Art Education Practice and Research collection

Opens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters.

The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd, overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art.

Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students, photographs, and diagrams—to reinforce the concepts presented. A recap section ends each chapter, followed by an exercise, or group of related exercises, to encourage and guide the practitioner in immediate application of the concepts.

Contemporary art has a complex relationship to crisis. On the one hand, art can draw us toward apocalypse: it charts unfolding chaos, reflects and amplifies the effects of crisis, shows us the dystopian in both our daily life and in our imagined futures. On the other hand, art’s complexity helps fathom the uncertainty of the world, question and challenge the order of things, and allows us to imagine new ways of living and being – to make new worlds.

This collection of written and visual essays includes artistic responses to various crises – including the climate emergency, global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.

The contributions to this book are arranged in four sections: artistic responses; critical reflections, new curatorial approaches and the art school reimagined. Alongside the written chapters, three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.

The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically, the book will appeal to the burgeoning field of study around socially engaged art.

Beyond the academic and student market, it will appeal to practicing artists and curators, especially those engaged in social practice and community-based art.

This collection documents diverse approaches in creative arts engagement, building metaphoric bridges across the field with an emphasis on creativity and well-being in education and community development.

Focussing on applied arts and health practice, research, scholarship, expressive arts therapy, community and education, the book advances integrative and multimodal art-based processes. This book aims to give prominence to art-based research and provides useful support to those working and researching across applied arts and health, education and community contexts. The book brings together a collection of world-leading authors in the field spanning a range of cultures, documenting projects and significantly adding to cohesive research in the field.

In continuing to advance applied arts and health, whilst furthering a commitment to art-based research, this new book places emphasis upon the artistic research methodology, underlining that art (performing art and visual art) is the evidence. It offers the field an integral vision for the arts both theoretically and practically. Further, the book breaks down the silos of practice that have been unhelpful in their development.

The audience for this book will include art-based researchers, expressive arts practitioners and scholars, arts educators, and those interested in bridging the gap between arts and health practice. Masters and doctoral level students in art-based research, participatory research, and qualitative research with an arts-focus are another audience for the book. All applied arts and health practitioners and academics, arts educators, art therapists and university PaR programmes. Whilst of particular use to postgraduate students, this text will also be useful to final year undergraduate students in assisting them with creative practice-based dissertations and projects. Also useful to researchers, practitioners and a range of research degree programmes in applied arts and health, education and community engagement.

Theatre for Lifelong Learning is a step-by-step guide for anyone interested in teaching theatre courses and creating theatre with older adults.

This book provides instructors with syllabi, discussion questions, classroom management strategies, resource lists, and activities to teach courses from beginning to end. Special topics include Playwriting, Play Development, Storytelling, Theatre Appreciation, Theatre Criticism, Theatre History, and Theatre Theory.

This book helps readers become confident, informed instructors of older adult learners. Theatre for Lifelong Learning is a tool for anyone who wants to build theatrical communities and support the emotional well-being of older adults through education, practice, and experimentation while also having fun.

Theatre for Lifelong Learning is a complete guide to navigate the theatre classroom from beginning to end. Anyone can become a theatre expert and educator with practice. If you already have a background in performing arts, this book provides strategies that are useful for you as well. If you have experience as an educator, this book will enrich your current skill set with interdisciplinary approaches. Tips and examples throughout assist you in creating and maintaining an accessible environment and making courses your own. 

So how can teaching and learning about theatre help us live in the moment? When we are not engaged, it’s easy to forget that we are capable, curious, creative people who can expand our knowledge and experiences every day. Theatre encourages finding meaning in small things, chance encounters, and the tapestry of life. All the material provided in this book will motivate instructors and students to get involved.

It will be most useful for arts practitioners, participatory practitioners, institutional educators and community outreach officers, independent theatre instructors. Of potential interest to scholars and researchers in age studies, or in teaching and learning.  May also be useful for community arts organizations, regional theatres, and non-profit organizations working with older adults.

Living Histories is a collection of new scholarship that explores histories of art education through a series of international contexts. The first truly international text highlighting histories of art education, with contributions from over 30 scholars based in 18 countries.

Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. To keep pace with the movements of art and society, Garnet and Sinner consider that art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field. The broad focus of this edited collection is to provide both new perspectives of art education from around the world, and to introduce transnationalism into the field as a way to conceptualize the entanglements of historical research in our globalized age. Transnational histories of art education focus on the linkages and flows that shift focus away from the nation-state to other transnational actors such as individuals, communities, institutions and/or organizations. 

Contributions from scholars and educators based and working in Australia, Austria, Brazil, Canada, Colombia, Croatia, Czech Republic, Finland, India, Iran, Japan, Malta, South Africa, Spain, Trinidad and Tobago, UK, USA and Zimbabwe.

Includes chapters that adapt an approach of ‘artwork histories’ to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the visual arts and sites of art education. The book offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of ‘correct’ interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history and teacher education. Living Histories provides an interpretation of historical thinking and consciousness through the interrelations of time and space to provoke critical and creative practices in education.

This is the latest book in the Artwork Scholarship series, which aims to invite debate on, and provide an essential resource for transnational scholars engaged in, creative research involving visual, literary and performative arts. 

With contributors from 18 countries, this book will have a substantial international readership among art educators and those interested in the history of art education, primarily in universities and colleges. It will also be particularly useful for graduate students.

It will also appeal to scholars in arts education more broadly - music education, dance education, theatre education scholars, cultural and art historians, art theorists, international educators, and curators.

An interdisciplinary collection with its origins in the 2018 National Conference on the Beginning Design Student, hosted by the College of Design, Architecture, Art and Planning at the University of Cincinnati, the overarching focus of which was on 'TIME'. The book includes contributions from some scholars who were not involved in the conference but whose voices are important to the conversation.

T-Squared: Theories and Tactics in Architecture and Design has three primary aims. First, it reveals and illuminates the extensive and explicit relationship between the research that shapes art, architecture and design practices, and the studio prompts and assignments that are developed by faculty for students engaging the creative disciplines. Second, it demonstrates that pedagogical inquiry and invention can be a (radical) research endeavour that can also become an evolutionary agent for faculty, students, institutions and communities. Third, it makes available to a larger audience a set of innovative ideas and exercises that have until now been known to limited numbers of students and faculty, hidden behind the walls of studio courses and institutions.

This book will appeal to anyone interested in design thinking and design process as well as to architects, architectural educators and architecture students who may particularly identify in it stirrings of a new world order and a call to arms.

Each chapter of T-Squared is separated into two parts: THEORY (T1) and TACTICS (T2). In T1, the authors offer mini-manifestos about topics that relate to their professional interests and efforts. In T2, the authors delineate exercises that reflect the ideascapes and methodologies presented in T1. The exercises in T2 are adapted for the reader from assignments given to students enrolled in design studios at a variety of universities. In their current incarnation, they offer anyone with tenacity, imagination and an adventurous attitude towards architecture and design access to distinct sets of provocative questions, procedures and modes. The T2 offerings require the reader’s engagement and imagination and the rolling up of sleeves – while there may be steps to follow, many of the exercises read like Fluxus scores and require investment rather than obedience. A suspension of disbelief is required – but all seriously creative folk (like you, reader) understand that already.

Primary readership will be among design educators and students looking for a window through which to view the ways design is being introduced, taught and positioned across disciplines and institutions, and to architects, architectural educators and architecture students.

Creative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. 

The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive.

Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?'

Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change – through current and late-twentieth-century trends in 'social impact art' or 'art for change'.

As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn’t necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront.

The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig’s work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050.

The field of arts entrepreneurship is growing – thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal.

This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics.

It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out.

The overall subject of the book is visual culture. What sets it apart and gives it such an original emphasis is its multi-disciplinarity and the range of critical voices, ranging through film studies, architecture, creative practice, biology, pedagogy and media theory, which are brought to bear upon the question of visuality and its relationship to futurity. 

In our everyday lives, we navigate across a vast sea of visual imagery. Yet, we rarely pause to question how or why we derive meaning from this sea. Nor do we typically contemplate the impact that it has on our motivations, our assumptions about science and about other people, and our actions as individuals and collectives. This book is a collection of interdisciplinary perspectives, from science to film, from graffiti and virtual environments to architecture and education that examines the ways in which we interact and engage with the visual elements of our environments.

Visual Futures provides an interdisciplinary examination of how we visualize and use visuals to make meaning within our environment. A diverse range of contributions and perspectives from biology, film, virtual reality, urban graffiti, architecture, critical pedagogy and education challenge our current attitudes, norms and practices of looking and seeing, opening up questions about the future. The future is a concept with significant political stakes and the work of rethinking and reimagining possible worlds requires a host of practices, which include the work of seeing, of image-making and of representation – all of which is political work taken up by the book contributors.

Primary readership will be among scholars and students of visual culture, media studies, digital cultures, fine art, architecture, education, science communication and sociology. Clearly aimed at an academic readership, it will also appeal to practising artists, architects, software developers and educators.

Professional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways.

Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.

The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice.

The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.

With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.

Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process.

Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.

This book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone and Shakespeare’s Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making.

This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse.

The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of ‘Being’ is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being.

No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level.

For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature.

The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field.

Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.