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Art Education Practice and Research collection
For more information and prices please contact Holly Rose, [email protected].
Collection Contents
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Community Arts Education
This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education.
Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.
Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.
Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.
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Contemporary British and Italian Sound Docudrama
More LessThe book focuses on radio and sound docufiction and docudrama through comparative analysis of the British and the Italian output from post war years to the 2010s, from both a historical and formal point of view. It sheds light on a rather neglected area of study providing a systematic survey of the development of the form and of its current status and perspectives, and at the same time constructing viable analytical tools that can be used to investigate individual productions.
Considering the different docudramatic output in formats and quantity in the two countries, the book explores case studies from BBC Radio, which continue to air a high number of programmes with a great variety of formats and subgenres, and Italian case studies from both independent bodies and the Radio RAI, whose docudramatic production has declined since the late 1980s.
Specifically, the study seeks to explain how radio language in its purely acoustic dimension allows access to unpredictable layers of truth often complementary, when not overtly alternative, to the documental truth of declaredly journalistic or scientific programmes.
A well-researched resource for university students, scholars, researchers and educators in media, sociology of media and history. In-depth analysis of an original topic.
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Creative Infrastructures
By Linda EssigCreative 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.
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Curriculum
There is an urgent focus on education around the world, and this book is pushing directly into this territory. It will appeal to a wide range of readers – to anyone who is passionate about art and or education – and will have a strong international appeal as the contributors have international profiles and the book is poised to address global issues concerning contemporary art, education, and independent practice.
In this collection of original essays, the writers engage with the work of the artists who took part in Art School. Each contribution provides a lens through which each writer can focus on specific moments within the evolution of Art School, working outwards to explore how these moments resonate with the wider fields of art-in-education and radical pedagogies. These texts respond to a widespread concern with art and its place in education, while retaining a committed and informed engagement with the phenomena they assess.
Art School takes place as a series of independent projects, exhibitions, workshop and residency programmes, bringing active contemporary artists into educational systems to inspire and expand their teachings.
Responding to a growing desire to rethink art education at all levels, it is for those committed to new forms of social imagination and social engagement in contemporary art. This book is for curators, schoolteachers and other educators, and also for artists and art students who wish to extend their practice beyond the gallery.
Less a manifesto or a declaration of doctrine than an emergent set of experiments, Curriculum considers the school as a zone of artistic and curatorial practice, foregrounding the potential of contemporary art (understood in wide terms) to stimulate students’ creativity in original and open ways.
Although the book focuses on a specific project in Ireland, that project exemplifies trends in art and education that are happening around the world and includes contributions from an international group of scholars all well-known in their field.
Contributors: Clare Butcher, Gerard Byrne, Juan Canela, Helen Carey, Daniela Cascella, Fiona Gannon, Jennie Guy, Andrew Hunt, Hannah Jickling & Helen Reed, Alissa Kleist, Rowan Lear, Peter Maybury, Annemarie Ní Churreáin, Nathan O’Donnell, Sofia Olascoaga and Priscila Fernandes, Matt Packer and Sjoerd Westbroek.
Artists: Sven Anderson, John Beattie, Clare Breen, Sarah Browne, Karl Burke, Rhona Byrne, Ella de Búrca, Vanessa Donoso Lopez, Priscila Fernandes, Hannah Fitz, Jane Fogarty, Kevin Gaffney, Adam Gibney, Fiona Hallinan, Elaine Leader, Maria McKinney, Maeve Mulrennan, Mark O’Kelly, Sarah Pierce, Naomi Sex and Orlaith Treacy.
Primary interest will be among educators, artists, curators, academics and students, and others working or studying in a variety of settings including school, universities, museums, and other arts organisations.
Of interest to these groups in the following ways:
Artists: Learning about how other artists are working in sites of education.
Curators: Reading about the curatorial mechanisms that support artists maintaining the ethics and integrity of their practice when working with younger audiences in schools.
Gallerists: Extending the horizons of audience and public outreach.
Museums: Considering new models of education, outreach, exhibition, and off-site events.
Schools: Learning about new models of artist residencies and workshops.
Students and Parents: Researching the potential of contemporary artists’ impact on education.
Educators: Forming a critical perspective of how contemporary arts practice can be integrated in curricula.
Local and National Arts Agencies: Learning about how independent curatorial and artistic practice can co-exist within sites of education.
This publication was funded by the Arts Council of Ireland and the Arts Office of Wicklow County Council.
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The Critical Eye
By Lyle RexerBased on the highly successful course at the School of Visual Arts developed by the author, this book provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts – historical, generic, biographical and aesthetic. This book presents an intensive course in looking at photographs, open to undergraduates and general audiences alike. Rexer argues that by concentrating on fifteen carefully chosen works it is possible to understand the history, development and contemporary situation of photography.
Looking to images by photographers such as Roland Fischer, Nancy Rexroth and Ernest Cole, The Critical Eye is the only book to address the totality of issues involved in photography, from authorial self-consciousness to the role of the audience. Its subjects are not limited to art photography but include vernacular images, commercial genres and anthropology. With every chapter it seeks to link the history of photography to current practice. This highly illustrated and beautiful book provides a much-needed introduction to image production.
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Creative Communities
[This is the first major collection to reimagine and analyse the role of the creative arts in building resilient and inclusive regional communities. Bringing together Australia’s leading theorists in the creative industries, as well as case studies from practitioners working in the creative and performing arts and new material from targeted research projects, the book reconceptualizes the very meaning of regionalism and the position – and potential – of creative spaces in non-metropolitan centres.
, This is the first major collection to reimagine and analyze the role of the creative arts in building resilient and inclusive regional communities. Bringing together Australia’s leading theorists in the creative industries, as well as case studies from practitioners working in the creative and performing arts and new material from targeted research projects, the book reconceptualizes the very meaning of regionalism and the position—and potential—of creative spaces in nonmetropolitan centers.]
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