Turning Polemics into Pedagogy: Teaching about Censorship in Art Education

In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making.     

Rethinking Education through Contemporary Art

This article is part of a broader investigation exploring how contemporary art allows us to think about the process that underpins our teaching and learning in order to change it. We are tutors in initial teacher education and we teach, learn and communicate through contemporary art for a pedagogical module. In the following article we will show how teaching, learning and communicating through contemporary art helps future teachers to be aware of their educational models. Art encounters generate new learning and teaching experiences by allowing students and teachers to make various rhizomatic wanderings. The rhizomatic wanderings are diverse with the content and the form depending on the personal experience. The article concludes that the more rhizomatic wanderings future teachers make, the more they will be able to rethink the process of teaching and learning in order to attend to the diverse situations of classrooms of the twenty‐first century.     

谈当代美术教育

美术教育正是以其自由、超越的审美快乐,使人们的情欲受到规范、节制和净化,从而陶冶和塑造人们一种超越的人生境界,赋予人们一种超脱精神、一种旷达的人生态度.     

人生与艺术教育的当代意义

人类的生存、绵延与发展,必须求真、趋善、尚美。这是人类科学教育、道德教育和艺术教育的目的之所在。自有人类社会以来,大自然不断向人类的心灵灌注一种使心灵得以丰富、充实的东西,使人类的心灵不断地建构起审美的感受,积淀为艺术追求的意识,而对审美产生一种不可抑制的内在需求,从而使生命蕴含着审美化的风范,也因此艺术教育也就应运而生。     

当代审美文化下的美育

随着当代审美文化的兴起，人们的审美观念受到了影响，对于美育提出了新的时代要求。当代美育不仅要恪守传统美育的原则，还应根据时代要求重构人文精神，并走出象牙塔，扩大教育的对象和自身的功能，培养“生活的艺术家”。     

Integrating Art Education Models: Contemporary Controversies in Spain

In this article, a basic controversy for art education in Spain is analysed, and its antecedents in thought and social and artistic practices are reviewed. The controversy refers to the question whether school art education should be oriented towards the fine arts or towards the manual arts. Consequently, which should be the cultural model of reference in contemporary art education? These two controversies are considered as two dimensions whose poles have, to a certain extent, the capacity to articulate various educational trends. The values associated with each pole of each dimension are discussed: for the first dimension, creativity, originality, self‐efficacy and the value of accomplished work; for the second, increase of cultural capital and intercultural solidarity. Finally, the possibility is considered of elaborating educational models that would integrate the various mentioned educative values. The question is raised of the compatibility of these educational values, and it is pointed out that art education has the capacity to generate educational spaces of interchange and dialogue in which to combine languages and perspectives that can contribute to human development and to the mutual coexistence of social groups.     

Contemporary Art and Art in Education: The New,Emancipation and Truth

This article assembles some ideas on equality and learning in relation to the notions of truth and emancipation. It considers learning as a political act, as defined by Jacques Rancière and Alain Badiou, rather than, for example, an incremental process of psychological or sociological development. Practical exemplifications will be taken from contexts of art practices and art in education, but the general argument is directed at learning and equality across all human endeavours. The article discusses the idea of the truth of learning as something which ruptures existing frameworks of practice and knowledge and ponders the kind of pedagogies we require to inform effective pedagogic action. To this end it proposes what might be termed pedagogies against the state, or pedagogies of the event, in order to respond to acts of learning that involve leaps of becoming into a new or reconfigured world.     

Modernism and Postmodernism in Contemporary Korean Art: Implications for Art Education Reform

This paper reports the findings of research into cross-cultural influences on Korean contemporary art and the artists’ aesthetic and cultural values and beliefs. Findings were that predominant Western influences during the Korean modern period have been American-Abstract Expressionism and Minimalism, but that these trends have been acculturated rather than assimilated; that Korean Modern Art continues to dominate the Korean fine art world since it is practised by very established artists and master-craftsment; and the work of the younger less-established artists who are absorbing postmodern values, is more representational and eclectic stylistically, and sets out to convey messages and meanings about social problems in contemporary Korean life. The growing concern with Korean cultural identity is interpreted, in part, as a response to the demands of the international art market, but is represented through the artists’ use of traditional Korean content and processes, or pursuit of Korean metaphysical/philosophical ideals.     

当代漆艺教育的文化担当

通过阐释当代漆艺教育的发展历程,分析当代漆艺面临的主要问题,并结合漆艺在当代文化语境中的多重身份,探讨了当代漆艺教育的发展方向。当代的漆艺教育要兼顾漆艺研究、漆艺教学与相关产品设计开发的均衡发展,坚持大漆技艺传承的基础上,促进教学形式的多样化,并结合文化创意产业发展,促进当代漆艺与现代生活的融合。     

浅析当代美术教育对中国画发展的影响

随着中西文化的不断融合,我国当代美术教育中也存在对西方文化的借鉴部分,而将当前美术教育应用在传统中国画的教育当中,不仅会对其产生积极的影响,同时也会产生不利的影响。为了不断提升中国画的教育水平,使其等到良好的传承发展,本文从其影响入手,在利弊结合下,提出了一些改进建议。     

论当代重彩画变革与高校美术教育新思考

当代重彩画是高校美术教学的重要组成部分,目前,中国各大美术学院在对当代重彩画在高校美术教育中的创新研究一直处于停滞水平,对历史传统更多的是继承而缺少突破和创新.当代重彩画的变革主要通过运用综合材料和技法来实现,但是当代重彩画的变革还没有引起高校美术教育部门的重视,大多还是分门别类,把材料和绘画分体教学,并没有意识到当代重彩画的变革能提高教学创新意识.为了满足当今社会多元文化的发展和培养创新型人才的需要,在教学中,教师结合当代重彩画特点,运用多元化教学方法,增强绘画的实用性和创新性,激发学生的学习兴趣,通过师生交流重新审视重彩画的特点,引导学生领略当代重彩画的文化内涵,提高学生的实践能力,有效推动了大学生综合素质的发展,指明高校艺术就业新方向,从而促进艺术市场的多元化.     

从吴冠中的艺术道路看当代美术教育

吴冠中是中国当代著名画家,在半个多世纪的艺术实践中,他一直在探索融会中西,追求油画的民族化和国画的现代化。他的作品既具有西方绘画的深厚功力,更具有中国绘画的意境与神韵。他的创作实践既为21世纪的中国画坛提供了卓有成效的探索,也为当下专业划分过于狭窄的美术教育提供了有益的借鉴。     

论当代美国的艺术教育改革

本通过介绍美国《艺术教育国家标准》的由来，阐释了当代美国艺术教育改革的基本理念，具体分析了美国艺术教育改革的若干个特点，提出我国的音乐基础教育工作必须树立新的教育理念。     

Assessment of Art Education in Hungary: Historical Problems in Contemporary Perspective

Although art teachers are mostly unwilling to undertake assessment procedures or examinations, the history of art education suggests that even the earliest art programmes ended in rather rigid trials of draughtsmanship. A group of researchers including the author of this paper was commissioned to develop new methods for final examinations and, after surveying the existing methods and work done during the 1980s when art became one of the electives at the school-leaving examinations of the secondary grammar school, we were struck by the similarity between current tasks and solutions and 19th century works and models. Changing the methods of examinations in our case will certainly involve the reinterpretation of the academic heritage that at the same time elevates and cripples Hungarian art education at the secondary school level. This paper illustrates and interprets the philosophy of the examinations and art concourses from important periods of Hungarian educational history and outlines the passage of the Hungarian art teacher from the supposedly ‘eternal’ world of the Academia to the ‘banal’, ‘transitional’, ‘vulgar’ realms of contemporary visual communication.     

工艺美术教育的当代价值与发展方向

建立符合时代趋势的工艺美术教育体系对于传承和开发传统工艺美术资源有着重要意义.在知识普及的角度上,工艺美术教育应扩大覆盖范围;而在专业教学上,应加强实践环节,从而实现市场环境的优化及工艺美术产业水平的提升.     

论当代影视艺术教育与素质教育的关系

影视艺术作为最生动、最丰富、最具活力的艺术形式和教育媒介,在为提升国民综合文化的素质教育中,具有像其它任何一种艺术样式们无可比拟的多方面积极效应。不但可以使受教育者在本质力量的完善,知识结构的键全,多元素质的挖潜等个性素质得到更为全面的教育和发展,同时也使得群体在生存质量的指导,生存状态的和谐,及更高的精神文明等建设方面取得进步,从而促进社会精神文明的提高。     

论当代大学生的书法艺术素质教育

书法,是中国特有的艺术门类.书法艺术素质教育是高校素质教育的重要组成部分,可以塑造当代大学生的人格魅力,提高大学生的审美能力.人们常说"书如其人",是指一个人所写的字与他的人格之间的关系,也就是"书品乃人品",通过书法艺术素质教育,培养和完善大学生的优良品质.     

当代设计艺术教育的“道器关联”

设计艺术教育,须注重“道器关联”的作用。“道”与“器”是相互转化、互为依存的辩证关系,如同“鸟之两翼,车之两轮”。须相互补充、转换、同步发展,偏执一隅会影响设计艺术教育的发展和提高。