A letter to Agnes McCausland Richardson Etherington (1880-1854)

Public ◽  
2021 ◽  
Vol 32 (64) ◽  
pp. 138-145
Author(s):  
Lois Klassen
Keyword(s):  
Cultural Studies ◽  
Fine Arts ◽  
Doctoral Studies ◽  
Art Collection ◽  
Arts Programs ◽  
Personal Photos ◽  
Queen's University ◽  
Fine Arts Programs

“Dear Agnes” is a fictitious correspondence that I shared with Agnes McCausland Richardson Etherington (1880–1954) during my doctoral studies in the Cultural Studies Program at Queen’s University (2014-2019). Agnes Etherington is a key figure in the development of fine arts programs at Queen’s, including its art collection. Owing to her bequest of the Etherington House, the university’s art facility bears her name. The entire correspondence that we shared, and that was inserted as textual interruptions into my final dissertation portfolio, includes personal photos and a genealogy that chronologically records activities of Indigenous resurgence that occurred during my studies. What follows is an excerpt of the correspondence. This text is based on one of the four letters found in the portfolio.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

scholarly journals The Teaching Didactics of Álvaro Siza

2019 ◽  
Author(s):  
Pedro Luz Pinto ◽  
Keyword(s):  
Fine Arts ◽  
Assistant Professor ◽  
The State ◽  
The Arts ◽  
Arts Programs ◽  
One Year ◽  
Alvaro Siza

Álvaro Siza Vieira (1933) began his training at the Architecture Department of the School of Fine Arts in Porto (EBAP) in 1949, one year after the 1st Congress of Portuguese Architects (1948), which became known as the congress of modern architects. There were two fine arts schools at the time in Portugal, in Porto and Lisbon (EBAP and EBAL), both with an equivalent curriculum that was coordinated by the state. Siza attended the course based on the “beaux arts” programs of 1932, concluding the curricular part of his course in 1955 and presenting his final graduation design in 1965. But by this time, Portuguese education in the arts had already switched to “modern”curricula (1952-57 Reform). The following year, having already seen some of his important works built, Siza began his career as assistant professor at the school in Porto.

scholarly journals The MFA in Creative Writing: The Uses of a “Useless” Credential

2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Clayton Childress ◽  
Alison Gerber
Keyword(s):  
Creative Writing ◽  
Participant Observation ◽  
Fine Arts ◽  
Field Research ◽  
The United States ◽  
Literary Field ◽  
Widespread Agreement ◽  
Arts Programs ◽  
Symbolic Resource ◽  
Year 2000

Over half of today’s Masters of Fine Arts programs in creative writing in the United States were founded after the year 2000. Has the MFA-CW become a necessary credential for novelists? Relying on participant observation field research in the American literary field and interviews with authors, publishers, MFA graduates, and instructors, this work focuses on a paradox: Despite widespread agreement that the credential doesn’t “teach” enrollees to be a good writers or open up a pathway to a professional writing career, many involved in the literary field hold an MFA-CW. In this paper, we look at the uses of the MFA-CW, finding that although the degree serves little if any jurisdictional or closure-related functions it is made useful in a variety of ways: for students as a symbolic resource for artistic identity, for working writers as a source of income and community, and for editors in publishing houses as a signal for possible marketing and publicity potential. Keywords: Credentialism, Professions, Literature, Books, Publishing, MFA   

Dance critique as signature pedagogy

2016 ◽  
Vol 16 (3) ◽  
pp. 266-276 ◽  
Author(s):  
Lauren Kearns
Keyword(s):  
Creative Process ◽  
Fine Arts ◽  
Modern Dance ◽  
Degree Programs ◽  
Dance Curriculum ◽  
Signature Pedagogy ◽  
Arts Programs ◽  
Vital Component ◽  
And Performance ◽  
University Degree

The curriculum of preprofessional university degree programs in dance typically comprise four components: theory and history, dance technique, creative process, and performance. This article focuses on critique in the modern dance technique and choreography components of the dance curriculum. Bachelor of Fine Arts programs utilize critique as a signature pedagogy because “pedagogies must measure up to the standards not just of the academy, but also of the particular professions” (Lee Shulman, 2005 ). Critique is an essential pedagogy in the training of dance artists and is a vital component of the dance field, as it facilitates an intellectual and kinesthetic deepening of the student’s engagement with the dance profession.

scholarly journals Critical and Cultural Studies

Communication ◽  
2011 ◽  
Author(s):  
Meenakshi Gigi Durham
Keyword(s):  
Critical Race Theory ◽  
Critical Theory ◽  
Cultural Studies ◽  
Social Power ◽  
Social Research ◽  
Fine Arts ◽  
Film Theory ◽  
The Social ◽  
The Uk ◽  
The University

Critical and cultural studies of communication are focused on the analysis of cultural artifacts and practices in relation to the social formations in which they exist. The interrelationships of cultural signs, their conditions of production, and their reception by audiences are at the core of such studies. Critical and cultural studies derive from Marxist approaches to society and culture but have expanded to engage a broad range of theoretical and methodological areas, including semiotics and structuralism, literary theory, rhetoric, philosophy, sociology, ethnography, film theory, gender studies, critical race theory, cybercultures, politics, and the fine arts, among others. Critical theory is generally associated with the ideas of the University of Frankfurt’s Institute for Social Research, often referred to as the “Frankfurt School,” while cultural studies had its genesis in the UK, principally at the Birmingham Center for Critical and Cultural Studies. But critical theory and cultural studies are deeply mutually implicated, and their interrelationships are significant. Critical and cultural studies have proliferated internationally, with distinct perspectives and approaches characterizing their various national, political, and societal contexts. The project of critical and cultural studies of communication is tied to praxis. Critical and cultural studies represent a radical and subversive intervention in the academy because of their basic goal of troubling the term “culture” and linking it to social power and the construction and dissemination of knowledge.

scholarly journals Opportunities and Challenges With Creative Community Partnerships

2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 814-814
Author(s):  
Melinda Heinz
Keyword(s):  
Older Adults ◽  
Fine Arts ◽  
Lessons Learned ◽  
Term Care ◽  
Care Community ◽  
The Arts ◽  
Arts Programs ◽  
Materials Used ◽  
Meaningful Experiences ◽  
The Impact

Abstract Arts programming can address chronic conditions prevalent among older adults. An overview of an implementation of the revised nationwide Opening Minds through Arts (OMA) program anchors the symposium. The paper reports an implementation by an area university and an eldercare facility to recruit and train student volunteers to collaborate with persons living with dementia, and create paintings for a public exhibition. The Arts for a Lifetime Program used bi-weekly student led programming in a long-term care community; the paper includes an overview of materials used throughout the program and reports resident preferences for materials. A report of results of an ethnographic investigation of the impact of creative aging fine arts programs on older adults adds information about how participation might influence the older person’s self-esteem or perceptions of aging. The presentation about creation of music modules investigates the potential of music therapy for the promotion of healing for older adults managing pain. The final paper describes the methodology lessons learned from ARTmail, a community engaged study of the benefits of a structured participatory arts program for older adults with memory symptoms or cognitive impairment. Presentations in this symposium inform identification and development of opportunities to create and engage in meaningful experiences with older adults.

scholarly journals It’s Late, But Everything Comes Next: Creative Aging in the Modern United States

2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 815-815
Author(s):  
Shayna Gleason
Keyword(s):  
Older Adults ◽  
Participant Observation ◽  
Fine Arts ◽  
Teaching Artists ◽  
Cyclical Pattern ◽  
The Social ◽  
Arts Programs ◽  
Health Related ◽  
New Institutions ◽  
Creative Aging

Abstract The emergence of “creative aging” programs, or fine arts programs exclusively for older adults, invites analysis of these new institutions and their influence on the social elements of the aging process. While past studies have demonstrated the cognitive and health-related benefits of arts participation in old age, little research has examined how participation might influence the older person’s self-esteem or perceptions of aging. The present study draws on ethnographic methods including participant observation at eight creative aging programs, six semi-structured in-depth interviews with teaching artists leading these programs, and content analysis of paintings and vignettes made by participants. The results show the observed creative aging programs to have a unique, cyclical pattern of discourse characterized alternately by older adults’ recurring self-deprecation and the affirming responses of instructors. This pattern of interaction renders such programs sites for the contestation of negative popular discourses around aging.

scholarly journals Review ofArt as Revolt: Thinking Politics Through Immanent Aesthetics, edited by David Fancy and Hans Skott-Myhre (McGill-Queen’s University Press)

Lateral ◽  
2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Sean T. Leavey
Keyword(s):  
Cultural Studies ◽  
Media Theory ◽  
The Political ◽  
Creative Practice ◽  
Queen's University ◽  
The Aesthetic ◽  
Political Economic

The entanglements of “the aesthetic” and the political-economic have long been addressed in the areas of philosophy, cultural studies, and media theory. In this edited volume, David Fancy and Hans Skott-Myhre have assembled a collection of essays aimed at examining a range of aesthetic approaches to political projects untethered to “capitalist assumptions,” while looking toward the possibilities of “post-capitalist futures.” Through their respective contributions, the authors offer their readers ways to envision the potential for running lines of flight away from capital’s apparatuses of capture by engaging in creative practice.

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