scholarly journals Re/Presenting Artful Pedagogy: Relational Aesthetics in Early Childhood Contemporary Art Experiences

2017 ◽  
Vol 41 (4) ◽  
pp. 4 ◽  
Author(s):  
Maria Iafelice
Keyword(s):  
Young Children ◽  
Art Education ◽  
Contemporary Art ◽  
Relational Aesthetics ◽  
Art Making ◽  
Young Learners ◽  
Art Practices ◽  
Inquiry Curriculum ◽  
New Directions ◽  
Early Learners

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>Young children are experts in creating unpredictable </span><span>projects akin to the work of contemporary artists and within contemporary art practices. The author utilized a hybrid method of a/r/tography and action research to reveal the </span><span>relational moments, specifically conversations, collaborative </span><span>art making, and interactions of early learners. Contemporary </span><span>art, specifically as it relates to relational aesthetics, has the </span><span>potential to blend with pedagogy and point to new directions for art education of young children: an artful pedagogy. Art </span><span>created with a relational aesthetic emphasizes and only exists from participation and interactivity. Within the context of classroom experiences, compelling findings surrounding unpredictable projects and young learners as experts are deeply explored. In particular, implications are brought into focus </span><span>for visualizing conversations with young learners through art. The connections of relational aesthetics in art education to artful pedagogy are revealed through images of conceptual work by young learners and blurry photographs. Interpreting relational aesthetics with a pedagogical lens led to conclusions that point to an elevated view of the art of young children, a view that reveals the possibilities and further questions for art education that is informed by contemporary art. An artful pedagogy suggests that art education catch up with </span><span>contemporary art and reflect the living inquiry, curriculum, </span><span>and art of the educator and young learners. </span></p></div></div></div></div>

Being Situated in Recent Art

Janus Head ◽  
2009 ◽  
Vol 11 (2) ◽  
pp. 331-341
Author(s):  
Ivy Cooper ◽  
Keyword(s):  
Contemporary Art ◽  
Social Systems ◽  
Audience Participation ◽  
Critical Component ◽  
Relational Aesthetics ◽  
Robert Morris ◽  
Art Practices ◽  
Memory Time ◽  
Richard Serra ◽  
The 1960S

In contemporary art, the term "relational aesthetics" emerged a decade ago as a label for emerging art practices that defied conventional categories. Coined by critic Nicholas Bourriaud, the term describes projects by artists such as Pierre Huyghe, which involve examinations and representations of social systems and contexts, and in which audience participation is a critical component The roots of this approach can be traced to the Minimalism of the 1960s and the phenomenological basis of sculpture by Robert Morris and Richard Serra, which opened up possibilities for later artists to construct more extended situations involving memory, time, experience, and the contingency of context. This paper proposes to examine artfrom the 1960s to the present and trace the developing theory and primacy of audience situations in contemporary art.

scholarly journals artscanada’s "Black" Issue: 1960s Contemporary Art and African Liberation Movements

2012 ◽  
Vol 36 (4) ◽  
Author(s):  
Krys Verrall
Keyword(s):  
African American ◽  
Mass Media ◽  
Contemporary Art ◽  
Black Power ◽  
Racial Politics ◽  
Art Making ◽  
Greenwich Village ◽  
The Arts ◽  
Art Practices ◽  
Subsequent Publication

ABSTRACT In August 1967, as the slogan Black Power burst the confines of African American subcultures and global anti-colonial movements began to circulate prominently within mainstream mass media, seven men from two countries met via a transnational telephone connection to talk about the colour black. Their conversation, and its subsequent publication in the arts journal artscanada’s October 1967 issue titled “Black,” provides this article’s focus. While the thematic issue indexes a rare intersection between elite art and racial politics, and while it is unlikely that any of these representatives of innovative contemporary art practices intimate with the radical countercultures of Greenwich Village and Yorkville saw any cloying taint of bigotry compromise their views about art and art-making, the issue nonetheless enforces covert racism sustained by ideologies of Whiteness. The result is that rather than embracing creative expression associated with black, Black-as-race is construed as alien to contemporary art’s mise-en-scène.RÉSUMÉ En août 1967, quand le slogan « Black Power » se fait entendre au-delà des subcultures afro-américaines et les principaux médias commencent à couvrir les mouvements anti-impérialistes mondiaux, sept hommes vivant dans deux pays, par l’intermédiaire d’un lien téléphonique interurbain, ont eu une échange sur la couleur noire. Cet article porte sur cette conversation et sa publication ultérieure en octobre 1967 dans un numéro de la revue artscanada intitulé « Black ». Ce numéro thématique est l’occasion d’une rare intersection entre l’art d’élite et la politique raciale. Il est peu probable que ces représentants de pratiques innovatrices d’art contemporain, avec leur connaissance intime des contrecultures radicales de Greenwich Village et de Yorkville, aient été conscients d’avoir exprimé des préjugés à l’égard de l’art et de la création artistique. Pourtant, le numéro comporte des exemples de racisme implicite soutenu par une idéologie favorisant la blancheur. En conséquence, plutôt que de reconnaître l’expression créative associée à ce qui est noir, les interlocuteurs traitent le noir en tant que race étrangère par rapport à l’art contemporain.

Introduction Special Section on Contemporary Art and Religion

2013 ◽  
Vol 17 (1-2) ◽  
pp. 1-19
Author(s):  
Loren Lerner
Keyword(s):  
Contemporary Art ◽  
Special Section ◽  
Art Making ◽  
The Past ◽  
Works Of Art ◽  
Art Practices

Abstract This introduction explores the connections between the worlds of art and religion over the past fifty years. Focusing on the discursive coherence of contemporary art and religion, Lerner examines the attempts to bring some order to a theme that has cyclically and persistently arisen in recent art making. In this overview of critical and curatorial interpretations, crucial areas of inquiry are: the religious and secular paradigms addressed within contemporary art practices; the relationships between works of art and institutional questions; the confrontations of new artistic modes; and the survival of religious symbolic structures.

scholarly journals Broadening the Understanding of Art Education

2019 ◽  
Vol 2 (2) ◽  
pp. p146
Author(s):  
Dina A.M. Lutfi
Keyword(s):  
Art Education ◽  
Teaching Methods ◽  
Art Making ◽  
Art Educators ◽  
Traditional Art ◽  
Personal Meanings ◽  
Art Educator ◽  
Visual Skills ◽  
Art Practices ◽  
Traditional Sense

This paper aims to explore the possibilities of approaching art education teaching methods with pragmatism. In the traditional sense, the role of the art educator has been to develop technical and visual skills of students. Today, the art educator is capable of developing teaching methods to enrich minds. Through thoughtful educational experiences, art educators may teach their students that works of art hold within them various social, cultural, personal meanings, and interpretations, which are an extension of the limitless possibilities explored by those who practice art making. Art educators must take into consideration students’ capacity in artistic learning. The understanding of art will differ as a result of students’ exposure to art, in addition to their understanding of everyday life. To arrive at new and renewed approaches, educators may pose questions, such as, how may art educators continue to teach traditional art, which is valuable when it comes to understanding the artistic styles that form diverse cultural and social fabrics, while also introducing contemporary art practices? In what ways may art educators engage with their students, share their experiences and knowledge, while simultaneously presenting them with new challenges?

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

scholarly journals CONTEMPORARY ART SCENARIO IN THE STATE OF ANDHRA PRADESH

2021 ◽  
pp. 186-192
Author(s):  
Dr. K. Mrutyunjaya Rao
Keyword(s):  
Key Words ◽  
Art Education ◽  
Contemporary Art ◽  
Andhra Pradesh ◽  
The State ◽  
Art Departments ◽  
Art School

The Art activity in the state of Andhra Pradesh was pioneered by Damerla Ramarao and Varada Venkataratnam with the help some English officers and some of their disciples. Later whole art activity is concentrated at Hyderabad till the state bifurcation in 2014. The Art education and Institutions were discussed in details. The arrival of Baroda school product has helped us to mark our self as distinct school on the cultural map of India with help of Ravinder G Reddy, V.Ramesh, T.Sudhakara Reddy, CRS Patnaik and Dr. K.Mrutyunjaya Rao. These masters has succeeded to paved a bridge between art and Contemporary art of India. Later the product of Andhra art school has spreaded all over the state and country. Two art departments emerged in the region of Rayalaseema under the lead of Dr.K. Mrutyunjaya Rao. Due to state bifurcation, the major art activity and development has gone to Telangana. The Residual Andhra Pradesh has lost so much. Many of Andhra Artists settled at other states for bread and butter. But now recovering slowly. KEY WORDS: Damerla Rama Rao , Baroda, Contemporary, Aesthetic, Scrap Sculpture, Kadapa,

scholarly journals «The Great Neurosis» of Jacques Loysel and Alfred Kubin

2020 ◽  
pp. 144-149
Author(s):  
D. O. Martynova ◽  
Keyword(s):  
Mental Illness ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Image ◽  
Lost Generation ◽  
Disciplinary Power ◽  
Graphic Artist ◽  
Art Practices ◽  
The Impact ◽  
Pathological Image

On the example of the work «The Great Neurosis» by the French sculptor Jacques Loysel and «Europe» by the Austrian graphic artist Alfred Kubin, it is described and analyzed how artists gave characteristics of changes in their eras, using the same visual image associated with a mental illness. It is proved that while Loysel’s artwork was associated with the latest discoveries in medicine, then Kubin’s artwork was reinterpreted in a new way, reflecting the problems and experiences of the «lost generation». From this it follows that the example of the works «The Great Neurosis» and «Europe» by Loysel and Kubin can be traced not only to evolution, but also to the introduction of the pathological image of the “hysterical body” both in the art of the XXth century and in contemporary art practices. Such a study demonstrates the relevance and signifi cance of studying the links between, as well as the analysis of the impact of mechanisms of institutions of disciplinary power on the visual arts of various eras.

Sign in / Sign up

Export Citation Format

Share Document