History Of Art Education Research Articles

Effectiveness Of Interactive Multimedia-Based Learning in Teaching Art History as A Component of General Knowledge in Art for Senior High School Students

Effectiveness Of Interactive Multimedia-Based Learning in Teaching Art History as A Component of General Knowledge in Art for Senior High School Students

Overview of the Development of Art Education in Laibin City, Guangxi Province, from the Perspective of Aesthetic Education Reform and Development

Aesthetic education is a crucial way to guide individuals in society to discover beauty, perceive beauty, express beauty, and create beauty. It is an integral part of China's education policy. The development of aesthetic education reflects the evolution of national policies and the rich academic research results. To gain a deeper understanding of the development trend of aesthetic and art education in China, the researchers conducted a series of studies in Laibin City, Guangxi Province. They detailedly analysed the city's aesthetic and art education, including its historical development and main content. This paper reveals the overall development and changes in aesthetic education in China and the development level in Laibin City schools through a detailed analysis of aesthetic education in Laibin City, Guangxi. The research results show the specific implementation of aesthetic education in local education and provide new research perspectives and ideas for the development history of art education in Laibin City, Guangxi.

The perspectives of visual arts teachers on postmodernism

<p>Postmodernism has evolved in the field of art, and its presence and definition have been the topic of several studies. The overall perspectives of the visual arts teachers on postmodernism are important for incorporating postmodernism issues into the high school curriculum in Turkey, as they are teaching art history and conveying the practice of visual arts. A review of the literature reveals that there are no comparable studies that take visual arts teachers’ perspectives on postmodernism into account. Therefore, this study aims to discover the perspectives of visual arts teachers on postmodernism. This article presents the findings and conclusions of the first research question of the Master’s thesis, titled “examination of the reflections of postmodernism on art education”. The study used a case study design, one of the qualitative research approaches. The sample of the study consisted of four visual arts teachers working in one of the central and three district schools in Yalova, Turkey. In the current research, two semi-structured interview forms and document analysis were utilized as data collection tools. The qualitative data were analyzed by the thematic analysis method. The themes of “teachers’ general perceptions”, “teaching process” and “reflection on students” were identified through the thematic analysis. This article includes a detailed analysis of the theme of “teachers’ general perceptions”. The results of the research identified the artistic and intellectual perspectives of the participating teachers toward postmodernism as outstanding features.</p>

Virtual Reality Technology Applied to the Immersive Experience of Teaching Art History

Abstract Based on the demand to adapt to the future development of education, the application of virtual reality technology in the field of education is becoming more and more extensive and in-depth. This paper applies virtual reality technology to art history teaching, constructs an art history teaching method using virtual reality technology, and designs a complete teaching process. The EEG signals of students in the teaching process are collected and pre-processed. The features in the EEG signals are extracted by using the SPCNN model with dual convolutional kernels in parallel. The EEG features are output through the convolutional layer and the all-connected hierarchy processing. A support vector machine calculated the maximum distance between the samples and the hyperplane, and the classification and recognition results of EEG features were obtained. The frontal channel TBR change values of each subject student in virtual reality technology art history teaching were significantly lower than those of the traditional art history teaching mode (p<0.01). The frontal F7 channel TBR values of the subject students in different teaching modes were significantly different (p=0.004<0.01). Meanwhile, students gained a strong sense of presence in virtual technology teaching, and the motivation of students to learn art history after participating in virtual reality technology teaching was significantly higher than that of the pre-test. This paper’s teaching model is designed to promote students’ immersion and concentration in art history teaching.

Documenting contemporary art education histories

Every art educator has a story to tell, and that story is part of the complex reality of art education history worth documenting. This Special Issue focuses on the importance of documenting contemporary histories of art education. Within my art education history course, I asked graduate students to complete contemporary historical research on art educators still living. After students studied the various education philosophies, ideologies and pedagogies, they reached out to a living art educator to interview. What developed was six biographical studies of art educators who have contributed to the field of art education in unique ways.

中国现当代美术教育思想的传承和发展

Aesthetic education is an important part of the cultural quality of a nation and a country, and to some extent determines the overall aesthetic level of the people. Therefore, from this perspective, the requirements for the development of art education ideology and planning are particularly important, and also put forward new requirements. With the rapid development of our social and economic ability and level, people pay more and more attention to the cultivation of personal aesthetic cultivation, as well as to cultivate and enhance the next generation's aesthetic feeling and cognition through fine arts education. Therefore, the development of fine arts education as a whole presents a trend of gradual integration and diversification. It is very important and necessary for the inheritance and development of Chinese art education thoughts to train the next generation to have better art appreciation and aesthetic ability, and it is also a great challenge for the inheritance and development of art education thoughts. From the perspective of the necessity of inheriting and developing China's modern and contemporary art education thoughts, this paper analyzes China's modern and contemporary art education thoughts on the basis of the study of the history of art education. At the same time, it expounds the main inheritance and development trajectory of Chinese art education thoughts in different periods, and explores and studies some problems existing in the current art education mode. In order to find the shortcomings in the implementation of fine art education, constantly summarize and explore the ideological origin of fine art education to keep pace with The Times, and gradually explore a suitable for the development of modern and contemporary fine art education under the environment.

Gamification and the History of Art in Secondary Education: A Didactic Intervention

Within the curricula of social and civic competence that are taught in secondary education, Art History is a discipline that is usually relegated to a secondary position in terms of its role and the time dedicated to it. This report presents a didactic intervention for the systematic introduction of gamification strategies aimed at teaching Art History. Its objective is to analyze the performance of gamification strategies in the teaching of social sciences. The products generated in this intervention, applied longitudinally in three academic years, have been analyzed using qualitative methodology, with the WebQDA software. The results show a growth in motivation for the study of Art History and an uneven assessment of the different motivation strategies used in the process, although in general terms, a positive assessment of the gamification strategies used is presented.

From Art History Pedagogic Resource to Post-Digital Art Medium: Shifting Cultural Values in a Dismantled Slide Library

Over the last decade, 35mm slide libraries that were used to support art history teaching in higher education in Europe and North America have been widely dismantled and dispersed. This article examines the cultural values that have been illuminated by debates about their decline and disposal, and the contexts and practices for their afterlife. Drawing on auto-ethnographic research, interviews with former slide librarians and surviving slide library material, the article pays special attention to one case study, formerly held at the University of Brighton, UK, to trace the slide library’s establishment and demise, examine the cultural labour of its production and maintenance, and evaluate its particularities and idiosyncrasies. Through this, the article outlines the values and meanings that were established and contested during the slide library’s working life and its 2011 dismantling, and considers how these have been repositioned in the intervening years. The slide library’s devaluation contrasts sharply with slides’ recent revaluation in scholarly interests in photographic materialities and media archaeologies, in the retro marketplace and in contemporary art practice. Together, these reflections and frameworks provide fresh perspectives on dismantled slide libraries and their remains.

ICONOLOGY: SPECIFICITY AND LIMITS OF THE METHOD AND ITS OPPORTUNITIES IN TEACHING ART HISTORY AT CHILDREN'S ART SCHOOLS

The peculiarities of the iconological method are considered in this article in connection with the topical issues of teaching art history at children's art school. It is impossible to adequately understand painting and graphics of the Middle Ages, Renaissance and the 17th century without iconological interpretations, however, from the point of view of pedagogy difficulties arise associated with the complexity of semantic interpretation, many aspects of which are extremely difficult to be explained to schoolchildren. Competent and dosed application of iconological techniques will enrich students' perception of art works, expand their cultural horizons, and update existing knowledge and skills. The author formulates a comprehensive view on the specificity of iconology, examines the methodological foundations of various interpretations of works of classical Western European art and offers some recommendations regarding the use of iconology in teaching art history at initial stage of art education.

Počeci savremenog srpskog likovnog obrazovanja na Kosovu i Metohiji

The beginnings of contemporary Serbian art in Kosovo and Metohija are related to the establishment of the first educational institutions in this area, where generations of students and art students were educated. And overview of the development of contemporary art in Kosovo and Metohija can be traced back to 1949, when the High School of Art was founded in Peć. This school becomes a nursery of talents and a center of artistic development, improvement and shaping of artistic reality and Kosovo and Metohija. After that, the development of art education was infuenced by the establishment of the Higher Pedagogical School in Pristina in 1962. The conception of this educational institution included the formation of the Fine Arts Group, where young artists were successfully trained. The Academy of Arts in Pristina was re - established in 1973 an it had the following educational courses painting, sculpture, graphics and graphic design. The Academy played a key role in the development of the art scene in the province, educating young artists and future art teachers. Since the school year 1986/87, the Academy was reorganized and continued to work as the Faculty of Arts in Pristina. The most difficult period in the history of university art education in the province ocurred due to the war events in 1999, when the professors and students of this higher education institution were expelled. The faculties infrastructure, teaching space and studios were usurped, and most of works of art were looted and destroyed. The Faculty of Arts was then moved first to central Serbia, and since 2001. It has been working in Zvečan, i.e Kosovska Mitrovica.

Обучение профессионально ориентированному искусствоведческому дискурсу на занятиях по русскому языку как иностранном

At the current level of development of the methodology of teaching Russian as a foreign language for special purposes, insufficient attention is paid to the professionally oriented teaching, which allows modeling imaginary professional situations of communication and forming the skills necessary for real professional communication. The problem is especially noticeable in teaching creative disciplines (including art criticism) where thematic discourse plays an important role. The paper describes an experiment of teaching art history discourse to Uzbek students in the Russian language classes. A model for studying art history discourse was experimentally introduced into practice of teaching Russian as a foreign language at the level of professional communication. The purpose of the study was to develop a technology for teaching art history discourse based on professionally oriented authentic texts in classes of Russian as a foreign language for future specialists in art. The experiment was described in detail with the allocation of experimental and control groups. The experimental group studied the language for professional purposes with the use of the teaching materials developed by the university professors. Most of the tasks of the training package are based on the information from the website of the Belgorod State Art Museum, which updates the educational material and implements the principle of professional orientation of education. The control group followed the traditional program of Russian as a foreign language for future artists. Upon completion of the experimental training, both groups had to do a creative task. Further assessment of the task demonstrated the effectiveness of the use of authentic art history texts and creative tasks in teaching the Russian language for professional purposes to Uzbek students. The study revealed that the students of the experimental group made greater progress compared to the control group in developing such a professional skill as “following art history strategies when creating a text”.

Google사이트도구를 활용한 문화예술교육사 원격수업의 실제적 방안

The purpose of this paper is to discuss practical measures for remote classes in the history of culture and art education. To this end, as one of the useful methods for remote classes in the second-level cultural arts education course, we tried to find a class plan by giving an example of actively using 'Google Site Tool'. This study first explored art and culture education instructor and Google site tools. Then, based on the cases of remote classes in <Introduction to Culture and Arts Education>, the stages of 'preparation', 'benefit', 'practice', and 'utilization' were set. Using these steps, we devised a practical class plan that can promote interaction between learners and improve learning reality in remote classes using Google Site Tools. This study is meaningful in that it suggests the possibility of operating various activities such as solving project tasks in distance classes in the art and culture education instructor and a useful method for students to reach their learning goals with interest.

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

Spuścizna niemiecka, kierunek Polski. Zbiór reprodukcji Seminarium Historii Sztuki na Uniwersytecie Poznańskim (1919–1939)

In 1919, the authorities of the newly established University of Poznan took over the buildings and movable property of the German Royal Academy, which had functioned in Poznan between 1903 and 1918. The Seminar of Art History, which was organised at the time, acquired, among other things, a collection of 4,000 slides and 4,000 reproductions which had been used in teaching art history at the German university. Thanks to the first Polish professor of art history, Szczęsny Dettloff, the collection began to grow. Dettloff, one of the fathers of academic art history in Poland, understood perfectly the need to expand the university’s research workshop: the library and the reproduction collection. He built a Polish photo library at the University of Poznan on the basis of the existing German reproduction collection and a set of diapositives acquired in 1919 from the Museum of Wielkopolska (the collection after the German Kaiser Friedrich Museum). The article describes the reproduction collection in the inter-war period, indicates its state of preservation and analyses the role of the local collection in the academic teaching of art history (in the context of the programme of studies, but also of trips for students).

Women Art Educators of the Design Workshop and the Advancement of Progressive Art Education

Ralph Pearson’s Design Workshop was a center of progressive art education in New York. However, based on the correspondence courses that he developed, he was able to reach artists and art educators across the United States. Women artists and art educators dominated his courses and went on to play an important role in spreading progressive art education ideas within their local communities. Recognition of the contributions of these Design Workshop women, as well as other women studying modern art education in similar venues, is essential in moving away from constructions of art education history that have been overly determined by a disproportionate focus on modern art education in large urban areas, and doing so will lead to a more comprehensive history that is inclusive of local communities as important spaces of experimentation.

Meme layers in the times of pandemic

During the first wave of the COVID-19 pandemic in spring 2020, art teachers put remote teaching in Finnish comprehensive schools into operation in varying ways. One popular implementation was classical art memes, an assignment that art teachers shared through professional networks in social media. This phenomenon brought out the question: what kind of meanings did art history-related memes construct during the pandemic in Finland? The authors collected and analysed empirical data that consisted of a questionnaire for art teachers (N = 14), students’ meme works (N = 45) sent to the authors by the teachers, and assignments that were given. The research approach was critical inquiry. The main components of the theoretical framework were meme theories and crisis pedagogy, with which the authors confronted the national curriculum. Although Finland has not been among the most afflicted countries by the pandemic, the sudden flip to remote teaching created anxiety and a sense of crisis among teachers, who tried to find a balance between their own workload, students’ confusion with the new learning situation and the demands of the curriculum. The analysis concentrated on four themes: the COVID-19 crisis in meme manifestations, teaching art history, art education through making and art education as copying and repeating. The authors concluded that it is crucial to highlight the conceptualizing and contextualizing of art beside actual art-making. From this emerges an essential challenge for in-service training: critical knowledge production and discourse practices.

ДИРИГЕНСТКО-ХОРОВА ПЕДАГОГІКА В НАУКОВОМУ ДИСКУРСІ СУЧАСНОЇ ПРОФЕСІЙНОЇ МИСТЕЦЬКОЇ ОСВІТИ

The article brings up to date the issue of studying the phenomenon of choir conducting pedagogy in the scientific discourse in modern professional art education. Addressing the issue of determining the content of conducting and choral pedagogy, which take place in the scientific discourse of modern professional art education, is relevant in connection with the need to improve professional training of future musician in the context of strategic goals and needs of modern higher education. graduates. The becoming of essential characteristics of the phenomenon under study has been traced with the application of such basic concepts as scientific discourse, professional art education, music and pedagogical education and choir conducting training. It is stated that choir conducting pedagogy functions in interdisciplinary interaction of disciplines of choir conducting block, music pedagogy, art education and art history as a concretization of choral culture. It is noted that choir conducting training of a future musician in the artistic space of higher education institutions – provided the content of its main components is taken into account – expresses itself in choir conducting pedagogy, which is aimed at formation of a worldview, national identity, moral and aesthetic culture of a personality. Consistent representation of essential characteristics of the studied phenomenon has made it possible to reveal its specificity and expression in the scientific field of modern art educational space. Generalization of the process of development and functioning of choir conducting pedagogy in the system of professional art education and music-pedagogic education in particular is promoting further research of the author in the context of improving the course “Choir conducting pedagogy" with the aim to enrich the content of training of future musicians in the specialty 014 Secondary education (Musical art) and its implementation into artistic pedagogical educational practice of other art institutions of higher education in Ukraine.

Cultivate Virtue by Art and Cultivate People by Beauty—Comments on Chinese Ancient Music Education Compiled by Hai Lin

Chinese Ancient Music Education, compiled by Xiu Hailin, is a general history of art education with nine chapters. Based on the historical data of archaeology, this book not only provides the content of the history of art education for the study of the history of Chinese education, but also summarizes and reveals the experience and rules of the development of music education and serves the aesthetic education practice of contemporary Chinese music education.

Historicizing an Ocularnormative Future for Art Education

The future of art education is shaped by its past, yet the history of art education in special or segregated schools is largely absent from authorized histories of the subject. Previous historical accounts of educational policy and practice establish art and disability as parallel concerns. However, the emergence of educational institutions to promote the visual arts and the contemporaneous establishment of segregated education for disabled children and young people indicate the significance of capitalist industrialization on the production of both. Beginning in the mid-nineteenth century, the article examines parallel histories and the futurity they imagine via an exploration of two key texts: Arthur Efland’s A History of Art Education (1990) and Michael Royden’s history of the Royal School for the Blind in Liverpool, Pioneers and Perseverence (1991). An increased emphasis on observation and drawing as a means of enhancing quality in British design prescribed an ocularnormative future for art education at this time while education at the Royal School for the Blind shifted its emphasis from technical, craft, and arts-based training to a literacy-based education. The article discusses the relevance of these parallel concerns and the apparent inevitability of an ocularnormative future for art education.

Zadok Adolu-Otojoka and Music Education in Uganda: An Oral History

Zadok Adolu-Otojoka (b. 1932) is one of the prominent music educators and professional performers in the recent history of arts education in East Africa. A Ugandan by nationality, Adolu-Otojoka has served in different professional capacities as music educator, opera singer, folk musician, dancer, composer, and education/culture administrator, at national and regional levels. Educated in Uganda and in the United States, Adolu-Otojoka excelled as a bass-baritone and featured in several professional opera performances alongside celebrated European and American actors and actresses such as Ray Charman, Lance Hardy, Jane Wise, Mike Laflin, and Henry Pearson in the 1970s and 1980s. His most memorable production was Jesus Christ Superstar in which he performed as Caiaphas, in Nairobi, Kenya. His long and distinguished music teaching career spans over half a century starting in the early 1950s through 2006, during which he taught vocal performance, instruments, music theory, and dance and drama courses in the East African region. Although his career is widely discussed, very little or no documentation of his celebrated life is available for reference. Therefore, this oral history was intended to chronicle historical patterns of music education in Uganda through his testimonies as one of the pioneers of music education in colonial and post-independence East Africa. Adolu-Otojoka’s experiences will not only provide valuable inspiration for the young music education discipline in Uganda, but also insights regarding multicultural music education perspectives in general.