A Toe in the Water: Introducing Exhibitions on Video with Young People at the Whitechapel Art Gallery

This paper focuses on the production of introductory videos for gallery exhibitions through collaborations between young people, professional artists and gallery staff. Fundamental to this process is the quality of encounter young people involved have with original works of art, artists and gallery staff. Their enquiries about the work on show and critical response is valued by the gallery and its diverse audiences for its unique and individual perspective. Students are invited to explore and familiarise themselves with the work prior to articulating their ideas and views on video within the exhibition spaces. Recorded footage is then edited to a professional standard and shown in the gallery during the run of each show. The videos are also posted out to local schools, marketed as peer‐led introductions to each exhibition, in order to offer up questions and ideas to students and teachers prior to their gallery visit. A commissioned, external evaluation of the videos, against their stated aims and objectives, was undertaken by Goldsmiths College's Art in Education team.     

Multidisciplinary Approaches to Anti‐Racist Education: An Introduction to the Talacchanda Exhibition and Education Project

The Talacchanda project took place as an independent research/exhibition undertaking supported by the Glasgow School of Art. Over seventeen months an exploratory education programme was introduced at various levels of schools and higher education. The education programme sprang from a contemporary art exhibition and dance performance called Talaccahnda which was informed by ancient Indian thought on art and drama. The exhibition and performance took place in Glasgow's Tramway Project Room and Theatre in October 2002. It had been shown previously in the British Council Gallery in New Delhi in 2000, and later in 2001 at the artist run space ‘Out of the Blue’ in Edinburgh. Thanks to Scottish Arts Council Lottery funding, Talacchanda Glasgow was accompanied by an education programme, which offered workshops and events in schools, at the gallery, through community groups as well as at GSA and Reid Kerr College, Paisley. By demonstrating connections between apparently disparate activities, the project aimed to serve as a catalyst for fresh thinking on inter‐cultural and anti racist education, and to strengthen connections between the community groups and institutions involved.     

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.     

Facilitating Meta‐learning in Art and Design Education

Art and design programmes are educationally unique in that students themselves play a central role in determining their own learning needs. To be successful in their study, art and design students are required to operate with a high degree of independence and self‐direction. Developing the skills for greater self‐reliance requires students to become aware of their conceptions of the subject of study, and of themselves as learners in a particular learning context. Developing greater self‐awareness as a learner and becoming more independent in one's learning is captured by the concept of meta‐learning. In this article I present an alternative strategy to prevalent diagnostic approaches to assist in developing a student's capacity for meta‐learning in the subject context of art and design. An inquiry cycle was created to provide a structure within which to facilitate generative thinking about learning through engaging with fundamental questions related to the subject of learning (art and design) rather than the learning subject (i.e. the student). This method represents a departure from existing approaches to engaging students in meta‐learning. A pilot study used to trial the effectiveness of this strategy is also presented here. The inquiry map, and the conceptual base upon which it was developed, were found to be useful ways to structure reflective thinking about learning and to assist in developing a student's conception of the subject.     

The Artist‐Led Pedagogic Process in the Contemporary Art Gallery: Developing a Meaning Making Framework

Drawing on recent research which examined how selected artist educators perceive themselves as arts practitioners and analysed how these constructions inform their pedagogy, this article proposes a framework of meaning making in the art gallery. Art practice is defined as a process of conceptual and experiential enquiry which embraces inspiration, looking, questioning, making, reflective thinking and the building of meanings. The pedagogic process instigated in the gallery resembles art practice in that artists seek to ‘teach’ skills including questioning and critical reflection and promote experiential learning. Hence artist educators function as facilitators enabling learners to engage directly with art works (which are seen to embody the knowledge of the artist creator and contribute actively to the construction of meaning), whilst sharing their knowledge through dialogic exchange. The devised Meaning Making in the Gallery (MMG) framework encapsulates the pedagogic relation‐ship between artist, learners and artworks in the gallery and proposes a model of creative teaching and learning which has potential application within cultural institutions and beyond.     

Using sense to make sense of art: young children in art galleries

This paper reflects on a collaborative project between Manchester City Art Gallery and Manchester Metropolitan University (2003–2004). The project's aim was to attract very young children and their families to the gallery. This paper will not report directly on the research methods used or the outcomes of the project but, rather, will explore questions raised about art galleries and art education in relation to young children. It will ask if it is possible to use art education as a tool for thinking about the world, rather than as a vehicle for expressing a pre‐existing and unitary self, or for representing a pre‐existing and unitary reality. Merleau‐Ponty's philosophy of perception will be used to assist in this attempt to open up current notions of art education, and the art gallery space.     

Promoting group talk and higher‐order thinking in pupils by ‘coaching’ secondary English trainee teachers

One hundred and eighty British secondary school pupils aged 11–12 and their six trainee teachers in five schools participated in an action research project, designed to improve the quality of children's group talk in English lessons, particularly their engagement in higher‐order thinking through ‘exploratory’ talk. The programme, supported by the Teacher Training Agency (TTA), now Training and Development Agency, was devised by a team of mentors and an Initial Teacher Educator from Sussex University. It aimed to develop the trainees' skills both in planning challenging tasks for, and sustaining effective group talk, using ‘ground rules’ and varied teacher discourse strategies. The data include qualitative comparative analysis of discourse audiotaped before and after the intervention, taken from 66 pupils. Findings indicate a clear improvement in the quality of talk, in terms of pupils' collaborative engagement in higher‐order thinking. Further evidence from observations and interviews with all participants suggests confirmation of the programme's effectiveness in improving trainees' and pupils' skills in, and understanding of how to use group talk to reason.     

《讲话》之前——以“边区美协一九四一年展览会”的一次争论为例

1941年8月16日,延安边区美协举办了一次美术展览会。针对此次展览会,胡蛮于1941年8月28、29日在解放日报上发表了《美术上的创作问题——为<边区美协一九四一年展览会>而作》一文,文中批评此次展览作品缺乏政治性。同年9月22日,力群在《解放日报》发表了《美术批评家与美术创作者——读了胡蛮底<目前美术的创作问题>之后》一文,批评胡蛮的观点。力群认为胡蛮只是从政治口号的角度去理解艺术作品,而没有从现实生活体验、艺术家的爱好、内容与形式的关系上去了解艺术作品。通过两人文章对比可知,力群似乎有断章取义之嫌。究其原因,在《讲话》之前,艺术家们始终还没有厘清政治、人民、艺术三者的辨证关系,同时背后还隐藏着力群与胡蛮的个人关系问题。     

Encounters with the Unexpected: From Holbein to Hirst (and Back Again)

Learning through art in the museum is a Masters’ level module established in 2006 through collaboration between the School of Education at Roehampton University, London and Interpretation and Education staff at Tate Britain and Tate Modern. On completion of the module, participants were asked to reflect on how the experience had altered their perspectives on the collection and their strategies for teaching and learning in art and design. The aim of this article is to explore some of the themes that emerged from these interviews and from other dialogue between tutors and students on the module, themes that are then discussed within the wider context of museum and gallery education. The article concludes by reflecting on broader notions of knowledge and understanding in the context of museum and gallery education. It is argued that the juxtapositions of historical, modern and contemporary art that have been a distinctive feature of Tate's curatorial strategy since 2000 have shed fresh light on older works in the collection and provide opportunities for art educators to reappraise the emphasis currently placed upon the interpretation of modern and contemporary work. It is suggested that developing knowledge and understanding of art is partly about embracing notions of ambiguity and mystery: that engaging with multiple and shifting interpretations of artworks should play a more central role in art education and that part of the process of engaging with art is the experience of not knowing and not understanding.     

A Consideration of the Relationship Between Creativity and Approaches to Learning in Art and Design

Creative intelligence is relevant to all aspects of the school curriculum, yet it is through art and design that pupils may come to experience the significance of creativity as a means of exploring innovative and original ideas which offer credence to the individual and affect approaches to learning. This article analyses creativity and the creative process and addresses the links between creativity and intelligence by examining the implications such factors may hold for the teacher when developing approaches to learning in art and design. It focuses in particular on the use of sketchbooks within the context of a number of Art and Design GCSE courses and explores how students have been provided with opportunities to develop creative responses to set tasks. In addition, it sets out to challenge the notion that the requirements of GCSE assessment criteria inevitably restrict creativity and lead to non‐creative formulaic practice.     

Art Animates: Ideas Inspired by a University-Sponsored Summer Arts Academy for Middle and High School Students

ABSTRACT

Art can provide a vehicle for animating learning. Teachers bring ideas to life through curriculum, while artists realize their ideas through images, often translating between forms, media and spaces. This paper describes the context, content and format of a residential Summer Arts Academy for gifted and talented middle and high school students, held on a university campus. In 2013, the theme of the visual art program at the Summer Arts Academy was animation, which linked to the summer exhibition at the local art museum. Collaborations among university faculty, public school teachers, community artists, and art museum and gallery staff have potential to animate learning for students, while stimulating additional forms of public engagement.     

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.     

消费社会语境下艺术画廊的发展

艺术画廊作为一种独特的艺术传播形式,承载发现、包装艺术家,把艺术作品有机转化为艺术商品的功能,适应着当今的商品经济和消费背景,艺术作品只有在画廊里,才成就了它的社会价值。消费社会是艺术画廊的重要基石,而艺术画廊又通过这种与社会紧密结合的关系,将社会和艺术精神顺利搭接,从而也实现了自身在二者的互动促进中,不断发展。     

‘The art of democracy’: Young people's democratic learning in gallery contexts

In this article the authors report on research which aimed to explore the opportunities for democratic action and learning in a number of artist‐led gallery education projects in the south‐west of England. The research takes an approach to citizenship learning and democracy that is less focused on citizenship as a specific subject in the formal school curriculum and the achievement of specific citizenship outcomes that can follow from it. Rather, it is more focused upon understanding how democratic practices that are embedded in the day‐to‐day lives of young people contribute to their democratic learning and participation as citizens. Drawing upon conceptual categories and concepts that illuminate the process, the authors demonstrate the nature and character of young people's democratic learning. An implication arising from this is the need for practice‐orientated research in other contexts (e.g. work, leisure and home) to fully understand the nature of democratic learning.     

Art Education for Understanding: Goodman,Arts PROPEL,and DBAE

‘What is art for?’ This provocative question was the motto of the 31st Annual Convention of the National Art Education Association (NAEA) held in Atlanta, Georgia, 1991. As a visiting scholar for a semester at Harvard Project Zero, I had rich opportunities to study art education programmes in higher education and public schools all over the United States. As a consequence, I felt complelled to reformulate the NAEA question, and ask ‘What is art education for?’ This essay argues for the importance of understanding and meaning-making in art education. It starts with a review of some common rationales for the teaching of art that stress both the alleged ability of the arts to promote ‘good’– i.e. creative, harmonious, and civilised – characters and the instrumental value of the arts as a means of communication. These rationales are then evaluated within the context of Nelson Goodman's philosophy, which emphasises the primary role of curiosity in the arts. The following two sections discuss the rationales, contributions and limitations of two art programmes that are currently being carried out in the United States: Arts PROPEL and Discipline-Based Art Education (DBAE). Arts PROPEL has introduced long-term, open-ended projects that integrate production (making) with perception (learning to ‘read’ art works and observe the world closely) and reflection (thinking about one's work and the works of others). The DBAE curricula are sequentially organised and integrate content from the disciplines of art creation, art criticism (learning what to look for and how to interpret), art history (studying contexts and alternatives of taste and style), and aesthetics (building a personal philosophy of art). In the final section, Arts PROPEL and DBAE are compared. In the context of previous rationales for the teaching of art, the similarity in aims of these programmes stand out as more important than the differences in approach. Neither do these programmes overstate the humanising power of art, nor do they focus on visual literacy per se. Instead, both programmes emphasise the role of reflection, interpretation, and understanding in art. Productive and analytic art activities are used as important vehicles in making sense of the world and of ourselves. It is concluded that Arts PROPEL and DBAE offer promising and supplementary approaches to promote curiosity and to teach art for the sake of understanding.     

Inspiration into Installation: An Exploration of Contemporary Experience through Art

This article discusses the ways in which a fine art department has successfully enabled pupils, staff and the local community to gain access to exciting and wide‐ranging art experiences. Through the creation of temporary installations and exhibitions the art department at Trinity School regularly becomes a gallery resource centre for part of the year. Children across all key stages create art inspired by artists in residence (including an artist teacher) in response to challenging contemporary issues. In 2005 three collaborative installations were produced in response to a potentially disruptive phase within the educational establishment. ‘Sleep‐Eternal Rest’ involved pupils' contributions to the installation, gallery visits and the study of different artists' work. For the exhibition ‘Flesh, Fur and Feathers’, a resident artist worked with students in response to a hanging deer, game and a table laden with fruit. In a building about to be demolished a group of recently graduated artists collaborated on an exhibition entitled ‘Somewheretogo’. This collaborative partnership led to art becoming a central resource for different curriculum areas as well as PSHE. The success of the venture led to pupils' own work becoming an accessible artistic resource, to which they themselves could respond. As well as avoiding the potential limitations of examdriven targets and assessment, it became a source of enrichment in personal, educational and creative terms.     

Making Art,Teaching Art,Learning Art: Exploring the Concept of the Artist Teacher

The article explores the concept of the artist teacher, drawing upon an overview of relevant literature and two related pieces of research: the first investigated practices within the Artist Teacher Scheme (ATS); the second sought to understand the perceptions of practice‐based coursework in an MA Art Education programme at Roehampton University in London. Commonalities and differences between the perceptions and understandings of artist teachers (including masters' students), their tutors and gallery educators were explored. The data for each piece of research were collected through unstructured, open‐ended interviews. A significant reflexive and autobiographical dimension for the research was motivated by my own identity as an artist teacher, and by the exploration of reflective practice as a potential framework for realising and sustaining an artist teacher identity and practice. The research concluded that connections between art practice and teaching are complex, diverse, difficult to articulate, challenging to implement and do not easily lend themselves to simple impact measurement. The ATS operates in a context that includes languages, cultures and identities from frameworks in education and art that can be both complementary and oppositional. Artist teachers need to develop skills of negotiation through which they can articulate and continuously reappraise their art practice and, at an appropriate stage, use that practice to inform their teaching.     

School Students' Responses to Architecture:a practical studio project

This paper focuses on a built environment project with a mixed ability group of learners from year seven attending Deacon's School in Peterborough, England. The School caters for students aged between eleven and eighteen, from a wide range of ethnic and cultural backgrounds (including a substantial minority from the Indian Sub‐Continent); it is an active participant within the University of Cambridge Post Graduate Certificate in Education partnership and is a ‘beacon school’. In practical studio terms, the project was concerned with school students making ‘pop‐up cards’ based on first hand observation of local architecture under the guidance of the Head of Art. [1] The focus for students' learning was on their critical responses to their built environment, in and around the City of Peterborough. In particular, students were encouraged to make full use of their sketchbooks and to engage in active oral work. The approach taken builds upon that advocated by Wolff and Geahigan [2] by emphasising the relationship between students' personal engagement with art and design and their personal response to it through their own art; students were encouraged to learn about art and design objects through the process of reacting, researching, responding and reflecting. [3]     

Community‐Based Art Education in China: Practices,Issues and Challenges

Art educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.     

Undergraduate students' understanding of the contraposition equivalence rule in symbolic and verbal contexts

Literature suggests that the type of context wherein a task is placed relates to students' performance and solution strategies. In the particular domain of logical thinking, there is the belief that students have less difficulty reasoning in verbal than in logically equivalent symbolic tasks. Thus far, this belief has remained relatively unexplored in the domain of teaching and learning of mathematics, and has not been examined with respect to students' major field of study. In this study, we examined the performance of 95 senior undergraduate mathematics and education majors in symbolic and verbal tasks about the contraposition equivalence rule. The selection of two different groups of participants allowed for the examination of the hypothesis that students' major may influence the relation between their performance in tasks about contraposition and the context(symbolic/verbal) wherein this is placed. The selection of contraposition equivalence rule also addressed a gap in the body of research on undergraduate students' understanding of proof by contraposition. The analysis was based on written responses of all participants to specially developed tasks and on semi-structured interviews with 11 subjects. The findings showed different variations in the performance of each of the two groups in the two contexts. while education majors performed significantly better in the verbal than in the symbolic tasks, mathematics majors' performance showed only modest variations. The results call for both major- and context- specific considerations of students' understanding of logical principles, and reveal the complexity of the system of factors that influence students' logical thinking.