The Educational Turn in Art

Graham, Janna; Graziano, Valeria; Kelly, Susan

doi:10.1080/13528165.2016.1239912

Cited by 27 publications

(3 citation statements)

References 3 publications

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“…Lucero’s practice can be situated in an ongoing tradition of artists operating on the cutting edge of arts, participation, and education, such as Yoko Ono, George Maciunas, Tim Rollins + K.O.S., Suzanne Lacy, Miranda July and Harrell Fletcher (Berry 2009; Desai & Chalmers 2007; Heijnen & Bremmer 2020). Yet despite the fact that education has become a hot topic among artists and curators (Rogoff 2008; Finkelpearl 2013; Heijnen 2015), the artworld’s impact on the educational methodologies and systems it critiques is rather limited (Graham et al 2016). Lucero’s teacher as conceptual artist shows that arts educational reform requires both pedagogical and artistic knowledge and the willingness to not only discuss school systems, but to really engage with them.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

Teacher as Conceptual Artist

Bremmer¹,

Heijnen²,

Kersten³

2020

Int J Art Design Ed

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Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of ‘teacher as conceptual artist’. In short, Lucero proposes that a teacher’s practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, ‘elicitation‐interviews’ were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom.

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Section: Conclusion and Discussionmentioning

confidence: 99%

Teacher as Conceptual Artist

Bremmer¹,

Heijnen²,

Kersten³

2020

Int J Art Design Ed

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“…With the arrival and expansion of social media between 2003 and 2006, the artistic "rebellion on the Net" turned increasingly to pedagogical experiments with participation (Barney et al 2016) and collaboration (Amgott 2018) which were above all about setting social processes in motion (Graham and Cook 2010, 5). More recently, something like the 2006 "Educational Turn" documented by Graham, Graziano, and Kelly (2016) for Europe seems to have taken hold in Mexico City through the public programming in contemporary art museums (Jiménez 2019). The success of "militant" art and the local instantiation of the Educational Turn might be symptomatic of a deeper problem in art institutions since at least the 1990s, where radical ideas have been increasingly packaged as a new kind of "content capitalism", deliberately separated from their immediate contexts and the politics that they name.…”

Section: New Media Art Between Neoliberalism and Anti-capitalismmentioning

confidence: 99%

Beyond Rebellion of the Net: Infrastructural Commoning as Critical Cultural Literacy

Cota

Cuenca

2020

Critical Arts

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This article offers a critical interpretation of the recent cultural and political history of artistic engagements with digital technologies in contemporary Mexico, considering some of them in relation to changing notions of cultural literacy under neoliberal globalization. While educational social research in Latin America has its own critical traditions for studying literacy as a social practice embedded in power relations, art theory and criticism in Mexico and abroad have barely raised the question of new media art's specific relevance to questions of literacy. Through a cultural and media studies lens acting as a bridge between art theory and criticism on the one hand, and educational research on literacy on the other hand, this article shows how, during the neoliberal conjuncture, artistic engagements with digital technologies articulated cultural experimentation with grassroots political struggles and mediated wider processes of economic and technological transformation. We suggest that new media art, as a post-autonomous practice in times of transition, introduced questions of digital commoning as concerns for cultural literacy in a broad sense. We argue, however, for a non-instrumental and open-ended infrastructural understanding of art's educational role in relation to ongoing historical conjunctures.

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“…Access to creative arts opportunities is also an equity issue. Young people from disadvantaged backgrounds have limited opportunities to engage in art, particularly as UK austerity measures have led to reductions in art within school curriculums [ 36 ].…”

Section: Introductionmentioning

confidence: 99%

Reflections on the benefits and challenges of using co-produced artistic workshops to engage with young people in community settings

Tinner

2024

Res Involv Engagem

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Background Despite increased focus on adolescence, young people’s voices are often undervalued and underrepresented in health inequalities research and policy. Through exploring young people’s priorities for their health and their community, we may begin to understand how public health interventions and policies can be more effective and equitable. Engaging with youth using art enables empowerment and self-expression on these complex topics. Methods Creative workshops, co-produced with a young artist, were delivered at three youth centres to participants aged 11–18 years (n = 30) in disadvantaged areas of Bristol, UK. Participants engaged in art and were guided by a semi-structured topic guide through focus group discussion. Thematic analysis, supported by the young artist, was used to distil key policy priorities for young people to be delivered to the local authority. Results The young people identified a list of key priorities. These were: (1) mental health, (2) feeling ‘forgotten’ as an age group and having safe city spaces to socialise, (3) the need for greater support for their education and career aspirations. I provide a brief summary of these priorities, but the focus of this article is on the critical reflections on this innovative way of engaging with young people about local policy. I provide key learning points for researchers looking to do creative public health work in community settings and involve marginalised young people. Conclusions Art is a promising way of engaging with young people in community settings and elevating marginalised voices. Co-producing with a local young artist enriched the project and partially alleviated power imbalances. This approach has potential for involving different groups within local policymaking and priority setting around health inequalities.

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The Educational Turn in Art

Cited by 27 publications

References 3 publications

Teacher as Conceptual Artist

Teacher as Conceptual Artist

Beyond Rebellion of the Net: Infrastructural Commoning as Critical Cultural Literacy

Reflections on the benefits and challenges of using co-produced artistic workshops to engage with young people in community settings

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