The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.
This paper draws on a wider body of research which explores whether art and design teachers (art teachers) and museum and gallery educators (gallery educators) hold conflicting conceptions of 'critical and contextual studies'. The data analysed focuses on what interviewees said about each other in relation to crossing boundaries between institutions, subject and pedagogical content knowledge, conceptions of the discipline of art and design, the role of gallery education in curriculum development and influence over the development of the pedagogical identities of students. The
The Future Something Project (FSP), a two-year action research project, was devised to nurture the creative and technological talent of small groups of young people at risk by creating a structured network, mentored and driven by creative professionals exploring innovative ways for the two distinct target groups to work together. The project practice is located within the new field of Interaction Design and takes a social and critical approach to Art and Design pedagogy. The external research team found that one valuable way of looking at the FSP enterprise was through the social theory of communities of practice (CoPs) developed in the 1990s by Lave and Wenger (1991; Wenger, 1998). The creation of a learning community as a pedagogical strategy is central to the conception and practice of this project. This paper, therefore, sets out to apply an existing theory to a new art and design context together with more general thoughts on learning communities. It explores the potential of new technologies and different settings to effect learning within structured networks and local and virtual communities of practice. IntroductionThe Future Something Project (FSP), a two-year action research project devised and delivered by Artswork [1], aimed to develop a programme that could nurture the creative and technological talent of small groups of young people at risk. This was approached by creating a structured network, mentored and driven by creative professionals. An overall aim was to explore innovative ways for two distinct target groups to work together to be called mentors and participants. The project practice is located within the new field of Interaction Design and takes a social and critical approach to Art and Design pedagogy (Atkinson & Dash 2005). Emerging technologies, specifically information technology, precipitate reaction and ongoing curriculum development within the field of art and design education. They may require new forms of understandings of teacher and learner identities, learning communities and situations of learning. This paper explores the complex project ecology (Harrington 1990) which brings together the themes of identities and trajectories within learning communities, new pedagogical practices and learning in different settings, through new technology and interaction design. While the details and outcomes of the project are specific there is scope for reflection on the broad themes identified above which are relevant to art and design pedagogy in both formal and informal contexts with diverse populations.
This paper presents the findings of a small‐scale qualitative research enquiry into some of the effects on the primary school art curriculum of the introduction of the National Literacy and Numeracy Strategies in 1988 and 1999. Five art curriculum co‐ordinators and an additional part time specialist art teacher, drawn from five inner city primary schools in two London boroughs, were the subject of a semi‐structured interview designed to elicit data on the broad changes in primary art education. Key external factors were the introduction of the Art National Curriculum in 1992, its subsequent development and its current condition during a period of ‘relaxation’ of the Orders, following the government's introduction of the Literacy and Numeracy Strategies. Little official attention has been given to other, perhaps unintended, outcomes of the latter strategy across the curriculum. This study gives an insight into the experience and perceptions of some of those carrying the responsibility for leadership of art in school in the primary phase.
This paper focuses on the production of introductory videos for gallery exhibitions through collaborations between young people, professional artists and gallery staff. Fundamental to this process is the quality of encounter young people involved have with original works of art, artists and gallery staff. Their enquiries about the work on show and critical response is valued by the gallery and its diverse audiences for its unique and individual perspective. Students are invited to explore and familiarise themselves with the work prior to articulating their ideas and views on video within the exhibition spaces. Recorded footage is then edited to a professional standard and shown in the gallery during the run of each show. The videos are also posted out to local schools, marketed as peer-led introductions to each exhibition, in order to offer up questions and ideas to students and teachers prior to their gallery visit. A commissioned, external evaluation of the videos, against their stated aims and objectives, was undertaken by Goldsmiths College's Art in Education team. Abstract JADE 20.3 ©NSEAD 2001 IntroductionThe Whitechapel Art Gallery in London has a long and distinguished history of innovative education projects, including their Artists in Schools programme.[1] Developed in the late seventies and early eighties, this initiative became a national model for gallery and museum education. More recently in 1995, partnerships have been forged with local teachers collaborating on the production of exhibition teachers' packs. This has provided professional development for both teachers and gallery staff, ensuring a diversity of approach, relevance and space for multiple viewpoints in the production of resource materials for schools. Currently, the Gallery is involving local students in the production of introductory videos to exhibitions, further extending the range of voices to be heard.
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