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Schismogenesis in Contemporary Art Education
... My personal orientation to art criticism centers on the cultural component. Many art theorists take this contextual position (Beyer, 1981;Christian-Smith, 1987;Clark, 1973;Donahue, 1985;Duncum, 1987;Geertz, 1976;Goronov, 1981;Lanier, 1963;Petkus, 1985;and Wolff, 1975). Janet Wolff (1986) claims that works of art are not self-contained entities, but are the products of specific historical practices, by identifiable groups, in specific conditions. ...
... This newer view conceived of art education as a mode of education that had unique contributions to make to the growing child. The scope and content of art education was expanded, placing emphasis not only on the production of art, but also recognizing a variety of skills and knowledge beyond those found exclusively in the studio experience(Lanier, 1963;Smith, 1966; Eisner, 1968).The expansion of the content of art education gave new significance to the body of knowledge and skills that students could learn fromviewing and talking about works of art. It was time for a more structured approach for teaching art appreciation, but teachers were still hampered by the lack of instructional methodologies and materials specifically for use in teaching art appreciation in a more structured manner.Barkan (1962) stated that when art teachers attempted to teach critical analysis they "are severely hampered by the absence of tradition, the unavailability of competent personnel, and the lack of appropriate teaching materials" (p. ...
... Both had a marked influence on art educational practices in terms of what the aims of art education are to be and how, and at what stage of students' development, assessment should take place. Lanier (1963) proposed that the visual aesthetic experience, as outlined by Dewey (1980), be the key objective in art education, as it is one in which there is heightened response to the quality of visual entity, wherein the sequential parts of the experience are linked together and moving towards an anticipated consummation. ...
Thesis (Ph. D.)--Florida State University, 2005. Includes bibliographical references (leaves 431-447) Electronic reproduction.
There is a historical tendency in art education to envision both art and education as integral parts of the development and sustainment of individual human life and a just society. While this conception has enabled art educators to tackle various societal issues in their profession, it reduces the societal presence of art education into a predetermined narrative of completion and conservative politics where everything eventually finds its allegedly right place and function. In this article, I historicize this argument by examining how human life and its development have been tied to the goals of public art education in the United States in the early decades of the 20th century and reflect on what kind of tradition of political thought have they upheld. In order to eventually offer an alternative approach to politics of art education, I end this article by sketching an impossible relation between art, education, and human life that would not consider human agency and its development as given categories but as modalities of being that have radical potentialities beyond predetermined actualizations.
In no other field of education can we quite as aptly say “the more things change, the more they stay the same.” For the teaching of art, the impact of time—at least over the last forty years or so—has been exceedingly gentle with respect to its practice. Fortunately for this article, the same is not true of its theory. While classroom curriculum and methodologies have remained steadfastly studio in nature, the purported goals have altered, both frequently and drastically. Briefly, I will review these changing goals (for despite their lack of influence on classroom practice, they remain important in themselves), describe the present status of objectives in the field, and project some possibilities for the future.
With the performative turn in social sciences and the humanities the concept of performance has arrived in human geography. Performance denotes an understanding of social actions and practices as constitutive for non-representational realities. This paper looks at the relationship between places and performance especially in urban geography and develops the new term "situational place" to grasp the increasing phenomenon of (intercultural) encounters in the cities of modern world society. "Situational places" are situated performances of these (intercultural) interactions between strangers in cities of the contemporary world society. With the aid of performance theory the influence of the omnipresent interactions between strangers in cities on urban space is conceptualized. Therewith, we hope to present some fruitful theoretical and empirical possibilities for a cultural urban geography within and beyond the performative turn.
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