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.     

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.     

艺术再现拉开农村改革序幕的历史瞬间——论张国琳版画《生死印》及其他

宁波美术馆典藏的版画《生死印》,充分表现了画家张国琳和他的同伴们以艺术家的勇气,创作了以小岗村农民在联产承包责任书上盖手印的瞬间为题材的版画作品,充分说明他们深刻地意识到这一事件所蕴涵着的巨大而又深远的历史意义,这既是艺术家应该承担的一种历史使命的真实表现,也是作者崇高的精神境界和精深的审美观念的具体反映。这一不可多得的经典之作所蕴涵的社会作用和美学意义,在全面深化改革的今天具有更为重要的历史价值。     

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.     

Editorial Review and Book Reviews

Cikanova, Karla, Teaching Children to Draw Cikanova, Karla, Teaching Mixed Media to Children Walklin, Colin, Relief Printmaking – A Manual of Techniques Brake, Jane, Edited by Newbury, Darren, Changing Images: Photography, Education and Young People Wolfe, Gillian, Dulwich Picture Gallery Children’s Art Book Torjussen, Alan, Teaching Art in Wales Yelavich, Susan, Design for Life Polhemus, Ted, Style Surfing Mauries, Patrick, Christian Lacroix: The Diary of a Collection     

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.     

《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。     

Book Reviews

Book reviewed: Michael Brenson Acts of Engagement: Writings on Art, Criticism and Institutions, 1993 – 2002 Edited by Alan Dyer Alison Lambert: Emotion and Expression Stuart Macdonald A Century of Art and Design Education: From Arts and Crafts to Conceptual Art. Julian Spalding The Art of Wonder, A History of Seeing Jennifer New Drawing from Life, The Journal as Art     

Education,art, and exile: cultural activists and exhibitions of refugee children’s art in the UK during the Second World War

Abstract

During the 1930s and 1940s art increasingly came to be used as a therapeutic tool with children who were perceived as damaged by their experiences of war or displacement. This article explores two related exhibitions – Children’s Art from All Countries (1941) and The War as Seen by Children (1943) – which provided a platform for children’s impressions and experiences of war as seen through their drawings, whilst also raising money and awareness for refugee children’s causes. Although supported by an influential network of British educators and cultural figures, the exhibitions were conceived and organised by displaced German, Austrian, and Czech artists and cultural educators who were members of the Free German League of Culture in London during the Second World War. The exhibitions are considered as sites of educational and political interventions by adult refugees in the context of therapeutic interventions with refugee children in British educational settings. In so doing, this article argues that the exhibition organisers conceived of cultural and creative learning as a transformative vehicle for supporting and re-forming personal identities, and for the re-imagining of collective democratic futures.     

Attention and curiosity in museums

Two hundred and thirty-four museum visitors of all ages were observed as they entered the Object Gallery area of the Florida State Museum. Visitors were observed under conditions where objects were available for close inspection but could not be manipulated (baseline data) and later when the same objects were placed on tables and were available for visitors to touch, move, and use a variety of senses to inspect them (intervention data). Data were recorded on the sex, age, and number of subjects in these areas under each of the above conditions. The results obtained show a significant increase in the number of visitors entering this section of the museum when manipulatable objects were available. Baseline data showed that 58.5% of the people who entered the Object Gallery went into the drawer section. However, when manipulatable objects were made available this increased to 82.3%. Chi-square analysis was used to determine whether the presence of manipulatable objects in the area increased the number of people who entered the area. It did (p < 0.05). Chi-square analysis was also used to determine whether entering the drawer section depended on age or sex. It was found that more children entered the drawer section than adults (p < 0.05) and significantly more female children and female adults entered as a result of intervention (p < 0.05). At the same time, more male children than adults entered after intervention (p < 0.05) than before. These data are supported by considerable curiosity research indicating that both children and adults are attracted to novel as well as complex stimuli which can be manipulated in both formal and free-choice environments. The data also support the growing movement to hands-on exhibits in natural history museums and science centers around the country, as well as hands-on classroom activities from the perspective of their attention attracting and holding power and their curiosity evoking characteristics. Whether these positive factors also lead to increased knowledge or skill development is a question yet to be explored.     

Review

Art Pearl and Tony Knight, The Democratic Classroom: Theory to Inform Practice. Cresskill, New Jersey, Hampton Press, 1999. 373 pp.     

Editorial Review and Book Reviews

Mervyn Romans, Basic Design: The Dynamics of Visual Form Louise Campbell, Carl and Karin Larsson: Creators of the Swedish Style Jewellery and Adornment: Information and Ideas for Teachers Constable: Information and Ideas for Teachers Drawing in Museums: Information and Ideas for Teachers Sculpture at the V&A: A Handbook for Teachers The Renaissance at the V&A: A Handbook for Teachers The 20th Century: A Teacher’s Guide Looking into The Tate: Exciting Ways to Explore the Tate Gallery’s Collection The Pre-Raphaelites and their World Movements in Modern Art Modernism Realism Surrealism Howard Hollands, Minimalism Penny Hay, Art, Craft and Design. A Practical Guide for Teachers Key Stages I & 2 Richard Yeomans, The Mosque and the Modern World: Architects Patrons and Design since the 1950s     

Editorial Review and Book Reviews

Evaluating and Assessing the Visual Arts in Education: International Perspectives. Editors: Doug Boughton, Elliot W. Eisner, and Johan Ligtvoet TRIX of the Grade. Tutor A + Tutor B Writing an art policy and curriculum plan for a primary school – guidance for co–ordinators. John Bowden Oxford GNVQ Intermediate Art & Design. Norman Binch Media in Art – Classroom materials for moving media in art at key stage 3. Tony Carroll Design History: An Anthology. A Design Issues Reader. Dennis P Doordan Surfaces: Visual Research for artists, architects, and designers. Judy A. Juracek Susie Cooper: An Elegant Affair. Bryn Youds Clay In The Primary School. Peter Clough     

Drawing on the Artist Outside: Towards 1999

This paper gives a summary of a presentation made by Glen Coutts and an exhibition organised by Mark Dawes at the InSEA conference held in Glasgow during July 1997. It concerns recent developments and initiatives using artists, designers and students in Scottish schools. The presentation at InSEA was supported by slides of the students’ work and an outline of the processes used in each of the workshop sessions. During the presentation the conference had the opportunity to view the results of collaboration between artists, students and school children aged between 10 and 14 years. These projects took place over a period of five to six months, and have resulted in an ambitious project which will be completed during 1999, Glasgow’s year as UK City of Architecture and Design. The projects used visual artists to expand and enhance the art activities normally taking place in the schools. This paper reports on the following areas: developments in Art & Design Education in Scotland – the context for artists in schools, Artists and Education – two case studies and future developments – towards 1999.     

Making a Difference? An Evaluation of Professional Knowledge and Pedagogy in Art and ICT

The paper presents a research perspective on a Secondary school‐based project,, Art on the Net, which explored the interaction between practising artists, students and teachers using digital technologies in the visual and performance arts in school settings. The study illustrated the role that art education plays not only in providing an authentic context for the use of digital technologies, but also in offering insights into conceptualising the nature of ICT capability. The analysis for this paper highlights key themes arising for participants engaged in such intervention projects and illustrates the interaction between professional knowledge and pedagogy in Art and ICT.     

The status of speech training in the secondary schools of the western and eastern states

From Art to Theatre. Form and Convention in the Renaissance. By George R. Kernodle. Chicago: University of Chicago Press, 1944; pp. 255, 62 illustrations. $5.00.

Shakespeare and the Actors—The Stage Business in His Plays (1660–1905). By Arthur Colby Sprague. Cambridge: Harvard University Press, 1944; pp. xxv + 440. $5.00.

A Handbook of Classical Drama. By Philip Whaley Harsh. Stanford University: Stanford University Press, 1944, pp. xii + 526. $4.00.

A Great Time to Be Alive. By Harry Emerson Fosdick. New York: Harper &; Brothers, 1944; pp. 235. $2.00.

The Scholar and the Future of the Research Library. By Fremont Rider. New York: Hadham Press, 1944; pp. 236. $4.00.

Representative American Speeches: 1943–1944. Selected by A. Craig Baird. New York: The H. W. Wilson Company, 1944; pp. 360. $1.25.

American Dialect Dictionary. By Harold Wentworth. New York: The Thomas Y. Crowell Company, 1944; pp. xv + 747. $6.00.     

Border Crossing

This paper describes a programme I have led on behalf of Tate Britain over the last five years, and sets out some initial thoughts about the impact on it of a range of different, sometimes conflicting, influences and pressures. The programme is Nahnou‐Together, which translates from the Arabic as ‘we together’ and, in this context, implies mutual learning. It is a partnership between Tate Britain, the British Council, the Adham Ismail Centre of Plastic Arts in Damascus and Darat‐al‐Funun, and the Jordan National Gallery of Fine Art in Amman, with support from the Jordan Ministry of Education.     

Recent doctoral dissertation research on teachers for gifted

In the Mind's Eye: Visual Thinkers, Gifted People with Learning Disabilities, Computer Images, and the Ironies of Creativity Thomas G. West Prometheus Books, 1991 700 East Amherst St. Buffalo, NY 14215 359 pages, cloth, $24.95

The Challenge of Art to Psychology Seymour B. Sarason Yale University Press, 1990 New Haven CT and London 92 A Yale Station Cloth, $25.00     

The UK National Arts Education Archive: Ideas and Imaginings

The National Arts Education Archive (NAEA) is housed and maintained by the Yorkshire Sculpture Park (YSP), and managed by YSP coordinators and educators with a well‐established volunteer programme. This year, 2017, as part of the celebrations of the YSP's 40th anniversary, the Archive will hold its own exhibition entitled Treasures Revealed: a collection of items selected by people who have been involved in the Archive, whether as donors, volunteers, researchers, artists, trustees or steering group members. In parallel with the exhibition, this article aims to give voice to a selection of individuals and groups associated with the Archive, discussing their interests and experiences of it, and their thoughts on its value and importance as a repository of arts education materials, ideals and practices. Our primary motivations were to consider these different voices in relation to the purpose, direction and relevance of the NAEA today. These exchanges raise fundamental questions and debates about what art education is and what it might become, and how these historical collections, and creative engagements with it, might help to shape our contemporary thinking.     

Art and sonic mining in the archives: methods for investigating the wartime history of Birmingham School of Art

Abstract

Absconditi Viscus (or Hidden Entries) is a series of sound compositions based on the history of Birmingham School of Art during the First World War. Sound artist Justin Wiggan explored the concept of historical sonic information that although lost could still potentially permeate the archival record and the fabric of the school building. Each sound piece has also been synchronised with brainwave frequencies in order to stimulate a listener’s brain activity in an attempt to connect them with the time period, the physical building and the emotional impact of the war. This creative, experimental – and potentially controversial – assertion of phonic excavations and sonic mining as method challenges us to rethink both affect and the archival record in relation to the history of education.