. (2009). Development of creative activity of prospective visualart teachers. Journal of Teacher Education for Sustainability, 51–67. Šļahova, A., Savvina, J. Cacka, M., & Volonte, I. (2007). Creative activity in conception of sustainable development education. International Journal of Sustainability in Higher Education , 8 (2), 142–154. Шоттенлоэр, Г. (2001). Рисунок и образ в гештальтерапии [Drawing and Image in Gestalt Therapy]. СПб: Издательство Пирожкова. Svence, G. (1999). Attīstības psiholoģija [Psychology of development]. Rīga: Zvaigzne ABC. Tanaka, C
Development of Creative Activity of Prospective Visual Art Teachers
The main task of training secondary school visual art teachers is to develop intelligent, socially active and creative individualities graced by knowledge and skills in pedagogy, psychology and art, as well as by abilities for self-development and self-education. These teachers need well-developed teaching skills and competence, proficiency in promoting their students' acquisition of artistic knowledge and competence in modern art. Besides, they should be able to creatively deal with unusual artistic tasks and to respond to the changes in contemporary art and culture, since alongside the teacher's qualification, these teachers are conferred the Bachelor Degree in Art. Therefore, creative study work is one of the significant stages in the development of professional skills for the prospective secondary school visual art teachers. In order to accomplish the tasks set, the work of the teacher educators should be directed towards the development of student's creative activity, so that they can independently and regularly develop their creative skills. The aim of the study has been stated to work out and theoretically substantiate the model of creative process aimed at facilitation of prospective secondary education art teachers' creative activity.
The aim of this article is to present the interaction between the history of lesbian and gay culture and its identity on the one hand, and the connection between the visual art or visual culture on the other hand. This essay endeavors to interpret the different meanings attached to sexual identities by examining the diverse artistic activities of a variety of artists: both men and women (e.g. Steven Cohen, Clive van den Berg, Andrew Verster, Nicolas Hlobo, Jean Brundrit, Zanele Muholi). Employing an intersectional analytical approach, the article shows that the identity of art is constructed alongside a person’s multiple identities, such as race, gender, family ties, religion and class. The main research question is whether in today’s visual art originating from South Africa, which is characterized by a hegemony of heterosexual stereotypes, there is a significant place for gender oriented art?
After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.
The aim of the study was to determine whether the age of the audience of an exhibition influences the aesthetic preferences for artistic products created by visually impaired people. The research was conducted with the aim of finding an answer whether there are any differences in the preferences of different categories of artworks created by artists who are blind or visually impaired. The research consisted in the evaluation of raised-line drawings, photographs, sculptures and a tactile picture book. These artistic products were presented in an art gallery. The evaluations were made on a 5-point scale, where the respondents indicated how much they liked the artworks that they saw. 118 people participated in the study, including 80 children and 38 adults. It turned out that age and type of art exerted interactive impact on the aesthetic evaluation. Age differences in aesthetic preferences were found in reference to drawings and the picture book. Visual art created by people with sight impairment was evaluated very positively.
Visual art curriculum should allow a wide range of activities to develop children's imagination and creativity, to provide a balanced framework for the harmonious development of people who can cope with the massive ammount of images that invade our daily lives. Contemporary art develops a new language - a hybrid language - which for now remains unknown to the majority of the public and it is not integrated into the Arts curriculum. General frame analysis reveals that Fine Arts are studied only up to the 10th grade, except for the humanity profile and for the vocational arts profile. School curricula stipulate fine arts study up to mid twentieth century. Openness towards contemporary art and the language of art starting with the second half of the twentieth century is quite limited even if the curriculum allows a certain flexibility in the approach.
Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is proposed as a key element for the dialogue between neuroscience and the humanities within the biocultural paradigm.
The present study aims to describe the ways in which art education impacts community life through art products. The sample consists of 32 teachers/creators in various fields of work such as fine arts, composition, literature, musical interpretation, choreography and acting. Categorical content analysis is used for data analysis. The highest-ranking emerging theme is related to the means of educational intervention in the community through art. Artistic education leads to empowerment and emancipation by provoking people to think differently while the exposure to artistic creations has a therapeutic effect and contributes to identifying new ways of action. Artists in the role of teachers feel a responsibility both for the educational process and also for the emotional message that their creative product transmits to the audience.
Starting from the cultural mediator model, the teacher, in his turn, can be positioned from the perspective of the assumed positioned of art mediator. Thus, his role would be to make art accessible to a public under training (students). Approaching activities in an upward direction - from the uninitiated (students) towards the professionals (artists), the designed activities will thus start from the developmental needs of the students. Finding ways of connecting youth and art by introducing art into everyday life and identifying examples where elements, skills and knowledge about art can be applied in everyday life and the permanent concentration of the mediator professor on the public/youth/students and not on the works of art and, thus placing young people at the heart of artistic mediation are several ways of opening, awakening and training the interest of the new art public.
This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters.