« Musée à ciel ouvert » est devenu une formule de communication choisie par quelques métropoles pour valoriser leur patrimoine artistique auprès du public. Nous allons interroger sa validité en regard de la notion de muséalité, puisque les règles du musée sont dûment convoquées pour légitimer l’espace urbain comme un lieu de mémoire. La muséalité, prise dans son sens le plus large, désigne « la valeur culturelle ou la qualité d’une chose muséalisée », c’est-à-dire la valeur de témoignage de la réalité qu’elle informe. Cette valeur, « en rapport avec l’aspect ontologique de la réalité, est conditionnée par sa pluridimensionnalité et sa charge énergétique, elle dépasse les valeurs temporaires par son importance culturelle. » Or, si l’espace urbain est bien un musée, les formes muséalisées, à savoir l’art public, en appellent à revoir ces valeurs qui restent trop attachées à l’objet. Cette valeur culturelle prêtée aux objets muséaux par l’institution traditionnelle est actée grâce aux frontières que cette dernière établit avec la réalité. Dans un premier temps, nous verrons comment la remise en question de ces limites oblige à repenser les qualités des choses muséalisées. Dans un deuxième temps, nous examinerons l’hypothèse suivante : les pratiques plastiques contemporaines, qu’elles soient ou non autorisées, et notamment celles de l’installation et de l’installation in situ vont accélérer le processus de questionnement de la muséalité. En effet, les recherches des plasticiens concernant le rapport de l’œuvre au lieu et au spectateur vont permettre d’envisager la notion de sculpture de manière élargie. Elles font notamment ressortir les qualités inhérentes au lieu, à ses mémoires identitaires hybrides qui nous paraissent être la clé d’une redéfinition de valeurs muséales plus attachées à une dimension sociale. De fait, l’objet n’est plus le seul légitime porteur de ces valeurs, l’espace ou même une situation peuvent se révéler avoir une importance culturelle. Aussi, la notion de muséalité doit-elle intégrer des valeurs temporelles de l’ordre de l’éphémère, du contingent et du précaire. Ces nouvelles valeurs ne peuvent advenir que parce que les outils de mémorisation, qui sont aussi des outils de diffusion, ont évolué : la photographie, Internet. L'espace urbain, en tant qu'espace public, a toujours été le lieu de dispositifs de démonstration du pouvoir et de commémorations. L’art sculptural en était l'outil privilégié. Au XXIe siècle, cet espace, qui devient le théâtre d'enjeux plus complexes liés à la métropolisation, garde pourtant l'œuvre comme média. Les commandes publiques s’accélérant, en lien aux innovations de l’architecture ou de l’urbanisme et à la valeur portée au patrimoine, tout semble aller dans le sens d’une esthétisation de l’espace public. L’œuvre va s’imposer comme un dispositif de médiation incontournable. Afin de préciser les enjeux de la valeur culturelle attachée à un tel dispositif, nous examinerons des cas actuels, différents et complémentaires, comme l’apport d’œuvres contemporaines sur le site patrimonial du Palais-Royal, mais aussi le site de La Défense à Paris qui propose plus d'une soixantaine de sculptures sur sa longue dalle piétonnière, ou encore le métro de Toulouse qui est doté d'une quarantaine d’œuvres conçues pour chaque station. Les qualités muséales de l'œuvre dans l’espace urbain ne s’évaluent pas en regard des mêmes critères que celles de l’œuvre dans l'institution du musée et nécessitent un changement de paradigme. Au sein de cet espace public, les dispositifs artistiques, muséaux et politiques se rencontrent autour d’objectifs communs de médiation plus que de médiatisation et redéfinissent la muséalité au plus près de son opérativité sociale. / "The Open Air Museum" is the chosen means of communication by some metropolitan areas to promote their artistic heritage. We will question its validity in comparison with the concept of museality, since the principles of the museum are duly convened to legitimize an urban space as a place of memory. The museality, taken in its broader sense, refers to « the cultural value or quality of something conferred upon a museum object », that is to say, the evidential value of the reality it informs. This value "in relation to an ontological aspect of reality is conditioned by its multidimensionality and its vital impact to exceed temporal values by its cultural significance". Yet, if the urban space is a museum, public art calls to review these values that remain too attached to the object. Traditional institutions relied on the lines it established between reality and the museum to give value to museum objects. First, we will see how the reassessment of these limits requires a rethink of all things museality. Second, we will see that these are contemporary visual art practices, whether they are authorized or not, notably installation works and site specific installation works that will accelerate the process of questioning museality. Actually, the visual artist’s research, with regard to the relation of the art work within the space and to the spectator, will permit to envisage a wider concept of what sculpture can be. In particular, they force the inherent qualities of a site to stand out, to record its hybrid identities that, to us, appear to be the key to redefine museum values attached to a more social dimension. Indeed, these values are no longer solely conferred upon the object; the space, situation or an event can be of cultural importance. Also, the concept of museality must integrate ephemeral temporal values of a contingent and precarious nature. These new values can only happen because recording tools have also evolved: photography, internet. Urban spaces, as public places, have always been used as a mechanism for the public demonstration of power and commemoration. Sculpture was the preferred means. However, the public space which becomes, in the twenty-first century, the most complex theatre of issues related to metropolization, keeps the art work as media. Public commissions are increasing due to innovations in architectural or urban planning and value given to heritage. Everything appears to be heading in the direction of an aestheticization of public places where the art work will impose as an essential mediation mechanism. Finally, to clarify the issues of cultural values attached to such a system we will examine real cases, different and complimentary, such as the contribution of contemporary art works on the heritage site of the Palais-Royal, but also the site of La Défense in Paris which proposes more than sixty sculptures along a footpath, or the Toulouse underground which has allocated forty stations to accommodate art works conceived on site. A paradigm shift is necessary, as the criteria used to evaluate art work in an urban space are not the same as those used for art work in an institutional museum. Within the public space artistic organizations, museums and politics meet around common objectives of mediation rather than media coverage, to redefine museality closer to their own social operativity.

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L'évolution des pratiques d'enseignement des arts visuels et arts plastiques dans le cadre de la commande institutionnelle préconise le recours à l'œuvre d'art authentique. Par ailleurs, l'enseignement des arts doit contribuer, au-delà de ses apports propres aux « apprentissages fondamentaux » aussi bien culturels que techniques.La mise en place et en œuvre, l'exploitation de la situation de rencontre avec l'œuvre ainsi définie requiert de la part des enseignants un ensemble de compétences qui demandent à être éclairées et problématisées. La recherche porte sur la genèse de gestes professionnels, sur le rapport à l'œuvre et le développement de compétences professionnelles, ainsi que sur la nature des objets d'enseignement, (transposition des savoirs de référence, compétences d'ingénierie didactique, articulation des savoirs spécifiques avec les « apprentissages fondamentaux » et socialisation scolaire). La problématique s'est construite sur des questions qui croisent le rapport à l'œuvre de ces enseignants, les gestes professionnels et la construction d'une théorie que nous avons explicitée comme une « théorie personnelle-en-acte ».Le recueil de données s'est fait au niveau de l'école primaire et du collège. L'enquête a intégré la spécificité d'une école maternelle possédant une Petite Galerie (espace spécifique dédié dans l'établissement où les élèves, très jeunes rencontrent des œuvres d'art « authentiques » ou réelles). Elle a apporté un éclairage sur les pratiques pédagogiques des enseignants.Les méthodologies s'appuient sur l'enquête de terrain par observation participante, l'entretien d'explicitation de type Vermersch et l'analyse du discours. Les cadres théoriques confrontent des angles d'attaque habituellement cloisonnés : esthétique, sciences de l'art, histoire des arts (Goodman, Arasse, Pélissier, Château...) ; sociologie (Heinich, Lahire) ; la didactique des arts visuels, arts plastiques (Chanteux, Gaillot, Lagoutte, Reyt...) et la didactique comparée des arts (Goodman, Rickenmann...); la théorie du développement professionnel dans les situations (théorie de l'action située, des gestes professionnels).Le rapport à l'œuvre s'est construit dans une dynamique familiale, scolaire et professionnelle et la recherche de la genèse de ce rapport à l'œuvre nous fait constater le rôle joué par certaines rencontres séminales. Les éléments d'une théorie personnelle de l'art, de l'œuvre, de l'expérience qui sous-tendent ce rapport à l'œuvre, montrent une interdépendance. La rencontre de l'art favorise la mise en place de cette « théorie-en-acte ». Enfin, le rapport à l'œuvre de nos interlocuteurs détermine leur pratique professionnelle : des liens entre rapport à l'œuvre, conceptions et gestes professionnels clefs de leur métier, ont été mis en évidence. / Changes in teaching practices of the visual arts visual arts in the context of institutional control and advocates the use of authentic artwork. In addition, arts education should contribute beyond his own contributions to the "basic skills" as well as cultural techniques.The establishment and implementation, operation of the meeting situation with the work thus defined requires that teachers with a set of competencies that need to be informed and problematized. The research focuses on the genesis of professional acts on the report at work and the development of professional skills, as well as the nature of educational objects (translation of reference knowledge, didactic engineering skills, articulation specific knowledge with the "basic skills" and academic socialization). The problem is built on issues that cross the relation to the work of these teachers, professional acts and building a theory we explained as a "personal theory-in-action."Data collection was done at the elementary and middle school. The investigation has included the specificity of a kindergarten with a Small Gallery (specific space dedicated in the institution where students encounter very young art "authentic" or real). She shed light on teaching practices.The methodologies are based on fieldwork through participant observation, maintenance of explaining Vermersch type and discourse analysis. Theoretical frameworks confront angles of attack usually compartmentalized: aesthetics, art sciences, art history (Goodman, Arasse Pelissier, Castle ...) Sociology (Heinich Lahire); the teaching of visual arts, visual arts (Chanteux, Gaillot, Lagoutte, Reyt ...) and comparative arts teaching (Goodman, Rickenmann ...) theory development in professional situations (theory of situated action, professional gestures).The report on the work was constructed in family dynamics, school and work and the search for the origins of this report at work makes us see the role played by some seminal events. The elements of a personal theory of art, the work experience behind this report to work, show an interdependence. The meeting of art promoting the establishment of this "theory-in-action." Finally, the relation to the work of our interlocutors determines their professional practice: links between relation to the work, designs and professional acts keys to their profession, were highlighted.

Researched topic of the thesis is The role of art teacher education focused on the presentation of art works. Art teacher is given in context to the curator of the exhibition, the curatorial activities. Curator of the exhibition is a relatively new professional level, very important especially for contemporary art. The theoretical part of the work confronts profession of educator and curator of the exhibition. It searchs for a new fields of two environment meanings that combines art. Interest is whether and how the profession of the teacher and curator of visual encounter is met. I search and describe this during studies. Subsequent interest is the presentation of pupils' work, and whether it is an important part of the activity of fine art teacher, looking for steps it goes through. As well as what the teacher's attitude towards exhibitions and other forms of presentation of pupils' work. Educated high school students are familiar with the possibilities and circumstances presenting their own works of art, learn about the background of the exhibition project. On the basis of the theory and history of art, conceptual art are the art works created and then are applied for the exhibition. From the didactic point of view exhibition is an educational component of learning. Of the findings, supported by...

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

widely held "from romantic to revolutionary" hypothesis and presents Morris as a "revolutionary" Victorian who has never fell out with the ideas of Romanticism. Together cultural Victorian discourse as well as the ideas of his "teachers" - - Morris's "teachers", and the third chapter focuses on the interpretation of and Morris's utopianism. The interrelated areas of "Nowherian" space (3.2), work and history (3.4) help establish the nature of Morris's visual utopianism on the background of Ernst Bloch's theory of utopia and alongside the

This Thesis is dedicated to potential of art education for seniors. The goal of theoretical part of work is to establish basic theoretical basis of senior population, and generally introduce possible specifics of senior education. The Thesis briefly explores the current state of senior education in the field of art education and art creativity. The goal of empirical part is to follow a topic of seniors with art education and to present a research probe, that directly examines the artistic creations of seniors, who's personalities are more closely introduced thanks to own artistic creativity. The Thesis outlines theoretical bases about senior population and their education in general, seniors are introduced more closely through own original creation. The creation is related to outlook into specific setting of individual seniors who are part of the research probe. In the core of the Thesis is the qualitative research investigation of artistic creativity of seniors with direct cooperation with individual people. Method of open coding was used to evaluate the data. The main goal of the investigation was to map particular personalities of seniors and find specifics of their artistic expression. Investigative findings were summarized in final report. The results of the research probe may assist in...

Ce travail de recherche pluridisciplinaire apporte un éclairage nouveau sur l’œuvre de Pascal Quignard, renouvelle les problématiques du genre de l’écrit sur l’art et étaye certaines hypo-thèses de l’analyse du discours. La première partie reprend les notions déjà identifiées par la critique quignardienne que sont l’assertion, la latinisation et le sordide, en propose une nou-velle analyse et, à l’aide d’exemples, y ajoute des éléments complémentaires tels les mots-mana, la logique poétique et le pouvoir des images. La deuxième partie articule ces éléments intratextuels à ceux extratextuels que sont l’ethos et la posture de l’auteur ainsi que l’image du lecteur, associant sociologie de la littérature et analyse du discours pour décrire la stratégie argumentative quignardienne. Le dispositif ainsi décrit et qualifié d’écriture inquiétante est ensuite analysé dans la troisième partie à la lumière de l’histoire et de la philosophie de l’art, révélant les liens entre l’image et la pensée quignardienne. / This multidisciplinary research sheds new light on the work of Pascal Quignard, renews the issues of the genre of writings on art and supports hypothesis of discourse analysis. The first part includes the concepts already identified by the quignardienne criticism, like the assertion, the latinization and the sordid, proposes a new analysis, using examples, and adds additional elements such as mana-words, poetical logic and the power of images. The second part combines these intratextual elements to those that are extratextual: ethos and posture of the author and the reader’s image. It combines sociology of literature and discourse analysis to describe Quignard’s argumentative strategy. The device thus described and qualified as « disturbing writing » is then analysed in the third part in the light of the history and philosophy of art, revealing the relationship between the image and Quignard’s thought.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.