Lessons from art and design education: The role of in-process critique in the creative inquiry process.

Costantino, Tracie

doi:10.1037/aca0000013

Cited by 17 publications

(8 citation statements)

References 13 publications

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“…In the educational perspective of Herrmanns story-story, the concept of "inprocess critique" (Costantino, 2015), used in artistic education, is also present. It could be said that Miguel is doing, building and learning a self-in process critique in his different attempts to create The Most Beautiful Panting in the World as reflected throughout the photo-story.…”

Section: The Process As a Concept And Methods Of Artistic Educationmentioning

confidence: 99%

The Most Beautiful Painting in the World: the process as a narrative in Tàpies

Ortiz-Echagüe-Trujillano¹,

Echarri-Iribarren

2019

Arte Individ. Soc.

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The work of the artist Antoni Tàpies has been widely studied from different disciplines, including his analytical and syncretic vision. This article tries to analyze one of its aesthetic keys: in particular, the conceptualization of its idea process, using the synthesis that appears in the graphic story The Most Beautiful Panting in the World published by Ralph Herrmanns in 1970, in which Tàpies is represented as a character-artist. The friendship that emerges between Tàpies and Herrmanns allows the creative freedom of the latter, who, as an exceptional interpreter, is capable of capturing Tàpies' thought in the tale. The study of this graphic story also allows us to advance in the study of some educational variables that can intervene in the teaching-learning processes of the arts, such as the artist's relationship with the educational intention that appears as a moral in the story-tale. In this moral of a fable, as a conclusion or educational synthesis, Tàpies tries to express his aesthetic thinking about the creative process, represented in his artistic work.[es] El cuadro más bonito del mundo: el proceso como narrativa en Tàpies Resumen. La obra del artista Antoni Tàpies ha sido ampliamente estudiada desde diferentes disciplinas, incluida su visión analítica y sincrética. Este artículo trata de analizar una de sus claves estéticas: en concreto, la conceptualización de su idea de proceso, utilizando la síntesis que aparece en el cuento gráfico El cudro más bonito del mundo publicado por Ralph Herrmanns en 1970, en el que el propio Tàpies aparece representado como personaje-artista. La amistad que surge entre Tàpies y Herrmanns permite la libertad creativa de este último, quien, con carácter de intérprete excepcional, es capaz de plasmar el pensamiento de Tàpies en el cuento. El estudio de este relato gráfico permite además avanzar en el conocimiento de algunas variables educativas que pueden intervenir en los procesos de enseñanza-aprendizaje de las artes, como la relación del artista con la intención educativa que aparece a modo de moraleja en dicho relato-cuento. En esta moraleja, a modo de conclusión o síntesis educativa, Tàpies trata de expresar su pensamiento estético acerca del proceso creativo, representado en su obra artística. Palabras clave: Educación estética; Tàpies; narrativas; educación de la mirada; proceso.Sumario: 1. Introduction. 2. Methodology and sources. 3. A book about the process of a painting. 4. Life's integration in Tàpies' art. 5. The artistic process according to the "photo-story" of Herrmanns. 6. The process seen by Herrmanns and loved by Tàpies: Tàpies as a character in a story. 7. The process as a concept and method of artistic education. 8. The beginning of the process: the aesthetic education of the look and sensitivity. 9. Conclusions. References.

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Section: The Process As a Concept And Methods Of Artistic Educationmentioning

confidence: 99%

The Most Beautiful Painting in the World: the process as a narrative in Tàpies

Ortiz-Echagüe-Trujillano¹,

Echarri-Iribarren

2019

Arte Individ. Soc.

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“…Critique (colloquially known as “crit”) is the primary assessment tool used at institutions of art and design (Costantino, 2015; Elkins, 1992). In fact, a 2017 special issue of Arts and Humanities in Higher Education described critique as the signature pedagogy of the arts and included articles detailing the composition of critique in a variety of disciplines.…”

Section: Literature Reviewmentioning

confidence: 99%

“Out of my element”: The experiences of Black art students in critique.

Unkefer¹,

Curtis²,

Andrade³

et al. 2023

Journal of Diversity in Higher Education

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Utilizing critical race theory (Delgado & Stefancic, 2012), this exploratory study examined the lived experiences of 19 Black art students as they navigated critique spaces at institutions of art and design. Critique (or "crit") is the primary evaluative tool used in art schools with the purpose of providing constructive, generative feedback to students (Costantino, 2015). Findings from this thematic analysis revealed how the subjective nature of critique often allowed for racially biased responses by faculty and peers. Participants noted four prevalent interactions during critique: Cultural incompetence, silence, superficial praise, and a focus on form. Interviewees also described the psychological impact of critique and the coping skills they employed. This study offers implications for administrators, faculty, and staff as they address institutional inequities in assessment practices at colleges of art and design and within other performance-based majors and institutions.

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“…For example, VanTassel-Baska (1986) developed the integrated curriculum model, which promotes “intra- and inter-disciplinary concept development and understanding” (p. 350). Similarly, Costantino (2015) proposed the creative inquiry process framework for a STEAM-based curriculum, which is an iterative framework incorporating pedagogies of art and design such as the presentation of ideas in an exhibit (Costantino, 2018).…”

Section: Literature Reviewmentioning

confidence: 99%

A pedagogical model for STEAM education

Bertrand

Namukasa

2022

JRIT

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PurposeCertain researchers have expressed concerns about inequitable discipline representations in an integrated STEM/STEAM (science, technology, engineering, arts and mathematics) unit that may limit what students gain in terms of depth of knowledge and understanding. To address this concern, the authors investigate the stages of integrated teaching units to explore the ways in which STEAM programs can provide students with a deeper learning experience in mathematics. This paper addresses the following question: what learning stages promote a deeper understanding and more meaningful learning experience of mathematics in the context of STEAM education?Design/methodology/approachThe authors carried out a qualitative case study and collected the following data: interviews, lesson observations and analyses of curriculum documents. The authors took a sample of four different STEAM programs in Ontario, Canada: two at nonprofit organizations and two at in-school research sites.FindingsThe findings contribute to a curriculum and instructional model which ensures that mathematics curriculum expectations are more explicit and targeted, in both the learning expectations and assessment criteria, and essential to the STEAM learning tasks. The findings have implications for planning and teaching STEAM programs.Originality/valueThe authors derived four stages of the STEAM Maker unit or lesson from the analysis of data collected from the four sites, which the authors present in this paper. These four stages offer a model for a more robust integrated curriculum focusing on a deeper understanding of mathematics curriculum content.

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Lessons from art and design education: The role of in-process critique in the creative inquiry process.

Cited by 17 publications

References 13 publications

The Most Beautiful Painting in the World: the process as a narrative in Tàpies

The Most Beautiful Painting in the World: the process as a narrative in Tàpies

“Out of my element”: The experiences of Black art students in critique.

A pedagogical model for STEAM education

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