Affective Expression in Post-Modern Art Education: Theory and Intervention

Art Education ◽  
1991 ◽  
Vol 44 (2) ◽  
pp. 16
Author(s):  
David R. Henley
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Affective Expression ◽  
Education Theory

Achimota School

2018 ◽  
Author(s):  
Rhoda Woets
Keyword(s):  
Teacher Training ◽  
Art Education ◽  
Modern Art ◽  
Art Teachers ◽  
Gold Coast ◽  
Visual Artists ◽  
Art Forms ◽  
New Ideas ◽  
Modern Artists ◽  
Training Department

The majority of Ghana’s modern art pioneers received their art education at Achimota School on the Gold Coast, now Ghana. Achimota School contributed in an important way to the formation of modern art in Ghana. Students trained at the Achimota Teacher Training Department spread new ideas about art and art education at the schools where they later worked. The discursive fields, in which modern visual artists came to discuss their work following independence, were embedded in a colonial past where European art teachers at Achimota had positioned African tradition as both preceding and opposed to modernity. Just like the art teachers at Achimota, modern artists deeply admired "primitive art" and considered local art forms to have roots stretching into a timeless past. Modern artists were, in this regard, influenced by their education at Achimota School as well as by nationalist ideologies that fostered pride in an African cultural past. Among the school’s most notable students are Oku Ampofo (1908–1998), Ernest (Victor) Asihene (1915–2001), Amon Kotei (1915–2011), Saka Acquaye (1915–2007), Kofi Antubam (1922–1964), Theodosia Akoh (1922), and Vincent Kofi (1923–1974).

Roy, Jamini (1887–1972)

2018 ◽  
Author(s):  
John Xaviers
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Art Object ◽  
Folk Traditions ◽  
Collection Process ◽  
Colonial Art ◽  
Art Collection ◽  
Multiple Copies ◽  
Modern Artists

Jamini Roy is considered one of the most important modern artists of pre-independent India. While proficient in Western academic realism, he completely rejected the style to adopt folk traditions such as the Kalighat patua. He mass-produced his folk-like paintings in a guild or kharkhana in order to reject the uniqueness of the modern art object, and to democratize the art collection process (he rejected bourgeois taste and buying habits). Roy invented his own folk-inspired form as an anti-colonial visual idiom. While an agnostic, he deliberately painted Indian religious or mythological themes as an antidote to the ideas of colonial art education. Adamant about the use of homegrown art materials, Roy often used tempera with tamarind glue as a binder. Roy painted Christian themes to test his ideas, and to see if the folk schema that he developed in his workshop could be used successfully in non-Indian religious contexts. Roy simplified his curvilinear painting method to such an extent that the indexical mark of his brush strokes could be replaced with the reproducibility of a schema in an art workshop. Such simplification has resulted in an upsurge of Jamini Roy replications. This, however, is a problem largely in the eyes of collectors, who hold the very bourgeois art ethos that Jamini Roy rejected while mass-producing multiple copies of his works.

scholarly journals Ontopsychological aspects of artistic communication in the context of paradigmal changes within the system of modern art education

2019 ◽  
Vol 2019 (2 (127)) ◽  
pp. 47-52
Author(s):  
Zaytseva Alla ◽  
Kozyr Alla
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Synthesis Method ◽  
Educational Process ◽  
Humanistic Psychology ◽  
Joint Work ◽  
Theoretical Concepts ◽  
Ontological Dimension ◽  
State Of Research

The article is devoted to the problem of improving the quality of the training aimed at future teachers of Art disciplines in the context of paradigmatic changes within the system of modern art education. Based on the methods of theoretical analysis, generalization and abstraction, the state of research of the scientific problem has been clarified; the viewpoints of some researchers in this regard have been determined and connected with the ontological content of artistic communication. There have been considered scientific conceptual directions for defining the essence of the “artistic communication” and “ontological aspects of being” phenomena in the context of: philosophical concepts (M. Bakhtin, M. Buber, M. Kahan, V. Frankl et al.), ontological conditions of communication in the hermeneutic paradigm (H.-G. Gadamer, P. Ricœur); ontological ideas of the philosophers-existentialists, representatives of humanistic psychology (A. Maslow, K. Rogers, R. May), theoretical concepts of the ontological dimension of the “being” intended for the subjects of the artistic and educational process (N. Huralniuk, O. Yeremenko, O. Mykhailychenko, O. Oleksiuk, V. Orlov, G. Padalka, O. Rebrova, O. Rudnytska, V. Fedoryshyn, O. Shcholokova et al). The synthesis method enabled us to make a deliberate formulation of the author’s definition. The phenomenology of communication in the artistic and educational projection as a vector of humanistic orientation of the subjects of interaction with an art to the awareness and correction of their own subjective development has been presented. The author emphasizes the implementation of the existence-centred and reflexive approach, which makes it possible to achieve coherence between ontological positions of the teacher and the student in the process of communicating with arts. The author’s position, according to which communication is determined by the deep onto-psychological connection between two individuals oriented to meeting the other type of existence and involves the achievement of a spiritual unity between them in the joint work, has been grounded. Keywords: higher Art education, future teacher of Music, the existence-centred and reflexive approach, onto-psychological aspects, values, meanings, artistic communication.

scholarly journals National education theory journal “Art and Education”: 20th anniversary

2017 ◽  
pp. 51-53
Author(s):  
V. V. Rahozina
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
National Education ◽  
Aesthetic Development ◽  
History Of Art ◽  
The World ◽  
Education Theory ◽  
History Of ◽  
20Th Anniversary ◽  
Insight Into

We present the national education theory journal “Art and Education”. The journal publishes materials on problems of the theory and history of art education, of the theory and methodology of education, and on methods of instruction in music, fine art and visual culture. We emphasize the uniqueness of this artisticpedagogical record, the only Ukrainian journal on art education, artistic and aesthetic development, one in which Ukrainian and foreign scientists and practical educators provide insight into the achievements of the pedagogy of art and the experience of art education in Ukraine and other countries of the world. We trace the stages of the journal’s development since its establishment and articulate its achievements over its 20-year existence.

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