大学美术馆的美育功能研究——以北京师范大学京师美术馆为例

<正>大学美术馆不以营利为目的,通过收藏、研究、展示、教育、交流五项功能[1]实现艺术创作与艺术沟通以及公众文化认知度的提升。与社会公共美术馆不同的是,大学美术馆最直接、最稳定的受众是在校学生,因而大学美术馆的美育职能也就成为其诸多职能中的突出特色。近年来,随着我国院校美术馆的大量兴建和繁荣,大学美术馆     

走进美国的博物馆

波士顿美术馆是美国一家非常著名的艺术博物馆,它收藏有很多亚洲、非洲、欧洲和美洲的艺术品。每天来美术馆参观的世界各地的观众络绎不绝。波士顿市及周边州市的学生也经常来此参观和上课。美术馆内有很多供学生学习和上课的教室和活动室。     

美术馆公共教育模式的反思——评《美术馆公共教育》

美术馆作为展示美术作品、收藏美术作品、研究美术艺术的公共服务平台,其公共教育不仅是美术知识普及、人类精神文化传递的重要载体,更是引导国民树立优良三观、增强国民审美能力与创新能力的主阵地.但审视现有情况,美术馆公共教育在互联网、计算机等信息技术因素和文化、经济等时代因素的影响下,教育资源过于分散、教育体系较为懒散、展览与公众互动态势欠佳等问题越发突出.故如何通过美术馆公共教育模式改革、美术馆公共教育资源整合等措施推动系列问题解决成为学术界较为关注的问题.由杨应时编著,东方出版社于2020年8月出版的《美术馆公共教育》一书,以美术馆公共教育基础性概念为着手点,站在中外历史角度审视了美术馆公共教育的变迁、美术馆公共教育的基础理论、美术馆公共教育的项目策划与实施、美术馆公共教育模式与事业的发展,反思了当前美术馆公共教育改革,尤其是教育模式改革的需求,具有一定启发性.     

演绎草书经典系列一:傅山

曹恩东 1980年出生于甘肃会宁,中国书法家协会会员,省青年书协副秘书长．西北师范大学美术学在读研究生,其作品被中国美术馆、甘肃美术馆等专业文化机构收藏。     

美术馆公共教育的现状及对策

正1美术馆公共教育的现状中国自21世纪初才开始尝试着迈入"美术馆时代",全国各地大量美术馆如云涌现,并向公共免费开放,这说明了中国经济已经出现繁荣,有能力兼顾国家民族的文化发展,并以之为持续发展的能量源,而美术馆也要逐渐实现功能转变,从"为物"转向"为人",将以往的收藏、研究等功能转型为服务大众、普及文化教育,以实现自身的公共教育功能为工作重点。目前,虽然在人员配备和资金投入方面还存在     

让学生全面发展

环境育人走进北京二中,文化墙、特色走廊到处可见,古籍室、国粹馆、教师博物馆、学生博物馆、学生美术馆等,更是让人眼前一亮。二中的教师博物馆,有别于其他学校的荣誉室。它除了收藏各个历史时期二中教师们在教育教学方面获得的各项成果外,还重点收藏了教师们曾使用过的具有纪     

关于约翰·科林绘画艺术研究

约翰·科林的作品在世界各大美术馆都有展出和收藏,是美国最畅销的画家之一。了解画家艺术风格形成的背景和创作经历,可以更加深入地分析其绘画作品的艺术风格、创作思想和观念。     

以美术馆文创设计为核心的艺术设计教学改革探索与实践

美术馆文创设计既是物质样态的文化产品,又包含了精神内容的文化传承,在现有的条件下,存在一定的发展不平衡现象。要求艺术设计教学进行课程内容方面的改革和学科建设方面的改革。针对美术馆文创设计艺术设计教学改革探索与实践主要可以从根据协同创新,打造产学研共赢模式,在实践教学环节实题真练和立足本地域特色,服务地方美术馆等几方面实现,达到促进美术馆文创设计发展的目的。     

找出你的致命弱点

这是美术馆里收藏的世界第一美女的肖像画,请在她脸上的某部位涂鸦,让她无法再当世界第一美女。     

从剑桥The Kettle’s Yard管窥20世纪英国当代艺术

二十世纪的英国当代艺术可谓色彩斑斓,诸多青年艺术家打破了英国皇家美术学院古典主义的画风,转向现代主义绘画,这其中就有Christopher Wood,他的作品被各个画廊和美术馆收藏,影响了英国的当代艺术。     

论尚·丁格利的动力装置怎样表现后现代“达达”理念

尚·丁格利,20世纪瑞士后现代艺术家,以独特的动力装置作品震撼欧美各大现代美术馆,一生曾多次受包括纽约现代艺术馆在内的多家有影响力的美术馆邀请为其创作,最终使达达主义以独立的艺术风格跻身世界艺术史,然而他本人却拒绝承认属于达达主义者。正因如此,国内研究达达主义艺术的学者总是将目光集中于马塞尔.杜尚,而忽略对丁格利艺术理念的研究,而事实上,正是丁格利的作品以更加清晰、全面的艺术理念体现了达达主义     

Faith Ringgold’s Quilts and Picturebooks: Comparisons and Contributions

Faith Ringgold, best known for Tar Beach, her 1991 Caldecott award winning picturebook, has been addressing social issues in her art since the early 1960s. The purchase of her Tar Beach story quilt by the Guggenheim Museum demonstrates the acceptance of her fabric art by the fine arts community. An examination of the connections between Ringgold’s fabric art and picturebooks, including connections between themes, characters, narrative style and her use of visual elements, points to the conclusion that her quilts and picturebooks are related in their use of literary and fine art elements. Using Ringgold’s work as an example, this article supports the view that picturebooks should be considered a fine art form. Joyce Millman is an art teacher in the Philadelphia public schools and teaches in the Art Education Department at Moore College of Art and Design. As a teacher and former Philadelphia Writing Project Scholar, she continues to explore art and literacy.     

Arts‐Based Educational Research in Museums: ‘Art for Learning Art’, an A/r/tographic Mediation

This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013.     

晚清藏书家黄瑞藏书事略

黄瑞是晚清浙江台州学者、藏书家,立足临海,借钞旧籍以丰富藏书。光绪十年（1884）建“秋籁阁”藏书楼,内聚乡邦文献不下数千卷。又有“爱日草堂”,亦称“溪南书藏”,聚书数千册,多供他自己研读、著述之用。黄瑞著作等身,一生著述总计80余种,以地方文献专家扬名台州。宣统三年（1911）,“秋籁阁”遗书遭水浸。在项士元先生力劝下,民国31年（1942）,黄瑞的后代将“秋籁阁”遗书旧存寄存到临海县立图书馆。其中乡贤之作就有400余种,新中国成立以后又转赠临海县博物馆,化私有为公藏．造福桑梓。     

The Project ‘Art for Learning Art’ in Contemporary Art Museums

Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.     

台州民间艺术的整体认识与传承——以台绣为实证

民间艺术作为一种艺术形态、民众的生活方式,一直以来深切地影响着台州人的生活。民间艺术的文化时空存在、信仰观念、伦理情感、真善美的统一、精绝的艺术品展示等是我们需要学习与传承的民族精粹。关注台州民间艺术整体现状,聚焦台州的地域个案,侧重于台州优美纯朴的民间艺术形式和艺术产业经营,是目前艺术传承和艺术教育的要旨。通过调查和总结研究,观察广大民众对台州民间艺术的认知情况,解读民间艺术的运营机制并对其进行深层发掘,以便达到对台州民间艺术的整体认识和找到行之有效的传承之路是我们当代人的职责所在。本文就台州民间艺术的生存状态、继承与保护、产业开发三方面进行探析。     

‘Who Thinks this Teaspoon Is Art?’ A Discourse Analysis of Elementary School Students' Negotiation of Meaning During Art Museum Visits

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.     

现代信息技术发展环境下艺术院校图书馆信息服务创新

结合深圳艺术学校图书馆信息服务创新的实践,分析了现代信息技术的发展对艺术院校图书馆服务的影响和艺术院校图书馆用户信息需求的特点,提出艺术院校图书馆读者服务重点应从服务观念、馆藏建设、信息服务的内容和方式、馆员素质提升等方面创新下功夫。     

"The Council," Artist Adelita Husni-Bey and Young Adults Envision the Future Museum

Artmaking, when used as a form of pedagogy and approached in a socially-conscious manner, has the potential to promote agency and create a democratic learning environment for students. This study examines one such project, "The Council," created by artist Adelita Husni-Bey in collaboration with former Teen Program attendees of the Museum of Modern Art. The Council is a collection of large-scale photographs created from a series of workshops in which 13 young adults imagined themselves reshaping the museum's societal role after a major global crisis. The final photographs were exhibited in the museum's main galleries, representing a participatory, socially-engaged artwork produced from a pedagogical process. While there is a prevalence of these types of pedagogy-based artworks, contemporary art literature tends to focus mainly on the artist, disregarding the participants. Therefore, from the stance of an art educator, I examined the learning experiences of the participants as well as the pedagogical framework of the artist. The reviews from the participants were overwhelmingly positive, with many noting a significant increase in their confidence and a greater sense of agency. A liberating experience of collaboration was also stated as a common experience. These outcomes were attributed to the artist's innovative use of multimodal learning and effective facilitation grounded in Francesc Ferrer's philosophy of anarcho-collectivism and integral education, as well as critical pedagogy. This study suggests that creative methodologies can significantly enhance intrinsically motivated learning and emphasises the importance of nurturing the next generation as they envision a more equitable and just society.     

九叶诗派艺术研究的拓展——读蒋登科《九叶诗派的合壁艺术》

《九叶诗派的合壁艺术》应用深度研究模式，从不同的视角对九叶诗派的艺术进行了全面且学理化的打量。在前人研究的基础上，该书提出了不少创新之见，加之全书渗透出的当代性和当代意识，使该作成了研究九叶诗派艺术特点的佳作。