What is Meant and what is Understood? The Role of Written Assessment Feedback in the Fine Art Subject Area

Report written as part of a research project (The Pedagogy of Fine Art) exploring contemporary pedagogy and attitudes to teaching within the fine art subject area

The Teaching Landscapes in Creative Subjects: Fine Art Area Report

Report written as part of a research project (The Pedagogy of Fine Art) exploring contemporary pedagogy and attitudes to teaching within the fine art subject area

Teaching and Professional Fellowship Report 2003/4 : Writing in the Context of Fine Art Education

Originating from the question "what happens to writing as a practice when students of Fine Art are doing the writing?" Kate Love investigated the new approaches to art writing which are surfacing both within University of the Arts London and peer institutions, using the knowledge gained to enlarge student perception of the possibilities for writing and writing-based assignments with a Fine Art based curriculum. Her starting point was to research the effect that the contemporary application of 'performative theory' has had on writing in Fine Art educatio

Variation in teachers' and students' understanding of teaching and learning in Fine Art and the broader community

This paper focuses on discerning the critical differences, or variation, in the way teachers and students experience and understand the subject of Fine Art and its relation to its broader community. In previous research (Reid, 1999; Davies & Reid, 2001), relations have been found within the music and design disciplines where teachers and students experience of one of three defined dimensions was strongly related to the ways in which they understood teaching and learning their subject. The musicians and designers (and their students) described their experience of the professional world in three hierarchically related ways. This constitution has become known as the subject 'Entity'. Taking a phenomenographical approach, the paper asks whether the experience of learning and teaching in Fine Art education, both for students and teachers, is consistent with conceptions shared, within the educational community, about the professional world of fine artists. In so doing this research project is intended to reveal the 'Fine Art Entity'. Discerning and describing the 'Fine Art Entity' is intended, not only to provide a basis for enhancement of learning, teaching and curriculum development in Fine Art practice, bit also to make a significant contribution to the subject discourse within the communit

‘Being an artist you kind of, I mean, you get used to excellence’: Identity, Values and Fine Art Assessment Practices

In this article I report on a study into fine art lecturers’ assessment practices in higher education. This study explores the ways that lecturers bring themselves into the act of assessment (Hand & Clewes 2000). I interviewed twelve fine art lecturers who worked across six English universities. Lecturers were asked to relate to me how they learnt to assess student artwork and what informed their judgement making. My research explores the interfaces between fine art lecturers’ assessment practices, their values and identity/ies. My analysis offers a rendering of the ways that values underpin lecturers’ assessment practices. The article explores the ways that lecturers’ assessment decisions relate to their experiences as ex art students, their identity as artists, their own artistic practices, their conceptualisation of the arts arenas and the HE sector. My key overarching argument is that identity/ies and values underpin and enrich fine art lecturers’ assessment practices

Fine Art: A guide to finding information

A guide to the relevant print and electronic resources for Fine Ar

The Sculpture Question

Paper presented, and subsequent panel discussion with: Jordan Baseman, artist and Head of Sculpture, Royal College of Art; Anna Moszynska, art historian and author, Sculpture Now; Emma Hart, artist; Jon Wood, Research Curator, Henry Moore Institute, and co-editor, Modern Sculpture Reader Chair: Terry Perk, sculptor and Reader in Fine Art and Associate Head of the School of Fine Art, UCA

Fine art therapy

Plastykoterapia, terapia przez plastykę (leczenie przez plastykę), terapia przez sztukę plastyczną to proces terapeutyczny (leczniczy) przez sztuki piękne (tj. sztuki plastyczne), takie jak: malarstwo, grafikę (w tym - rysunek), rzeźbę, architekturę (także architekturę ogrodową), rzemiosło artystyczne, fotografię (wykorzystującą nieruchomy obraz dwuwymiarowy), multimedia (wykorzystujące nieruchomy lub ruchomy obraz plastyczny), film (używający ruchomych obrazów plastycznych).Artistic therapy (Fine art therapy), so called "plastic therapy", it is therapy through visual art (treatment through visual art); therapy through visual art is the therapeutic process (treatment process) through fine arts (visual art), such as: painting, graphics (including - drawing), sculpture, architecture (also garden architecture), artistic craft, photography (using immobile two-dimensional picture), multimedia (using immobile or mobile two-dimensional picture), film (using mobile two-dimensional or three-dimensional pictures)

Fine art photography

ThesisFrom 1839 photography has been a visual method of communication and expression. It is the combination of science and art, and for the one to exist or function without the other is impossible. In 1893, William Powell Frith, a genre painter of Victorian England , _stated: "In my opinion photography has not benefitted arts at all". Art critics did not accept photography as readily as artists and often used the word in a negative way. Now photography is well on the way to being reconized as an art form although most people still believe that it could never be taken seriously as such. In South Africa there is no market for fine art photography, because to much emphasis is placed on the commercial aspects of it. Photographers want their work to be recognized as art, but if they do not treat it as such it will never happen. commercial work goes hand in hand with creativity, but for a fine art photograph to succeed all the aspects of commercial photography should be pushed aside. Art photography speakes for itself and is important as a self expressing medium. There are some basic rules and guide lines to remember in fine art photography such as the rules of composition et cetera, but it is up to the photographer whether to use them or not. No limitations should be imposed on creativity, especially in photography. We need all the creativity we can handle so that photography can be recognized as an art form in this country. "It's important that we photographers show our recognition of the New Status Quo by entering our work in the Cape Town Trienna: and other competitions, fully expecting our entries to be juged not as poor relatives to art, partronisingly and condescendingly , but on an equal footing to any other art medium which is as it should be . We must be seen to be worthy of the recognition given to US. II ("Profoto", Oct./Nov., 1990. Page 3.

Fine art photography

ThesisPhotography is an art. It is an art because the photographer creates art. The photographer creates art by capturing a unique image on film, by drawing the viewer's attention to an unexpected feature of an otherwise familiar or ordinary scene, by allowing the viewer to see through different eyes and so experience the world differently than before. In that manner does the photographer create art. It wasn't until the 19th century that photographic techniques were explored to stimulate paintings. The main reason for the evolution might have been a reaction against pictorial photographs. Two art movements are of importance when considering the above mentioned trend, namely the Dada and Surrealism art movements. I am a fine art photographer. I consider myself an artist, but not having the full ability to express my talents through painting. Although it is possible to express and develop my works of art with the assistance of photography and a little help from Adobe Photoshop. There are very few fine art photographers that were part of the Dada and Surrealism movements. However, only the best-known exponents of these movements will be discussed, for example Man Ray and Salvador Dali. There is no specific reason for specializing in fine art photography, only I prefer the freedom of creativity and expression, that fine art photography allows which, to a certain extent, are or could be lacking in other kinds of photography careers