International Journal of Art & Design Education最新文献

This study explores the potential of the interdisciplinary zone that is created when art meets environmental education in the Anthropocene. It shares the findings of an eco-art project that took place in the framework of an environmental education course, where the undergraduate students were encouraged to create eco-art pieces, to investigate environmental problems/issues through art and to communicate their findings with the class. The research reflects on students' artworks and reveals the environmental problems and issues that were important for them. Furthermore, it discusses four dimensions of students' ecological consciousness that emerged: a) criticism for the ecological crisis and overconsumption, b) human-nature relationship, c) empathy for nonhuman beings and d) vision of an ecological future. The paper highlights the need for an experiential and creative pedagogical path in the process of the empowerment of the ecological consciousness in the field of environmental education.

The aim of this article is to present pedagogical inspirations in contemporary art. In pedagogical research and analyses, we more frequently pose questions about the artistic inspirations for educational theory and practice. In the face of the educational turn in contemporary art and culture, it is worth considering inspiration in the opposite direction. The article discusses the project Little Review by the American artist Sharon Lockhart, which was shown during the 57th Venice Biennale of Art (2017). This artistic project was inspired by the democratic and alternative pedagogy of a Polish pedagogue of Jewish origin, Janusz Korczak, who was active before World War II. The characteristic element of such projects, which sit on the border of art and education, is their reference to radical pedagogy and alternative teaching and learning. Today, artists using educational methods look not to official conventional education for inspiration but to non-formal and alternative models. The Little Review is a good example of this type of inspiration in artistic activity. The article briefly presents the democratic pedagogy of Korczak and indicates its influence on the artistic project realised by Sharon Lockhart. It demonstrates the significant opportunities offered by this type of artistic and educational interweaving for both art and education.

‘Life Below Water’ aims to establish how creative practice can provide an effective way to nurture self-efficacy and self-regulation in primary education. A constructionist approach was developed to help children explore UN Global Goal 14, through drawing, prototyping and storytelling as collaborative activities. Working in duets and quartets, a group of eight Key Stage 2 children were set the task of ‘inventing’ sea creatures with magical healing powers. The children evaluated their progress through pre and post-workshop questionnaires, and through discussions with their peers, teachers and parents. Workshop outcomes illustrate how nurturing skills in making can help foster creative agency and metacognition. Co-operating as a design team encouraged symmetrical reciprocity, self-regulation and a ‘care-full’ approach to environmental protection. The study provides guiding knowledge for prospective developments, based upon tentative findings. The time required to assess the impact of ‘Life Below Water’ is extended to enable future research efforts, by teachers and practitioners, to inform context-specific interpretations through whole-class workshops and international exchanges.

Theoretical knowledge taught in the classroom forms the bulk of lectures in Initial Teacher Training today. Persuaded that knowledge constructed in the community ought to permeate Teacher Training, Zeichner has developed the notion of Hybrid Space – a space for reflection, training and educational improvement where the background of academic/professional knowledge merges to create new learning opportunities, and where the voices of all participants emerge inclusively. Drawing on but also nuancing Zeichner’s Hybrid Space, this paper examines how (1) incorporating working with (in, about, through) contemporary art into our teaching, and (2) putting this pedagogical approach into play by means of situated learning contexts that work with and in the community offers the opportunity to create an innovative teaching approach. This innovation takes the form of transdisciplinary and nomadic learning inputs that operate within an in-between space and result in unique and unrepeatable learning experiences for all the participants involved.

This article discusses some implications of working supportively with art and design students who manage mental health conditions in a postgraduate environment in a New Zealand University. The paper begins with a discussion of contesting research that considers relationships between highly creative thinkers and certain mental health conditions. It then proposes that, irrespective of arguments around correlations, supervisors are able to make a significant contribution to supporting candidates who combine autobiographically sourced knowledge with artistic inquiries into the experience of living with a mental health condition. In considering this proposition, the paper employs two case studies that illustrate certain strategies that proved useful when seeking to maximise the chances of successful and productive thesis completions. Working in tandem with wider institutional and therapeutic support, these strategies functioned alongside each candidate's research journey. Eight of these approaches are discussed in relation to a pedagogically responsive, informed and creatively supportive environment in which the students were able to develop complex and insightful research projects.

Based on an ethnographic study on studio teaching at five leading European architecture schools, the paper at hand identifies three repeatedly occurring deficiencies (as well as one related problem) in the teaching of architectural design. Drawing on empirical data, the paper describes how ‘epistemic positions’ are shifted without reflection, that serious efforts at translating tacit into propositional knowledge are (too) scarce, and how procedures are not rigorously linked to the respective objects of study. In addition to tackling these three deficiencies, the paper calls for developing corresponding ways of critique assessment that reflect the aspired improvements.

It was widely expected that the academic year 2020-2021 would be a different experience for all involved in educational processes. Everybody had to readjust and reimagine their practice in order to respond to the new reality of teaching university courses online due to the COVID-19 pandemic. This article focuses on the challenges and opportunities that were created because of the pandemic for experiential and collaborative learning during a museum education course addressed to student teachers in the context of initial teacher training. It focuses on a series of activities and reflective practices that took place in order to promote student engagement and active learning in the online environment within which the course was materialized, such as object-based learning and museum visits. It discusses opportunities for an embodied living inquiry as a space for learning and researching. These experiences have implications for museum education through online training and contributes to the digital transformation of teacher training courses in Higher Educational Institutions.

This article explores the impact of COVID-19 on the physical learning spaces of art and design students to consider how this has informed and influenced the creative process, emotional resilience and engagement with learning during this difficult year of restrictions. More specifically, it draws on the experiences of students in a Foundation Art and Design programme in a Further Education college in the North of England as a case study. As a transitional year between Further Education (FE) and Higher Education (HE), this programme is designed to be transformative in terms of theoretical knowledge, practical skills and shaping student identities through ‘becoming’ creative practitioners. Concepts of liminality and liminal spaces provide a lens through which to offer an account of the nature and scope of these transformative experiences over the past year. As an accidental ethnography (Levitan et al. 2017), aspects discussed suggest that whilst COVID-19 had a significant negative impact on the experiences and progression of this cohort of students, there have also been many positive outcomes suggesting that this particular programme has maintained its transformative ambitions.

The graphic design industry has moved beyond its traditional focus on printed matter to deliver multidimensional communication projects involving diverse audiences and media channels. No longer a skills and service industry, graphic design increasingly informs business strategy and innovation processes, requiring heterogeneous expertise, a rigorous design process and the ability to work in multidisciplinary teams. This shift raises the question of the relevance of a traditional design portfolio in demonstrating employability, especially when employers prioritise generic over disciplinary and technical skills. Our article reports the results of a survey of 53 Australian employers of graphic design graduates on the role of the portfolio in evidencing design-specific and more general employability skills, capacities and attributes. The article provides a deeper understanding of the role of a portfolio in the transition to work. We argue that graphic design graduates need ‘portfolio literacy’—which combines insight in the curation of the portfolio and its use in interview performance—to demonstrate both core graphic design and creative skills and capacities in communication, collaboration and problem-solving. This significant know-how is best developed during graduates’ tertiary studies.

The aim of this study was to examine the early childhood experiences of children visiting an art exhibition with their fathers and creating their own artwork. It was designed and conducted as a narrative study, which is a qualitative research methodology. Five children in early childhood (48–88 months old) and their fathers participated in the research carried out in a Contemporary Arts Centre in Ankara, Turkey. Each father and child dyad visited the exhibition at different times and their dialogues during these visits were recorded. The data obtained in the study were analysed through content analysis. It was shown in the results that the fathers and children expressed their thoughts about features of the exhibited works such as size, line, transparency and texture as well as other aspects such as the part-whole relationship and the materials and techniques used in the artworks. It was also observed in the process of creating images, that the fathers and their children had experiences in planning and initiating the creation process, continuing the drawing/colouring process, associating their artwork with the exhibition, naming their artwork and creating a common symbol. In addition, it was found that the fathers created narratives stating that they learned more about the perspective of their children regarding art, got to better know their children’s interests due to the artistic experience and decided to have more frequent artistic experiences with their children in the future.