 2008-10-01DOI: 10.1111/J.1476-8070.2008.00580.X
John Baldacchino
Art's relationship with education is often characterised by paradox. Yet art is often reified within an education system that refuses to see the pedagogical strengths of paradox. This article approaches art education from three positions. The first is that art is a construct that is neither natural nor necessary. The second is that there are no aesthetic or pedagogical imperatives, but that art education is the recognition of groundlessness where paradox facilitates learning. The third approach is to reposition art with regards to its relationship with learning, education and schooling. Here it is argued that art's only choice is to deschool learning. The latter is moved by an underlying dilemma as to whether art, considered as an autonomous human act, could ever engage with systems of learning without being turned into a tool or a thing. Unless art education is deschooled, the teaching and learning of art remains trapped between the assumptions of process and product. So the idea of art and education as shared practices within schooling remains somewhat dubious unless art's practices are recognised in parts perceived as wholes and where conclusions are marked by open-endedness. No possibilities for art or learning could ever emerge unless a radically different set of conditions give way to a state of affairs where knowledge is a matter to be discovered but never determined, and where a fixed ground is transformed into a wide horizon.
{"title":"The praxis of art's deschooled practice","authors":"John Baldacchino","doi":"10.1111/J.1476-8070.2008.00580.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00580.X","url":null,"abstract":"Art's relationship with education is often characterised by paradox. Yet art is often reified within an education system that refuses to see the pedagogical strengths of paradox. This article approaches art education from three positions. The first is that art is a construct that is neither natural nor necessary. The second is that there are no aesthetic or pedagogical imperatives, but that art education is the recognition of groundlessness where paradox facilitates learning. The third approach is to reposition art with regards to its relationship with learning, education and schooling. Here it is argued that art's only choice is to deschool learning. The latter is moved by an underlying dilemma as to whether art, considered as an autonomous human act, could ever engage with systems of learning without being turned into a tool or a thing. Unless art education is deschooled, the teaching and learning of art remains trapped between the assumptions of process and product. So the idea of art and education as shared practices within schooling remains somewhat dubious unless art's practices are recognised in parts perceived as wholes and where conclusions are marked by open-endedness. No possibilities for art or learning could ever emerge unless a radically different set of conditions give way to a state of affairs where knowledge is a matter to be discovered but never determined, and where a fixed ground is transformed into a wide horizon.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127284128","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 : 2008-06-01DOI: 10.1111/J.1476-8070.2008.00572.X
Olga M. Hubard
In his account about reading novels, Wolfgang Iser argued that the work of art is not the text itself but the experience that emerges as a reader interacts with the text. Yet, he clarified that the aesthetic object is not based only on the subjective input of the reader but also determined by specific signs that a text presents. This article draws from Iser's theories to examine the process through which five teenagers discover meaning in an abstract sculpture by artist Isamu Noguchi. The author shows how the young viewers arrived at a series of readings that were elicited by the qualities of the work and that built upon each other in a sort of snowballing process. The article also illustrates how the sort of meaning that an artwork can yield stretches throughout the whole experience and can therefore not be translated into a discursive statement.
{"title":"The Act of Looking: Wofgang Iser's Literary Theory and Meaning Making in the Visual Arts","authors":"Olga M. Hubard","doi":"10.1111/J.1476-8070.2008.00572.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00572.X","url":null,"abstract":"In his account about reading novels, Wolfgang Iser argued that the work of art is not the text itself but the experience that emerges as a reader interacts with the text. Yet, he clarified that the aesthetic object is not based only on the subjective input of the reader but also determined by specific signs that a text presents. This article draws from Iser's theories to examine the process through which five teenagers discover meaning in an abstract sculpture by artist Isamu Noguchi. The author shows how the young viewers arrived at a series of readings that were elicited by the qualities of the work and that built upon each other in a sort of snowballing process. The article also illustrates how the sort of meaning that an artwork can yield stretches throughout the whole experience and can therefore not be translated into a discursive statement.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125420069","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 : 2008-06-01DOI: 10.1111/J.1476-8070.2008.00567.X
G. C. Young
When an art tutor adopts the role of assistant to a disabled artist it is difficult not to move from helping with the physical handling of materials on the one hand into the actual creative process on the other, thus influencing how the artwork looks. Ecas is an Edinburgh-based charity which promotes opportunities for physically disabled people to be self-fulfilled and to participate in all aspects of society. They run, among other things, traditional art classes and computer classes. The use of computer technology (CT) in art seemed to offer the chance for self-fulfilment for disabled artists by increasing control over artistic choices and providing for self expression with only minimal assistance required from others. Ecas decided to fund a research project in the form of a ten-week pilot course and the data collected during the trial confirmed these possibilities and it was clear that adult learners with disabilities could benefit from CT in order to have greater autonomy in the creation of their art than before. In particular the program Corel Painter IX.5 and various graphics tablets proved to be a powerful arsenal for self-expression without having to wait for a tutor to tape paper to a board, replenish paint, change brushes attached to a head pointer or any one of the many and varied problems disabled students had with traditional art materials.
{"title":"Autonomy of Artistic Expression for Adult Learners with Disabilities.","authors":"G. C. Young","doi":"10.1111/J.1476-8070.2008.00567.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00567.X","url":null,"abstract":"When an art tutor adopts the role of assistant to a disabled artist it is difficult not to move from helping with the physical handling of materials on the one hand into the actual creative process on the other, thus influencing how the artwork looks. Ecas is an Edinburgh-based charity which promotes opportunities for physically disabled people to be self-fulfilled and to participate in all aspects of society. They run, among other things, traditional art classes and computer classes. The use of computer technology (CT) in art seemed to offer the chance for self-fulfilment for disabled artists by increasing control over artistic choices and providing for self expression with only minimal assistance required from others. Ecas decided to fund a research project in the form of a ten-week pilot course and the data collected during the trial confirmed these possibilities and it was clear that adult learners with disabilities could benefit from CT in order to have greater autonomy in the creation of their art than before. In particular the program Corel Painter IX.5 and various graphics tablets proved to be a powerful arsenal for self-expression without having to wait for a tutor to tape paper to a board, replenish paint, change brushes attached to a head pointer or any one of the many and varied problems disabled students had with traditional art materials.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127007317","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 : 2008-06-01DOI: 10.1111/J.1476-8070.2008.00573.X
Neşe Gürallar Yeşi̇lkaya
The design of a utopia was devised as a studio project in order to bring critical thinking into the design studio and to stimulate creativity. By suggesting a utopia, the pedagogical aim was to improve progressive thinking and critical thought in the design education of architectural students — and also future architects. From this perspective, the utopia called Edilia, from the book Spaces of Hope by the critical geographer David Harvey, was taken as a basis for the students to design a utopic environment. In addition to Harvey's book, students were not only challenged by the idea of an alternative society but also by the idea of a different space. Utopia, as an inter-disciplinary subject, brought various issues and different perspectives into the design studio such as public and private realms, everyday life, work, leisure, nature, technology and sustainability. With the help of the concept of utopia, a theoretically-informed design studio enabled students to criticise the existing world, dream about an alternative one and make the design of their dreams in a creative way.
乌托邦的设计被设计为一个工作室项目，目的是将批判性思维带入设计工作室，激发创造力。通过提出一个乌托邦，教学目的是提高建筑学生和未来建筑师在设计教育中的进步思维和批判性思维。从这个角度出发，学生们以批判地理学家David Harvey的《希望的空间》(Spaces of Hope)一书中的乌托邦Edilia作为设计乌托邦环境的基础。除了哈维的书，学生们不仅受到另类社会理念的挑战，也受到不同空间理念的挑战。乌托邦作为一个跨学科的主题，将公共和私人领域、日常生活、工作、休闲、自然、技术和可持续性等各种问题和不同的视角带入设计工作室。在乌托邦概念的帮助下，一个理论知识丰富的设计工作室使学生能够批评现有的世界，梦想另一个世界，并以创造性的方式设计他们的梦想。
{"title":"Designing a Utopia: An Architectural Studio Experience on David Harvey's Edilia","authors":"Neşe Gürallar Yeşi̇lkaya","doi":"10.1111/J.1476-8070.2008.00573.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00573.X","url":null,"abstract":"The design of a utopia was devised as a studio project in order to bring critical thinking into the design studio and to stimulate creativity. By suggesting a utopia, the pedagogical aim was to improve progressive thinking and critical thought in the design education of architectural students — and also future architects. From this perspective, the utopia called Edilia, from the book Spaces of Hope by the critical geographer David Harvey, was taken as a basis for the students to design a utopic environment. In addition to Harvey's book, students were not only challenged by the idea of an alternative society but also by the idea of a different space. Utopia, as an inter-disciplinary subject, brought various issues and different perspectives into the design studio such as public and private realms, everyday life, work, leisure, nature, technology and sustainability. With the help of the concept of utopia, a theoretically-informed design studio enabled students to criticise the existing world, dream about an alternative one and make the design of their dreams in a creative way.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114977257","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 : 2008-06-01DOI: 10.1111/J.1476-8070.2008.00574.X
Ilona Székely
Currently there is a scarcity of information in the art education literature about purchasing art. This article examines how art acquires economic and social value, as well as how consumers make decisions when purchasing a piece of art. Where does an art student, or the general public learn about buying art? How much, if any, of this process is happening in the art class? There is an assumption art educators make, that raising some invisible standards of taste leads to greater awareness of art consumption. In this article, the author visits four mall stores to study the aesthetics of art purchase to discuss a number of implications for art teaching. Elitist views of the contemporary art world regarding popular culture and the purchase of art frame the debate. As art educators we ask art students to look at the world as critical consumers; this article then, offers practical approaches for classroom discussions surrounding the purchase of art.
{"title":"Art at the Mall: A Look at the Aesthetics of Popular Mall Art Culture","authors":"Ilona Székely","doi":"10.1111/J.1476-8070.2008.00574.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00574.X","url":null,"abstract":"Currently there is a scarcity of information in the art education literature about purchasing art. This article examines how art acquires economic and social value, as well as how consumers make decisions when purchasing a piece of art. Where does an art student, or the general public learn about buying art? How much, if any, of this process is happening in the art class? There is an assumption art educators make, that raising some invisible standards of taste leads to greater awareness of art consumption. In this article, the author visits four mall stores to study the aesthetics of art purchase to discuss a number of implications for art teaching. Elitist views of the contemporary art world regarding popular culture and the purchase of art frame the debate. As art educators we ask art students to look at the world as critical consumers; this article then, offers practical approaches for classroom discussions surrounding the purchase of art.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"385 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126734798","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 : 2008-02-01DOI: 10.1111/J.1476-8070.2008.00556.X
E. V. Moer, T. D. Mette, W. Elias
In the last decades theories that emphasise visitors’experience as the key element in the process of meaning-making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge-based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced-based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.
{"title":"From Obstacle to Growth Dewey's Legacy of Experience‐Based Art Education","authors":"E. V. Moer, T. D. Mette, W. Elias","doi":"10.1111/J.1476-8070.2008.00556.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00556.X","url":null,"abstract":"In the last decades theories that emphasise visitors’experience as the key element in the process of meaning-making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge-based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced-based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125397215","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 : 2008-02-01DOI: 10.1111/J.1476-8070.2008.00555.X
Marie Fulkova, T. Tipton
Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school-age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school-age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic.
{"title":"A (Con)text for New Discourse as Semiotic Praxis","authors":"Marie Fulkova, T. Tipton","doi":"10.1111/J.1476-8070.2008.00555.X","DOIUrl":"https://doi.org/10.1111/J.1476-8070.2008.00555.X","url":null,"abstract":"Contemporary art requires that art and cultural educators reposition encounters with artefacts, images and performances into a context for new discourses. Whereas digital media and other aspects of visual popular culture predominate the frames of reference of school-age children, their context (codes) of reference, in large part, do not contain those used by art and cultural education professionals. Most art professionals (con)textualise their interpretations from a more formalistic tradition, unlike school-age children, whose use of iconographic elements from their experiential subcultures, are projected into the content of their visual encounters. In order to find relevancy for today's art education, interrelationships between the codes of the participant and visual experiences must be built upon the development of new strategies between viewers, artefacts and experts. This article presents the background and use of dialogic strategies for new discourse from the‘Open Dialogue Club’programme between the Department of Art Education at Charles University and the Galerie Rudolfinum, a contemporary art space, in Prague, Czech Republic.","PeriodicalId":296132,"journal":{"name":"International Journal of Art and Design Education","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128328971","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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