Art to empower: designing and implementing a contemporary visual culture art education for urban elementary institutions with implications for classroom practice

The following paper offers a comprehensive historiography of the curricular trends and approaches for the teaching of elementary visual arts within the discourse of Art Education. The exploration begins with an overview of the modernist, Discipline Based Art Education curriculum, including its origins and implementation within the U.S., public K-8 school system. In this section I offer an assessment of DBAE???s curricular strengths and weaknesses. Next, the text moves into an examination of post-modern, contemporary curricular approaches to teaching visual arts, more specifically, the visual culture theory. With this, I introduce a discussion about the current reality of arts education within the urban, public school system of Chicago, Illinois. This section offers insight into current art education trends and exposes the discrepancy of resources for visual arts education among Chicago???s elementary institutions. Finally, I offer a sample visual arts curriculum designed to empower students to take responsibility for their learning and success

Industrial Design: On Its Characteristics and Relationships to the Visual Fine Arts

Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts (expression, representation and style) with the visual fine arts

KAPTUR: exploring the nature of visual arts research data and its effective management.

KAPTUR (2011-2013), funded by JISC and led by the Visual Arts Data Service (VADS), is a highly collaborative project involving four institutional partners: the Glasgow School of Arts; Goldsmiths, University of London; University for the Creative Arts; and the University of the Arts London. The preservation and publication of research data is seen as positive and all UK Research Councils now require it as a condition of funding (RCUK 2012). As a result a network of data repositories are emerging (DataCite 2012a), some funded by Research Councils, others by institutions themselves. However, research data management practice within the visual arts appears ad hoc. None of the specialist arts institutions within the UK has implemented research data management policies (DCC 2011a), nor established research data management systems. KAPTUR seeks to investigate the nature of visual arts research data, making recommendations for its effective management; develop a model of best practice applicable to both specialist arts institutions and arts departments in multidisciplinary institutions; and apply, test and refine the model with the four institutional partners. This paper will explore the nature of visual arts research data and how effective data management can ensure its long term usage, curation and preservation

Spot the Difference! Visual plagiarism in the visual arts.

Over recent years there has been considerable investment in the use of technology to identify sources of text-based plagiarism in universities. However, students of the visual arts are also required to complete numerous pieces of visual submissions for assessment, and yet very little similar work has been undertaken in the area of non-text based plagiarism detection. The Spot the Difference! project (2011-2012), funded by JISC and led by the University for the Creative Arts, seeks to address this gap by piloting the use of visual search tools developed by the University of Surrey and testing their application to support learning and teaching in the arts and specifically to the identification of visual plagiarism. Given that most commonly used search technologies rely on text, the identification and evidencing of visual plagiarism is often left to the knowledge and experience of academic staff, which can potentially result in inconsistency of detection, approach, policies and practices. This paper outlines the work of the project team, who sought to investigate the nature, scope and extent of visual plagiarism in the arts education sector

Leeds and the Northern Arts Prize

Purpose - This paper aims to look at the nature of the relationship between the marketing of the contemporary visual arts, cultural tourism and city and urban regeneration. This exploratory study of the marketing of the contemporary visual arts in Leeds has, as its background narrative, the emergence of BritArt. Design/methodology/approach - The growth of contemporary visual arts provides the context for a case study of the Northern Art Prize, which was first awarded in 2007. Findings - The study found a number of factors for success that can aid urban renewal and city regeneration. Private sector marketing expertise levered into the management of the project was one critical success factor. Another was that private sector funding freed up marketers and artists and allowed risk-taking. Participants highlighted a lack of vision for the contemporary visual arts in the city and region and a strong desire for new collaborative working and new governance structures for the delivery of arts marketing and cultural tourism. Originality/value - The Northern Art Prize offers much for the marketing of contemporary visual arts, cultural tourism, city branding and urban renewal. Investing in and marketing of the arts is argued to serve as a stimulus that can bring a range of benefits for the business and wider community. Marketing, especially arts marketing, can help deliver social, economic and urban regeneration

Los Angeles Unified School District Arts Education and Creative Cultural Network Plan

This paper describes the 2012-2017 plan for funding arts education in the Los Angeles Unified School District. This mission for this project is as follows: The Visual and Performing Arts are an integral part of the District's comprehensive curriculum and are essential for learning in the 21st century. All LAUSD students, from every culture and socioeconomic level, deserve quality arts learning in dance, music, theatre, and visual arts as part of the core curriculum

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 art object does not embody a form of knowledge

This paper makes explicit the claim that the proper goal of visual arts research is visual art. This claim is consistent with the view held by many scholars in the visual arts community, who see art as a form of research (cf. K. Macleod and L. Holdridge, Thinking through Art: Reflections on Art as Research, London: Routledge, 2006), but accept that research is an original investigation undertaken in order to gain knowledge and understanding. This being the case, the knowledge acquired either resides in the art object and/or secondary outcomes (e.g., a texts). This paper argues against the proposition that the art object is a form of knowledge. Although consistent with Biggs' (2002) paper 'The role of the artefact in art and design research', published in International Journal of Design Sciences and Technology. 10:2, 19-24 (which did not actually appear in print until 2004), Biggs holds to the above definition of research and subsequently focuses on experiential knowledge (2004). However, if, as claimed here, the proper goal of visual arts research is visual art, and if visual art is not a form of knowledge, then visual arts research is not in essence a knowledge acquisition process. This dilemma is resolved by proposing that visual art making serves a different purpose to knowledge acquisition and that visual arts research would be better described as original creation undertaken in order to generate novel apprehension, thus developing the fundamental proposition presented a paper published by the author in the International Journal of Design Sciences and Technology in 2002. Biggs, M. A. R. (2004). Learning from Experience: approaches to the experiential component of practice-based research. Forskning-Reflektion-Utveckling. H. Karlsson. Stockholm, Swedish Research Council: 6-21. Scrivener, S.A.R. (2002) Characterising creative-production doctoral projects in art and design. International Journal of Design Sciences and Technology, 10(2), pp. 25 - 44. (appeared 2004

TRADITION OF INDONESIAN ARTS AND NOW

This paper is concerned with the study of Tradition of Indonesian Arts and Now. Indonesia is the largest archipelago in the world. It consists of more than thirteen thousand island, six thousand of which, covering sixty percent of its area size are populated. The populace of Indonesia is two hundred twenty million people consisting of probably over four hundred ethnic groups and more than three hundred etnic languages. As a large nation, Indonesia has dozen of performing and visual arts style, hundred of forms of performing and visual arts, starting from classical to contemporary character. The development of Indonesian arts is in accordance with the development of its society that is moving from the pre Hindu period into Contemporary society. With many different cultural backgrounds Indonesia has many maestros in arts who enable to preserve, develop, and create new form of arts