The many becoming the unresolved one: Reconciling the fields of art, research and education through a/r/tography and collage

A study in three secondary schools in Aotearoa New Zealand explored students’ critical thinking and how that was articulated in visual arts education. The research was motivated by the influence of everyday visual experiences on young people’s lives and the national curriculum’s call for encouraging critical thinking in the context of the students’ cultural milieu. This inquiry entailed multiple methods that included policy analysis, focus group interviews with teachers, interviews with students, classroom observations, photographic documentation and researcher engagement with the art of collage. A/r/tography allowed for the reconciliation of art, research and education and the exploration of liminal spaces through a relational inquiry. The collage process provided insights into how art making can be used as a relational device between researcher and participants that evoked findings in innovative ways. The findings are presented as entanglements of meanings aimed to provoke the imagination and open conversations.

Field-Based Art Programming As a Facilitator for Transformative Learning Experiences in Tertiary Education: Participants Reflections on Land Arts of the American West

Field-based art programming proposes a different pedagogical model to respond to contemporary challenges that artists face, ranging from ecological crises to the education and development of artists. This article analyzed interviews with field-based art programming participants across two decades, focusing on artists’ experiences through their own voices. Out of the interviews with participants from Land Arts of the American West, in which participants travel, camp, and create at different sites throughout the Southwest, the participants narrate important elements of field-based art programming. Using Mezirow’s theory of Transformative Learning, this article uses participants’ descriptions to analyze the pedagogical aspects of field-based art learning that denotes a transformative experience, distinct from what is available to them in conventional tertiary art classes. Central reoccurring themes identified include immersive nature, art-making, community, and place. Participants’ responses reveal Disorienting Dilemmas and having transformative experiences.

ESCRITOS DE ARTISTAS, ESCRITOS EM ARTE: NOTAS SOBRE O LEGADO DE FERREIRA E COTRIM / Artists writings, writings in art: notes on the legacy of Ferreira and Cotrim

A partir do legado deixado pelo livro Escritos de artistas: anos 60-70, organizado por Gl�ria Ferreira e Cecilia Cotrim, apresentamos nossa reconstitui��o desse contradispositivo (Agamben), a publica��o Escritos de artista, escritos em arte (v.1) feita por discentesdo Programa de P�s-gradua��o em Artes da Uerj. Entendemos o livro de Ferreira e Cotrim como uma atitude editorial (Morais) que permeia os campos da hist�ria da arte, da cr�tica, da curadoria e do fazer art�stico ao evidenciar a escrita de artista como um contradiscurso que coloca em di�logo tais segmenta��es. Neste artigo, demonstramos como as pesquisadoras nos fornecem as partituras editoriais para nossa execu��o atual e espec�fica ? sob uma perspectiva colaborativa e plural, respondendo a demandas locais de alunos do PPGArtes-Uerj.Palavras-chave:Escrita de artista. Gl�ria Ferreira. Uerj. Contradiscurso. Dispositivo.AbstractIn this article we present the reconstruction of the counterapparatus (Agamben): the publishing of Escritos de artista, escritos em arte (v. 1) by the students of the post graduation program of UERJ following the legacy of the book Escritos de artistas: anos 60-70, from authors Gl�ria Ferreira and Cecilia Cotrim. The book is understood as an editorial attitude (Morais) that permeates the fields of art history, critics, curatorship and art making by highlighting the artistic writing as a counterdiscourse that promotes dialogue between these segments. We demonstrate how the researchers provide the editorial guidelines for our current and specific execution ? under a plural and collaborative perspective as an answer to local demands of the students of PPGArtes-UERJ.Keywords:Artist writing. Gl�ria Ferreira. Uerj. Counterdiscourse. Apparatus.

Stay Gold

This chapter focuses on the experiences of participants in an intergenerational art program for LGBTQIA+ audiences, which takes place at the Museum of Contemporary Art, Tucson (MOCA). In this chapter, the authors outline the impetus and purpose of this program. They consider the impact that it has had on LGBTQIA+ individuals and the formation of an intergenerational community. From combating loneliness to creating connections across generations, this program invites individuals into the museum space who identify as LBTQIA+ but rarely have the opportunity to connect with one another. Facilitators and participants design projects and gallery activities that promote engagement through dialogue and art-making. As such, art provides connections that give participants opportunities to share and learn from one another. Contemporary art and the museum become sites for engagement. Gallery activities and art-making allow participants to experiment with a range of materials and learn new skills through humor, play, creative inquiry, and collaboration.

School and Teacher Partnerships at the Memphis Brooks Museum of Art

This chapter examines educational programming at the Memphis Brooks Museum of Art. The educational value of single and multi-visit field trips is discussed. The author shares how the Brooks structures its STEAM field trip and provides instructions for an art making activity. The community impact of the Mid-South Scholastic Art awards is explained. Consideration is given to the importance of designing museum programming aligned to state curriculum standards. Examples of teacher workshops are provided. Best practices for successfully welcoming school groups to the museum environment are also shared.

Cultivating Visual Analysis and Critical Thinking Skills Through Experiential Art

Employing visual analysis in the production and critique of artwork is an essential task of an art educator. By encouraging the basic principles of Edmund Burke Feldman's Practical Art Criticism in the development of art making and art analysis, art educators can create a learning environment that guides students toward the practice of higher order thinking skills. Examples of immersive art education that activates space and invites participation from the viewer will be cited as systems for inspiring civic engagement in the classroom.

Teaching Anthropology to Artists: The Challenges of Trans-disciplinarity and Beyond

In this paper, complex issues of education are discussed in relation to research and activism in the humanities and contemporary art, cultural production and politics. The discussion is based on a re-examination of twenty years of teaching anthropology at Greek universities in light of a strengthening engagement in the practices situated between this discipline and art. The context, the content and the mode of this activity are considered, during an epistemologically composite and politically significant process of interchanging teaching and learning positions. The specificity of the conditions of one’s own education needed to be acknowledged in the introduction to this retrospective survey. Teaching anthropology to professionals and students of different disciplines is also described as a period of learning how to place emphasis on practice, re-evaluate anthropological knowledge, combine diverse perspectives and negotiate power relations. Teaching anthropology to artists, however, particularly when the teacher also happens to be an artist, poses these and other challenges. Transdisciplinarity is sought, but only as something to surpass, eventually considering what it might mean to be 'undisciplined'. In any case, it is by now established that when anthropologists meet with artists, common interests become evident and a great potential for the renewal of research and theory is revealed, but diverging priorities and conflicting relations must also be addressed. Teaching and learning in such a context becomes more than an academic habit. It develops as a demanding, research-cum-art making activity, as shown by a number of collective projects that bring together students and teachers, on the fringes of the academy and social life during the difficult period of the so-called 'Greek crisis'.

The Geological Present: A Critique of the Aesthetic Anthropocene

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change. Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation. Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world. Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments. Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>