scholarly journals Les concepts en mouvement : une méthode basée sur la poésie pour la visite de groupe dans l’exposition d’art contemporain

2021 ◽  
Vol 48 (1) ◽  
pp. 53-72
Author(s):  
Marie-Hélène Lemaire
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Research Method ◽  
Feminist Philosophy ◽  
Art Exhibitions ◽  
Mots Clés ◽  
Pedagogical Approach ◽  
Poetic Inquiry ◽  
Group Visits

Résumé : L’objectif de cet article consiste à présenter ma méthode de recherche des concepts en mouvement basée sur la poésie pour la visite de groupe dans l’exposition d’art contemporain. Cette méthode s’élabore en dialogue avec l’approche pédagogique de l’équipe de l’éducation à la Fondation PHI qui s’ancre dans la notion de mouvement et dans la méthodologie des concepts migratoires (Bal, 2002). Ma pédagogie féministe basée sur les concepts en mouvement est une extension des concepts migratoires, mais elle s’en distingue en se situant spécifiquement dans l’écriture poétique née d’une fulgurance de conscience-lucidité qui connecte mon corps-sujet avec l’affect de l’œuvre. Mots-clés : Recherche poétique; Art contemporain; Éducation à l’art; Pédagogie du mouvement; Philosophie féministe; Corporéité; Poésie comme pédagogie. Abstract: The purpose of this article is to introduce my poetry-based research method that draws from concepts in movement to develop group visits within contemporary art exhibitions. This method was conceived in dialogue with the pedagogical approach of the PHI Foundation’s Education Team, which is anchored in the travelling concepts’ methodology (Bal, 2002). Although an extension of travelling concepts, my feminist pedagogical approach is distinct because it is rooted in poetic writing which emerges in response to a lucid awareness of the connection between my body-as-subject and the artwork’s affect. Keywords: Poetic inquiry; Contemporary art; Art education; Pedagogy of movement; Feminist philosophy; Embodiment; Poetry as pedagogy

Cardography as a research method through writing and drawing in higher education workshops

2021 ◽  
Vol 14 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Ana Isabel Serra de Magalhães Rocha
Keyword(s):  
Higher Education ◽  
Research Methodology ◽  
Collaborative Research ◽  
Research Method ◽  
Research Result ◽  
Art Exhibitions ◽  
Arts Based Research ◽  
Research Workshop ◽  
The University ◽  
Digital Or

This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course.

REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE

2020 ◽  
pp. 116-132
Author(s):  
Tat'yana Yu. Mironova ◽  
Keyword(s):  
United States ◽  
Contemporary Art ◽  
Historical Memory ◽  
The United States ◽  
Art Exhibitions ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Changing Attitudes ◽  
Historical Issues

Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.

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 L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain

2018 ◽  
Vol 9 (1) ◽  
pp. 33-43
Author(s):  
Francine Couture
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Cooperative Network ◽  
Art Exhibitions ◽  
African Art ◽  
Art Worlds ◽  
Art Scene ◽  
Contemporary African Art

This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

scholarly journals TRANSFORMASI RELIEF CANDI PRAMBANAN DALAM KARYA TUBUH RITUS TUBUH OLEH ANGGONO KUSUMO WIBOWO

2020 ◽  
Vol 19 (1) ◽  
pp. 66-76
Author(s):  
Siska Dwi Purwanti ◽  
Daryono Daryono
Keyword(s):  
Contemporary Art ◽  
Participatory Research ◽  
Research Method ◽  
Theory Of Change ◽  
Starting Point ◽  
Visual Expression ◽  
Change Transformation ◽  
Different Levels

Transformation is a process of changing form, nature, and so on into new forms without leaving the values that existed in the previous culture. The process of transformation always produces elements of novelty, both in terms of style, taste, and meaning even at different levels of change. Transformation in art does not only occur in similar arts. Ancient relics, for example, as one form of art can be a starting point to be interpreted into visual expression in contemporary art, including dance. Tubuh Ritus Tubuh is one of the dance works which is a form of transformation of the Prambanan Temple relief. This study tries to uncover the allegations of the  transformation of the Prambanan temple reliefs that can be observed on Tubuh Ritus Tubuh dance presentation. The problem of transformation is examined using the theory of change expressed by Lorens Bagus. The participatory research method carried out by the author is able to uncover the form of transformation found in certain parts of the dance presentation. Keywords: transformation, relief, Prambanan Temple, Tubuh Ritus Tubuh.

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