scholarly journals Art among archeologists. Selected examples

1970 ◽  
Vol 24 ◽  
pp. 47-65
Author(s):  
Maciej Kaczor ◽  
Katarzyna Pyżewicz ◽  
Barbara Wielgus
Keyword(s):  
Art Education ◽  
External Sources ◽  
Archaeological Knowledge ◽  
The University ◽  
Curatorial Studies ◽  
Adam Mickiewicz

This article presents selected aspects of potential intersections of archeology and art, the potential resulting from it, and also threats. We presented our interpretation of the perception of this issue, which is from the archaeologist’s perspective. We referred to specific examples that refer both to our experience resulting from more than a year of cooperation between the Faculty of Archeology of the Adam Mickiewicz University in Poznań and the Faculty of Art Education and Curatorial Studies of the University of Arts in Poznań, as well as the external sources. An attempt was made to answer the question – how archaeologists can use the knowledge and experience of artists. We focused on the example of museology and the popularization of archaeological knowledge, how to make it more attractive, and to facilitate public reception. At the same time, we presented our observations on the examples of the use of archeology by artists as inspiration.

Wenger, Susanne (1915–2009)

2018 ◽  
Author(s):  
Peter Probst
Keyword(s):  
Art Education ◽  
Graphic Design ◽  
Severe Illness ◽  
Local School ◽  
Western History ◽  
History Of ◽  
The University ◽  
The City ◽  
Exclusive Focus ◽  
Applied Arts

Susanne Wenger was an Austrian artist and an instrumental figure in the history of Nigerian modernism. Born on July 4, 1915 in the city of Graz, Austria, Wenger first attended the local School of Applied Arts before she moved to Vienna to continue her art education, first at the School of Graphic Design and then, from 1933 to 1935, at the Academy of Art. Like other students, Wenger’s interest was in contemporary post-secessionist movements. The few works remaining from Wenger’s Viennese phase exemplify different styles ranging from pencil studies of plants and animal bodies, executed with an almost photographic precision, to expressionistic and cubist paintings, to surrealist crayon drawings. After the war she moved from Vienna to Paris, where she met editor Ulli Beier (1922–2011). The encounter with Beier marked a profound and lasting shift in Wenger’s life. The two fell in love and decided to spend the next years in Nigeria, where he got a job as a lecturer at the University of Ibandan. What they thought would be an adventure became a confrontation with the colonial reality. The colonial curriculum had an exclusive focus on Western history and culture. Interaction between Nigerians and members of the British faculty hardly existed. While Beier reacted to the colonial reality by seeking refuge in the newly established extramural department, which allowed him to work outside the campus, Wenger’s response was more private and personal. After a severe illness, she embarked on a journey—both spiritual and artistic—which resulted in the so-called "Osogbo experiment."

scholarly journals #exploreART: il labirinto di A. Pomodoro e i bambini. Un progetto di fruizione condivisa con percorsi sensoriali partecipati

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Franca Zuccoli ◽  
Alessandra De Nicola ◽  
Anita Bacigalupo ◽  
Paola Boccaletti ◽  
Giulia Carolì ◽  
...  
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Research Project ◽  
Initial Hypothesis ◽  
The University

The contribution presents a research project conducted by Fondazione Arnaldo Pomodoro to formulate, design and create, together with children and teachers, and to evaluate – with the help of the University – a different approach to the experience of contemporary art. This project has been implemented thanks to co-funding provided by Fondazione Cariplo. The initial hypothesis, after many years of experimentation on the part of Fondazione Arnaldo Pomodoro in the field of art education, and in the various temporary and permanent exhibitions organized by the foundation, was to explore a series of new possibilities that underline the value of participation, in which the soundscape can also become part of a meaningful experience.

scholarly journals Zoom in on Dry Joy—Dissensus, Agonism and Democracy in Art Education

2021 ◽  
Vol 11 (1) ◽  
pp. 28
Author(s):  
Lisbet Skregelid
Keyword(s):  
Student Teachers ◽  
Art Education ◽  
Democratic Education ◽  
Art Museum ◽  
Teaching Session ◽  
Educational Strategies ◽  
Pivot Point ◽  
To Come ◽  
The University ◽  
Point Of Departure

Literature on art education often emphasizes dialogue as a preferred approach and as a way of practicing democratic education in museums and galleries. Dialogue-based tours in such contexts are often characterized by a sense of harmony and agreement. In contrast, this article discusses the democratic aspect and political potentiality when dissensus and agonism are used as central educational strategies. The point of departure for the discussion was a teaching session on the online platform Zoom with student teachers as part of their module on art and crafts at the University of Agder in Kristiansand, Norway, in spring 2020. Artworks from the exhibition Dry Joy, in Sørlandet Art Museum, by Finnish photographer Iiu Susiraja, were the pivot point in the session. Before the lockdown caused by COVID-19, the exhibition caused intense debates. The strong reactions were particularly prevalent amongst parents whose children had witnessed the exhibition as part of a school trip. A central part of the teaching session was encouraging students to come up with and explore arguments both for and against exposure of school children to these images. This article aims to contribute to knowledge about how educational strategies that challenge consensus may enable democratic arenas beyond hegemony.

scholarly journals Art Education in the Age of Metrics. A critical exhibition about how we teach and learn art under neoliberal conditions

2018 ◽  
Vol 6 (2) ◽  
Author(s):  
Emma Brasó
Keyword(s):  
Higher Education ◽  
United Kingdom ◽  
Art Education ◽  
Teaching And Learning ◽  
The United Kingdom ◽  
University Life ◽  
The University ◽  
The Impact ◽  
Data Culture ◽  
The Town

The higher education sector in the United Kingdom finds itself immersed in a data culture that evaluates every aspect of the university life according to a metrical paradigm. Art education, an area with its own teaching and learning characteristics, is particularly incompatible with a model that favours efficiency, productivity and success over all other aspects. In this essay I describe an exhibition, Art Education in the Age of Metrics, which took place in 2017 at the campus gallery of a specialist university located in the town of Canterbury. This was a curatorial project that tried not only to represent the difficulties of art education in the current climate, but that by engaging the university community—particularly students— in the process of organizing the exhibition, tried to actively intervene in the debates on the impact of this neoliberal model in how we teach and learn art today.

scholarly journals Identification of Individuals for Directorship Roles: Evaluation of a University’s Succession Management

2018 ◽  
Author(s):  
Nana Oppong ◽  
Nancy Oduro-Asabere
Keyword(s):  
Legal Framework ◽  
Leadership Roles ◽  
Comparison Analysis ◽  
Leadership Positions ◽  
Cape Coast ◽  
Succession Management ◽  
Inclusive Approach ◽  
External Sources ◽  
Recruitment And Selection ◽  
The University

Identification of potential individuals for leadership roles is a critical aspect of a succession management programme, as other aspects of the programme depend on an effective identification. This study evaluates how the University of Cape Coast (UCC) in Ghana identifies potential non-academic senior members for directorship roles. We collected qualitative data through in-depth interviewing of nine directors at the university. We analysed the data using constant comparison analysis by developing three themes, under each of which we presented similar categories of data. We found that the criteria for identification of potential directors include seniority; both internal and external sources; and familiarity with the culture, the legal framework, and the higher educational system. We conclude that UCC does not operate a structured, formal succession management but fills leadership vacancies through the traditional recruitment and selection method, an all-inclusive approach which we argue is not suitable for identifying and developing potential individuals for leadership positions.

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