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In childhood research, children's art-making has typically been viewed and understood through a lens of developmental psychology and the notion that children's art-making progresses through a linear series of stages continues to dominate how we design and implement art-making experiences for young children. Postdevelopmental Approaches to Childhood Art brings together the work of theorists from around the world who have presented postdevelopmental approaches to childhood art, thereby playing a vital part in unsettling the dominance of the developmental paradigm and offering worked examples of alternative models. Drawing on sociocultural theory, Deleuzian philosophy, posthumanism and postmodernism each chapter offers a theoretical basis that challenges developmentalism, as well as an application of that theoretical basis. The contributors also consider what this shift in our perspective means for the design and implementation of art-making experiences for young children.
In the sciences, the experimental approach has proved its worth in generating what subsequently requires understanding. Can the emergent field of artistic research be inspired by recent thinking about the history and workings of science?
Affective Movements, Methods and Pedagogies invites readers to think with affect about performance, pedagogies and their inherent activist, embodied and collective natures. It works across multiple spheres to help readers understand how to deploy affective approaches rather than to simply think with affect theory about traditional methods. The book is structured and curated across three main thematic sections: affective movements, methods and pedagogies, each of which treats the core explorations of affect and performance through a different perspective. It is concerned with the ways performance and theatrical methods work with and through a theoretics of affect. The sixteen chapters include work that models theoretical practices in writing, and demonstrates how theorising affect and its methods is itself a performative practice. The contributors offer rich examples from diverse geopolitical as well as disciplinary contexts, innovative methods, and finally, intersectional theoretics. This collection will be of interest to higher education students exploring methodologies, and academic researchers and teachers in the fields of performance studies, communication, critical studies, sociology and the arts.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
Examines the proliferation of new ways of making "art" in the 1960s by focusing on the changed organization of work in society at the time. Co-published with The Baltimore Museum of Art in conjunction with an exhibition of the same name.
This accessible and compelling collection of faculty reflections examines the tensions between the arts and academics and offers interdisciplinary alternatives for higher education. With an eye to teacher training, these artist scholars share insights, models, and personal experience that will engage and inspire educators in a range of post-secondary settings. The authors represent a variety of art forms, perspectives, and purposes for arts inclusive learning ranging from studio work to classroom teaching to urban settings in which the subject is equity and social justice. From the struggles of an arts concentrator at an Ivy League college to the challenge of reconciling the dual identities as artists and arts educators, the issues at hand are candid and compelling. The examples of discourse ranging from the broad stage of arts advocacy to an individual course or program give testimony to the power and promise of the arts in higher education.
In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history, and technique to bring photographic education up to date with contemporary photographic practice. --
Writing lesson plans is often considered busywork, but it can be a useful path for discovering what’s important about artmaking and teaching. This book shows teachers how to slow down, breathe, and linger over the process of unit and lesson plan writing to uncover how much this process can support them professionally, creatively, and personally. The user-friendly text offers guidance for selecting an art project for the unit and then zooms into the nitty-gritty of specific lesson plans, including how to identify materials for a project and how to construct classroom dialogue to help students develop ideas for their artwork. The text also considers standards, assessments, and extensions to other subject areas. Featuring accessible language, clear definitions, practical examples, and self-reflection prompts, this unique resource will help pre- and inservice teachers create lesson plans that are useful to their specific contexts and methods of teaching. “If you happen to be feeling weary, frustrated, or uninspired, this book sparks imagination, fuels hope, and gives you theories to support what you know needs to be done.” —From the Foreword by P. Bruce Uhrmacher, Christy McConnell Moroye, and Bradley Conrad, educational researchers “Baxter invites us to slow down and consider the lesson plan as a creative catalyst to inspire our own artmaking, as well as a space to examine why and what we teach.” —Lisa Hochtritt, Maryland Institute College of Art “An inspiring and playful resource that is much more rewarding than typical lesson planning. It will surely spark your imagination with every flip of the page.” —Hailey Adlard, art educator, Parkland School District, PA
This book examines the interconnections between art, phenomenology, and cognitive studies. Contributors question the binary oppositions generally drawn between visuality and agency, sensing and thinking, phenomenal art and politics, phenomenology and structuralism, and subjective involvement and social belonging. Instead, they foreground the many ways that artists ask us to consider how we sense, think, and act in relation to a work of art.