History Of Art Education Research Articles

Adding a chapter to art education history: visual culture curriculum

The purpose of this article is to give a succinct historical analysis of the visual culture art education movement, thus updating art education’s history. This article looks at art education history through two broad perspectives – sociocultural and sociopolitical – for the purpose of gaining new insight into why this type of curriculum developed. Through this analysis six themes emerged in visual culture art education literature, supported by the writings of the leading visual culture art education scholars Paul Duncum, Kerry Freedman and Kevin Tavin.

Art History in the Cinema Age

AbstractIn the art biennales of today, video has become, like it or not, a universal tool, a sort of “green card” for today’s art. It forms a convenient platform, especially when used with subtitles and especially for the artists of emerging countries, as long as they have access to this technique.Could the art history film equally become a language shared by the community of art historians? This type of film is characterised by the collaboration of a filmmaker and an art historian, such as occurred when Roberto Longhi and Umberto Barbaro together produced their film Carpaccio in 1948. Erwin Panofsky, Rudolf Arnheim and Carlo Argan have analysed cinema in this regard. Others have practised it in undertaking art history: Kenneth Clark is one example. Another is Carlo Ragghianti, who made 20 critofilms between 1948 and 1964 which he defined as “a reading and a critical analysis of artistic language realised through the visual language of cinema”.Is our contemporary era, marked as it is by the globalisation of art and the proliferation of films on art (documentaries, “art films”, experimental films, biopics), beginning thus to create its own art history? If so, of which sort?This art history through film has a comparative intention, marked by a re-reading of the art of the past, in the way that Bill Viola, for example, is enlivening painting. It has the potential to transform connoisseurship by enabling a new relationship to emerge between the eye and the artwork, but it is also a post-colonial history which bursts the boundaries between ethnographic films like those of Flaherty or Les Maîtres fous of Jean Rouch (1954) or Les Statues meurent aussi of Chris Marker and Alain Resnais, and films of today’s highly ritualised “performance art” manifestations. As well it brings consideration to new approaches, such as those of the neuro-sciences and questions the force of images (David Freedberg) and their “agency” (Gell). Henri Storck has written: “The eye of the camera is much more powerful than our own”.In his book L’Intemporel (1973), Malraux wrote that “the museum of the audio-visual” had replaced the “museum of the imaginary”. With video and digital art, the art history film has entered a new era, while still remaining an important element of the teaching of art history, as had been wished for from very early on since the 1950s by the art historian Pierre Francastel.Already in the 1960s UNESCO played an important part in searching out and compiling an inventory of resources relating to film on art. Such investigation needs to be resumed today. But above all, it is the history of the “art history film” which still remains to undertaken at a time when the challenges of a now polycentred world are sketching out a different future.

Manuales de origen krausista para la enseñanza de la Estética y la Historia del Arte y de la Música en los institutos de Bachillerato

Spanish krausism –probably the leading philosophy and cultural movement in Spain since middle nineteenth century to the Spanish civil war– had a remarkable role in the inclusion of disciplines such as Art History, Music History and Aesthetics in the Spanish University, Music Schools, Conservatories of Arts and, especially, in High Schools since 1870’s. In order to establish these studies and generalize them in the Spanish educational system some of the most important krausists wrote manuals and books for these subjects and, through them, they spread out the basic principles of the krausist aesthetical thinking. Hermenegildo Giner de los Rios published, in 1873, the first of these books, which had its origins in Cardenal Cisneros High School (Madrid); later, the same author, wrote several manuals, inspired in this one, to teach Art History and Aesthetics, all them had a remarkable influence in secondary education in Spain and where used in many High Schools.

Tree, Map, Container: Metaphors for the History of Art Education

(2011). Tree, Map, Container: Metaphors for the History of Art Education. Art Education: Vol. 64, No. 2, pp. 46-53.

David A. Levine. Review of "Teaching Art History with New Technologies: Reflections and Case Studies" by Kelly Donahue-Wallace, Laetitia La Follette, and Andrea Pappas.

David A. Levine. Review of "Teaching Art History with New Technologies: Reflections and Case Studies" by Kelly Donahue-Wallace, Laetitia La Follette, and Andrea Pappas.

Imagination and Speculation as Historical Impulse: Engaging Uncertainties within Art Education History and Historiography

Through the presentation of three historical accounts, this article explores the roles imagination and speculation may play within the writing and study of history. By looking at these three incidents, each drawn from the history and historiography of art education over the past 150 years, through a perspective that embraces the value of utilizing imagination and grounded speculation, it is believed that a reasoned and supported case is made for each of the three historical interpretations put forth. It is intended that by engaging in this process of historical speculation, others in art education will be enkindled to explore the past and read about the history of this field in new and adventuresome ways, thus demonstrating the beneficial roles imagination and grounded speculation may play in generating much needed historical inquiry and discussion in art education.

The Renaissance Art Academies: Implications for Leadership Education Practices and Research

Taking the perspective that leadership education is similar to art education created a bridge connecting the leadership education literature with the large and rich body of literature on art education and art history. A survey of the more prominent Renaissance art academies was employed to illuminate the education practices of that extraordinary time, and then consider whether these practices had application to modern day leadership education. Results directly challenged the efficacy of the skills approach to leadership education, affirmed the importance of the mentoring method, supported the communities of practice method as a powerful tool for leadership education, argued for the idea of a talent for leadership, proposed designing leadership games and simulations that included positive and negative consequences, and stressed the importance of creating college and university based leadership academies.

From Drawing to Visual Culture: A History of Art Education in Canada (review)

From Drawing to Visual Culture: A History of Art Education in Canada (review)

Caught on film: The story of Melbourne’s original visual archive

The University of Melbourne's Fine Arts slide library, now held within the collections of the Elisabeth Murdoch Library, is the earliest and one of the most significant collections of its kind in Australia. It owes its founding to the introduction of the discipline of art history at a tertiary level at the University in 1947 through the newly created Department of Fine Arts. So central was it to the teaching of art history that the inaugural Herald Chair of Fine Arts, Professor Joseph Burke, had already begun to assemble the library prior to leaving England. It is a unique collection, one that has been at the very core of art historical teaching and research in Melbourne for more than half a century, and it and its history are thus of major significance in the history of art education in Melbourne. This article presents the history of the establishment of the collection.

Teaching Art History from the Perspective of Visual Culture : A Lesson Plan for Practitioners of Digital Communication

Teaching Art History from the Perspective of Visual Culture : A Lesson Plan for Practitioners of Digital Communication

The ever-expanding art curriculum is it teachable or sustainable?

This paper examines some of the claims made for visual culture education in the context of globalisation. The history of art and design education in the United Kingdom is retraced to argue that new ideas are seldom accepted outright and that the present curriculum amounts to an array of practices lacking a coherent philosophy that have built up over time. Some reservations about the visual culture movement are expressed and suggestions are made for a broad, intercultural curriculum.

Book Reviews

Book reviewed in this articles. The Nature of the Beast Richard Hylton Design Denied: The Dynamics of Withholding Good Design and its Ethical Implications Edited by Michael LaCoste Art Education in a Postmodern World Edited by Tom Hardy From Drawing to Visual Culture: A History of Art Education in Canada Edited by Harold Pearce

A Study for Teaching art history by judgement in a critical view in DBAE in Elementary school: focus on oil painting

A Study for Teaching art history by judgement in a critical view in DBAE in Elementary school: focus on oil painting

In the studios of Paris: William Bouguereau & his American students

William Bouguereau (1825-1905) was a highly important and influential French academic painter, who taught a long succession of gifted students, primarily at the private Academie Julian in Paris. Among them, Bouguereau instructed more than two hundred young American artists. In the Studios of Paris provides a unique look at the history of Parisian art education during the last quarter of the nineteenth century and its profound influence on American art. This landmark publication, the first to focus exclusively on Bouguereau and his American pupils, presents sixty-five paintings, drawings, and prints by the master and eleven of his most prominent students, including Eanger Irving Couse, Elizabeth Gardner Bouguereau, and Robert Henri. A series of carefully researched essays place the artists' work in historical context and discuss various American responses to Bouguereau's painting and pedagogical techniques, along with the subsequent reception and collecting of their work in the United States.

Teaching Art History to Design Students

Teaching Art History to Design Students

Art Education and the Visual Arts in Botswana

AbstractThe history of art and design education in Botswana has evolved in a unique way and reflects its British colonial history and post‐independence development. It has involved constant exchange and dialogue with other countries through the employment of teachers, teacher trainers and university lecturers from a variety of European, Asian and other African countries. This dialogue has continued as locally trained art teachers pursue their degrees overseas and return with new ideas and influences. At the same time, the development of local crafts for a global market and the inter‐cultural exchange in the visual arts outside the formal education system are thriving with the help of various organisations and the museum and gallery sector.This article will look more closely at the country context, the history and development of art education and the interrelationships that have evolved over the last two decades. It will show how students engage with the challenge of integrating their African heritage and changing traditions with their development as teachers and artists. It will also consider how closer links between the formal and informal art sectors might be mutually beneficial and demonstrate the potential for art and design to play a role in the social, economic and cultural development of the country.

Book Reviews

Book reviewed:Edited by Mervyn Romans Histories of Art and Design Education: Collected EssaysEdited by Dennis Atkinson and Paul Dash Social and Critical Practice in Art EducationGraeme Sullivan Art Practice as Research Enquiry in the Visual ArtsRichard Hickman Why we make art and why it is taught

Jogos na web e o ensino da história da arte

This article highlights some issues that appeared along an educative action that integrated Visual Art History teaching in the Internet with Web games. Some of them are: in which context are current online games situated? Is the Internet an appropriate space to teach all styles and periods of Visual Art History? Is it possible to teach Visual Art History using these games? To approach these issues, this article analyzes some proposals in the form of games presented in museums, galleries, and art and education associations websites. It builds its analysis based not only on some authors in the areas of Communication, Sociology, History and Art teaching, but also on testimonies, on works of Internet artists and on the dynamic displacement that occurs among artistic product, media, receptor and artist.

“Siam Not So Small!” Maps, History, and Gender in The King and I

Kerr Houston teaches art history at the Maryland Institute College of Art in Baltimore. He has also written on the use of athletic iconography in Spike Lee's early films, and recently published a piece on teaching art history to foundation-year students at art schools.

Multiliteracies as a Bridge Between the Curriculum and the Individual: On Teaching Art via the Personal Photo Album

The present paper introduces a model for teaching art history while facilitating multiliteracy awareness and skills such as interpretation, comparison between texts, careful research, asking questions, and reflection. This innovative model applies these well-documented literacy skills to personal and universal visual texts, rather than to the usual context of verbal texts. Relying on a constructivist educational approach, we developed a model linking the curriculum with students’ personal worlds by using their personal photo albums, which we approached as a unique, multi-layered text and a rich source of data. The photos in the albums represent a significant text for their owners, holding the story of their lives through people, places, and events along various periods of development. As such, the model places the students at the center of a learning process, during which they perform various tasks related to their personal photos at the first stage, and then gradually expand to works of art. The application of the model to an art history course yielded positive responses from the students; they reported deeper understanding of curricular aspects and of themselves, improved literacy skills that are applicable to various texts and different curricular aspects, as well as true joy and involvement.