scholarly journals Toward an Anti-Racist and Anti-Colonial Post-Internet Curriculum in Digital Art Education

Author(s):  
Timothy J. Smith

AbstractThis chapter examines how reframing post-internet art through anti-racist and anti-colonial lenses in digital art curriculum can cultivate critical and transformative artist practices for students. Anti-racist and anti-colonial approaches offer frameworks for critically analyzing identity, ideology, and power relations toward decentering the art canon and qualitatively shifting curriculum toward critical dialogues and social action. Through a retrospection of the author’s own active and ongoing transformation as teacher, as well as through an analysis of artist Tabita Reziare’s post-internet practice, this article builds a pedagogical foundation for students to generate their own critical consciousness in learning and artmaking through a digital art curriculum.

Author(s):  
Yin Shi

As a branch of watercolor painting, watercolor light color has been widely used in different fields. In the field of design, designers use the convenience, quickness, transparency and brilliance of watercolor to draw a design drawing. In the field of art creation, watercolor is usually the best choice for painters to go out to sketch and create large-scale drawings. In the field of art education, watercolor tools are easy to carry, low-cost and easy to operate, which can facilitate students’ repeated practice and outside Sketching is helpful to cultivate students’ sense of color and observation ability. Therefore, as a branch of art curriculum, watercolor light color has a wide range of uses and great practicability, which is worth exploring and studying.


Author(s):  
Gila Kolb

AbstractThis chapter demonstrates the potential to challenge power relations, and reconsider teaching practices and conceptions of learning bodies. How do bodies in a digital learning setting perform are read and observed? How they can be included in learning settings? Since teaching and learning increasingly take part in digital learning environments, especially since the outbreak of the COVID-19 global pandemic, digital art teaching needs rethinking toward the knowledge of learning bodies and of the perception of learning in the digital realm: a digital corpoliteracy.


2015 ◽  
Vol 117 (3) ◽  
pp. 1-44
Author(s):  
Assaf Meshulam

Background/Context Critical education studies tries to make sense of the relationship between education and differential power in an unequal society and to what degree schools impact the social order. A premise in this field is that a fundamental aim of critical education is exposing unequal social, cultural, and economic power relations and engaging in social action that transcends the setting of the classroom and school. Counterhegemonic schools are thus generally characterized by an aspiration to be meaningful beyond the school community and a commitment to social transformation. Purpose/Focus of Study The study examines a unique bilingual, multicultural school in Israel/Palestine in its struggle to be broadly meaningful and sustainable by opening up enrollment beyond its binational (Jewish-Palestinian) community. In particular, the study analyzes the impact of incorporating external students on the school's counterhegemonic curricula, pedagogy, and dynamics, as well as the implications for the transformative potential of bottom-up democratic education initiatives in the absence of accompanying policy change more generally. Research Design The findings draw on data collected in a broader qualitative case study on multicultural, bilingual schools educating for democracy and social justice in different national, political, and cultural contexts. Data were collected and analyzed from semistructured open-ended individual interviews with school staff, parents, and founders; field observations; and document analysis. Findings The primary finding of this research is the paradox of being impacted while making an impact: The school's attempt to infiltrate the hegemony and expand and sustain its social impact led to the infiltration of external goals, interests, and power relations into its counterhegemonic agenda, curricula and pedagogy, and governance. This in turn undermined transformativity and transcultural border-crossing potential at the school and triggered a neoliberal process of commodification. Yet it also emerged that students still succeed in crossing national and religious identity-borders and in overcoming hegemonic perspectives of their essentialized identities. Conclusions Many obstacles stand between a counterhegemonic school and being socially meaningful, including sociohistorical and political factors. No less important, however, are the broader structural aspects to creating a space in which transformative schools can succeed. Although bottom-up attempts may push hegemonic forms to incorporate certain aspects of their vision, they cannot have meaningful and widespread impact if unaccompanied by broad support and action at the policy level and if they do not become organic parts of a larger transformative agenda.


Author(s):  
Elke Zobl ◽  
Laila Huber

How can we open participatory spaces playfully and critically? Our article raises this question in the context of a research project at the intersection of participatory and interventionist art, critical art education and participatory research. In the project “Making Art – Taking Part!” (www.takingpart.at), which the authors, along with additional team members, conducted with students aged 14–16 in Salzburg, Austria, an artistic intervention in public space was developed based on the ideas, experiences, and desires of the students. In a collaborative process, we explored strategies for self-empowerment, deconstruction of established knowledge and power relations, and appropriation by artistic and art mediation means around the topic of “living together”. In this paper, we argue that by employing such strategies, a liminal space can be opened – in a playful, yet critical way – in which the meaning of participation is collaboratively negotiated.


2020 ◽  
Vol 5 (1) ◽  
pp. 73-83
Author(s):  
Stephen Farthing

An exploration of forgery and drawing that focuses on a twentieth-century practitioner, his art education, motivation and methodology, this critical article was inspired by a meeting that took place in a village near Rome during the autumn of 1976 between the author and Eric Hebborn (1934‐96). Written some forty years later, this article has two goals; first to contribute to the debate that now circles the role of drawing within the contemporary fine art curriculum and then to question the nature of the biographical information Ruskin suggested was embedded in artists drawings. Hebborn, a skilful draftsman and award-winning alumnus of the Royal Academy Schools and British School at Rome is unusual in that he left no significant trace of himself as a contemporary artist. Using his memoire Drawn to Trouble, a once misattributed drawing The Lamentation of the Three Mary’s and my recollections of the meeting, as entry points. This article portrays Hebborn as a victim of his art education, who in the final analysis was neither a fine artist nor copyist but instead an art school trained illusionist who openly admited to creating a modus operandi that was designed to trick experts into uttering false instruments.


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