Culture Art Education Research Articles

Museums as Alternative Settings for Initial Teacher Education: Implications of and Beyond the “Take One Picture” Program for Primary Art Education

Abstract In this paper, we discuss the rationale for using museums as alternative settings for initial teacher education in the primary sector by identifying the significance of transferring the pedagogical strategies characteristic of museum settings to primary art education. To illustrate our points, we examine the case of the "Take One Picture" initiative (hereafter as TOP) by drawing upon evidence from the TOP Cultural Placement pilot project in Cambridge. We call attention to "dialogic teaching" as a valuable pedagogical principle that trainee teachers can take away and build upon to inform their day-to-day practice. Our reflections on the TOP project reaffirm the distinctive role of the museum context in teacher training and the importance of dialogue in engagement with art. In addition, the TOP project showcases how fine arts can be taught from a Visual Culture Art Education (VCAE) perspective that incorporates socio-cultural contexts. We also put forward a "repertoire" approach that connects the various dimensions in art education, including appreciating, making and displaying art. This small case study enriches the current literature by highlighting that museums can be turned into exemplary settings for raising awareness of dialogic teaching and for teachers and educators to practice, design, and improve their own strategies of dialogic teaching. In response to the limitations of the TOP program, we propose that trainee teachers could be encouraged to make art works during their training and that future practices can incorporate a "Take One Object" (TOO) approach to complement the employment of visual stimulus in art education with material objects.

Cultural Diversity and Art Education in an Era of New Technology

Cultural Diversity and Art Education in an Era of New Technology

Id@rt Experience: A Transnational Blended-learning Project Founded on Visual Culture

This article is the result of interchanging experiences, the Id@rt experience, among artists, educators and students from different countries and contexts that share the concept of identity as a subject matter for the artistic and educational research processes. We followed a methodological framework that combines the visual culture art education, as an approach to make and interpret the visual reality, and the blended-learning, as a tool to transform and improve the learning process. We proposed the Id@rt experience to teacher in training at the Granada University (Spain), and to student of communication and art education course at the Bologna Fine Arts Academy (Italy). The aim of this project is to develop a closer look at contemporary art, promote creativity and foster the social skills promoting new ways of communication and creation. Through this project we propose to create a synergy between the use of traditional art education methods and the new-technologies based-methods (ICT and e-learning). The evaluation results of the Id@rt experience, obtained from our observation together with focus-groups and open-end questionnaires, indicate that the participants increased their creativity and developed their social/communicative competencies, experiencing art and new technology languages and discovering the creative identity of the contemporary artist and of themselves. Projects like Id@rt experience pave the way for a new understanding and teaching of the art education and new interpretations of the contemporary art and the visual culture.

시각문화교육과 디지털 미디어 시대의 애니메이션 교육의 방향

시각문화교육은 포스트 모더니즘 이후, 미술교육의 새로운 패러다임이라고 볼 수 있다. 시각문화교육은 전통적인 미술교육에서 우리 주변을 둘러싸고 있는 시각 환경으로 그 관심의 폭을 확대하였으며, 전통적인 순수예술에서 대중문화 및 영상예술 등으로 미술교육의 관심을 폭넓게 확장해 왔다. 시각문화교육은 이미지를 둘러싼 사회문화적 맥락에 주목하고, 비주얼 리터러시 능력을 강조하며 구성주의적인 학습을 강조한다는 면에서 문화예술교육의 이슈와 많은 부분을 공유하고 있으며, 실제로 문화예술교육의 주요한 이론적 배경이기도 하다. 이 글에서는 디지털 미디어 시대와 더불어 중요성을 더해가고 있는 애니메이션 교육의 방향성을 제시하기 위해, 시각문화교육의 이론적 배경 및 이슈를 살펴보고, 이와 관련하여 애니메이션 교육의 방향을 제시하였다. 시각문화교육은 1970년대 이후의 진보적인 문화적 배경 아래에서 탄생하였으며, 그 요지는 개인적이고 사회적인 삶의 개선을 위해 시각적 인공물과 그 행위의 의미를 파악하는 것이다. 그러나 시각문화교육은 시각문화 양상의 변화에 따라 지속적으로 발전 중이며, 현재에는 시각문화에서의 미적 체험교육이나, 디지털 스토리텔링을 통한 의미 구성등으로 그 관심을 확장하는 중이다. 디지털 미디어 시대의 시각환경에서 애니메이션은 시각문화의 중심에 자리잡고 있으며, 애니메이션은 하나의 예술장르, 혹은 테크놀러지를 넘어 시각문화 전반에 걸쳐 이미지가 구현되는 형식이기도 하다. 그간 시각적 의사소통 및 비판적 문화 읽기 등을 강조해 온 시각문화교육 또한 미술교육의 체험에서 이해, 감상에 이르기까지 전 영역에 있어서 디지털-애니메이션 시각문화의 새로운 양상을 반영할 필요가 있을 것이다. 이 글에서는 애니메이션 교육 영역의 확장, 범교과적 접근, 사회재건주의적 교육철학, 애니메이션 리터러시 등을 강조하였다. 시각문화교육적 관점에 기초한 애니메이션 교육의 연구는 애니메이션 교육의 정립에 이론적 토대가 될 뿐 아니라 전통적인 비판적으로 텍스트 읽기중심의 시각문화교육을 내용적으로 풍부하고 동시대적이고 미래적인 방향성에 도움을 줄 수 있을 것이다. Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

Visual Communication in Transition: Designing for New Media Literacies and Visual Culture Art Education Across Activities and Settings

As an example of design-based research, this case study describes and analyses the enactment of a collaborative drawing and animation studio in a Singapore secondary school art classroom. The design embodies principles of visual culture art education and new media literacies in order to organize transitions in the settings of participation and interplay between the formality and informality of learning across these settings. The case report considers the process of co-design of a studio-based curriculum with one art educator and his perspectives on a curricular enactment with 39 students. Findings address challenges and opportunities associated with shaping social and technical innovations in schools and consider future studies.

Youth-Created Avatars, Sites, and Role-Playing in the Virtual Game The Sims 2

Abstract This study examined how five adolescents learned about and played a digital game, The Sims 2. Through participant observation, I examined participants’ aesthetic preferences, spatial practices, learning strategies, and storytelling within The Sims 2. The context of this study was a 10-week summer day camp held in a working-class Arizona community. Findings describe participants’ avatar and building designs, strategies for making quick spatial decisions, and tool choices. Set within a visual and material culture art education framework, and with attention to the need for teachers to engage in media literacy education, the study contributes to previous research on gaming sites, virtual realities, and media education.

Does Material Culture Matter?

Does Material Culture Matter? Bolin, P. E., & Blandy, D. (Eds.). (201 1). Matter Matters: Art Education and Material Culture Studies. Reston, VA: National Art Education Association. 170 pages; ISBN 978-1-890160-51-7Matter Matters: Art Education and Material Culture Studies offers scholars, teachers, museum educators, and community-arts facilitators ways to theorize and apply understandings and practices about in art education. The editors, Paul Bolin and Doug Blandy, assert that isa description of any and humanconstructed or human-mediated objects, forms, or expressions, manifest consciously or unconsciously through human-mediated behaviors (p. ix). The book is divided into two sections consisting of eight theoretical chapters and nine chapters whose contributors apply theories to practices in art education.Authors in this book discuss ways to investigate how a wide range of human-made objects, places, and expressions might reflect experiences, values, desires, and cultures of their makers, people who purchased or used them, as well as societies to which they belonged. These authors propose interesting ways to examine by offering students tactics to interpret meanings invested by their makers in relational contexts, imposed by their marketers, associated by viewers, or situated within discourses of power/knowledge.The editors note that art educators have advocated studying common objects and spaces since 1 930s. Although art educators commonly study museum-based objects, scholars have studied commonplace objects, forms, and expressions similar to scholars in fields such as history, anthropology, folklore, and gender studies. Researchers in most fields have investigated objects as primary source cultural texts, yet few scholars offer insights into educational value of exploring meanings of objects, a shortcoming editors aim to address in this book. They assert that the current body of literature within does not address same range of topics, ideas, objects, and research methodologies examined and utilized with purview of studies. For these reasons. Matter Matters holds a distinctive place within collection of literature both inside and outside field of art education (p. x).Many authors in Matter Ma iters cite work of Bolin and Blandy (2003) as influential. In that piece Bolin and Blandy claim that Material Culture Studies moves beyond Visual Culture Studies for following reasons. They assert that Material Culture Studies includes a broader range of forms, objects, and cultural expressions. Material Studies scholars investigate truly common objects such as gardens or children's toys, and provide not necessarily best examples. They also study activities including ways people participate in events such as parades or dance performances. In other words, all human-mediated sights, sounds, smells, tastes, objects, forms, and expressions are culture (p. 250).According to Bolin and Blandy (2011), scholars of Material Cultures Studies have derived their methodologies from a vast number of academic disciplines. The primary reason scholars investigate has been to learn why people make, use, respond to, and preserve objects or experiences from a contextuallybased viewpoint rather than a descriptive or formalistic examination. They encourage scholars to engage multi-sensorial beyond such as sound, music, film and voices as layered texts (p. 255). They contend that term material culture should replace term visual art,with which field has struggled for 40 years.With exception of word visual, most of these statements could be made about scholarly works in Visual Culture Art Education in which authors study objects as varied as website images, teddy bears, and teenagers' bedrooms using multidisciplinary approaches (Barrett, 2003; Duncum, 2004; Pauly, 2003). …

The Re-recognition of Visual Literacy as a Heuristic Concept: The Implications for Visual Culture Art Education

The Re-recognition of Visual Literacy as a Heuristic Concept: The Implications for Visual Culture Art Education

A Study on examination of resources for cultural arts education in Incheon Metropolitan City

A Study on examination of resources for cultural arts education in Incheon Metropolitan City

Roaming the rhizomic playing field of visual culture in art education

Acknowledging that many art teachers have difficulties with the concept of visual culture, the author offers some guidelines for considering the playing field of an art education that embraces the rhizomic nature of visual culture. The guidelines include distinguishing between Visual Culture Studies as a field and what part of it legitimately concerns art education. In turn, this involves distinguishing between different functions of images and artefacts – when they concern data and utility and when they constitute beliefs and values, as well as when they support a status quo and when they resist and/or offer alternatives. Examples of rhizomic curriculum are offered that serve for both clarification and as exemplars of practice.

Three Approaches to Teaching Art Methods Courses: Child Art, Visual Culture, and Issues-Based Art Education

(2012). Three Approaches to Teaching Art Methods Courses: Child Art, Visual Culture, and Issues-Based Art Education. Art Education: Vol. 65, No. 3, pp. 17-24.

A Study on the Cases of Supporting Cultural Arts Education by KBCA

A Study on the Cases of Supporting Cultural Arts Education by KBCA

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.

Rethinking Childhood:Visual Culture Art Education as Crossroad of Gazes and Subjectivities

Rethinking Childhood:Visual Culture Art Education as Crossroad of Gazes and Subjectivities

Analyzing Mass Media through Video Art Education: Popular Pedagogy and Social Critique in the Work of Candice Breitz

This article begins with the premise that art education should engage with forms of popular visual culture in the art classroom so that students can better understand, evaluate, and critique the world around them. The researcher argues that studying video art with students offers a valuable approach to critiquing film and television, among other mass media, because of shared methods of production and persuasion involving sound, language, movement, and time, in addition to visual imagery. Taking the work of South African artist, Candice Breitz, as a case study, this article investigates how video art that re-appropriates multi-sensory popular culture as a form of social critique can provide a model for critical, interdisciplinary conversations in art education. By engaging with Breitz’s videos, which utilize largely “found footage” in their production, art educators can enable students to better analyze the forms and effects of entertainment media and help them “find” their own footage for critical artmaking. This article situates this approach within recent conceptual and contextual literature about visual culture art education, re-appropriation in art and video art, and other topics.

Revisiting Visual Culture in Art Education: What’s Right and What’s Wrong with It?

My presentation attempts to revisit visual cultural art education (VCAE) within the context of designer capitalism. I worry that teachers are not addressing youth fantasies that constitute their popular culture. My own involvement in visual culture since the 1980s through the Social Theory Caucus indicates that it is the digitalized world of the frameless image that is of high concern. I maintain that visual culture art education as it is currently theorized in art education is caught by the limitations of representation. Visual literacy is generally a structualizt endeavor. To move beyond this position requires that art educators necessarily recognize the affective intensity that underlies meaning making. What contemporary art can do and the structuring forces of bodily affect in popular culture are both required for art education in the 21st century. I draw on the ethico-political philosophy of Gilles Deleuze & Felix Guattari to make my case.

Visual Culture in Art Education, Circa 2009

Abstract The article offers a personal view of the current status of visual culture in art education. The author argues that all the activity suggests that visual culture is now an art educational paradigm, though the great divergence of practice and understanding suggests it is a name only. Evidence suggesting the current paradigmatic nature of visual culture includes the number of publications and conference presentations on visual culture; reports of classroom activity; robust debate among proponents; outside criticism; and a sense that for many it has become naturalized as part of their accepted practice. At the same time the great divergence among this activity includes employing the term as though it continued primarily to mean traditional art forms and practices; only superficially related to popular culture; idea development without any specific content; a dialogic and critical inquiry pedagogy; an exclusive focus on deconstruction; deconstruction of one media and response in another media; and, finally, practices that emulate media education. The author concludes by claiming that visual culture in art education remains a work in progress.

Reconceptualiztion of Movie Poster Parody to Investigate the Educational Benefits of Visual Culture Art Education

Reconceptualiztion of Movie Poster Parody to Investigate the Educational Benefits of Visual Culture Art Education

A Case Study of the Influence of Visual Images and the Value of Visual Culture Art Education to Develop Elementary School Students' Deep Motivation and Inner Vision

A Case Study of the Influence of Visual Images and the Value of Visual Culture Art Education to Develop Elementary School Students' Deep Motivation and Inner Vision

Visual culture art education to empower students as global citizens

In this paper, I argue the following points: 1) Globalization is a dominant phenomenon in the contemporary world that brings different geographical parts of the world closer through the interaction and exchange of products, information, knowledge, and culture. 2) Global citizens actively participate in, and recognize their responsibilities regarding socio-cultural, economic, political, and environmental issues they create and share global cultures. 3) The global market and visual culture are both united and interdependent to make a better society; being a cultural consumer and having multicultural awareness have become important issues in a global society. 4) Art education plays an important role in global citizenship education because global citizenship requires active participation through multicultural perspectives and socio-cultural awareness. 5) Visual culture in art education relates art education to sociology and cultural studies, and this facilitates art-centered, cross-cultural, and interdisciplinary approaches to global citizenship education. 6) Visual Culture Art Education (VCAE) is an effective and powerful approach for teaching global citizenship. 7) Teaching and learning about global cultural sites in the VCAE curriculum is a meaningful way to empower global citizenship.