Queering the Art Classroom: Queering Matters

Since 2003, successive British governments have taken steps to develop legislation supporting lesbian, gay, bisexual, transgender, questioning / queer, intersex, asexual and those who are gender / sexuality non‐conforming more generally (LGBTQIA+). In doing so, they have foregrounded the need for educational institutions to respond proactively to this legislation. There is evidence to suggest that homophobia is prominent in UK schools, yet measures to address the issue have largely rested on schools and LGBTQIA+ charities, reducing discussions of homosexuality to anti‐bullying discourses and introducing curriculum modifications that are overwhelmingly homonormative. The limitations of these current approaches ignore the societal and institutional power structures that help to produce homophobia, which is often referred to as heteronormativity. Drawing on aspects of new materialist and queer theoretical perspectives, this article follows the findings of a research project that focused on developing an intervention at GCSE level, exploring non‐normative genders and sexualities in the art curriculum. The research project was based on a class in a secondary school in North London from 2017 to 2018. Through the application of a pedagogy rooted in queer theory, the study explores the possibilities of disrupting heteronormativity and didactic learning by investigating student responses to the interventions. For this article, I focus on one student’s artwork and her reactions to the process of making her artworks during the project. As such, the study is an exploration of an attempt at moving beyond the homonormative inclusion of LGBTQIA+ content, towards a deeper exploration of gender and sexuality within the curriculum cultivated through making.     

Cultural Sustainability in Art‐Based Interdisciplinary Dialogue

This article introduces an international and interdisciplinary summer school, ‘Living in the Landscape’ (LiLa) in 2018. LiLa's practices focused on creating dialogue among art education, anthropology and nature science and developing culturally sustainable methods for investigating cultural heritage in the Komi Republic of Russia. The article's research interest is how dialogue and cultural heritage appear in the artistic processes, artworks and final exhibition of the summer school. These are examined through art‐based action research in order to develop international, multidisciplinary and culturally sustainable art education. The four‐field model utilised in the research highlights the multidimensional role of dialogue in both individual and collaborative artistic endeavours.     

论民间美术对环境艺术设计的启示——以大唐西市规划方案为例

作为环境艺术设计人员,面对日渐扩张的城市版图以及钢筋水泥、玻璃、金属构成的"居住机器"中,如何利用民间美术来打破建筑形式及装饰上沉闷的格调,将民族性与时代性有机地融合一起,是摆在我们面前必须认真思考与对待的问题。     

关中民俗中的武术文化

陕西关中是我国武术发源地之一,武术文化已成为关中民俗的重要内容。其中,陕西红拳是陕西武术文化的代表拳种,具有鲜明的地方风格和特点,并涌现出一大批代表人物。关中除了流传红拳外,还有不少其它外来拳种流入,进一步丰富了关中的武术民俗文化内涵。     

浅析艺术歌曲的诠释与演唱

艺术歌曲的演唱作为声乐表演的一种,其审美价值的体现必然要靠表演环节来实现。要演唱好艺术歌曲,声乐艺术表演者只有在正确理解、深入分析和感悟作品的同时还要尽力融入作品,展开想象、进入角色、把握好度;对作品还要反复锤炼,精益求精、烂熟于心,并且要内化为内在的艺术素质。演唱艺术歌曲是对演唱者综合能力的全面检验。     

李耕绘画的艺术定位

作为民间职业画师,李耕的绘画体现了民间审美趣味,具备民间艺术"俗"的特征,但是他的绘画价值、形态和精神追求却具备了主流文人画"雅"的特征。立足于当今雅俗蜕变、新旧交融的文化环境,从民间画师身份、文人画体式、雅俗兼融意趣三个方面为李耕绘画进行艺术定位,为理解传统绘画艺术的发展提供新视角。     

装饰材料技术与艺术想象的综合表现思考

在建筑空间中,通过对建筑装饰材料与建筑空间关系的思考,探讨装饰材料的技术与艺术想象力综合表现的问题。提出对建筑装饰材料研究的改革思路。通过装饰材料研究方式及手法的改革可以使装饰材料的技术与艺术联系得更紧密,使材料与空间达到一种抽象与具体的平衡。     

浅析中国传统装饰图案在艺术设计专业教学中的作用

传统装饰图案是艺术设计专业的重要基础课,具有装饰性和实用性,有特定的适用范围,作为构建现代艺术设计课程体系中的基础科目,与三大构成成为艺术设计教育的基础必修课程,在艺术设计领域中运用非常广泛,因而,传统装饰图案在设计学科中占有十分重要的地位。本文阐述了传统图案在艺术设计专业教学中的作用,旨在于弘扬民族传统文化,推动现代艺术设计教育创新。     

豫北民间传统美术资源探究

河南作为中华文明的主要发祥地之一,我们的祖先留下了丰富、厚重的文化遗产、古老的民间习俗和富有地方特色的乡土工艺。豫北地区可以说是河南民间美术的典型代表。它在地理位置上主要包括安阳市、鹤壁市、新乡市、焦作市和濮阳市。这些地区历史遗迹众多,文物资源丰富,有着悠久的历史。     

浚县泥咕咕的艺术性和审美价值

浚县泥咕咕历史悠久,无论在造型、寓意、色彩等方面都有很高的艺术性和审美价值,它是劳动人民智慧的结晶。