*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is (...) essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity. (shrink)

A Philosophy of the Art School NewallMichael Routledge. 2019. pp. 192. £115.00.

Comment une école publique d’art en Grande Bretagne a-t-elle été créée, comment a-t-elle évolué au XIXe siècle et quelle fut sa place vis-à-vis de la Royal Academy of Arts? Quelles furent l’incidence et l’importance de l’économie politique utilitariste et plus particulièrement des écrits de J. Bentham sur le goût, l’éthique et l’utilité, dans le développement d’une institution subventionnée par l’État et destinée à l’éducation artistique de la nation? Quels furent les débats et les apories..

The animation industry of China has developed windingly almost 50 years in 20 century, finally obtained the eruption -like growth in the beginning 21st century. Talent cultivation is one of the important elements of Chinese Animation industry, thus animation education also obtained the stimulation. More and more fine art schools began to have animation program after 2000. This paper studies a brief history of animation professionals in Fine Art Schools of China, and the relationship between fine art schools and animation (...) subject. However the number of schools expanded, but the quantity cannot guarantee quality of education, most Fine art schools are relying on the University-Industry Collaboration teaching mode, but in the fact beneath the brilliant achievements, fine art schools need to sum up teaching experience and education theory different from animation industry. The period of Animation program expanding in Fine Art Schools is almost over, but the period for education quality is coming. How to improve the animation education quality become the most important situation to all Fine Art Schools have animation program. (shrink)

The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that different types of (...) difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students. (shrink)

Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy (...) to the art school as the construction of a specifically bourgeois institution of art. (shrink)

This book conveys 12 case studies about projects taking place in a School/University/Community Partnership Network in southwest Ohio. Participants partner to better the education experiences and the lives of community members in the region. This book shows how educational and community partnerships take shape and how they look in practice.

At a time when Americans are increasingly concerned with finding jobs and economic stability, supporting families, and surviving in the global economy, many consider the arts to be a luxury, a frivolous distraction which entices students away from real learning. In Strong Arts, Strong Schools, Charles Fowler argues that, far from a luxury, the arts are a vitally important part of our society and our schools. Speaking directly to educators, policy makers, and parents alike, Fowler presents a compelling defense of (...) the arts and their importance in our lives. The arts illuminate "life in all its mystery, misery, delight, pity and wonder." Without them, students are deprived of learning what it means to be truly human. The arts teach students how rather than what to think. Highlighting the crucial effect of the arts on learning, he contends that the arts teach skills that other basic subjects cannot--critical thinking and problem solving, judgment and independence, attention to detail and craftsmanship, and an openness to other cultures and ways of thinking. Arguing on behalf of the arts, Fowler shows how the arts can enliven and extend the entire school curriculum by integrating different subjects in innovative interdisciplinary ways, sparking the interest of at-risk or special needs students. "The best schools have the best arts programs," writes Fowler. "Excellence in education and excellence in the arts go hand in hand." In eighteen compelling essays, Fowler demonstrates the importance of the arts in our culture and the necessity of rescuing the arts for our future. Beginning with an overview of the context in which the arts operate, he offers an honest and sometimes distressing overview of the state of education and arts education today. He then examines the arts and economics, presenting a carefully researched exposition of the significance of the arts and their relationship to science and industry. Showing how the arts provide a more comprehensive education, he shows why the arts engage students and make learning relevant and fun. Tackling the controversial question of curriculum, Fowler addresses such questions as who should study the arts, which arts, and whose culture should be taught. Citing a shameful neglect of creativity in our culture, he highlights the negligence of the schools in teaching students to be creative and inventive thinkers, and he shows the capacity of the arts to communicate these essential skills. Fowler concludes the book with suggestions for reform and with practical strategies for winning the support of school boards and school administrators. Finally asking "how do we get there," he offers specific recommendations for changing our schools, providing equal opportunity for all, and--perhaps most critically in today's economic climate--paying the bill. In this elegantly written, passionately argued book, Fowler presents a convincing case for teaching the arts to all children. "A downtrodden army of cultureless children," Fowler warns, "is marching toward a barren and depleted adulthood and taking the future of our civilization with them." Strong Arts, Strong Schools is a clarion call to action for any teacher, parent, policy maker, or citizen concerned about the fate of the arts in American society and about the state of our schools. (shrink)

At a time when Americans are increasingly concerned with finding jobs and economic stability, supporting families, and surviving in the global economy, many consider the arts to be a luxury, a frivolous distraction which entices students away from real learning. In Strong Arts, Strong Schools, Charles Fowler argues that, far from a luxury, the arts are a vitally important part of our society and our schools. Speaking directly to educators, policy makers, and parents alike, Fowler presents a compelling defense of (...) the arts and their importance in our lives. The arts illuminate "life in all its mystery, misery, delight, pity and wonder." Without them, students are deprived of learning what it means to be truly human. The arts teach students how rather than what to think. Highlighting the crucial effect of the arts on learning, he contends that the arts teach skills that other basic subjects cannot--critical thinking and problem solving, judgment and independence, attention to detail and craftsmanship, and an openness to other cultures and ways of thinking. Arguing on behalf of the arts, Fowler shows how the arts can enliven and extend the entire school curriculum by integrating different subjects in innovative interdisciplinary ways, sparking the interest of at-risk or special needs students. "The best schools have the best arts programs," writes Fowler. "Excellence in education and excellence in the arts go hand in hand." In eighteen compelling essays, Fowler demonstrates the importance of the arts in our culture and the necessity of rescuing the arts for our future. Beginning with an overview of the context in which the arts operate, he offers an honest and sometimes distressing overview of the state of education and arts education today. He then examines the arts and economics, presenting a carefully researched exposition of the significance of the arts and their relationship to science and industry. Showing how the arts provide a more comprehensive education, he shows why the arts engage students and make learning relevant and fun. Tackling the controversial question of curriculum, Fowler addresses such questions as who should study the arts, which arts, and whose culture should be taught. Citing a shameful neglect of creativity in our culture, he highlights the negligence of the schools in teaching students to be creative and inventive thinkers, and he shows the capacity of the arts to communicate these essential skills. Fowler concludes the book with suggestions for reform and with practical strategies for winning the support of school boards and school administrators. Finally asking "how do we get there," he offers specific recommendations for changing our schools, providing equal opportunity for all, and--perhaps most critically in today's economic climate--paying the bill. In this elegantly written, passionately argued book, Fowler presents a convincing case for teaching the arts to all children. "A downtrodden army of cultureless children," Fowler warns, "is marching toward a barren and depleted adulthood and taking the future of our civilization with them." Strong Arts, Strong Schools is a clarion call to action for any teacher, parent, policy maker, or citizen concerned about the fate of the arts in American society and about the state of our schools. (shrink)

The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.

In lieu of an abstract, here is a brief excerpt of the content:Art in Nature and Schools:Nils-UdoYoung Imm Kang Song (bio)IntroductionThe arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this (...) topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on this idea, many scholars suggest that sensory perceptions promote learning through reflection, thus affirming the link between sensory perception and cognitive processing.4 Greene also posits that the arts provide a reflective type of learning, in which students learn "new ways of seeing, hearing, feeling and moving."5 This expressiveness develops from the creative nature of art and its ability to encourage students to "[learn] to learn."6This article focuses on how the arts heighten cognitive experience through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. Arts-based experiences "encourage contemplative, reflective thought, which can extend environmental awareness, an essential basis for environmental understanding."7 Sharpening sensory and perceptive [End Page 96] skills through observation and creation can offer children insights into the mystery and metaphor of nature.8 Such a powerful experience often fosters aesthetic sensitivity and can also motivate students to act. To assist in this process, teachers can offer a context of factual information, creative idea exploration, interdisciplinary tools, and a sense of social awareness.9Eisner notes that simple natural components, such as those encountered in viewing or creating ecological art, can be enormously powerful when considered from an aesthetic perspective.10 He writes,A tree, for example, can be viewed as an investment in the value of one's property, as a species of flora, as a source of shade, or an expressive form that provides a certain quality of experience when one looks through its leaves just before sunset. The tree's aesthetic features become salient when we choose to perceive the expressive features of the tree.11Greene reinforces the idea that aesthetic understanding can be deeply engaging to learners and can highlight things that had previously gone unnoticed, thus providing new insights in the life of the viewer.12 Viewers experience new connections, identify new patterns, and think in entirely different ways that break from a more constricted viewpoint. It is this kind of fresh thinking that is needed in the field of environmental education, and which ecological art may in fact provide. Click for larger view View full resolutionFigure 1.Nils-Udo, Circle of Calumet Bamboo, Calumet bamboo; 1990, Reunion, Indian Ocean. Photo by Nils-Udo.[End Page 97]In light of these ideas about aesthetics, ecology, and education, several questions are raised. How can an aesthetic experience with the works of an environmental artist lead children to take in more through their senses and to apply such radical openness in any subject that comes up for them? What really makes ecological artworks unique, not only as aesthetic experiences but as learning experiences? How can ecological art in educational settings inform, inspire, and engage students around environmental issues? In this article, I examine the artworks of Nils-Udo, a German artist, by looking at his art-making processes, intentions, and themes. Using illustrations of several of his major works situated in various natural environments, I consider how these artworks could initiate discussions and foster connections to classrooms while providing elementary and middle school students with the opportunities to view and ponder existing artworks, create their own natural artworks, and heighten their ecological awareness.The ArtistIn order to more deeply understand Nils-Udo's life and work, I interviewed... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to (...) 156 art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to (...) 156 art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

The arts are an integral part of our culture, and they invite us to investigate, express ideas, and create aesthetically pleasing works. Of interest to educators is clear scholarship that links the arts to cognitive and intellectual development. The processes of creating art and viewing and interpreting art promote cognitive and skill development.1 Elliot Eisner, who has written extensively on this topic, argues that "Artistic activity is a form of inquiry that depends on qualitative forms of intelligence."2 Eisner suggests that (...) children can use art to question and reflect on sensory information from their daily lives, and from this reflection develop insight, awareness, and critical thinking skills.3 Expanding on .. (shrink)

"[A]n erudite and passionate testimonial from a man who made service to arts education his life's work. His words and wisdom inspire us to continue the fight to insure that every child has access to world class instruction in the arts."--Michael Greene, President and CEO, National Academy of Recording Arts and Sciences.

Journal of Philosophy of Education, EarlyView.

Research in School-Based Art Therapy has been widely discussed in recent years, and the number of studies that examine staff perceptions and the special characteristics of art therapy within the education system has risen considerably. The current study explored the critical issue of adolescent clients’ perceptions of art therapy in school, from their point of view as clients. The methodology and data analysis were conducted according to the principles of Consensual Qualitative Research (CQR). The sample was composed of (...) 12 adolescent clients, aged 14–18 (M = 16), who took part in in-depth semi-structured interviews. The findings were organized into five domains that emerged from the interviews: referrals and initial engagement with therapy, the setting within school, the nature of art therapy at school, the relationship with the art therapist, and the impact of art therapy on these clients. The analysis revealed that although some participants initially agreed to art therapy because it got them out of class and let them have fun instead, they realized after a period of time of art therapy that they were engaged in a personal and emotional process focusing on them which allowed them to express their feelings without the fear of judgment. Participants at times used the word “mother” to describe their relationship with the art therapist, and stated that the presence of the art therapist at school made them feel safer and helped them deal with day-to-day problems. School-based... (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Arnstine shows how schools have been distracted from education by reformers urging higher standards - the code word for higher test scores. But education is revealed in the dispositions a person has: sensitivity and resourcefulness, amiability and responsibility, taste, wit, and a disciplined intelligence. This book examines the conditions needed to foster dispositions like these, for they are not acquired by having the young spend more time studying standard academic subjects in preparation for competitive tests. Without recourse to esoteric jargon, (...) Democracy and the Arts of Schooling shows why test scores are less significant than the quality of the experiences students have in school. When that quality is high - when it has the richness and the absorbing character we associate with the aesthetic - then learning takes place. (shrink)

The aim of this study was to examine the role of aesthetic practice in elementary school and the consequences for children’s meaning-making in science. More specifically, we intended to scrutinise what science learning emerges within the process, to target the consequences of adopting art practice in science class and to explore these two dimensions as a whole in order to better understand how children make meaning when exploring animals’ ecology. The data, comprising audio recordings, photographs of children’s drawings and (...) field notes, were collected in one school which we visited on three occasions over a period of four consecutive days. The school is located in Sweden, and the children participating in the study were between 6 and 7 years old. In this particular study, the children were involved in exploring animals’ ecology. Data was analysed by means of practical epistemology analysis, taking its stance in Deweyan pragmatic philosophy on learning and meaning-making. The results reveal that art practice was important for children’s cognitive and aesthetic learning in science. The entanglement of science learning and art-in-the-making was shown to be of significance for broadening and deepening children’s science repertoire. In addition, children’s imagination and creativity was a vital part of their meaning-making when exploring a complex phenomenon, such as the spinneret, the “spider-thread machine”. All along the process, the young learners, in transaction with the contextual features, developed agency meaning that the children owned the problems and developed action strategies through art and speech. (shrink)

The fundamentals of the Frankfurt school's conception of art were expounded in Horkheimer and Adorno's book, Dialectic of Enlightenment, where the "critical theory of society" appeared in the form of a specific philosophy of history—the history of bourgeois enlightenment, whose sources the authors trace to ancient Greek mythology.