{"title":"Sharing Space and Time in Participatory Artistic Practice","authors":"Marike Hoekstra","doi":"10.1111/jade.12534","DOIUrl":"https://doi.org/10.1111/jade.12534","url":null,"abstract":"<p><i>Gastatelier de Vindplaats</i> is an informal shared art studio in a school building in Amsterdam. Children can join—free of charge—in their own neighbourhood, there is room for everybody to be engaged on their own terms as often as they like, and most materials consist of recycled goods. <i>Gastatelier</i> also aims to be a participatory practice because of the way it engages in school routines, family relations and neighbourhood activities. It is, lastly but distinctively, an artistic residency where artists are allowed time and space to become engaged in a specific social context. After the first year of pioneering, space and time have become essential to understand the methodology of the studio. Artists for example are allowed to spend as much time in the studio as they like, according to the European Unions guideline for artist's residencies, but children's time in the studio remains limited to a weekly hour and a half. The question arises how the role of this unevenly distributed time affects the children's agency of the studio.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 4","pages":"659-670"},"PeriodicalIF":1.1,"publicationDate":"2024-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142737550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Crip Time Travels Through the Membrane and Vortex: An Autoethnographic Inquiry of Neurodivergent Student Temporality in Higher Art Education","authors":"Timothy J. Smith","doi":"10.1111/jade.12538","DOIUrl":"https://doi.org/10.1111/jade.12538","url":null,"abstract":"<p>Crip time is a fluid term with various definitions that pertain to the ways that disabled people experience time. In one sense, the effects of crip time can be constraining, particularly when it results in an encounter with ableist institutional and societal barriers. But crip time can also take on a liberatory form as a mode of resistance and a catalyst for structural change. This autoethnographic inquiry explores these various manifestations of crip time and will take form as a kind of crip time travel endeavour that recounts my experiences of temporality as a neurodivergent university art student. Framed through the mental imagery of the membrane and the vortex, I discuss the ways in which my neurodivergent student temporality collided and conflicted with the rigid temporal frameworks of neoliberal higher art education (HAE). I particularly focus on how HAE segments its programming into academic and artistic curricular time. I detail my difficulties keeping up with the academic curricular time to such an extent that the studio time and community time of artistic curricular time became lost or displaced time. Based on this crip time travel inquiry, I will acknowledge and move beyond a confining conception of crip time to offer insights into the liberatory potential of crip time towards reimagining temporal relations, reconceiving student success and opening time for neurodivergent students for critical making and thinking among a community of artist peers and mentors in HAE.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 4","pages":"683-697"},"PeriodicalIF":1.1,"publicationDate":"2024-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142737549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Broken Time: On the Fragmentation of the Experience of Art School and the Impact on Identity Formation and Ttransformation","authors":"Magnus Quaife","doi":"10.1111/jade.12540","DOIUrl":"10.1111/jade.12540","url":null,"abstract":"<p>This paper explores how increases in modularisation, elements of professional practice and even our relationship to screens and social media are amongst the factors that have changed the way time is experienced in higher fine art education. I draw upon my experience as a student, educator and pedagogical researcher to propose that identity formation and/or transformation are amongst the key functions of higher education in fine art in the West; that becoming an artist involves complex process of socialisation and individuation; and that these processes take time. I speculate that time is something which was once experienced comparatively smoothly but has been striated and fragmented by various factors including an increased focus on employability, the presence of social media, and not least various post Bologna interpretations at national or local level of the introduction of units and modules to comply with standardised credit systems. I propose that the combined effect of these factors amongst others distracts students from the <i>middle</i> by focusing them on micro destinations that deflect from developing a practice and impacts on these potentials.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 4","pages":"646-658"},"PeriodicalIF":1.1,"publicationDate":"2024-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142490889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Autoethnographical Research on the Experience of Identity Change as an Artist, Teacher and Teaching Artist","authors":"Ok-Hee Jeong","doi":"10.1111/jade.12537","DOIUrl":"10.1111/jade.12537","url":null,"abstract":"<p>An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed within the broader sociocultural context of arts education. As an art educator who has been learning and teaching in the Korean sociocultural context since the 1970s, I have experienced the struggle between my identity as an artist and my identity as a teacher amidst the changes in educational ideology reflected in the Korean national curriculum, which is a set of pedagogical discourses and practices that are constructed within a particular sociocultural context. It can be said that my autobiographical narration has important implications for the practice of art education in connecting individuals and society in an ambiguous and complex future society by enhancing theoretical understanding of wider social phenomena. In this paper, the narrative interpretation of my changing identity as an artist, an art teacher and a teaching artist provides a timely insight into identity shifts in how the artwork we encounter and our perceptions of art are shaped and transformed by our own cultural experiences and recollections of our own personal experiences within the interconnectedness of art and education across time.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 4","pages":"671-682"},"PeriodicalIF":1.1,"publicationDate":"2024-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jade.12537","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142444493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Trying to Undo the Colonialities of Arts Education: The Construction of a Workbook as Curriculum-(Un)Making","authors":"Cat Martins, Samuel Guimarães","doi":"10.1111/jade.12511","DOIUrl":"10.1111/jade.12511","url":null,"abstract":"<p>This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several colonialities. The idea of theory as a practice enacted through questioning, displacements, staying in research and getting to know the archives we inhabit framed the work carried out. The text is an exercise in revisiting the workbook, activating it now through reading and outside the group of participants to which it was made. It is not linear in the sense of recounting the experience; rather, it seeks to blend today's writing with the exercises drawn from that workbook.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 3","pages":"415-432"},"PeriodicalIF":1.1,"publicationDate":"2024-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141521337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Creative Pedagogies: School Without Walls and Forest of Imagination","authors":"Penny Hay","doi":"10.1111/jade.12512","DOIUrl":"https://doi.org/10.1111/jade.12512","url":null,"abstract":"<p>This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with <i>House of Imagination,</i> <i>School Without Walls</i> and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more-than-human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the <i>Forest of Imagination</i>, a long-term participatory contemporary arts and architecture event in Bath, UK. <i>Forest of Imagination</i> offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the <i>Forest of Imagination</i> is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 3","pages":"396-414"},"PeriodicalIF":1.1,"publicationDate":"2024-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jade.12512","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141967370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Intersectional and Decolonial Perspectives on an Incorporeal Materialism: Towards an Elemental Philosophy of Art Education","authors":"David Rousell, Anna Hickey-Moody, Jelena Aleksic","doi":"10.1111/jade.12517","DOIUrl":"https://doi.org/10.1111/jade.12517","url":null,"abstract":"<p>Considering art and its educative potentials as a living experiment with the body's elemental constitution and modes of organisation, this article engages <i>water</i>, <i>earth</i>, <i>air</i>, and <i>fire</i> as milieus through which a body learns to sense, move, and act in the world differently. This leads to a series of propositions for an elemental philosophy of arts education, which recognises the intersectional and decolonial potentials of bodies, and strives to amplify and proliferate these potentials through creative pedagogic practices. If, as Elizabeth Grosz (2017) proposes, “the chain of evolutionary emergence is unbroken not only materially but also conceptually” (p. 250), then arts education offers an expression of the body's incorporeal and material potentials as they change and evolve through time. Further to this position, we argue that arts education has the potential to radically reframe relationships with water, earth, air, and fire in ways that resist their co-option as tools of colonialism and intersecting categories of oppression.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 3","pages":"343-362"},"PeriodicalIF":1.1,"publicationDate":"2024-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jade.12517","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141967929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Arts Practice as the Daily Extraordinary: A Philosophy of Inclusivity","authors":"Miranda Matthews","doi":"10.1111/jade.12520","DOIUrl":"10.1111/jade.12520","url":null,"abstract":"<p>To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the ‘daily extraordinary.’ A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being <i>All For the Arts</i>. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 3","pages":"448-465"},"PeriodicalIF":1.1,"publicationDate":"2024-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jade.12520","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141364587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Significance of Art Education for the Post-Anthropocene: Non-Philosophy in a Newer Key","authors":"jan jagodzinski","doi":"10.1111/jade.12518","DOIUrl":"10.1111/jade.12518","url":null,"abstract":"<p>This essay is a plea to art educators in what is a global climate in a <i>permacrisis</i> both politically and physically. This is a deliberate and persuasive provocation to reorientate art education to avoid a reiteration that is taking place when the 20th and 21st centuries are compared in relation to the striking changes that are taking place in relation to a qualitative shift in technologies and the phase change of the earth. I develop this provocation by first developing the relations between art, science and philosophy of the 20th century, and art educations roll in this. I then turn to the 21st century to develop art, science and philosophy as they relate to the problematic developed by Peter Weibel and Bruno Latour in four significant exhibitions held at the KMZ. From there, I turn to anchor my theoretical support as to why Deleuze and Guattari particular expression of non-philosophy is of key import to make this plea stick in relation to both digital mediation and the post-Anthropocene.</p>","PeriodicalId":45973,"journal":{"name":"International Journal of Art & Design Education","volume":"43 3","pages":"478-492"},"PeriodicalIF":1.1,"publicationDate":"2024-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jade.12518","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141371291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}