Curating as a dialogue-based strategy in art education

2018 ◽  
Vol 14 (3) ◽  
pp. 293-303 ◽  
Author(s):  
Raphael Vella
Keyword(s):  
Art Education ◽  
Teaching And Learning ◽  
Field Of Study ◽  
Art Making ◽  
Works Of Art ◽  
Artistic Medium ◽  
History Of ◽  
Contemporary Artists

Contemporary artists are increasingly engaging in curatorial work and strategies while curators interpret the exhibition as an artistic medium in its own right. The teaching of art in schools and art education programmes in universities, however, does not often integrate curating as an activity or field of study within more conventional studio classes or methodologies for teaching and learning art. After briefly outlining a history of key artist-curators, this article suggests that curating – particularly its collaborative, social qualities – can enrich art pedagogies and curricula, and proposes four curatorial processes that could positively expand the remit of art education. These processes are understood as integral aspects of art-making and focus on the development of a pedagogy of dialogue, creating dialogues between different artworks and objects, dialogues between curatorial positions, dialogues between works of art and various publics, and finally, facilitating the etymological notion of ‘care’ within the art class.

scholarly journals Globalization and Cultural Identity of Art Works

Monitor ISH ◽  
2017 ◽  
Vol 19 (2) ◽  
pp. 81-110
Author(s):  
Curtis Carter
Keyword(s):  
Cultural Identity ◽  
Art Making ◽  
Global Culture ◽  
Additional Element ◽  
Cultural Objects ◽  
Works Of Art ◽  
Art Works ◽  
Artistic Medium ◽  
Physical Objects ◽  
Political Economic

Works of art are properly characterized as cultural objects, as opposed to being merely physical or perceptual objects. As cultural objects, works of art can be embodied in physical objects, but they require properties that physical objects do not necessarily possess, such as being intentionally composed in some artistic medium in a particular historic context informed by ideas, values, and technical skills and means offered by the culture. Works of art retain their identity in important respects, but may also undergo change when transferred from one culture to another. The identity of a work may be enriched and expanded to incorporate features acquired as a result of its being interpreted in a new cultural setting. An expanded and clarified account of culture is required to give a fuller characterization of the cultural properties that comprise works of art and to support the view that cultural identity in some sense transcends a culture of origin. Culture is a multi-phased concept involving at least three related elements. First, there are the particular art cultures consisting of art-making and their attending strategies of interpretation found in the art worlds of various societies. Secondly, the culture of a people consists of the broader societal, political, economic, religious, ideological, and other practices that define a culture. An additional element is world or global culture consisting of the features of art that enable people from diverse cultures to interpret and appreciate art from other cultures. Within these frameworks, the identity of art works is open and cumulative, with the result that they continuously acquire new properties over the duration of their existence.

scholarly journals The Development of Art Learning Model at School (A Review of Music Education Learning in Indonesia)

2015 ◽  
Vol 15 (1) ◽  
pp. 1
Author(s):  
Dieter Mack
Keyword(s):  
Social Responsibility ◽  
Music Education ◽  
Art Education ◽  
Teaching And Learning ◽  
Learning Model ◽  
Perceptual Sensitivity ◽  
Field Of Study ◽  
The Arts

<p>At the present time, art education is often ignored. Focus on teaching and learning at school seems to accentuate other subjects, such as: science, economics, and technology. This trend is becoming more concerning for the arts is a field of study, which draws attention to the development of perceptual sensitivity, creativity, as well as social responsibility. However, if art education, in this case is music education, is taught theoretically based on other cultural materials, then the consequences will be worse for students. This study is aimed to draw outlines of music education which hopefully can answer the three aspects of music which are previously described. The outlines are arranged based on recent discoveries in audio perceptions. </p>

RISHTAN SCHOOL OF CERAMICS

2019 ◽  
Vol 16 (2) ◽  
pp. 73-77
Author(s):  
Akmal Marozikov ◽  
Keyword(s):  
Central Asia ◽  
Building Materials ◽  
Works Of Art ◽  
The World ◽  
Ferghana Valley ◽  
History Of ◽  
Made In ◽  
National Style

Ceramics is an area that has a long history of making clay bowls, bowls, plates,pitchers, bowls, bowls, bowls, pots, pans, toys, building materials and much more.Pottery developed in Central Asia in the XII-XIII centuries. Rishtan school, one of the oldest cities in the Ferghana Valley, is one of the largest centers of glazed ceramics inCentral Asia. Rishtan ceramics and miniatures are widely recognized among the peoples of the world and are considered one of the oldest cities in the Ferghana Valley. The article discusses the popularity of Rishtan masters, their products made in the national style,and works of art unique to any region

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

Toward an Islamic Framework for Worldview Studies

2007 ◽  
Vol 24 (2) ◽  
pp. 22-43
Author(s):  
Abdelaziz Berghout
Keyword(s):  
Subject Matter ◽  
Textual Analysis ◽  
Field Of Study ◽  
Inductive Approach ◽  
Islamic Thought ◽  
History Of ◽  
Field Of Inquiry ◽  
Muslim Scholars

The paper examines the importance of designing a framework for studying worldviews within the parameters of contemporary Islamic thought. It briefly reviews both selected western and Islamic stances on worldview studies. The literature reveals that research on this topic and its application to different spheres has become a topic of some interest to many intellectual circles, particularly in the western context. Hence, the possibility of forming an Islamic civilizational framework for an inquiry into people’s worldviews needs to be assessed. This article follows a textual analysis and inductive approach to analyze the prospects of formulating an Islamic framework for research on worldviews and its applications. It concludes that western scholars have made considerable efforts in treating people’s worldviews as a field of study, while Muslim scholars have not. In this respect, many western researchers have contributed to developing worldview studies as a separate field of inquiry, including the history of concept, subject matter, objectives, kinds, methods, and applications. Therefore, the need to enhance the Islamic input and research pertaining to this field by introducing an Islamic civilizational framework and approach of inquiry becomes apparent.

The Scientific Value Of Research On Mirmukhsin Fikriy

2020 ◽  
Vol 2 (08) ◽  
pp. 583-589
Author(s):  
Umriniso Rahmatovna Turaeva
Keyword(s):  
Political Environment ◽  
Continuous Development ◽  
The Past ◽  
Works Of Art ◽  
Literary Heritage ◽  
History Of ◽  
The Creation ◽  
Scientific Value

The history of the Turkestan Jadid movement and the study of Jadid literature show that it has not been easy to study this subject. The socio-political environment of the time led to the blind reduction of the history of continuous development of Uzbek literature, artificial reduction of the literary heritage of the past on the basis of dogmatic thinking, neglect of the study of works of art and literary figures. As a result, the creation of literary figures of a certain period, no matter how important, remained unexplored.

The Classical Tradition in University Theatre

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Art Education ◽  
Classical Tradition ◽  
Theory And Practice ◽  
Theatre Arts ◽  
Tel Aviv ◽  
Greek Drama ◽  
Mise En Scene ◽  
History Of ◽  
Stage Performance ◽  
And Performance

This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

scholarly journals Johann Michael von Hermann (1793–1855): A predecessor of Max Schweidler?

2019 ◽  
Vol 40 (3-4) ◽  
pp. 239-270
Author(s):  
Susanne Wagini ◽  
Katrin Holzherr
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
Early History ◽  
Early Nineteenth Century ◽  
Conservation History ◽  
Works Of Art ◽  
Close Study ◽  
Fresh Perspective ◽  
History Of ◽  
Paper Conservation

Abstract The restorer Johann Michael von Hermann (1793–1855), famous in the early nineteenth century, has long fallen into oblivion. A recent discovery of his work associated with old master prints at the Staatliche Graphische Sammlung München has allowed a close study of his methods and skills as well as those of his pupil Ludwig Albert von Montmorillon (1794–1854), providing a fresh perspective on the early history of paper conservation. Von Hermann’s method of facsimile inserts was praised by his contemporaries, before Max Schweidler (1885–1953) described these methods in 1938. The present article provides biographical notes on both nineteenth century restorers, gives examples of prints treated by them and adds a chapter of conservation history crediting them with a place in the history of the discipline. In summary, this offers a surprising insight on how works of art used to be almost untraceably restored by this team of Munich-based restorers more than 150 years before Schweidler.

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