Creative Matter: New Materialism in Art Education Research, Teaching, and Learning

Hood, Emily Jean; Kraehe, Amelia M.

doi:10.1080/00043125.2017.1274196

Cited by 26 publications

(20 citation statements)

References 6 publications

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“…The research shared in this article is informed by salutogenesis (Antonovsky 1996;Huss & Samson 2018;Mittelmark et al 2017), a/r/tography (Irwin & De Cosson 2004;Bickel et al 2011;LeBlanc & Irwin 2019) and new materialist (Barad 2007;Bennett 2010;Hood & Kraehe 2017) approaches. All theoretical perspectives informed the participatory arts-based design of the project, while learning arising from the participatory experiences that coupled art, health and wellbeing embraced transpedagogical possibilities (Knight & Riddle 2017).…”

Section: Theoretical Perspectivesmentioning

confidence: 99%

“…Our approach was inspired by object-based learning (Thomson & Chatterjee 2015;Hardie 2015b), immersive art pedagogy (Burke 2013) and material engagement through art (Hood & Kraehe 2017) all of which provoked radical relationality. We introduced object-based learning through 'the active integration of objects into the learning environment' (Chatterjee et al 2015, 13) using a tiered approach to extend beyond the museum and connect with objects in participants' daily lives.…”

Section: Object-based Learningmentioning

confidence: 99%

“…Hood & Kraehe (2017, 33) urge an approach that, ahead of cultural and symbolic references, favours ‘speculative questions and methods that seek to make sense of the vitalities of matter and agency of things’. And after Bennett (2010) they suggest that research is positioned as being with things thus enabling distributive agency whereby the animate/inanimate participants intermingle, intersperse and coalesce as co‐creative forces (Hood & Kraehe 2017, 35). Experiential triggers provoked affective participation as seniors and school children engaged with objects from the everyday to the precious and rare, while conversing with each other.…”

Section: Touching Mattersmentioning

confidence: 99%

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Drawing with Art‐Well‐Being: Intergenerational Co‐Creation with Seniors, Children and the Living Museum

Burke¹,

Alfrey²,

Hall³

et al. 2021

Int J Art Design Ed

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This article explores how the Museum, Art and Wellbeing project brought primary school children and seniors from the same local community together to engage in explorative activities designed to reveal individual and mutual assets for wellbeing. The Museum, Art and Wellbeing project undertook a participatory arts-based approach to investigate how the assets of a large public institution such as Museums Victoria, Australia could reach out and engage different community groups. The seniors came from a local University of the Third Age (U3A) which offers a wide range of classes but does not usually engage with primary schools. Children at the primary school engage in art learning and separate wellbeing learning but these age-stage sessions, as designated to incremental year levels, had not previously included direct involvement of seniors in learning activities. For both groups, the connection to Victoria's state museums is marked by previous occasional one-off visits. Museum resources have not been considered as ongoing assets for wellbeing that link to the local community in the way that this project does. The university's role in brokering such connections by deploying often ignored human/institutional assets to support health and strengthen community has been explored in papers by fellow researchers, Justen O'Connor and Laura Alfrey. Our enquiry is extended in this article by focusing on how art education, specifically art-making, and intergenerational learning can strengthen community and enhance wellbeing across school and community-based educational contexts and museums.

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Section: Theoretical Perspectivesmentioning

confidence: 99%

Section: Object-based Learningmentioning

confidence: 99%

Section: Touching Mattersmentioning

confidence: 99%

See 1 more Smart Citation

Drawing with Art‐Well‐Being: Intergenerational Co‐Creation with Seniors, Children and the Living Museum

Burke¹,

Alfrey²,

Hall³

et al. 2021

Int J Art Design Ed

View full text Add to dashboard Cite

show abstract

“…Theoretical approaches such as the abovementioned Actor Network Theory, New Materialism and Object-Oriented Ontology acknowledge digital things or objects (Hahn, 2019) or bodies of images (see Schütze in this publication) in terms of their affordances. They are also reflected in curriculum research (Hood & Kraehe, 2017;Rousell & Fell, 2018). Moreover, ecological, climate policy, and power theoretical questions, e.g., technical infrastructures and resource consumption, come to the fore again through concepts such as Post-Digitality (Broeckmann, 2017).…”

Section: Fluid Materialitymentioning

confidence: 99%

Post-digital, Post-internet: Propositions for Art Education in the Context of Digital Cultures

Klein

2021

Post-Digital, Post-Internet Art and Education

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Concepts such as Post-Digital and Post-Internet act as symptomatic descriptors of digitally permeated cultures. Starting from a broad understanding of digitality in its societal and cultural-historical interdependencies, both terms are first introduced and afterward extended through the discussion of four theses, with a particular emphasis on aesthetic aspects. Elaborating on (1) distributed artworks, (2) hybrid subjects, (3) fluid materiality, and (4) blind spots, each thesis leads to a proposition for art education dealing with digital cultures. The chapter concludes by highlighting art education’s potential in reflecting on digital cultures and in developing new models and methods for practical application.

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“…Considerar las posibilidades contextuales permite expandir el campo de creación a partir de las experiencias vividas, proyectando un modo de entender y repensar el pensamiento visual de niñas y niños, adoptando una perspectiva socioeducativa que incluya lo no humano: lo objetual. Una invitación a reconocer en los materiales, herramientas, objetos y cosas, la naturaleza alusiva a la materialidad (Hood y Kraehe, 2017) ya no eludiendo su agencia, sino considerando sus conexiones y responsabilidad en la red de relaciones.…”

Section: Consideraciones Finales Una Potencialidad Creativa Para Segunclassified

Percepción háptica, objetos y repertorios visuales: una experiencia para repensar la materialidad en educación artística infantil.

Medina

2020

Communiars

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The present text exposes, in general lines, the resonances of an inquiry that explored the visual repertoire of Chilean girls and boys of infant education in a context of rurality from the perceptual and haptic sensorial experiential unfolding. From a conceptual deepening, questions are opened about visuality, material culture and the scope of haptic perception as a sensory system elaborated and indistinctly important for the discovery of objects and information of the material and social environment. Specifically, through haptic exploratory deployments, experiences of encounter with objects are detonated that derive in the creative and experiential expression of a wide visual repertoire that refers to a socially entangled materiality and objetuality. An invitation to rethink perceptual explorations and the embodiment of the knowledge and place of object and material dimensions in the unfolding of creativity in instances of contextualized learning of artistic languages in preschool education.

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Creative Matter: New Materialism in Art Education Research, Teaching, and Learning

Cited by 26 publications

References 6 publications

Drawing with Art‐Well‐Being: Intergenerational Co‐Creation with Seniors, Children and the Living Museum

Drawing with Art‐Well‐Being: Intergenerational Co‐Creation with Seniors, Children and the Living Museum

Post-digital, Post-internet: Propositions for Art Education in the Context of Digital Cultures

Percepción háptica, objetos y repertorios visuales: una experiencia para repensar la materialidad en educación artística infantil.

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