A New Chapter for the Corcoran Library: Transforming an Art School Library into a University Art and Design Collection

2017 ◽  
Vol 36 (1) ◽  
pp. 137-148 ◽  
Author(s):  
Shira Loev Eller
Keyword(s):  
School Library ◽  
Art And Design ◽  
Art School

Grosvenor School of Art, London (1925–1940)

2018 ◽  
Author(s):  
Juliette Peers
Keyword(s):  
New Zealand ◽  
British Empire ◽  
Interwar Period ◽  
Modern Art ◽  
Art And Design ◽  
The Social ◽  
Social Elites ◽  
Art School

The Grosvenor School of Art, also known as the Grosvenor School of Modern Art, was founded in 1925 by Scottish artist and printmaker Iain McNab. In 1940, it merged with the more traditional Heatherley’s Art School, which is still operating in London. The Grosvenor was famous across Britain and the British Empire in the interwar period for promoting modernist art and design. Its contribution to introducing and acclimatizing continental modernism to an extended anglophile audience was substantial. Pupils came from Canada, Australia, and New Zealand, as well as other countries, and through them the experience of modernism was brought back to their homelands. Across the British Empire, the Grosvenor School made modernism acceptable and praiseworthy, representing the authority of what Australian artist Arthur Streeton called "the Centre of Empire," combined with the glamorous social cachet that London symbolized for the social elites in the colonies.

From grand banking hall to the art and design school library of the 21st century

2007 ◽  
Vol 32 (4) ◽  
pp. 11-16 ◽  
Author(s):  
Carol Terry
Keyword(s):  
20Th Century ◽  
Rhode Island ◽  
21St Century ◽  
School Library ◽  
Early 20Th Century ◽  
Construction Process ◽  
Site Specific ◽  
Art And Design ◽  
Building Program

With a detailed but not site-specific building program, the librarians at Rhode Island School of Design made the case for a new library three times the size of the existing facility. The site became specific with the donation of an early 20th-century grand banking hall. This paper addresses the role of the librarian in the design and construction process and includes an analysis of the way the new library meets the program objectives. In the early 1990’s after several early attempts to resolve the library’s space constraint at Rhode Island School of Design, the librarian was given a useful bit of advice: Stop trying to find the space. You must focus first on the program. What is it that you really need?

Chelsea School of Art Library Classification Scheme, nth edition

1978 ◽  
Vol 3 (2) ◽  
pp. 15-20 ◽  
Author(s):  
Clive Phillpot
Keyword(s):  
Classification Scheme ◽  
School Library ◽  
Modern Art ◽  
Previous Article ◽  
Strong Emphasis ◽  
Art School

This article on a classification scheme for an art school library with a strong emphasis on ‘modern’ art, updates a previous article, and draws particular attention to the revised notation.

scholarly journals “I came to art school so I wouldn’t have to write...”: Creating New Contexts for Critical Writing in Post-Secondary Art and Design Education

1944 ◽  
Vol 7 (1) ◽  
Author(s):  
Christina Halliday
Keyword(s):  
Liberal Arts ◽  
Arts Education ◽  
Design Education ◽  
Student Resistance ◽  
Liberal Arts Education ◽  
Critical Writing ◽  
Art And Design ◽  
Post Secondary ◽  
Institutional Contexts ◽  
Art School

This paper examines ideological and institutional contexts for liberal arts education at an art and design university as a means for understanding how critical writing is constructed by students and faculty as an interference to other creative practices students pursue as part of their art and design education. Observations of the form of assessment in art and design education known as critique, provides the basis for a reflection on how the pedagogy of critique, transposed to the liberal arts classroom, might serve to resist student resistance to learning to write critically.

scholarly journals Art school as a transformative locus for risk in an age of uncertainty

2020 ◽  
Vol 19 (1) ◽  
pp. 107-118 ◽  
Author(s):  
Cathy Gale
Keyword(s):  
Critical Thinking ◽  
Collective Action ◽  
Risk Taking ◽  
Design Education ◽  
Educational Process ◽  
Educational Institutions ◽  
Art And Design ◽  
Design Pedagogy ◽  
Temporal Space ◽  
Art School

Risk is not a neutral term even in (western) contexts of art and design pedagogic practice, where risk-taking is entwined into the matrices of the academy from the macro to the micro: from institution to studio to tutor to student. Neither design education nor practice exist in a vacuum, so the conditions and contingencies of risk in contemporary design pedagogy are unpicked, in relation to place, process and people, as inter-connected (though often fragmented) components of study. Art school is examined as a transformative locus for risk: a conceptual-architectural site for knowledge but also a temporal space of subversion, within which the studio provides students with a relatively safe setting for risk in individual and collective formulations. Neo-liberal policies of standardization and competition are as embedded in educational institutions as they are across all levels of society: the resultant loss of agency is felt individually and collectively. This article reframes risk as fundamentally located and dialogic, an autonomous cooperative and collective action, underpinned by critical thinking and disobedient pedagogies. This is a transformative educational process anticipating change in an expanded mode of design in which the student members of the Alternative Art School are considered as critical agents, employing creative reflexivity as an antidote to the neo-liberal stifling of risk.

Kharkiv Art School in the History of One Family’ Three Generations

2021 ◽  
Vol 2021 (02) ◽  
pp. 107-122
Author(s):  
A. Budnyk ◽  
◽  
Yu. Marchenko ◽  
M. Selivatchov ◽  
◽  
...  
Keyword(s):  
Educational Process ◽  
Educational Institutions ◽  
Art And Design ◽  
National Importance ◽  
Technical Drawing ◽  
National University ◽  
History Of ◽  
Industrial Projects ◽  
Research Institute ◽  
Art School

The present article covers the materials about studies and teaching in Kharkiv educational institutions – the predecessors of the Kharkiv State Academy of Design and Arts (KSADA), participation in the educational process during the 1920s–1950s and the creative achievements of the architect Georgy Ikonnikov (1896–1981), his stepson, printing artist Roman Selivachev (1914–1995), as well as G. Ikonnikov’s granddaughter, Yelena Ganenko (born in 1945). The oldest of our characters studied in the 1910s at the Central School of Technical Drawing (now the Saint Petersburg Stieglitz State Academy of Art and Design) in the 1910s, then participated in the Civil War and in WWI. During the 1920s and 1930s he designed about thirty Kharkiv buildings in collaboration with A. Molokin, P. Krupko, V. Bogomolov. Among his works there are such landmark objects as “Lopan Stairs”, student dormitory “Giant”, National University of Construction and Architecture (former building of the State Insurance), Research Institute of Experimental Veterinary, A. Pushkin Drama Theater, M. Skrypnyk House of Culture, etc. G. Ikonnikov taught in the art schools, headed the architectural and construction department of Kharkiv research institute for industrial projects, which created a number of important enterprises for India, China, Syria and other countries. R. Selivatchov studied at Kharkiv Art Institute (1929–1932), designed the expositions of the Svyatogorsk Museum, and later the “Kyiv-Pechersk Lavra” Reserve, and worked in printing. In 1941 the student of the Kyiv Civil Engineering Institute was drafted into the army. After the war he graduated from Moscow Polygraph Institute. The first and subsequent editions of Ukrainian Soviet Encyclopedias, branch encyclopedic reference books, “History of Ukrainian Art” in six volumes, “Dictionary of Artists of Ukraine”, “Shevchenko Dictionary”, other projects of national importance were designed under his leadership. A lot of them were awarded by the diplomas of International, All-Union and republican book competitions. Among R. Selivatchov’s followers there are graduates of Art and Architectural universities in Leningrad, Kharkiv and Kyiv, members of the National Artists’ Union of Ukraine. However, the desire to be an artist is not always realized. Encouraged by her grandfather, O. Ganenko from childhood posed for his students and dreamed of becoming an artist. One of her portraits decorated the lobby of Kharkiv Art Institute for many years. Finally, she preferred mathematics, taught at Kharkiv University, but remembers unforgettable moments related to Kharkiv Art school.

Dodo, lame duck or phoenix, part 2? Can or should we preserve a slide library for research?

2014 ◽  
Vol 39 (4) ◽  
pp. 12-20 ◽  
Author(s):  
Jenny Godfrey
Keyword(s):  
Art And Design ◽  
Lame Duck ◽  
History And Theory ◽  
Art School

In part one of this article, published in vol. 39, no. 3 2014, I described how the History and Theory of Art and Design Slide Library at Cardiff is to be reinvented as a visual resources collection by being put to new and creative uses. Here in part two I consider possible arguments for safeguarding at least one exemplar slide library to be preserved intact and exactly as it was when used for art school lectures. The arguments put forward are derived from the Florence Declaration to which ARLIS/UK & Ireland is a recent signatory. Were the arguments successful in persuading the art and design and library communities that such a collection should be preserved? I end by profiling the set of circumstances I believe would need to co-exist before any institution would find such a project to be practically, financially, culturally and intellectually viable.

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