HISTORIES & THEORIES OF ART EDUCATION

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Working towards a professional practice
within art schools today

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Questions to think about.....

• What do arts (and design) students need to learn?
• What, why and how do we teach arts and design?
• Is there a hidden curriculum?
• If there is a hidden curriculum, how is this being assessed?
• Is there a taste culture behind teaching? e.g house style
  

Histories of theories of arts education


APPRENTICESHIP

• skills based
•learn by example
• learn from each other
• final major project
• What apprentices learn determined by the master's specialism

TRADITIONAL

• Academies of art
• Based on classical models / ideals
• Taught traditional 'grammar' of art
• drawing, observation, proportion, harmony, perspective
• a grammar of visual language, a universal language
• worked alongside apprentice system
• raised the status of artists and the arts
• originality NOT encouraged
• lots of painstaking copying
• human figure and anatomy
• geometry
• perspective

FORMALIST

• Modern
• basic design
• bauhaus influence
• basic grammar to learn and vocabulary
• colour, shape, proportion
• doing away with the ornament
• properties of materials 'truth to materials'
• geometry
• "form following function"
• core curriculum for all
• visual perception (Gestalt)

EXPRESSIVE

• Everyone is different
• Everyone has something unique to express
• Every student has different needs
• Improvisation
• Spiritual
• Romantic notion of the artist / designer

CONCEPTUAL

• historical knowledge
• theoretical knowledge
• contextual knowledge
• coldstream report
• students must communicate about their work
• Ideas NOT skills
• Design process
• Innovation
• Problem solving
• Different Media
• New Media
• Multi Media
• Barriers broken down

PROFESSIONAL

• Instrumental
• Training for future career ad future success
• Tied to professional arts / design world
• How to build a successful career
• Presentation, marketing, promotion
• Influence of business theory





BIBLIOGRAPHY

* Artists making art for Social Change
Hornsey 1968: The Art School Revolution Lisa Tickner

The events at the Sorbonne in May 1968, when a dispute between students and university authorities brought France to the brink of revolution, have been widely celebrated and discussed in this the year of their 40th anniversary. London’s own évènements are far less widely known. At the heart of them was the six-week long occupation of Hornsey Art College, beginning on May 28. Lisa Tickner, who describes herself as a ‘participant observer’ in the occupation (she had graduated from the college in 1967 and did not return there to teach until the autumn of 1968) provides a meticulously documented account of those tumultuous weeks. ‘If ‘1968’’ she writes, ‘conjures Paris, Prague, the London School of Economics, civil rights and the Vietnam solidarity campaign it is Hornsey – described in its earlier incarnationas a ‘mouldering suburban hutment teaching pottery and basketmaking’ – that has dropped off the revolutionary map. And it was a revolution, according to Tom Nairn at the time, in which ‘a few North London crackpots achieved more than the working class of this overwhelmingly proletarian country.’’ Frances Lincoln | paperback |ISBN: 9780711228740 http://www.lrbshop.co.uk/hornsey-1968_4120.html

* "Why art Cannot be taught" James Elkins

* "Making Artists in the Art Universities"

* "Art Subjects - making artists in the University" Howard Singerman

* "International Journal of Art and Design Education"

REFLECTING ON REFLECTION

What makes things more reflective than others?

SURFACE vs DEEP

• identifying own feelings
• being able to identify emotions
• being critical of ourselves
• taking responsibility

Artists usually employ a process of working

1) Start with a problem
2) Research
3) Generate ideas
4) Solution


Each stage you must reflect, reflect, reflect


BIBLIOGRAPHY

* Lindstorm, Lars (2006)
Creatvity: What is it? Can you assess it? Can it be taught?
International Journal of Art and Design Education, Volume 25, no. 1

* Jenny Moon's books are all published by Routledge Falmer, London. Reflection in Learning and Professional Development (1999a); Learning Journals, a handbook for students, Academics and Professional Development (1999b) and second edition, 2006 with much new material); Improving the Impact of Short Courses and Workshops (2001); a Module and Programme Development Handbook, 2002); A Handbook of Reflective and Experiential Learning (2004).

MINDMAPPING

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"Mind mapping can be used to illustrate sophisticated levels of understanding"


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A mind map is a diagram used to represent words, ideas, tasks, or other items linked to and arranged radially around a central key word or idea. Mind maps are used to generate, visualize, structure, and classify ideas, and as an aid in study, organization, problem solving, decision making, and writing.


Buzan[1] claims that the mind map is a vastly superior note taking method because it does not lead to a "semi-hypnotic trance" state induced by the other note forms. Buzan also argues that the mind map utilizes the full range of left and right human cortical skills, balances the brain, taps into the alleged 99% of your unused mental potential, as well as intuition (which he calls "superlogic"). However, scholarly research suggests that such claims may actually be marketing hype based on misconceptions about the brain and the cerebral hemispheres. Critics argue that hemispheric specialization theory has been identified as pseudoscientific when applied to mind mapping.[2]


http://en.wikipedia.org/wiki/Mind_map