Utilizing contemporary art forms in the primary after-school: An artist-teacher-researcher perspective

2019 ◽  
Vol 15 (2) ◽  
pp. 183-200
Author(s):  
Nadezda Blagoeva
Keyword(s):  
Contemporary Art ◽  
After School ◽  
Art Forms ◽  
Teacher Researcher ◽  
Artist Teacher

scholarly journals Promoting integrative teaching through interdisciplinary arts and crafts collaboration between after-school clubs

2018 ◽  
Vol 7 (1) ◽  
Author(s):  
Nadezda Blagoeva
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
After School ◽  
Integrative Learning ◽  
School Students ◽  
Theoretical Assumption ◽  
Simultaneous Application ◽  
School Activities ◽  
Art Forms ◽  
After School Activities

This article presents an art-teacher-researcher’s perspective on issues related to project-based integrative visual arts teaching to primary school students attending after-school activities. Based on the theoretical assumption that contemporary art forms are a suitable pedagogical solution for integrative visual arts teaching, the study explores the transformation and materialisation of a conceptual contemporary art installation into a performance. The described processes reveal the potential of contemporary art forms for encouraging integrative teaching through multiprofessional collaboration, which enhances the simultaneous application of the four integrative teaching styles as defined by Bresler (1995): subservient, co-equal, affective and social. The study demonstrates how artistic multiprofessional collaboration, triggered by the contemporary art expression can, in practice, extend the integrative learning opportunities by putting the students into authentic creative processes. The results of this action research confirm that after-school activities provide a favourable environment for quality integrative teaching as they give the freedom to plan educational thematic projects that allow active co-equal collaborations. Such projects unfold the possibilities for learning in collaboration through artistic expression and multidisciplinary discovery, which in turn fosters knowledge and skill transferability that go beyond the discipline-based school curriculum.

scholarly journals Spaces In-between: Text Poems from Community Practice and Research

2018 ◽  
Vol 3 (1) ◽  
pp. 114-131 ◽  
Author(s):  
Paula Gerstenblatt ◽  
Diane Rhodes ◽  
Lida Holst
Keyword(s):  
Service Learning ◽  
Social Issues ◽  
Lessons Learned ◽  
Community Practice ◽  
Community Members ◽  
University Partnerships ◽  
The Past ◽  
Teacher Researcher ◽  
Fellow Teacher ◽  
Artist Teacher

A commitment on the part of the academy to address social issues has increased over the past three decades, resulting in service learning courses, volunteering opportunities, and community-university partnerships. Faculty, staff, and community practitioners collaborating to lead these efforts often carry enormous responsibility and answer to often competing interests of students, community members, and universities. Using the experience of an scholar/artist/teacher in a university-community partnership founded by the first author in a racially polarized town, this article explores the potential of arts-based methods, specifically poetry and collage, to mitigate the consequence of this work. The format is a dialogue between two engaged teacher/researcher/practitioners and friends to clarify the hidden experience of the researcher with narrative truth to articulate and share not only experiences, but also lessons learned as a contribution to our fellow teacher/researcher/practitioners.

Reflecții asupra conceptului de artă obiectivă în contextul artei contemporane

2020 ◽  
Vol 65 (1) ◽  
pp. 175-184
Author(s):  
Carmen Belean
Keyword(s):  
Contemporary Art ◽  
Arbitrary Element ◽  
Human Life ◽  
The Other ◽  
Future Generations ◽  
Literary Sources ◽  
Art Forms ◽  
Ancient Times ◽  
The Universe

"Reflections on the concept of objective art in the context of contemporary art. Objective art communicates about the human being and his/her place in the universe, about the cosmic laws and the role they play in human life and provide clues as to how man can relate to them. From literary sources attesting to the idea that art in its origin had the role of transmitting knowledge to future generations, we deduce that in ancient times all art forms could be read like a book, and those who knew how to read, fully understood the meaning of the knowledge that was incorporated in these art forms. Nevertheless, there are two forms of art, one very different from the other: objective art and subjective art. Everything that we call art today is subjective art. Objective art is the authentic work resulted from the deliberate, premeditated efforts of a conscious artist. In the act of his creation, the artist avoids or eliminates any subjective or arbitrary element and the impression that such a work evokes in others is always defined. Keywords: objective art, the art of antiquity, contemporary art "

Consuming the Asian Other in Singapore: Interculturalism in TheatreWorks' Desdemona

2003 ◽  
Vol 28 (1) ◽  
pp. 79-95 ◽  
Author(s):  
William Peterson
Keyword(s):  
Contemporary Art ◽  
Large Scale ◽  
Audience Response ◽  
Current State ◽  
Wide Range ◽  
Art Forms ◽  
The Creation ◽  
Point Of Departure

The Singaporean company TheatreWorks, under the artistic direction of Ong Keng Sen, has been responsible for the creation of a number of large-scale Asian intercultural works that have toured to international festivals from Adelaide to Hamburg. Among the best known of these are Lear and Desdemona, both of which use Shakespeare as a point of departure for new performance pieces that bring together practitioners representing a wide range of traditional and contemporary art forms. Unlike other intercultural experiments, in Lear and Desdemona practitioners stay largely within the frame of their own performance and linguistic traditions, creating a work which, especially in the case of Desdemona, is far from seamless. Using the 2000 production of Desdemona as an object of inquiry, this model of Asian intercultural production is examined against the backdrop of the politics of one's location, the troubled audience response to the work in Singapore and Adelaide, and the current state of intercultural theory.

Introduction: Transnational/Transartistic Journeys

2015 ◽  
Vol 15 (1) ◽  
pp. 1-5 ◽  
Author(s):  
Rosalind Silvester ◽  
Margaret Topping
Keyword(s):  
Contemporary Art ◽  
Area Studies ◽  
The Past ◽  
Art Forms ◽  
The Creation ◽  
Historically Situated ◽  
Traditional Area ◽  
Epistemological Shifts

In the past two decades we have witnessed a series of epistemological shifts, springing from traditional area studies and departing from nationally bounded fields. These moves seem to dislocate and problematize categories of identity by focusing on translocality and by calling attention to processes of displacement, dispersion, objects and ideas, and to the new cultural and imaginary territories that these mobilizations effect. Such formulations, while historically situated, illuminate flows and favour transformation, as opposed to producing ontological crystallisations. This issue will explore the view that the creation of new cultural phenomena may be achieved, in the richest of ways, through the mixing of genres and the crossing of media. It will seek to investigate how various contemporary art forms serve to express, envision, challenge and renegotiate Francophone identities that reach across cultures.

Afterword: An exhibition about hospitality. A more sensitive perception of vulnerability

2021 ◽  
Vol 12 (1) ◽  
pp. 379-385
Author(s):  
Fabienne Brugère
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
The Political ◽  
Special Issue ◽  
Art Exhibition ◽  
Aesthetics And Politics ◽  
Art Forms ◽  
History Of ◽  
Political Right ◽  
Ethics And Politics

This afterword reflects on the tension between art, politics and philosophy at the thematic core of this Special Issue, ‘Migrants and Refugees Between Aesthetics and Politics’. Brugère calls attention to a recent art exhibition – one that came out of her book with Guillaume Le Blanc, The End of Hospitality – at the Museum of the History of Immigration, in Paris, as a way to frame a conflict between two ideas of hospitality, or the broad ethical gesture to welcome others and the political right that more and more governments are unable to uphold as borders tighten around the globe. The afterword elaborates on the aims of the exhibition, namely, to show ‘a correspondence between art and philosophy on the question of hospitality’. Rather than a mere representation of discourse around migration, the artwork displays a praxis of the imagination, one in which cultural production by and about refugees brings spectators to recognize a shared sense of vulnerability and to question received ideas on migration. In this manner, contemporary art forms become an essential link in the ongoing struggle between ethics and politics.

Teken onder weerstand: Over de tekenpraktijk van Matthew Barney en Michelangelo

Forum+ ◽  
2019 ◽  
Vol 26 (1) ◽  
pp. 48-54
Author(s):  
Senne Schraeyen
Keyword(s):  
Contemporary Art ◽  
Close Attention ◽  
Michelangelo Buonarroti ◽  
Current Series ◽  
Matthew Barney ◽  
Art Forms ◽  
The Many

Abstract Net zoals een kunstenaar als Michelangelo Buonarroti (1476-1564) zich profileerde als beeldhouwer, schilder, architect en poëet, laveert Matthew Barney (1967) moeiteloos tussen verschillende hedendaagse kunstvormen.Het oeuvre van de Amerikaanse kunstenaar Matthew Barney bestaat uit performance, fotografie, tekeningen, designobjecten en film. Niet toevallig werd hij in 1989 door een kunstcriticus omgedoopt tot “De Michelangelo van de genitale kunst”. Dit had niet alleen te maken met de vele naakte atletische lichamen in zijn oeuvre. De verwantschap tussen Barney (1967) en Michelangelo (1476-1564) is groter dan men zou verwachten. Senne Schrayen trekt in dit artikel een parallel tussen de lopende performancereeks Drawing Restraint (gestart in 1987) van Barney en de presentatietekeningen van Michelangelo uit 1532 vanuit een transhistorische invalshoek en met aandacht voor het maakproces van de tekeningen. Just as Michelangelo Buonarroti (1476-1564) worked as a sculptor, painter, architect and poet, Matthew Barney (1967) switches smoothly between various contemporary art forms. The oeuvre of this US artist includes performance, photography, drawing, design and film. Not coincidentally an art critic, writing in 1989, dubbed him 'The Michelangelo of genital art' and this was not just because of the many athletic nudes that people his oeuvre. The parallels between Barney (1967) and Michelangelo (1476-1564) are greater than one might think. In the article Senne Schrayen makes a comparison between Barney's current series of performances (started in 1987) called Drawing Restraint and Michelangelo's drawings of 1532 from a transhistorical perspective and giving close attention to the process of making the drawing.

scholarly journals Being in Cosmos: Sergei Dykov’s Visual Exploration of the Spirit of Altai

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 405
Author(s):  
Andrzej Rozwadowski
Keyword(s):  
Contemporary Art ◽  
Visual Language ◽  
Visual Exploration ◽  
Human Beings ◽  
The World ◽  
Key Concepts ◽  
Art Forms ◽  
Visual Artist ◽  
Human Animal

This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to formal inspirations but who also seeks how to express these indigenous values in contemporary art forms. Drawing on Altaic folklore, its myths and beliefs, including shamanism, as well as ancient Siberian art forms, Dykov searches for a new visual language capable of expressing the Altaic perception of the world. For him, therefore, painting is significantly an intellectual project involving an attempt to understand the indigenous ontology of being in the world. The key concepts around which his art revolves are thus human-animal transformations, human and non-human beings’ relations, and the interconnectedness of the visible and nonvisible. The study was based on an analysis of a sample of his unpublished artworks.

scholarly journals The Confluence in the Contemporary Art World of Literature and Postmodern Visual Arts in Jeff Vande Zande’s Landscape with Fragmented Figures

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
Smriti Thakur ◽  
◽  
Dinesh Babu P ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Interdisciplinary Approach ◽  
Literary Work ◽  
Academic Disciplines ◽  
Art World ◽  
The Novel ◽  
Contemporary World ◽  
Art Forms

The American poet, novelist and editor, Jeff Vande Zande’s Landscape with Fragmented Figures (2009) is a novel that deals with the contemporary world of art, which brings forth the intricacies of the art forms such as collage, action paintings, and drop cloths that have established a crucial distance between the present and the past world of pre-modern art. As the novel revolves around the world of postmodern visual arts and brings this subject into the literary world, it necessitates an interdisciplinary approach, which not only brings the two different academic disciplines of arts together for a critical appreciation, but also creates a new aesthetic experience in the reader, wherein visual arts is seen through the lens of literature, which helps foreground the hidden patterns and motives behind the art work, and the literary work is appreciated with a greater knowledge and understanding of the practices in and theories of the modern and postmodern art. By looking at the symbiotic relationship between visual art and literature through the novel, this study makes an attempt to contribute to the aesthetic appreciation of the engaging confluence of postmodern visual arts and literature in the contemporary world of art. By analysing the text, the study explores the phenomena that have reduced the difference between the original and copy in the contemporary art-world wherein the artist’s aesthetic sensibility seems to derive from other sources, and thus brings into critical discourse those factors that have determined the use of parody, pastiche, irony, and collage in contemporary art forms.

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