A Documentation and Analysis of Surdna Arts Teachers Fellowship Program (SATF): The First Decade 2000-2010

Based on documents, interviews, and site visits, reviews the design and impact of a program to boost teaching and learning quality at public arts high schools by supporting teachers' artistic and professional development. Lists issues for consideration

Creativity and the computer nerd: an exploration of attitudes

This study arises from our concern that many of our best art and design students are failing to make the most of the opportunities provided by IT because of their fear or dislike of computers. This not only deprives them of useful skills, but, even more importantly, deprives many IT based developments of their input. In this paper we investigate the relationship between attitudes to creativity and to computers among students. We quickly discard an approach based on theories of personality types as philosophically and educationally problematic. An approach based on the self-concept of artists and designers, in relation to their own creativity and to their feelings about computers, offers more hope of progress. This means that we do not try to define the attributes of "creative people". Rather, we ask what creativity means to students of art and design and relate these responses to their attitudes to computers. Self-concept depends on how the subjects see themselves within society and culture, and is liable to change as culture changes. One major instrument of cultural change at the present time is the growth of IT itself. We then describe a first attempt at using a psychological method - Kelly's Repertory Grids - to investigate the self-concept of artists and designers. It is hoped to continue with this approach in further studies over the next few years

JISC funded Kaptur project environmental assessment report

The overall objective of the JISC funded Kaptur project (October 2011 - March 2013) is to discover, create and pilot a sectoral model of best practice in the management of research data in the visual arts. This report outlines findings from the first workpackage, environmental assessment, based on the following research question: What is the nature of visual arts research data? Appendix A provides detail on the methodology; data was gathered from a literature review and 16 face-to-face interviews with visual arts researchers; four at each partner institution: Glasgow School of Art; Goldsmiths, University of London; University for the Creative Arts; and University of the Arts London

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

Creativity and Art Education: Gaps Between Theories and Practices

Theories of creativity from different disciplines map onto teaching strategies within the fine art field. In particular, the outcomes of historical studies by psychologists and experimental studies within cognitive science have significant resonance with some long-standing methods of teaching artists. Through a series of interviews with experienced teachers of studio art in the UK university context, and analysis of written material to support teaching, this paper recognizes the need for a more systematic exploration of how creative thinking may have been embedded in the teaching of artists. We identify the presence of practical strategies, field knowledge, artistic identity, and the importance of ‘space’ within the accounts of teaching and the documents considered. We note that notions of identity and space are not clearly present within existing models of creativity, but aspects of them reflect tolerance for ambiguity. We conclude by reflecting that this space within conceptions of fine art education is a gap that needs attention and that the field that generates the creative practitioners of the future should understand creativity

Copyright Contracts and Earnings of Visual Creators: A Survey of 5,800 British Designers, Fine Artists, Illustrators and Photographers

There is a common perception that digitisation has prompted changes in creative labour markets. In particular, it is widely assumed that exploiters insist on "grabbing rights" (i.e. broadly conceived assignments of rights), that visual artists are not able to negotiate, that they are paid less and less, and that they are compelled to waive their moral rights. This study suggests a much more equivocal picture. In place of a straightforward narrative of decline, the results of the survey suggest that in most fields there has been less change over the last decade than one might have expected: that, terms of exploitation are most often about the same. That is not to say that there are no discernible changes in particular occupations and media. Respondents and interviewees identify some important shifts. Perhaps surprisingly, it seems there are changes in practice that are, from the creator's perspective, both positive and negative. The most positive change is identified amongst the fine artists where half (50%) see their personal bargaining position as having improved, with only 6% perceiving a weakening. The most disturbing changes are in relation to photographers. About half of all photographers (49%) say their bargaining position has worsened, with only 22% reporting improvements. A significant percentage of photographers (40%) report an increase in assignments (compared with 6% who think they have decreased). Moreover, 24% report an increase in moral rights waivers (compared to 3% who identify a decrease), and a decline in the practice of attribution. 31% of photographers see attribution as decreasing over the last decade, and only 8% increasing. 28% say income from secondary use has decreased, while only 16% say it has decreased

More than just art on the walls: Enhancing Fine Arts Pedagogy in the Academic Library Space

At a medium sized university with a small department of art and no specific art library, art majors and minors can feel that they have no place within the academic library. At Valparaiso University, a collaboration between the university’s Department of Art and library culminated in a Student Art Purchase Award. Faculty from both departments collaborated to create an experiential learning opportunity that includes the application process, production and finishing of fine art pieces on a professional level. This ongoing, annual, experiential learning opportunity culminates in a juried art presentation, and purchasing of art for a permanent art collection within the library. An exploration of the varied responsibilities that come with changing a space and the effects of new art representation within the space of the library will be examined from the student and faculty side. While not considered traditional collaborative space, both groups change the physical environment of the library space favorably

More than just art on the walls: Enhancing Fine Arts Pedagogy in the Academic Library Space

At a medium sized university with a small department of art and no specific art library, art majors and minors can feel that they have no place within the academic library. At Valparaiso University, a collaboration between the university’s Department of Art and library culminated in a Student Art Purchase Award. Faculty from both departments collaborated to create an experiential learning opportunity that includes the application process, production and finishing of fine art pieces on a professional level. This ongoing, annual, experiential learning opportunity culminates in a juried art presentation, and purchasing of art for a permanent art collection within the library. An exploration of the varied responsibilities that come with changing a space and the effects of new art representation within the space of the library will be examined from the student and faculty side. While not considered traditional collaborative space, both groups change the physical environment of the library space favorably