Art Education: Past, Present and Futures

A special issue of Education Sciences (ISSN 2227-7102).

Deadline for manuscript submissions: closed (30 September 2020) | Viewed by 11089

Special Issue Editor


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Guest Editor
Aalto Universit, Helsinki, Finland
Interests: art education; visual culture; critical pedagogy; cultural studies; psychoanalytic theory

Special Issue Information

Dear Colleagues,

Please consider contributing a manuscript to this Special Issue on “Art Education: Past, Present, and Futures”. The overall focus of this Issue is to address and clarify curricular and classroom practices, and theories and concepts of art education that have existed in the past, are currently deployed, and may be important in the future (Tavin and Tervo, 2018). Authors are invited to share narratives, position papers, and examples of entanglement between the continuity and discontinuity of art education practice and research (Carpenter, 2019). This might deal, for example, with how the entanglement of contemporary art and traditional art skill building are reinventing new ways to teach, and talk about art education (Pariser, 2014). Articles may also focus on different relationships to curriculum, pedagogy, and art in the age of the anthropocene (Bertling and Morre, 2020). Furthermore, submissions may address the need for educators to rethink art education in relationship to a host of other contemporary fields of study (Atkinson, 2019) and what this might mean for the future of art fields and art-related occupations, addressing the education of the entrepreneur or “artrepreneur” of the future. Lastly, given the current global situation with the critical pandemic, submissions might address how teaching and learning changes and is challenged by social isolation, distancing, and closure, and how remote and virtual teaching and learning (via digital and other means) is developed and utilized.

Prof. Dr. Kevin Tavin
Guest Editor

References

  1. Bertling, J. & Morre, T. (2020). U.S. Art teacher education in the age of the anthropocene. Studies in Art Education, 61(1), 46-63.
  2. Atkinson, D. (2019). Art, Disobedience, and Ethics; The Adventure of Pedagogy. New York: Palgrave Mcmillian.
  3. Carpenter, B. S. (2019). What Does Social Engagement Mean and What Should Art Education Do About It? Studies in Art Education, 60(3), 165-167
  4. Tavin K., & Tervo J. (2018). How soon is now? Post-conditions in art education. Studies in Art Education, 59(4), 282-296.
  5. Pariser, D.  (2014). Coping with flying sandwiches: Where’s the educational theory? Studies in Art Education, 55(4), 300-312.

Manuscript Submission Information

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Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Art education practice and theory;
  • Post-anthropocene;
  • Critical cultural and social art studies;
  • The future of the creative and art fields;
  • Teaching art virtually and remotely.

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Published Papers (3 papers)

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Research

15 pages, 2166 KiB  
Article
Zoom in on Dry Joy—Dissensus, Agonism and Democracy in Art Education
by Lisbet Skregelid
Educ. Sci. 2021, 11(1), 28; https://doi.org/10.3390/educsci11010028 - 13 Jan 2021
Cited by 8 | Viewed by 5015
Abstract
Literature on art education often emphasizes dialogue as a preferred approach and as a way of practicing democratic education in museums and galleries. Dialogue-based tours in such contexts are often characterized by a sense of harmony and agreement. In contrast, this article discusses [...] Read more.
Literature on art education often emphasizes dialogue as a preferred approach and as a way of practicing democratic education in museums and galleries. Dialogue-based tours in such contexts are often characterized by a sense of harmony and agreement. In contrast, this article discusses the democratic aspect and political potentiality when dissensus and agonism are used as central educational strategies. The point of departure for the discussion was a teaching session on the online platform Zoom with student teachers as part of their module on art and crafts at the University of Agder in Kristiansand, Norway, in spring 2020. Artworks from the exhibition Dry Joy, in Sørlandet Art Museum, by Finnish photographer Iiu Susiraja, were the pivot point in the session. Before the lockdown caused by COVID-19, the exhibition caused intense debates. The strong reactions were particularly prevalent amongst parents whose children had witnessed the exhibition as part of a school trip. A central part of the teaching session was encouraging students to come up with and explore arguments both for and against exposure of school children to these images. This article aims to contribute to knowledge about how educational strategies that challenge consensus may enable democratic arenas beyond hegemony. Full article
(This article belongs to the Special Issue Art Education: Past, Present and Futures)
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18 pages, 497 KiB  
Article
Reconceptualizing Expressive Arts Education in Portugal through a Biographical Narrative Approach
by André Freitas, Fátima Pereira and Paulo Nogueira
Educ. Sci. 2020, 10(12), 388; https://doi.org/10.3390/educsci10120388 - 18 Dec 2020
Cited by 4 | Viewed by 2422
Abstract
In light of ongoing controversies concerning expressive arts education in Portuguese primary schools, the life history of one primary-school teacher who lives and works in the city of Porto (Portugal) is the starting point for problematizing this issue from the perspective of lived [...] Read more.
In light of ongoing controversies concerning expressive arts education in Portuguese primary schools, the life history of one primary-school teacher who lives and works in the city of Porto (Portugal) is the starting point for problematizing this issue from the perspective of lived experiences. Data collection comprises oral reports, visual materials, and emotional accounts. Feelings were shared in a relational environment framed by ethical commitments. Through these processes, it was possible to create a narrative within the framework of a biographical narrative research approach. The main purpose was to highlight the voice of one primary-school teacher whose life history is blended with the foundations and practices of artistic expression in basic education—such as language, communication, knowledge, and lived experiences—making it an important starting point for reconceptualizing expressive arts education. The results showed that this reconceptualization can be achieved through three dimensions: seducing people, mediating places, and governing senses. Full article
(This article belongs to the Special Issue Art Education: Past, Present and Futures)
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22 pages, 3142 KiB  
Article
The Enhancement of Creative Collaboration through Human Mediation
by Teresa Varela, Odete Palaré and Sofia Menezes
Educ. Sci. 2020, 10(12), 347; https://doi.org/10.3390/educsci10120347 - 24 Nov 2020
Cited by 4 | Viewed by 2937
Abstract
This text presents a reflection on the elements that coinfluence creative processes in learning. This study highlights a specific period in secondary education at the António Arroio Art School in Lisbon, Portugal, developed during the curricular activity Training in Working Context with students [...] Read more.
This text presents a reflection on the elements that coinfluence creative processes in learning. This study highlights a specific period in secondary education at the António Arroio Art School in Lisbon, Portugal, developed during the curricular activity Training in Working Context with students of the 12th grade. It aims to identify interpersonal and intercultural relations utilizing active participation and involvement in communities of artistic practice. This research follows an action-research methodology with data collection via observation and interviews with students. The results show that human mediation promotes significant creative collaboration, the construction of one’s own identity, and artistic production with others, and it also allows us to perceive creativity as cultural empowerment. Empathy, emotional understanding, and an atmosphere of trust are the factors that students acknowledge as important in the creative process. Freedom and flexibility in creative collaboration practices, promoting autonomous and critical thinking, are also highlighted. Thus, we conclude that values such as mutual respect, solidarity, freedom of expression, and self-help applied in creative practices are crucial in interpersonal communication between teachers and students. Full article
(This article belongs to the Special Issue Art Education: Past, Present and Futures)
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