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.     

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。     

Research Supervision: An Important Site of Teaching

Supervision of students engaged in research projects and theses is an important site of teaching. Schon's (1987) well-known framework–educating for reflective practice–proves aptly suited for this teaching forum, offering insights for research supervision at multiple university levels. Conceptually, a research and writing studio where a practicum takes place is substituted for Schon's illustrative architectural design studio. The framework is mined for its fine-grained analysis of student-coach interaction and its emphasis on bringing self-reflection, a practice consistent with social work ideals, to three levels: research and writing, the student-coach dialogue and the relationship in which it is embedded.     

De‐Schooling Art and Design: Illich Redux

Using Ivan Illich's seminal works, Deschooling Society and Tools for Conviviality as touchstones, this paper returns to further pursue the thrust of my article in iJADE 25.3 (2006), ‘Domain poisoning: the redundancy of current models of assessment through art’, and might be considered as a more radical addendum. The central strand of Illich's work on ‘deschooling’ is an indictment of the trend to dehumanisation and the counterproductivity which results from institutionalisation. This paper argues that it is time to revisit Illich's call for deschooling with particular reference to the teaching of art and design, and, in turn, to look at the construct of the art teacher for the twenty‐first century as connoisseur/critic/animateur, aloof from the world of domain‐based assessment. As has been suggested many times before within these pages and beyond, accountability makes teachers risk averse. In short, this article suggests that it is time that we took a structural risk and removed this glass ceiling to aspiration while calling for complete deregulation of art and design education and the reinstatement of the art teacher as an autonomous ‘agent of change’.     

Designing a Utopia: An Architectural Studio Experience on David Harvey's Edilia

The design of a utopia was devised as a studio project in order to bring critical thinking into the design studio and to stimulate creativity. By suggesting a utopia, the pedagogical aim was to improve progressive thinking and critical thought in the design education of architectural students — and also future architects. From this perspective, the utopia called Edilia, from the book Spaces of Hope by the critical geographer David Harvey, was taken as a basis for the students to design a utopic environment. In addition to Harvey's book, students were not only challenged by the idea of an alternative society but also by the idea of a different space. Utopia, as an inter‐disciplinary subject, brought various issues and different perspectives into the design studio such as public and private realms, everyday life, work, leisure, nature, technology and sustainability. With the help of the concept of utopia, a theoretically‐informed design studio enabled students to criticise the existing world, dream about an alternative one and make the design of their dreams in a creative way.     

工作室教学对高等艺术设计人才实践能力的培养

在美术设计专业教学中,学生实践能力往往不能得到有效的提高。工作室教学模式的出现,在一定程度上解决了这些问题。本文主要从工作室教学模式的提出、工作室教学的主要内容及其对培养高等艺术设计人才实践能力的作用等方面,对工作室教学模式下培养学生实践能力进行相应研究。     

Team Hyena Puppet: An Interdisciplinary Approach to Making and Teaching Science Through Art

In 2016, professors representing Biology, Dance, Music, and Theatre and dance program students created Dunes, a performance piece that depicts the ecological succession of Michigan's sand dunes. The process used to make this work is a direct representation of the steps that Team Hyena Puppet, a collective of teaching artists and scientists, takes in their science-based art collaborations, which are used to reflect on and depict scientific research and simultaneously teach student participants and audience members science through the performing arts.     

The Praxis of Art's Deschooled Practice

Art's relationship with education is often characterised by paradox. Yet art is often reified within an education system that refuses to see the pedagogical strengths of paradox. This article approaches art education from three positions. The first is that art is a construct that is neither natural nor necessary. The second is that there are no aesthetic or pedagogical imperatives, but that art education is the recognition of groundlessness where paradox facilitates learning. The third approach is to reposition art with regards to its relationship with learning, education and schooling. Here it is argued that art's only choice is to deschool learning. The latter is moved by an underlying dilemma as to whether art, considered as an autonomous human act, could ever engage with systems of learning without being turned into a tool or a thing. Unless art education is deschooled, the teaching and learning of art remains trapped between the assumptions of process and product. So the idea of art and education as shared practices within schooling remains somewhat dubious unless art's practices are recognised in parts perceived as wholes and where conclusions are marked by open‐endedness. No possibilities for art or learning could ever emerge unless a radically different set of conditions give way to a state of affairs where knowledge is a matter to be discovered but never determined, and where a fixed ground is transformed into a wide horizon.     

Developing an Assessment Stance in Primary Art Education in England

Many English primary teachers find the notion of assessing children's work in art difficult. This paper reports on work carried out with non‐art‐specialist primary teachers’ and student teachers’ use of a three‐point assessment model and related tasks, which supported teachers and students to engage critically with children's development, or lack of it, in observational drawing. This enabled teachers and students to develop appropriate planning and differentiated strategies for children's work in art. Equally important is that in engaging with these assessment tasks they were able to develop aspects of the critical language needed for teaching and learning in art.     

Moving Fiercely Linear Preservice Teachers into the Joys of Integrating Art in the Classroom: An Artist Residency in a University Early Childhood and Special Education Program

How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow.     

How Can Visual Arts Help Doctors Develop Medical Insight?

This research project examines how using the visual arts can develop medical insight, as part of a pilot programme for two groups of medical students. It was a UK study; a collaboration between Liverpool and Glynd? University's and Tate Liverpool's learning team. Tate Liverpool is the home of the National Collection of Modern Arts in the North of England and one of the largest galleries of modern and contemporary art outside London. The project adapted Tate Liverpool's Opening Doors course in devising and piloting a single day programme that engaged students in exploring perception, communication, emotion and narrative. Opening Doors introduces participants to modern and contemporary art and empowers them to work in new ways with groups and individuals. The exercises used as part of the programme allowed us to observe what connections and interpretations were made, and to discuss with the participants what influenced student choice and decision making in relation to specific works of art. This article will focus on the use of gallery education to highlight examples of contemporary culture to develop links between art and medicine, alongside the development of transferable skills. The study is of professional interest because it is using a cross‐disciplinary approach, broadening the disciplines involved in teaching medical skills; and could form a model for further cross‐curricular and cross‐discipline work.     

Franz Kafka in the Design Studio: A Hermeneutic‐Phenomenological Approach to Architectural Design Education

This article demonstrates the outcomes of taking a hermeneutic phenomenological approach to architectural design and discusses the potentials for imaginative reasoning in design education. This study tests the use of literature as a verbal form of art and design and the contribution it can make to imaginative design processes – which are all too often limited by physical constraints. It has been observed that a person reading a novel can choose to suspend their disbelief and become entangled in the events of the book – where they become involved with the art not only subjectively, but also as a form of play. In the words of Hans‐Georg Gadamer: ‘understanding occurs in interpreting’. This study asked design students to read three of Franz Kafka's books –The Metamorphosis, The Trial and The Castle– prior to designing a Franz Kafka museum. The students found themselves drawn into numerous worlds that they were compelled to play along with; and demonstrating the productive role that literature can play in studio design, the students were observed to reconstruct the text and authorial context as a spatio‐temporal frame of reference, in this case a museum, and thus provide museum visitors with a Kafkaesque spatial experience of the narrative world in terms of design.     

虚拟演播室在影视艺术教学中的应用研究

虚拟演播室技术由前导性研究进入到实践应用阶段,通过对常用虚拟演播室系统的具体介绍,论述这项技术在影视艺术类高校教学中的应用,探讨虚拟演播室在影视艺术教学中的应用方法。     

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]     

爱略特小说中的编织艺术与共同体意识——兼析《米德尔马契》中“网”的意象

乔治·爱略特的代表作《米德尔马契》中充斥着大量有关"网"的意象,这一设计是作者有意为之的,它凝结了爱略特对艺术和共同体的深刻洞见。文章从"网"的意象入手,从服饰、生活、叙事三方面,探究爱略特对个人与共同体关系的认识。     

Active Learning and Teaching through Digital Technology and Live Performance: ‘Choreographic Thinking’ as Art Practice in the Tertiary Sector

This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.     

Responding to children's drawings

This article aims to explore the issues that face primary school teachers when responding to children's drawings. Assessment in art and design is an ongoing concern for teachers with limited experience and confidence in the area and, although children's drawings continue to be a focus of much research, the question of what it is that teachers say to young children that has a positive impact on the development of their drawing is under-explored. The article aims to identify the components of what constitutes children's competence in observational drawing through a detailed analysis of a drawing made by a 6-year-old child. Connections between the teaching of drawing and the teaching of literacy are highlighted, and the article concludes that children who are able make confident representations of the visual world are better placed to express their own ideas, thoughts and experiences through art.     

Reclaiming the art of teaching

This paper explores the art and craft of teaching in higher education. It presents a model of the relationship between art and craft drawn from the author's theoretical and empirical work, and provides examples from the higher education context to illustrate the model. It discusses the characteristics of teaching as art and craft and critiques the move towards standardisation and conformity in favour of originality, creativity and innovation. It suggests that to see teaching as art is more holistic, satisfying and transformative than to see it as craft. It argues for reclaiming the art of teaching and provides strategies for encouraging and supporting artistic teaching.     

高职艺术类院校工作室制下普通文化课程改革

目前,高职艺术类院校在工作室制人才培养模式下重专业,尚技能,轻人文,且普通文化课程自身也存在一些问题,导致学生普通文化知识薄弱,人文素养低,从而影响其可持续发展,因此普通文化课程必须进行改革。改革的内容主要包括:在学校完整统一的课程指导思想下,适应工作室制人才培养模式建设普通文化课程体系,同时对普通文化课程自身进行改革,提高普通文化课教师的跨界能力。