城市视觉形象设计与艺术设计工作室教学模式

随着高校专业教学改革的深入,工作室模式教学已被引入艺术设计专业教学。艺术设计专业是一个应用性很强的专业,如何选择一个切实可行的设计项目一直是工作室教学模式展开的关键。本文从城市VIS设计项目出发,以阜阳市为切入点,引导学生进入工作室,在教学流程的推进中加强了师生之间的交流与合作,逐步完成设计任务。探索了以城市视觉形象塑造为主导的设计工作室教学模式。     

Coming in From the Cold: Imperialist Legacies and Tactical Criticalities

There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades. This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive.     

Identifying the Core in the Subject of Fine Art

This paper explores the basis and main characteristics of fine art as a subject discipline and looks at how these elements combine to create a distinctive and in many ways unique learning environment. Taking the premise that fine art as a subject discipline is concerned with encouraging the development of individual artistic practice and enabling the student to articulate and define the social and cultural context that they are working within, this paper considers how fine art students come to develop alternative ways of thinking, seeing and conceptualising. Referring to the Art and Design Subject Benchmark statements the paper argues that in a fine art education, a set pf principles, core characteristics, skills and abilities are combined to create a unique learning environment that gives its graduates a set of abilities that are particularly relevant to our complex society.     

歌唱情感的表达

艺术是人类情感最直接的表达方式,没有情感就没有艺术。作为歌唱艺术来说,要使我们的歌唱充满情感,必须对音乐作品进行全方位的分析和挖掘。要从歌唱语言、理解和分析作品以及歌唱技巧等几个方面进行训练,应重视歌唱艺术情感表达的重要性。     

Exploring the Benefits of Culturally Responsive Art Learning Experience for Rural Chinese Students

This ethnographic case study explored the benefits associated with culturally responsive art learning experience in a Chinese rural town in the process of urbanisation. The case of this study, Fuchong Art Education Programme (FAEP), provided culturally relevant art activities for primary and secondary rural students who cannot access enriched art programmes in schools. Art studio learning, a summer art camp, an art exhibition, neighbourhood sketching, online teaching, student home visits and teacher meetings were documented and examined over an eight-month period of fieldwork. Semi-structured interviews with the participating students, their teachers and parents and the programme coordinator were conducted to elicit the participants’ perspectives on the FAEP experience, the benefits of participation and the challenges involved in implementing a culturally responsive art programme. The emerging themes included artistic, personal, social and external benefits, which were examined in relation to previous research on the intrinsic and instrumental benefits of art learning and a local understanding of the value of community art engagement in the lives of rural people. The implications offer guidance for promoting culturally responsive art learning in rural settings.     

Approaches for a Postmodern Context

This article is on the culture of conversation in the studio art classroom. What can be assumed as simple pedagogical acts, talking to one another, become increasingly complex in the context of postmodernism. Breakdowns in perceived truths, agreed‐upon styles, and monoculturalism demand that conversation is looked at in a metasense — what is it? what skills, values and agendas do we bring to the process? This work includes reflections on a multiyear field study conducted in New York City studio classrooms. Exemplary professors of art, such as the ones studied, practise conversation through an awareness of their position/biases, being pluralistic and practising authenticity. A history of conversation in schools of art is included to demonstrate historical continuity of artists and art students in conversation. Finally, ways to invest in the act of conversation, such as bracketing the time and space for the act in the classroom, are suggested.     

The Importance of Painting in Pedagogic Practice

In this paper I emphasise the continuing importance of painting as a critical art practice. Contemporary art has always, naturally, reflected the development and exploration of new technologies and our current postmodern era is no different. However, despite our obsession with, and increasing reliance on, computer and filmbased technologies, it is interesting that traditional methods of making art remain a valid means of expression. One reason for the continuing persistence of painting can be located in the early years' classroom. In its very physical guise of constructing a world through materials, painting continues to be relevant to children and adults of all ages. Furthermore, because of its expressive potential in the classroom and studio alike, painting retains an authentic voice, legitimated by the past, rather than hidebound by its traditions. Painting constitutes a living discourse which speaks directly and unequivocally to the present age.     

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     

A Never‐Ending Painting: The Generosity of Time Spent Making and Learning with Others through Artistic Research

This article examines the role of spending time with others in and through artistic research and practice. I draw from my doctoral work which took me on a cross‐Canada journey visiting 125 artists in their studios. Following the studio visits, I made a series of paintings of artists’ studios, however a year later these same paintings were cut up and rearranged to create collaborative studio assemblages on the walls of the Tate Exchange Gallery in Liverpool. Drawing on the metaphor of a never‐ending‐painting to examine never‐ending pedagogies, this article examines the evolution of this project through three iterations of the studio paintings. With each iteration, I explore different ways of knowing others through making thus proposing the performative and relational qualities of artistic research. The first iteration allowed me to spend time with artists even in their absence, as I engaged with our conversations through painting their studios, thus blurring the lines between solitary and social art practices. The second iteration allowed me to give up my art to others through asking them to create collages with fragments of my studio paintings. And the third iteration allowed my work to merge with other arts‐based researchers. Through this process, I propose that making art allows for multiple conversations to emerge through spending time getting to know others through art making.     

Teaching and Learning How to Create in Schools of Art and Design

This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process.     

如何看待西方现代派艺术--兼论学习艺术理论的必要性

西方现代主义艺术和后现代主义艺术统称为西方现代派艺术，西方现代主义艺术是在否定传统的规范定式和习惯认识的基础上发展起来的，后现代主义艺术实践活动旨在打破艺术与生活的界线。西方现代派艺术具有四个方面的积极性，也带来一定的负面效应，对其中某些有争议的行为和主张应给予充分的理解和宽容。当今的年轻一代，不重视艺术理论知识的学习就不能正确对待西方现代派艺术，从而强调了艺术院校的学生学习艺术理论的必要性。     

Dyslexia and the Studio: Bridging the Gap between Theory and Practice

It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counterparts. Combined with this is a prevalent perception that dyslexia predominantly affects students’ writing and linguistic ability and it is this, as well as an increased visual‐spatial sensibility, that attracts students to art and design disciplines. This article examines these ideas through the experience of fine art students on a degree course with a mandatory written element. Drawing on focus groups and interviews with students, it argues that the studio component, in terms of its learning environment and teaching methods, presents an equally challenging context for students with dyslexia and that the written element or lecture‐based studies can provide students with a valuable counterpoint to their studio practice.     

艺术衍生品发展现状及趋势

“艺术衍生品”是艺术作品衍生而来的艺术与商品的结合体,它随着艺术品市场的发展而出现并繁荣起来。一方面弥补了大众无法消费并享受艺术的缺憾,使得艺术极大地融入到我们的生活,另一方面为我国丰厚与独特的艺术资源搭建了一个广阔的发展平台,吸引了越来越多人的目光。     

The Necessity of Studio Art as a Site and Source for Dissertation Research

The issue raised by the authors in this article question why studio art continues to be ignored as a site and source for research in art education. The necessity of the field to be able to participate within the research community in addressing cultural, social, educational and political concerns is acknowledged. It is argued, however, that the exclusive use of methods of inquiry that align with the conventions of social science research has been done at the expense of fully appreciating the capacity of artistic research undertaken in studio contexts. This tendency is especially prevalent in doctoral research in higher education. Three accounts of dissertation research are given that incorporate studio activity as a central agency of inquiry in conceptualising and theorising issues. Each highlights the capacity of art practice to reveal insights that are a consequence of what the researcher did in the studio setting as issues, ideas and interpretive stances emerged, and problems were re‐conceptualised. What is different in these accounts from more mainstream approaches to research is the readiness to accept that constructing new knowledge is a creative and critical process.     

Assessment Focus in Studio: What is Most Prominent in Architecture,Art and Design?

What can be learned about assessment from what educators in the creative practices focus their studio publications on? What should form the focus of assessment in architecture, art and design studios? In this article we draw on 118 journal articles on studio published over the last decade in three disciplines; architecture, art and design to inform the focus of studio assessment. We believe that what is published by educators themselves in these disciplines reveals what matters most to them. In addition, we argue that regardless of the primary emphasis placed in each discipline, assessment in studio should encompass a broad set of indicators. Within the wider literature including in architecture, art and design, a view of assessment is emerging that recognises the process and the person, beyond a view that positions the product or art/design arte‐fact above all else. Therefore, drawing on what educators in architecture, art and design mentioned most in the journal publications analysed, as well as the literature on good assessment, we offer a holistic model to guide and take studio assessment in the creative disciplines further.     

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]     

Power Drawing at Bath Spa University College School of Art & Design

Two intensive drawing weekends were held to at Bath Spa University College, School of Art & Design – in September 2001 and again in 2002. The weekends are designed as ‘taster’ events for the NSEAD Artist–Teacher Scheme and have been a joint venture between the Society and ‘Power Drawing’ the education programme of ‘The Campaign for Drawing’. The Artist–Teacher Scheme is based on the simple belief that art and design teachers who maintain their own creative practice are significantly more effective in the classroom or studio and more likely to be satisfied with their work in education. The scheme aims to provide opportunities for artist–teachers to review and develop their creative practice in relation to the highest levels of contemporary practice in the contexts of higher education institutions and art museums and galleries. The Campaign for Drawing is led by the Guild of St George, a charity founded by John Ruskin. It aims to promote visual literacy as an integral part of learning at all ages, to investigate the functions of drawing across the curriculum and to develop appropriate learning and teaching strategies. Artist Teachers who have led the weekends include Eileen Adams (Education Programme Leader Power Drawing), Sonia Boyce, Bob Briggs, Peter Feroze, John McNorton, Sheila Paine, Lesley Sanderson and Tom Wood. Over 100 teachers have experienced the drawing weekend to date and another event is planned for 2003.     

Language in Art and Art in Language

The National Curriculum is bringing a systematic attention to the place of language in the teaching and learning of Art, but may be suppressing some of the liveliness of language in art. Art teaches a specialist vocabulary with benefits beyond the art lesson, but there are dangers (and opportunities) in the use of words in art which have different meanings elsewhere. Art rooms have traditionally promoted a rich variety of language uses, but new pressures could lead to formulaic didactic lessons with too little pupil discussion. One language use in art, from which English teachers could learn, is discussion about the aesthetic qualities of artefacts which pupils make or are shown. English teaching too often treats poems as documentaries, but art can teach pupils to use words for looking and thinking about artefacts in their own terms. A danger here, in art as in English, is that introducing a canon can encourage talking about art in second-hand language which does not connect with pupils’ experiences. Language would drive a model of pedagogy in which experience and perception inform the formation of new concepts, then new concepts inform the search for new experience and perception, in an ascending spiral of aesthetic understanding which could also be both a pleasure and an education of the feelings.     

城规专业美术课程应用能力提升研究

以应用能力提升为目标,依据规划的专业特点和美术课程的具体特征,结合课程建设和授课实践,探索了城规专业美术授课中要突出应用能力提升与创新的几个方面,即空间感意识、实践性属性、开放式思维、专业性特征,以及注重科学严谨性,强调美术课程的教学建设改革要以培养具有空间形态塑造和审美意识二合一技能的高素质应用型专业人才这一目标为导向.     

浅析艺术欣赏中青年学生审美能力的培养

培养学生的审美能力是学校教育的重要目标，艺术教育是审美教育的重要途径；艺术欣赏中通过好的艺术作品净化人的心灵；培养感受艺术美的观察能力；提高欣赏者的艺术文化修养；培养艺术欣赏的再创造能力，以期把我们的青年学生真正培养为审美能力强的新时代的后备军。