Journal articles: 'Visual arts practice'

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Breakell, Sue. "Archival practices and the practice of archives in the visual arts." Archives and Records 36, no. 1 (January 2, 2015): 1–5. http://dx.doi.org/10.1080/23257962.2015.1018151.

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Syed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (September 7, 2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.

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The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.

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ADAR CÖMERT, Sibel. "VISUAL ARTS TEACHER CANDIDATES' VIEWS ON TEACHING PRACTICE." International Journal Of Eurasia Social Sciences 10, no. 36 (January 1, 2019): 581–92. http://dx.doi.org/10.35826/ijoess.2546.

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Guler, Ebru. "Visual Culture As a Teaching Practice in Visual Arts Education in Turkey: Practitioner Inquiry." Australian Journal of Teacher Education 46, no. 7 (July 2021): 22–52. http://dx.doi.org/10.14221/ajte.2021v46n7.2.

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The present research investigates the experiences of pre-service visual arts teachers in the planning and application phase of a course focusing on visual culture in the special teaching methods course. This course in Turkey provides information about how and with what type of methodologies arts-related topics should be taught in visual arts education. During the first semester, the course was conducted theoretically, and in the second semester the researcher focused on the application of these theories. In this research, visual culture is discussed as one of the special teaching methods of visual arts education. A total of five visual arts pre-service teachers were selected as participants using criterion sampling. The research used practitioner inquiry as a method and conducted during the 2017–2018 spring and 2018–2019 fall semesters, lasting 8 weeks in total. During the application process, the pre-service teachers taught their samples of course plans on visual culture that they created during their pre-service practice to the primary and secondary school students in 2 weeks of classes. The research data were obtained through semi-structured interviews, document review, and reflective notes and analyzed with descriptive methods. As a result of this research, the visual arts pre-service teachers saw the students gain a critical perspective, become more aware of issues in their daily lives, express themselves in a better way, and improve their inquiring skills with the application of a visual culture course plan. With the visual culture course plan, the pre-service teachers also gained several professional experiences and skills.

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Birkin, Jane, Ed D’Souza, and Sunil Manghani. "A visual, journal practice: Journal of Visual Art Practice, twenty years on." Journal of Visual Art Practice 20, no. 4 (October 2, 2021): 299–315. http://dx.doi.org/10.1080/14702029.2021.1995928.

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Vaughan, Kathleen. "Pieced Together: Collage as an Artist's Method for Interdisciplinary Research." International Journal of Qualitative Methods 4, no. 1 (March 2005): 27–52. http://dx.doi.org/10.1177/160940690500400103.

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As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.

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Anna Yu., Demshina. "Network culture and two vectors of development of visual arts." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 31–37. http://dx.doi.org/10.30725/2619-0303-2022-1-31-37.

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In the article, from the standpoint of the theory of network culture and the concept of «symbolic capital» by P. Bourdieu, the processes taking place in visual art practice under the influence of the development of the Internet are considered. Contemporary art practices and digital art explore the same symbolic capital from different conceptual positions. For contemporary artistic practice, the critical theory and idea of D. Kossuth about the search for the boundaries of art as such, the study of the socio-cultural reality of the here-and-now, and the formulation of the principles of identity remain the main ones. In digital practices, the focus is on the search for an individual style through the study of the structural features of the artistic language itself, autonomy from verbal commentary. The presence of these vectors is also associated with the redistribution of power capital under the influence of the development of network culture and the Internet, when the museum and gallery sphere is not able to control all the processes taking place in art practice. Not one of the participants in artistic communication possesses the integrity of power. Networks today have become a platform with their own power and authority. At the same time, rules from offline flow into the virtual environment and new restrictions are created, related both to the ontological features of digital logic and to the work of online communities.

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Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.

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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identities. Technically, the author implements machine learning techniques, digital audio/visual signal processing, and sensing technology to explore post-human artistic identities and give voice to underrepresented groups. Realized by a group of multinational media artists, computer engineers, audio engineers, and cognitive neuroscientists, this work preserves, promotes, and further explores contemplative culture with emerging technologies.

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Crowley, Suzanne. "Making Visible the Invisible." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 156–85. http://dx.doi.org/10.18432/ari29618.

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This article documents how I came to combine autoethnographic accounting with visual arts practice. I developed this mixed methods approach for my PhD study which explores the interdisciplinary possibilities offered by combining visual arts practice with STEM (science, technology, engineering, and mathematics). Visual arts practices as narrative forms tend toward the non-linear (Anae, 2014), whilst autoethnography offers self-reflection. Writing an autoethnographic account for an artwork has the potential to generate a wealth of data, some of which are visible, some of which are not. The invisible data become available only when the artist speaks to/writes about the artwork. If some content/context of a visual artwork is only visible through background information provided by the art maker, this discovery troubles another issue concerning our notions of what a good visual artwork is. Finally, I test this article’s autoethnographic authenticity against Adam’s four characteristics of autoethnography.

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Häikiö, Tarja Karlsson. "Potentials and Problem Areas in Assessment in Visual Arts Education in Sweden." Educare - vetenskapliga skrifter, no. 2 (March 2, 2021): 68–112. http://dx.doi.org/10.24834/educare.2021.2.4.

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The focus of the study is teaching, and assessment in visual arts in Swedish compulsory school analysed and discussed in relation to the national evaluations (NU-92, NU-03, NÄU-13), assessment research and research in the subject field. The article aims at highlighting and problematising assessment and grading in visual arts education in relation to teachers’ assessment practices. The study is based on group discussions and seven interviews with visual arts teachers on assessment practice carried out in connection with the production of two National Assessment Guides in visual arts, and supplementary films on assessment on behalf of The Swedish National Agency for Education (Sw. Skolverket) in 2012 and 2014. The result of the study indicates an ambivalence among the visual arts teachers concerning assessment. The author points at problem areas affecting teaching, assessment and grading in visual arts education. However, the author also points out potential strengths concerning assessment in the subject field and presents arguments for the significance of the subject visual arts for school and general assessment research.

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Rozas, Ixiar. "Inclined language: a visual, material practice." Journal of Visual Art Practice 20, no. 1-2 (April 3, 2021): 131–42. http://dx.doi.org/10.1080/14702029.2021.1933835.

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Gauthard, Nathalie, Matthieu Ricard, and Christine (cricri) Bellerose. "Practice, practice, practice." Theatre, Dance and Performance Training 13, no. 2 (April 3, 2022): 240–45. http://dx.doi.org/10.1080/19443927.2022.2066312.

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Khassanov, Marat, Vera Petrova, and Assiya Khassanova. "Meta-relativist agenda in contemporary visual arts theory and practice." Central Asian Journal of Art Studies 6, no. 1 (March 31, 2021): 39–53. http://dx.doi.org/10.47940/cajas.v6i1.349.

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The borders of visual art on the eve of the 20th-21st centuries are being extremely expanded both at the empirical and theoretical levels and so is the agenda of contemporary philosophy of art. Is the unprecedented polyphony of discourses a methodological drawback or is it a heuristic opportunity that can help to broaden our knowledge about the essence of art and the notion of a work of art? What is visual art and what is artwork speaking the 21st century language? The study examines the current trends and innovations in the visual arts field and how they can be interpreted. Authors come to conclusion that the times of normative or negativist approaches are over. The plethora of transformations is a value-in-itself and can be seen as a legitimate methodological situation, namely, as a meta-relativist turn. Examples that are presented in the paper deal with different sides of “a work of art formula”: span of discourse, artist, audience, art space, art market, new technologies, etc. Those cases demonstrate the ambivalence of current visual art practices that can be interpreted either as complete negation of the preceding standards or as new discourses that are equally legitimate with the older ones. Meta-relativist approach treats all existing discourses and practices as equally legitimate and thus provides the method to broaden our understanding of the essence of art and definition of an artwork. The study suggests that it is a contemporary tool for further intra- and inter-disciplinary dialogue.

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Exley, Beryl. "Visual Arts Declarative Knowledge: Tensions in Theory, Resolutions in Practice." International Journal of Art & Design Education 27, no. 3 (October 22, 2008): 309–19. http://dx.doi.org/10.1111/j.1476-8070.2008.00583.x.

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Baxter, Katherine, and Cat Auburn. "Introduction for Special Issue ‘Autotheory in Contemporary Visual Arts Practice’." Arts 12, no. 1 (January 10, 2023): 11. http://dx.doi.org/10.3390/arts12010011.

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The process of working with authors and artists to develop their articles has been rewarding, and has revealed the challenges of translating artistic practice, particularly autotheoretical artistic practice, into an academic format [...]

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Julius, Ssegantebuka. "Pre-Service Visual Arts Teachers’ Perceptions of Their Experiences of School Practice: A Case of National Teachers College in Uganda." Academic Journal of Interdisciplinary Studies 7, no. 1 (March 1, 2018): 45–55. http://dx.doi.org/10.2478/ajis-2018-0004.

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AbstractThe aim of this study was to describe and analyse the second year pre-service visual arts teachers’ perceptions of their experiences of school practice. School practice is a fundamental facet of all teacher preparation that strengthens one’s teaching competencies. Pre-service visual arts teachers in National Teacher Colleges (NTCs) in Uganda are trained as generalist on a two-year diploma program, leading to an award of a diploma in secondary education (DSE). During the entire training pre-service visual arts teachers are exposed to twelve weeks of school practice of which six weeks are done in year one and the remaining six weeks of school practice are done in their final second year. The study followed a quantitative research design where a self constructed questionnaire was administered to fifty pre-service visual arts teachers in one of the NTCs. Descriptive statistics were used to analyse the data collected through the questionnaires. Although the research revealed that pre-service visual arts teachers were satisfied with the general prior preparations for the actual teaching, they needed urgent support in using of a number of assessment strategies; accessing and using tools; selecting and using the most appropriate teaching methods and creating an effective learning environment. It was recommended that NTCs expose pre-service visual arts teachers to the ideal school environment that equips them with the necessary knowledge and skills needed for effective teaching and adaptive skills for any teaching context while still at teacher colleges.

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Strickland, Christopher M. "The Way of the Artist Educator paradigm: Fusing artistic studio practice and teaching pedagogy." International Journal of Education Through Art 16, no. 2 (June 1, 2020): 227–44. http://dx.doi.org/10.1386/eta_00028_1.

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The purpose of this autoethnographic study is to examine the experiences of visual arts educators who identify themselves as Artist Educators. In particular, this article investigates how these Artist Educators perceive the fusion of their artistic studio practice with their teaching pedagogy, and how the perception defines their identity and impacts their creative and classroom practices. This study involved a focus group of six individuals, including the researcher. All the participants were practising artists, currently employed or recently retired K-12 visual arts educators certified in the states of Maine or New Hampshire, and members of the Kittery Art Association. This study used a combination of interviews and an arts-based method for data collection. All the data were analyzed and resulted in seven findings that culminated in the Way of the Artist Educator ‐ an alternative paradigm for a quality and holistic twenty-first-century visual arts education. This article presents the paradigm, discusses the study’s implications and offers suggestions for future research.

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Davydova, S. "CREATIVE PROJECT ACTIVITY IN PROFESSIONAL TRAINING OF FUTURE VISUAL ARTS TEACHERS." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 30 (2018): 74–79. http://dx.doi.org/10.28925/2311-2409.2018.30.7479.

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The article reveals new requirements for training the visual arts teachers, determined by a rapid evolution of society and restructuring of national education, where an emphasis is put on the project-based learning. Such circumstances demand the change of forms and methods of education, updating and modernization of existing methodical funds. Modern scientists have turned to the project method, which is not new in teaching practice, however, has proven its suitability and importance for a teaching process in the 21st century, which is indicated in the concept “New Ukrainian School” that offers to implement integrated and project-based learning. Such conditions necessitated changes in training the visual arts teachers with one of the tasks being the formation of cultural competence, which creative project activity will ensure. The author analyzes a notion of “creative project activity”, the genesis of its appearance and use in the practice of training the specialists in creative industries. The author substantiates the suitability and relevance of its use in training the visual arts teachers based on the research of training of specialists in creative industries (design, technology, music teachers), partly visual arts teachers. The author describes in detail which students’ qualities are developed while carrying out the creative project activity, i.e. the ability of creative, unconventional and imaginative thinking when dealing with problem and multiple-choice situations in education, professional activity or everyday life. Consequently, creative project activity becomes an integral part of a modern training of specialists in creative industries and is just partially explored in practice, research literature in the context of training the visual arts teachers. Taking into account the new requirements for training the visual arts teachers, the creative project activity becomes a relevant and urgent necessity in training the visual arts teachers, but is not explored enough and needs further research.

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Chang, Yu-Chien, and Chloe Preece. "Visual arts marketing in East Asia." Arts and the Market 8, no. 2 (October 1, 2018): 118–22. http://dx.doi.org/10.1108/aam-10-2018-031.

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Purpose The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing. Findings Findings and insights relate to topics such as the structure of the visual arts markets of East Asia, political influences on these arts markets, alternative spaces such as art festivals, ambiance and audience experience in museums and new media initiatives. Research limitations/implications The authors believe that all of the papers have implications for future thinking, research, scholarship and practice in the area of arts marketing, particularly for scholars, cultural institutions and artists working in Asia. Originality/value As far as the editors are aware, this is the first ever journal special issue on arts marketing in East Asia. In particular, the authors offer some new ideas in thinking about visual arts marketing in Asia as part of this editorial essay, particularly in considering the difficulties for both artists, arts organisations and academics in creating from the “periphery”.

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Frederix, Lee. "Mapping as a visual arts practice: social geographies of contemporary Beirut." International Journal of Cartography 5, no. 2-3 (May 4, 2019): 304–15. http://dx.doi.org/10.1080/23729333.2019.1614309.

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Howey, Barbara. "Self/Painting Practice/Social Practice." Journal of Visual Art Practice 1, no. 3 (November 2002): 136–49. http://dx.doi.org/10.1386/jvap.1.3.136.

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Ristić, Irena. "Collectives and Commoning in Small Arts." Amfiteater 10, no. 2 (December 20, 2022): 104–18. http://dx.doi.org/10.51937/amfiteater-2022-2/104-118.

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The analysis is focused on the work and actions of drag artists from Belgrade gathered in collectives, in which the practice of commoning becomes an alternative mode of social relations. Their joint actions provide an opportunity to examine the paths of radical imagination on two levels: firstly, by following the principles of collective creativity, which operate through different forms of artistic and socio-cultural production, systematically targeting the development of social imaginaries; secondly, by creating a collective, aimed at the production of sociability itself which are evolved and tested through practices. In this transposition from the level of artistic production to the level of social production, the tools of (self-)reflection can be crucial. (Self-)reflection is equally a guardian of equality and emergence. Provided that the imagination is not reduced to reactive mental representations, this becomes the drive of practice: the material manifestation of certain relations, their testing, in reality, their growing and simultaneous performing, on the path towards new forms of collectivity, and perhaps collective autonomy.

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O’Brien, Dan. "Philosophy and the visual arts: Illustration and performance." Human Affairs 31, no. 4 (October 1, 2021): 496–507. http://dx.doi.org/10.1515/humaff-2021-0044.

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Abstract In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, thus revitalizing the idea of universities embodying ongoing and open-ended conversations.

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Lankford and Vazquez. "Media Arts Festivals: Scholarship and Artistry in Practice." Journal of Film and Video 72, no. 1-2 (2020): 5. http://dx.doi.org/10.5406/jfilmvideo.72.1-2.0005.

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Tietyen, Ann C., and Allan G. Richards. "A Visual Arts Education pedagogical approach for enhancing quality of life for persons with dementia (innovative practice)." Dementia 19, no. 4 (August 25, 2017): 1244–51. http://dx.doi.org/10.1177/1471301217726612.

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A new and innovative pedagogical approach that administers hands-on visual arts activities to persons with dementia based on the field of Visual Arts Education is reported in this paper. The aims of this approach are to enhance cognition and improve quality of life. These aims were explored in a small qualitative study with eight individuals with moderate dementia, and the results are published as a thesis. In this paper, we summarize and report the results of this small qualitative study and expand upon the rationale for the Visual Arts Education pedagogical approach that has shown promise for enhancing cognitive processes and improving quality of life for persons with dementia.

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Garrett, Leigh, Marie-Therese Gramstadt, and Carlos Silva. "Here, KAPTUR This! Identifying and Selecting the Infrastructure Required to Support the Curation and Preservation of Visual Arts Research Data." International Journal of Digital Curation 8, no. 2 (November 19, 2013): 68–88. http://dx.doi.org/10.2218/ijdc.v8i2.273.

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Research data is increasingly perceived as a valuable resource and, with appropriate curation and preservation, it has much to offer learning, teaching, research, knowledge transfer and consultancy activities in the visual arts. However, very little is known about the curation and preservation of this data: none of the specialist arts institutions have research data management policies or infrastructure and anecdotal evidence suggests that practice is ad hoc, left to individual researchers and teams with little support or guidance. In addition, the curation and preservation of such diverse and complex digital resources as found in the visual arts is, in itself, challenging. Led by the Visual Arts Data Service, a research centre of the University for the Creative Arts, in collaboration with the Glasgow School of Art; Goldsmiths College, University of London; and University of the Arts London, and funded by JISC, the KAPTUR project (2011-2013) seeks to address the lack of awareness and explore the potential of research data management systems in the arts by discovering the nature of research data in the visual arts, investigating the current state of research data management, developing a model of best practice applicable to both specialist arts institutions and arts departments in multidisciplinary institutions, and by applying, testing and piloting the model with the four institutional partners. Utilising the findings of the KAPTUR user requirement and technical review, this paper will outline the method and selection of an appropriate research data management system for the visual arts and the issues the team encountered along the way.

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Kay, Lisa. "Visual Essays: A practice-led journey." International Journal of Education Through Art 9, no. 1 (March 1, 2013): 131–38. http://dx.doi.org/10.1386/eta.9.1.131_7.

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Dyck, Dagmar. "See me, know me, believe in me: Reimagining Pasifika student success as Pasifika in visual arts." Set: Research Information for Teachers, no. 2 (November 2, 2021): 4–13. http://dx.doi.org/10.18296/set.0198.

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Pasifika students bring to school rich cultural resources that offer a strong foundation on which to build creative practice. Bringing cultural awareness to visual arts education provides a powerful platform for Pasifika students to embrace success as Pasifika. The recent introduction of Tapasā—Cultural Competencies Framework for Teachers of Pacific Learners (Ministry of Education, 2018) provides an opportunity to inquire into how visual arts education can authentically reflect cultural competencies. This article seeks to share teachers’ beliefs, attitudes, and pedagogical practices that affirm Pasifika students’ success “as Pasifika”. The students themselves also offer insights into their enactment of success through their art works and stories. My experiences as a visual artist and teacher of Tongan descent grounded the research project.

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Young, Kelly. "Exploring a Curricula of Visual and Poetic Aesthetics / Exploration de programmes d’esthétisme visuel et poétique." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 1 (January 29, 2019): 44–59. http://dx.doi.org/10.26443/crae.v46i1.49.

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Abstract: In this article, I explore the role of visual arts in shaping the future direction of the literary arts in my pre-service teacher education classroom. I outline a cross-curricular curriculum by exploring a theoretical and practical relationship between visual and poetic aesthetics. Drawing upon the imagination, we are able to become critical storytellers as we engage in ekphrastic poetics, that is—a poetic response to a form of art. Ultimately, we modify and expand on the practice to include responses to photography or works of art—that are themselves aesthetic responses. Key words: Arts; Education; Imagination; Ekphrastic Poetics; Curriculum. Résumé : J’analyse dans cet article le rôle des arts visuels dans l’orientation future des arts littéraires dans le contexte de ma classe de formation initiale des enseignants. Je donne un aperçu d’un programme transdisciplinaire en analysant le lien théorique et pratique entre l’esthétisme visuel et l’esthétisme poétique. Nous pouvons, grâce à l’imagination, devenir des raconteurs critiques par le biais de la poésie ekphrasique, c’est-à-dire par le biais d’une réaction poétique vis-à-vis une forme d’art. En bout de ligne, nous modifions et élargissons la pratique pour y inclure les réactions face à la photographie ou à des œuvres d’art, qui sont elles-mêmes des interprétations esthétiques.Mots-clés : arts, éducation, imagination, poésie ekphrasique, curriculum.

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Bastos, Flávia. "Art education and the practice of freedom." Visual Inquiry 10, no. 2 (August 1, 2021): 179–81. http://dx.doi.org/10.1386/vi_00033_1.

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From your perspective, what is the place of social justice education (and politics) in the art classroom? Are these topics a distraction from the disciplinary content of visual arts education, as you understand it? From your perspective, what is the disciplinary content of art education?

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Krause-Wahl, Antje. "Fashion Stylists: History, Meaning and Practice, Ane Lynge-Jorlén (ed.) (2020)." International Journal of Fashion Studies 8, no. 1 (April 1, 2021): 144–46. http://dx.doi.org/10.1386/infs_00042_5.

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Riley, Howard. "Beyond the horizon: future directions for the teaching of visual arts practice." Journal of Visual Art Practice 6, no. 1 (May 10, 2007): 73–80. http://dx.doi.org/10.1386/jvap.6.1.73_1.

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Nappi, Maureen. "The Dialectics of Kinesis + Stasis in My Visual Art." Leonardo 48, no. 2 (April 2015): 192–93. http://dx.doi.org/10.1162/leon_a_00911.

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Bishop, Kathy, Catherine Etmanski, and M. Beth Page. "Engaged Scholarship and the Arts." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): I—viii. http://dx.doi.org/10.15402/esj.v5i2.68329.

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Singing and songwriting; graffiti, protest art, and mobile art installations; oral, digital, video, literary, métissage, and mixed media storytelling; drawing, photography, and other visual arts; Witness Blanketing and body mapping; embodying Indigenous literatures and expressing values through metaphor; dancing, performing, and more—as you will read in this special issue, these creative actions have become essential to the practice of engaged scholarship.

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Tomljenović, Zlata. "An Interactive Approach to Learning and Teaching in Visual Arts Education." Center for Educational Policy Studies Journal 5, no. 3 (September 30, 2015): 73–93. http://dx.doi.org/10.26529/cepsj.129.

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The present research focuses on modernising the approach to learning and teaching the visual arts in teaching practice, as well as examining the performance of an interactive approach to learning and teaching in visual arts classes with the use of a combination of general and specific (visual arts) teaching methods. The study uses quantitative analysis of data on the basis of results obtained from a pedagogical experiment. The subjects of the research were 285 second- and fourth-grade students from four primary schools in the city of Rijeka, Croatia. Paintings made by the students in the initial and final stage of the pedagogical experiment were evaluated. The research results confirmed the hypotheses about the positive effect of interactive approaches to learning and teaching on the following variables: (1) knowledge and understanding of visual arts terms, (2) abilities and skills in the use of art materials and techniques within the framework of planned painting tasks, and (3) creativity in solving visual arts problems. The research results can help shape an optimised model for the planning and performance of visual arts education, and provide guidelines for planning professional development and the further professional education of teachers, with the aim of establishing more efficient learning and teaching of the visual arts in primary school.

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Graves, Ph.D, P. Nelson. "ELAnatsui, Visual Arts and Intersection with Knowledge." World Journal of Education and Humanities 2, no. 3 (May 20, 2020): p71. http://dx.doi.org/10.22158/wjeh.v2n3p71.

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“Natural synthesis” compartmentalized the black art world. This essay unravels how with folkloric gleeEL Anatsui, in a “selective critiquing and re-evaluation of self” dared to “wriggle out” of that quagmire. Thusly, reactivating the dynamic terrain that lives and is animated from within the soul of artists, he forged a new path of creativity. With reappraisals of the intellectual dynamics that forged the artistic substance of the post 1960s; empirical analysis and the engagement of storytelling mechanisms, this essay unreels that artistry. Anatsui, in spite of his accademisisation and art practice, threads a detour to cloth making craft traditions, particularly the Kente weave and its autography; for inspiration. Hence, the “vital and enabling” intellectual paradigm “resumptions, disappearances, and repetitions” makes possible an intersection with arcane knowledge, while the “uniting representation” of the synthesis in the appropriation of Memory and Interview grounds the contexts within which each artwork is experienced. EL’s “non-fixed forms” make visible the temerity of new shapes and forms forged directly from the wellsprings and fecundity of African roots as exemplars of the art of the new dawn (Ben Shahn, 1965:53).A deconstruction of EL’s artworks reveals the groundings of his discourses on assemblages of “Forgotten Biography” and the engagement of “mythopoeia imagination” (Marina Paolo Banchetti-Robino, 2011) in the recalibration of personal expression in language and imageries that inflect spiritual ties to ancestry and the reality of memory. This is sufficient basis for the historical narration of the intersection of visual arts and knowledge.

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Musneckienė, Edita. "Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture." Pedagogika 114, no. 2 (June 10, 2014): 167–79. http://dx.doi.org/10.15823/p.2014.014.

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This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

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Guillén García, Víctor Alejandro, and Irma María Flores Alanís. "Apuntes sobre evaluación en talleres de artes visuales del nivel superior." Sincronía XXV, no. 80 (July 3, 2021): 550–64. http://dx.doi.org/10.32870/sincronia.axxv.n80.24b21.

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Education for the training of artists, outside the format of academies of the 19th century, is an activity that from the second half of the 20th century has been inserted in the curricula and formal study programs, since then, questions and Concerns about which are the best teaching and evaluation strategies regarding the research / creation processes approached in arts workshops (because artistic creation is hardly considered research), the above presents a challenge: to objectify with a critical sense , not only products and results, but also the practices and meanings of issues that, due to their constant evolution and nature, can become subjective. This article is born from the observations made during the January-June 2019 semester in a visual arts program of the higher level in Mexico, is based on the exploration and analysis of previous studies on education and evaluation in artistic disciplines, to analyze information that provides ideas that clarify aspects that can be evaluated by observing processes of Research and Artistic Creation (CI) born in school programs; the implicit possibilities and responsibilities, not only to students, but also to teachers and governing bodies, influencing through their practice, the society that embraces and supports them.

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Aufderheide, Sinnreich, and Silvernail. "Norms-Shifting for Digital and Online Arts Practice: Copyright and Fair Use in the Visual Arts Community." Visual Arts Research 45, no. 2 (2019): 91. http://dx.doi.org/10.5406/visuartsrese.45.2.0091.

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Francis, Mary Anne. "A theory of critique…in practice: practice as critique." Journal of Visual Art Practice 7, no. 3 (December 2008): 241–51. http://dx.doi.org/10.1386/jvap.7.3.241_1.

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Bohn, Willard. "Theory and practice of visual poetry." Neohelicon 17, no. 2 (September 1990): 229–37. http://dx.doi.org/10.1007/bf02036460.

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Legrady, George. "Perspectives on Collaborative Research and Education in Media Arts." Leonardo 39, no. 3 (June 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.

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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.

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Hajiyev, I. A. "COLOR SCIENCE: THEORY AND PRACTICE." ASJ. 1, no. 40 (September 9, 2020): 4–7. http://dx.doi.org/10.31618/asj.2707-9864.2020.1.40.18.

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As you know, colors play an important role and value in solving aesthetic problems in creative activity in design, in the visual arts. From this point of view, the physical properties of flowers are analyzed, as well as their psycho-emotional impact on humans. The scientific and theoretical views and experiences of various well-known experts on colors in different historical periods are considered. Summarizing the materials studied and based on personal practical experience, the author presents a classification by color.

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Cripps, Jill. "Dewey and the visual arts: some thoughts on the scheme and its application." Art Libraries Journal 36, no. 4 (2011): 5–12. http://dx.doi.org/10.1017/s0307472200017132.

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The Dewey Decimal Classification system, frequently used to arrange arts collections, has a number of commendable aspects but also some significant shortcomings. Evidence suggests that visual arts library users can further their creative ideas by browsing library shelves, and the author considers this should inform classification practice. Dewey, approached from a user perspective and applied with attention to the scheme’s potential, can provide a shelf order that promotes browsing. The common perception that Dewey is most suited to general library collections is perhaps not entirely justified. Within the visual arts, it possibly accommodates specialist resources rather better than is sometimes imagined, particularly with judicious adaptation. A number of modifications are easy enough to achieve and may be applied across a range of visual arts resources.

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Parsons, Louise. "Critical Theory and Visual Practice in the Art School." International Journal of Art Design Education 18, no. 2 (May 1999): 149–53. http://dx.doi.org/10.1111/1468-5949.00168.

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Rosenberg, Douglas. "Curating the practice/the practice of curating." International Journal of Performance Arts and Digital Media 5, no. 2&3 (December 2009): 75–87. http://dx.doi.org/10.1386/padm.5.2-3.75/1.

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De Oliveira Jayme, Bruno, and Rebeca Heringer. "The arts in individual transformation: examples from the recycling social movement in São Paulo, Brazil." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 8, no. 1 (July 5, 2022): 1–19. http://dx.doi.org/10.15402/esj.v8i2.70757.

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How does individual transformation unfold within social movement learning (SML), a territory that mainly embodies learning as a collective practice? What are the roles of visual arts in mediating such transformation? We answer these questions by exploring discourses that emerged during visual arts workshops facilitated with members of the recycling social movement in São Paulo, Brazil. To do so, we intertwine arts-based research, SML, and transformative learning theories informed by Vygotskian’s cognitive development approach as an analytical tool. Findings suggest that during the art-making process, recyclers construct their visual thought, which enables their empowerment and agency as fundamental mediators of individual transformation.

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Pink, Sarah, Phil Hubbard, Maggie O'Neill, and Alan Radley. "Walking across disciplines: from ethnography to arts practice." Visual Studies 25, no. 1 (March 23, 2010): 1–7. http://dx.doi.org/10.1080/14725861003606670.

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Snook, Barbara Helen, and Ralph Buck. "Policy and practice within arts education: rhetoric and reality." Research in Dance Education 15, no. 3 (May 9, 2014): 219–38. http://dx.doi.org/10.1080/14647893.2014.910184.

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Wang, Qingchun, Sara Coemans, Richard Siegesmund, and Karin Hannes. "Arts-based Methods in Socially Engaged Research Practice: A Classification Framework." Art/Research International: A Transdisciplinary Journal 2, no. 2 (August 23, 2017): 5–39. http://dx.doi.org/10.18432/r26g8.

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Arts-based research has recently gained an increasing popularity within qualitative inquiry. It is applied in various disciplines, including health, psychology, education, and anthropology. Arts-based research uses artistic forms and expressions to explore, understand, represent, and even challenge human experiences. In this paper we aim to create order in the messy field of artistically inspired methods of socially engaged research. We review literature to establish study and distinguished three major categories for classifying arts-based research: research about art, art as research, and art in research. We further identify five main forms of arts-based research: visual art, sound art, literary art, performing art, and new media. Relevant examples of socially engaged research are provided to illustrate how different artistic methods are used within the forms identified. This classification framework provides artists and researchers a general introduction to arts-based research and helps them to better position themselves and their projects in a field in full development.

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Journal articles on the topic 'Visual arts practice'

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