Analyse des pratiques de cinq enseignantes spécialisées en arts plastiques au primaire favorisant l'action de l'élève dans le travail de l'exposition d'art en milieu scolaire

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Application de la notion d'intention artistique dans l'enseignement des arts plastiques dans les écoles primaires au Québec

La présente recherche porte sur l’existence d’un décalage entre la création artistique dans l’art contemporain et l’enseignement des arts plastiques au primaire au Québec. Plus précisément, après avoir observée l’importance de l’intention artistique dans les mécanismes de création des artistes en art contemporain, cette recherche étudie la place que les enseignants spécialisés en arts plastiques lui accordent dans leur enseignement. En partant de la question de recherche, « Au Québec, les enseignants spécialisés en arts plastiques au primaire entretiennent-ils ou non le décalage entre la création artistique contemporaine et l’enseignement des arts, en prenant ou non en compte le développement d’intention artistique chez les élèves lorsque ceux-ci réalisent des créations personnelles dans les cours d’arts plastiques? », ce mémoire est constitué de plusieurs ensembles d’analyses. La distinction des principaux paradigmes artistiques dans cette recherche définit des attributs pour comprendre respectivement leurs impacts sur l’enseignement des arts et pour saisir les différentes représentations que les enseignants spécialisés en arts plastiques au primaire ont de la création artistique, et plus particulièrement dans le paradigme artistique contemporain. Cette distinction permet de confronter deux représentations de la dynamique de création : celle présente dans la notion de processus de création et celle présente dans la notion d’intention artistique. Ainsi, les entretiens semi-dirigés de douze enseignants spécialistes en arts plastiques dans des écoles primaires au Québec renforcent l’existence du décalage, mais aussi nous renseigne sur la faiblesse des acteurs à définir les enjeux actuels de la création artistique. De plus, cette recherche démontre une absence dans le Programme de formation de l’école québécoise (PFEQ) des mécanismes de pensée de la création observée dans le paradigme artistique contemporain.

L’évaluation des pairs, la prise de décisions et les critères de la qualité au Conseil des arts et des lettres du Québec : le cas des arts visuels contemporains

Notre étude porte sur le programme d’appui à la création en arts visuels contemporains du Conseil des arts et des lettres du Québec (CALQ). La question soulevé habituellement ce type de programme qui s’appuie sur l’évaluation par les pairs est la suivante : les décisions sont-elles « biaisées »? Mais derrière cette question, il y a en a une autre, plus fondamentale : sur quels critères se base l’évaluation? Nous nous intéressons à comprendre le rapport entre l’évaluation de la qualité artistique et l’attribution de bourses. Plus spécifiquement, nous cherchons à analyser comment sont déterminées la qualité et la valeur d’une candidature en arts visuels, sur quels types d’arguments et de critères s’appuie l’évaluation artistique et par quels moyens cette dernière pourra créer une iniquité entre les candidats. Il s’agit donc d’une recherche qui relève de la sociologie de l’art, mais d’une sociologie qui prend en compte le contexte institutionnel et dont l’objet sont les valeurs qui sous-tendent l’évaluation artistique, dans le cadre d’une organisation autonome de subvention des arts. Dans cette perspective, les valeurs artistiques ne se définissent pas ex nihilo mais in situ, dans des situations (ex. comités d’évaluation) et dans un contexte institutionnel précis (le CALQ). L’évaluation de la qualité artistique s’inscrit donc dans des dynamiques sociales concrètes et particulières qu’il nous revient d’observer et d’analyser minutieusement. Notre attention portera spécialement sur les mécanismes de prise de décision et à la construction collective des jugements.

Ateliê caderneta de cromos : estudo sobre a relação de uma prática artística visual não formal e inclusão

Esta investigação teve como objeto de estudo o Ateliê Caderneta de Cromos, do projeto Geração Cool, fruto de uma parceria entre várias instituições do concelho de Almada. Trata--se de um projeto de desenvolvimento social comunitário, multicultural, associado a uma escola. Através de um estudo de caso, pretendeu analisar-se, criticamente, um modelo não formal de práticas ligadas às artes visuais, vocacionado para jovens em risco e mostrar como as aprendizagens desenvolvidas num ateliê de artes visuais contribuem para o processo de inclusão desses jovens. Desenvolveu-se um quadro teórico abrangente, no sentido de sustentar as perguntas iniciais, referenciando questões consideradas pertinentes tais como: visões contemporâneas das realidades multiculturais das periferias urbanas; perspetivas pós-modernistas de ensino artístico, defensoras de uma construção cognitiva; ação dos projetos artísticos de desenvolvimento social e ainda, a importância ética e social dos currículos artísticos atuais. Tendo como referência a hipótese de antagonismo e/ou complementaridade entre o ato pedagógico não formal e o institucional, o estudo procurou estabelecer uma relação entre essa prática e a inclusão, ao identificar e desmontar um roteiro estratégico de aprendizagens. O ato pedagógico no Ateliê mostrou potenciar uma aprendizagem construtiva nas respostas produzidas, sendo também significativa pelo caráter experiencial vivido e cognitiva no sentido em que determina a construção de um significado, assumido como a própria assunção identitária.

Teaching literacy in the new media age through the arts

Many school literacy practices often ignore youths' creativity in the 'new media age'. School curricula often do not acknowledge the range of skills adolescents acquire outside formal education. Youths' new multi- modal social and cultural practices - as they fashion themselves creatively in multiple modes as different kinds of people in 'New Times' - points to the liberating power of new technologies that embrace their imagination and creativity. In two middle years classes, adolescents' creativity was recognised and validated when they were encouraged to re-represent curricular knowledge through multi-modal design (New London Group 1996). The results suggest the changed classroom habitus produced new and emergent discursive and material practices where creativity emerges as capital in an economy of practice. Recommendations are put forth for schools to recognise adolescents' creativity - that often manifests itself through their cultural and social capital resources - as they integrate and adapt to the new affordances acquired through their out-of-school literacy practices.

Kerry Freedman's Teaching visual culture : curriculum, aesthetics and the social life of Art

Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art, Kerry Freedman (2003) New York: Teachers College Press & Reston: National Art Education Association, xiv + 187 pp., ISBN 0-8077-4372-0 (hbk £29.95)

This critical review has two principal goals. First of all, it will briefly summarize how Kerry Freedman’s ambitious eight-chapter monograph initially sets in train a number of key themes, all of which are aimed at enlarging if not transforming visual arts practice. Secondly, it will critically disclose a small set of pivotal assumptions which call any uncritical support for visual culture as the panacea for arts education into question. More particularly, we shall conclude, the logical underpinnings of Teaching Visual Culture are open to serious doubt in at least two respects.

Arts curriculum reform : social and cultural reproduction in Victorian schools

This thesis examines the implementation of the government educational policy document The Curriculum and Standards Framework. I examined the historical and political motivation behind the development of this document and how it introduced a pervasive new initiative of outcomes based education and accountability based on economic rationalism. In particular I examined the implications this new approach had for visual arts education and the subsequent changes to the arts curriculum. This has entailed the introduction of the aesthetic appreciation of the arts as an outcome of the CSF: The Arts. I applied Bourdieu's theory of cultural reproduction in education which draws predominantly on a Weberian view and a theory of practice. Bourdieu discusses differential educational achievement according to cultural capital stating education requires certain forms of cultural capital that are not equally distributed among the classes. This therefore impedes or enhances life chances according to social class i.e. educational qualifications become a commodity in the labour market and other social fields. I examined how aesthetic appreciation of the arts has evolved historically as a form of social distinction. This entails an abstract element of arts discourse, which demands a certain linguistic competence, and familiarisation, which Bourdieu claims, is developed in the family, as 'cultural capital' this is further perpetuated in schools. The likely outcome is that the introduction of aesthetic appreciation in arts education i.e the demand to 'write about' and 'talk about' art, will perpetuate class inequality due to social and cultural difference. The study has been to examine the practices of arts education in four schools and the extent to which aesthetic appreciation was implemented in the visual arts. Data was collected by case study methods of observation, questionnaire and interview and was interpretive in both quantitative and qualitative methods. I analysed the data based on class differentiation by socioeconomic divisions and examined the school ethos and attitude towards the Arts along with differentiation in cultural capital between student population. I also found teacher and student habitus played a vital role in the implementation of the CSF. This is because habitus can cause resistance to change due to the division between the formulation of the curriculum in the bureaucratic order and the practice of teachers in classrooms. My thesis interprets education as a form of social reproduction, perpetuating the existing social order. However, as Bourdieu asserts and I agree education is a form of symbolic power as it conceals its social function under the guise of neutrality and the technical functional premise. Therefore, this thesis aims to make transparent how the education system serves the interests of the dominant group through curriculum policy. Consequently, it becomes clear how education has far reaching social implications where the distinctions of class are perpetuated through cultural reproduction.

The development of visual idioms in the context of abstraction

Argues that innovation in the visual arts can only proceed through recognising the strong and vibrant historical links and traditions. Within the discipline of abstract sculpture there is a strong bond to the past which does not detraditionalise its practice rather, it assists in explaining underlying principles and motivations that are still evolving today.

Making a visible difference : overcoming barriers using arts-based learning

This paper reports on a small-scale action research project conducted by two university-based researchers using a visual arts method. The seven-week drawing programme was the second cycle of an action research project. The participants were nine boys of primary school age variously identified by their teachers as reluctant readers and/or as struggling with print literacy. The thematic concerns addressed in the paper fall into two broad categories: motivating learners by drawing on their popular cultural capital and interests, as well as tracing the construction of visual texts as data in action research. Findings are presented in response to the following research questions: What happens to those students who do not or cannot meet the required standards in literacy? What kind of research approach can be utilised or adapted to respond to the literacy practices and behaviours of young people?

Arts education partnerships in Australia: spaces and places for teaching and learning

The arts over the centuries have continued to pervade, direct and define our societies. In Australia, they are seen as an important and influential mechanism of pedagogies. In arts education students explore and express their identity and build understanding of their worlds through learning by doing and social interaction. This long-established position is endorsed by contemporary arts education pedagogies that encourage students to look, listen, learn, think, and work as artists in new places and spaces. The forthcoming Australian Curriculum: The Arts (dance, drama, media arts, music, and visual arts) will require consideration of the students’ own cultures and the cultures of their communities, region, and the wider world. Interaction between the students and the wider arts community are central to this approach. Using narrative inquiry, reflective practice, and document analysis as our methodologies, we describe ways of seeing, knowing, and learning between artists, students, schools, education authorities, and universities in the Australian state of Victoria. The authors contend that collaborative partnerships take many forms and provide opportunities for exploration of pedagogies that foster strong relationships between arts education and the arts industry.

Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Entre o sonoro e o visual: relações e processos nas artes

Pós-graduação em Artes - IA

The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work.

Review of research in visual and environmental education.

Mode of access: Internet.