Research in Visual Arts Education - Bilderlernen.at

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ISSUES IN VISUAL ARTS EDUCATIONof the academy was appropriated and developed as an alternative to the apprenticeshipsystem encouraged by the guilds. By 1490, Lorenzo the Magnificentin Florence established a school for artists, among them the youngMichelangelo, to let them copy ancient sculptures in his collection. The aimwas not only to learn from the past but also to stimulate innate artistic gifts(Haverkamp-Begemann, 1988).The term making addresses the shaping of a broad spectrum of artefacts“from the spoon to the city”. It has been seen as the common denominatorfor the professions taught in Scandinavian schools of architecture and design.Among these making professions, Halina Dunin-Woyseth and Liv MereteNielsen (2004) in Norway, count architecture, design, urban design, spatialplanning, landscape architecture, product design, interactive design as wellas the pedagogically oriented practical-aesthetic professions that include artand design education, all of them anchored in the shaping of a remarkablevariety and volume of artefacts. This idea of integration is mirrored in primaryand lower secondary education in Norway, where art, design and crafthave been merged into one school subject since 1960, quite different fromthe visualarts policies in the other Nordic countries.Dunin-Woyseth and Jan Michl (2001) propose that there is a case forsustaining and maintaining knowledge of skills and procedures in these professionsthrough a discipline of its own, a making discipline. They believe…that by developing the disciplinary kind of making knowledge, accessible to other disciplineswith their inherent tradition of organised scepticism, and of ongoing criticism within aninter-subjective discourse, the disciplinary constructed making knowledge would providefor a more informed and knowledgeable practice which is in great demand in a time ofchange such as ours (p. 9).In the Nordic countries today, art colleges in cooperation with universitiesare developing programmes of advanced studies in visual arts education. Thefinal examination consists of both a research-based thesis and an artisticproject which address the same question and inform each other in the theirresults. Each student has two advisers, one for the thesis and a second onefor the art project. In Norway, where this model has been applied during threedecades for graduate art teachers, projects for artistic development havebeen most successful when their aim have been 1) to demonstrate that a certainmaterial or an old technique can be used for new purposes, or 2) to tryout and make experiments with old motifs in new ways (Danbolt, Nygren-Landgärds & Lindström, 2001).NORDIC VISUAL ARTS EDUCATION IN TRANSITION 25
ISSUES IN VISUAL ARTS EDUCATIONPicture analysisPicture analysis is a corner stone of an education preparing for visual literacyand visual communication. From the early 1970s, more than a dozen bookson picture analysis were published by art educators at the Swedish UniversityCollege of Arts, Crafts and Design, in Stockholm. Most of these textsapplied semiotic concepts and techniques to analyse pictures from popularculture. These instrumental pictures lend themselves well to analyses ofmanifest and hidden messages; however, a unique work of art required anotherapproach, e.g. inspired by Erwin Panofsky instead of those applied bythe early Roland Barthes and Umberto Eco. Gert Z Nordström (1984), thefirst Swedish professor of visual arts education, looked upon the semioticanalysis and the methods used by art historians as supplementary.In the United States, where art education has mainly concentrated on fineand multicultural art, Edmund Feldman (1987) outlined several stages thatthe critic of a work of art should pass. The fourth and final stage, the judgement,is where many novices start, according to Feldman. In order to makea judgement, however, you do not only have to know what you are judging,that is, describe, analyse and interpret the piece of work that you are lookingat. You must also have a rationale for your judgement. Good arguments, thatis, ones that are open to discussion, are not taken out of nowhere but arebased on a philosophy of art or an idea about why art is important.Theory and history of art, media and designDo children produce art? What about an artisan? A designer? A press photographer?– These and other questions concerning whether particular objectsor events are “really art” are often looked upon as a concern for the philosopher.However, such questions can also be answered within the frameworkof theory and history of art, media and design. A sociologist, for example,would answer those kinds of questions by analysing when, where, and howparticipants in various social worlds, including the “art world”, would drawthe lines that distinguish what they want and do not want to be taken as“art” (Becker, 1982). From this point of view paradoxes may appear. Thus,artist Andrea Fraser (2005) makes the following claim in an article called“From the critique of institutions to an institution of critique”:It is artists – as much as museums or the market – who, in their very efforts to escape theinstitution of art, have driven its expansion. With each attempt to evade the limits ofinstitutional determination, to embrace an outside, to redefine art or reintegrate it intoeveryday life, to reach “everyday” people and work in the “real” world, we expand ourframe and bring more of the world into it. But we never escape it (p. 282).26 NORDIC VISUAL ARTS EDUCATION IN TRANSITION
Page 12: INTRODUCTIONThe fact that a certain
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BETWEEN VISUAL ARTS AND VISUAL CULT
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MULTICULTURALISM AND ARTS-BASEDRESE
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MULTIFACETED APPROACH TO VISUALARTS
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MULTIFACETED APPROACH TO VISUAL ART
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ART, DESIGN AND ENVIRONMENTALPARTIC
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APPENDIX 1Jonsson, Carin (2006). L
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APPENDIX 1Elsner, Catharina (1999).
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APPENDIX 1Marner, Anders, Örtegren
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APPENDIX 1Hasselberg, Kersti (1999)
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APPENDIX 1Saar, Tomas (2003). Skola
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APPENDIX 1ReportsAgélii, Karin (19
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APPENDIX 1Persson, Magnus & Thaveni
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APPENDIX 2BooksArvedsen, Karsten &
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APPENDIX 2ChaptersArvedsen, Karsten
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APPENDIX 2Mathiesen, Frants (2004).
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APPENDIX 2Buhl, Mie (1997). Videoin
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APPENDIX 2Hansen, Mogens (1995). Sy
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APPENDIX 2Jensen, Per Kjærsgaard (
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APPENDIX 2Flensborg, Ingelise & Wit
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APPENDIX 3Laitinen, Sirkka. (2003).
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APPENDIX 3Pääjoki, Tarja (1998).
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APPENDIX 3Räsänen, Marjo (2000).
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APPENDIX 3Hiltunen, Mirja (1998). N
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APPENDIX 3Krappala, Mari (1999). Mo
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APPENDIX 3Piironen, Liisa (1996). K
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APPENDIX 3Rusanen, Sinikka & Torkki
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APPENDIX 3Sava, Inkeri, Bardy, Marj
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APPENDIX 3ArticlesErkkilä, Jaana (
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APPENDIX 3Sava, Inkeri & Levo, Merj
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APPENDIX 4Icelandic Publications 19
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APPENDIX 4Helgadóttir, Guðrún (1
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APPENDIX 5Samuelsen, Arne Marius (2
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APPENDIX 5Halvorsen, Else Marie (20
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APPENDIX 5Trageton, Arne (1997). Le
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APPENDIX 5Digranes, Ingvild (2004).
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APPENDIX 5Kjosavik, Steinar (2004).
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APPENDIX 5Stafseng, Ola (2006). Est
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APPENDIX 5Framgard, Erling (1996).
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APPENDIX 5Ruud-Johansen, Petter (20
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APPENDIX 5Danbolt, Gunnar & Enerstv
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