Jana Kerhartová Play, playfulness and humour in the practice of the Art Gallery H Abstract This thesis presents activities of an unofficial private art gallery which operated in Kostelec nad Černými lesy in the 1980s. The research for the paper combined the oral history method, work with visual and textual archives and (visual) semiotic analysis. The aim of the research was to describe the activities of The Art Gallery H and to verify the possibilities of didactic transformation of some chosen aspects into visual arts education. The data, especially interviews with witnesses, historical documents, artworks and school lessons have the character of utterances in the poststructuralist context. Memories of the time and the alternative community viewed through the lens of today bring us important information about the present as well. Clandestine culture arisen in the totalitarian regime brings a new perspective into issues such as freedom, focus of our activities, relation to the establishment, ethics. The main concept that interconnects the whole thesis is the relation between humour, play and art creation. This motive is also important for the context of visual arts education.The outputs of the research were presented in the book Humour and Play in The Art Gallery H and at the exhibition of the same name...

Denna kunskapsöversikt har till syfte att systematiskt sammanställa kunskap om villkoren för estetiska lärprocesser i bildämnet i relation till en målrationell skola. Forskningen i denna kunskapsöversikt presenteras i förhållande till frågeställningen: Hur möjliggörs och begränsas lärande med estetiska lärprocesser genom kursplanen för bild i årskurs 7-9? Systematiska sökningar i databaser för forskning inom pedagogik och utbildningsvetenskap genererade ett brett underlag och valda studier kategoriseras i resultatet där frågeställningen behandlas i en diskussion utifrån tre prominenta teman: En målrationell skola och styrdokument, Lärarens roll och bildlärarprofession samt Förhållningssätt till estetiska lärprocesser. Denna kategorisering synliggör icke statliga organisationers inverkan på utbildningspolitiken och det målrationella utbildningssystemets påverkan på estetiska lärprocesser.

This inquiry aims to contribute to the understanding of critical pedagogy and its implications for the visual arts classroom as it identifies the transformative dimensions of critical pedagogy in visual arts education. Consequently, this inquiry answers the questions: What are the views of critical pedagogy that can be discerned in the current Swedish syllabus for visual arts? And, how can the transformative dimensions of critical pedagogy be manifested in the visual arts classroom? The rationale of the study rests on the visual arts teachers’ importance to provide pupils with means for understanding the world in a nuanced way. The study is a theoretical study using critical pedagogy as a theoretical frame. The research material consists of the Swedish syllabus for visual arts and four academic publications that exemplify the use of critical pedagogy in visual arts education. The study uses content analysis for a systematic review of this material. The results suggest that critical pedagogy is an asset for creating meaningful and engaging classrooms environments. The findings also indicate that visual arts teachers may interpret parts of the Swedish visual arts syllabus as means to advocate for social justice. However, the results also suggest the need for visual arts teachers to expand the planned syllabi, and the importance of collective efforts and cooperation in the visual arts classroom. Furthermore, the study also re-presents these results in a didactical commentary in form of a visual narrative — a graphic story —.

This is a study of qualitative method that aims to investigate how compulsory school students perceive the content of Visual Art Education and the relevance of art education. The study is based on empirical methods that consists of semi-structured interviews with a total of 12 students in grades 6 and 9. The theoretical framework of the study is based on a sociocultural perspective which describes that it is through communication and interaction with others that the individual acquires knowledge and skills. The theoretical starting points for the study are supported by the concepts of visual culture, visual literacy and Vygotskijs concepts of creativity and imagination with the assistance of contemporary research that describes the concepts from the perspective of a modern-day society. Furthermore, the study uses the cultural circuit from Hall and photo elicitation from Rose as analytical tool to analyze the participants perceptions about Visual Art Education. The results of my study show that Visual Art Education still represents something that is more similar to a traditional view of artist work, with a focus on techniques and materials. The results also show that the participants perceive Visual Art Education as less important compared to other school subjects and some of the participants don’t think they will benefit from the subject’s knowledge and abilities either in future education, future profession or their private life. This shows the participants narrow view of how abilities linked to visual literacy are relevant in a modern society. The knowledge contribution added to the problem area and previous research is a deeper understanding of how the participants perceive the relevance of Visual Art Education. The study is important and relevant for the teaching profession, as students need to be made more aware of the breadth and relevance of Visual Art Education. From this content it can be deduced that the abilities that students must acquire through visual arts education are about so much more than just drawing. It is also important that teachers gain insight and understanding of how students perceive the relevance of Visual Art Education for them to be able to move forward.

This study takes its starting point in a shift identified at the Teacher Institute of Drawing (Teckningslärarinstitutet - TI) within the Konstfack School of arts and crafts in Stockholm at the time of the wave of radicalism that took place in about 1968. Changes in the drawing instruction at TI have been examined through interviews with former students at the institute, student fanzines and archive materials relating to the restructuring of the Konstfack School during the 1960s. Here, it emerges that the curriculum previously focused largely on aspects of form in the mastery of tools used to produce images. After 1968, however, the drawing education became substantially more theoretical. It came to focus more on discussing pictures and images and understanding the societal functions of drawing, which were emphasized more than students’ own creative work. During the period studied, subject categories were also restructured, with new constellations arising and the boundaries between different media becoming more diffuse. Ingredients in these changes included photographic media, analyses of mass media and a critical questioning of an autonomous artistic domain. A disrupted balance in power relations at the school, with students questioning established norms, contributed to this new orientation.  In a creative process, accompanying the research, I have engaged in practices of picturemaking no longer included in the training at the current Department of Visual Arts and Sloyd Education at Konstfack, evolved from the former Teacher Institute of Drawing. This work could be described as a form of experimental archaeology, in which I have reflected on how practices might tread new paths when excluded from a previous context. I tested a method of free expression in painting and practised life drawing. I produced a large sculpture, to afford space for creating with physical materials. I also investigated drawing as a basis for other forms of pictorial expression, such as sculpture. The experience of this process enhanced my understanding, contributing an independent comment on the theoretical and historical investigation. The result is a monument in the form of an installation, constituting a tribute to the historical profession of drawing teacheresses. / Som utgångspunkt för studien har ett brott i undervisningen på Konstfacks Teckningslärarinstitut (TI) identifierats vid tiden för 68-vågen. Något som i förlängning kan antas ha påverkat kunskapsstyrning via undervisning i svenska statliga grundskolor och gymnasier. Baserat på intervjuer med före detta elever på Teckningslärarinstitutet, studenttidningar och arkivmaterial från 1960-talets omstruktureringar av utbildningen har förändringar i teckningsundervisningen undersökts. Här framkommer att den äldre undervisningen i stor utsträckning inriktades på formaspekter i behärskande av verktyg för bildframställning. Efter 1968 teoretiserades teckningsundervisningen kraftigt. Den fick en tydligare riktning mot tal om bilder och mot förståelse av teckningens sociala funktioner än mot elevers egna skapande. Under den undersökta perioden gjordes också omstruktureringar kring ämnesindelningar där nya konstellationer uppstod och uppdelningen mellan olika medier blev otydligare. Fotografiska medier, massmedieanalys och ifrågasättande av en autonom konstsfär hade del i teckningens förändring. Rubbad balans i skolans maktförhållanden med studenters ifrågasättande av det etablerade bidrog.   Som ett visuellt gestaltande spår till undersökningen har jag prövat bildskapande praktiker, vilka inte ingår i den nuvarande bildlärarutbildning som utvecklats ur dåtidens teckningslärarutbildning. Det gestaltande arbetet kan beskrivas som ett slags experimentell arkeologi. Här har jag reflekterat över hur praktiker kan ta nya vägar när de utesluts ur ett sammanhang. Jag prövade en metod för fritt skapande inom måleri och deltog regelbundet i modellteckning. För att låta praktiskt skapande i fysiskt material ta plats gjorde jag en stor skulptur. Teckning som grund för andra bilduttryck, såsom skulptur, undersöktes. Det gestaltande arbetet har gett en erfarenhetsbaserad ingång till förståelse och bidrar som fristående kommentar till den teoretiska undersökningen. Resultatet är en installation som ställdes ut under Konstfacks examensutställning. Installationen utgör ett monument över den historiska yrkesgruppen teckningslärarinnor.

This thesis takes the form of qualitative action probe and examines specific aspects of the work of selected pupils with SLD in interdisciplinary linking of art and language education with an emphasis on reaching goals evenly in both areas. The results of the research, which was carried out by observation and semi-structured interviews with pupils and teachers, are analyzed and crystallize into concrete suggestions of streamlining individual aspects of this method for even greater efficiency of separate steps in learning new skills to students with learning disabilities. In the theoretical part I introduce educational methods of synergic development of visual and linguistic imagination. It is primarily CLIL (Content and Language Integrated Learning), which represents an innovative tendencies in integrating English and another non-language subject (in this case Art) and a multisensory approach. I also specify the fundamental principles of the educational process in an interdisciplinary connections of art and English for pupils with learning disabilities, such as Gardner's theory of multiple intelligences, respecting individual learning styles of students, focusing on multimodal teaching principles and methods applicable to Hejný model of inclusive education of Art and English. I also describe the...

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. / This research focuses on the existence of a gap between artistic creativity in contemporary art and visual arts education in elementary schools in Quebec. More precisely, after observing the importance of artistic intention in contemporary artists’ creation mechanisms, this research analyzes how art teachers incorporate it (artistic intention) in their teaching. Based on the research question: “Are Quebec primary school art teachers – by not taking into account the student artistic intention in the production of individual art work – maintaining the gap between artistic creativity in contemporary art and visual arts education?” this thesis consists of several sets of analysis. This research defines attributes that outline and distinguish artistic paradigms in order to comprehend their impact on arts education and art teachers’ different representations of artistic creation particularly in the contemporary art paradigm. This distinction allows a comparison between two representations of the dynamics of creation: one in the concept of creative process and another in the concept of artistic intention. The results of the semi-structured interviews of twelve primary school visual art teachers in Quebec confirm the existence of the gap between artistic creativity in contemporary art and visual arts education in elementary schools. Furthermore, this paper also shows a lack of thought in the Quebec Education Program (QEP), for the creation mechanisms present in the contemporary art paradigm.