Learning Strategies in Fine Art

Cornock, Stroud

doi:10.1111/j.1476-8070.1984.tb00111.x

Cited by 7 publications

(3 citation statements)

References 7 publications

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“…In workshop-based art education (Adler, 1979), students (Madge & Weinberger, 1973) actualize their artistic productions in terms of both technique and material for professional art life. In this process, the complexity of learning (Cornock, 1984), the student profile in relation to faith and culture and how this affects artistic creative production, the effect of the relationship between student, social environment, and the curriculum on art education (Dinham, 1987) cannot be overlooked.…”

Section: Applied Art Education Research Methodology In the Workhopmentioning

confidence: 99%

“…Atölye uygulamalı sanat (Adler, 1979) eğitiminde öğrenciler (Madge ve Weinberger, 1973) sanatsal üretimlerini gerek teknik gerekse malzeme açısından profesyonel sanat yaşamına yönelik olarak gerçekleştirirler. Bu süreçte, atölye uygulamalarının kimi zaman öğrenme (Cornock, 1984) karmaşıklığı, öğrenci profilinin inanç ve kültürle olan ilişkili durumları ve bunun sanatsal yaratıcı üretime nasıl etki ettiği, öğrenci, sosyal ortam, müfredat ilişkisinin sanat eğitimine etkisi (Dinham, 1987) kesinlikle yadsınamaz.…”

Section: Atölye Uygulamalı Sanat Eğitimi Araştırma Metodolojisiunclassified

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Management of Artistic Practice Pedagogies of Interdisciplinary Art Students With Critical Analysis Learning Method

YAĞMUR

2023

ENAD

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This study aims to ensure that graduate students from plastic arts disciplines (sculpture, graphics, painting, ceramics) can develop their critical analysis skills through their jewelry design practices from the perspective of their own art disciplines. A group of 25 students participated in the study, which was planned for three hours a day, one day a week, for a total of 28 weeks during the autumn and spring semesters of 2021-2022. In the study, we conducted interviews with designers, artists, and academicians about their production processes. The participants in the study were given the opportunity to experience jewelry design projects in a digital environment by teaching and using the “Nomad Sculpt” software. The participants presented their own jewelry design projects with the criticism system developed by Feldman which consists of description, formal analysis, interpretation and judgement stages, and dialogues in which learning processes questioned with this research program were also included in the evaluation process. This process was evaluated with an analytical approach by a committee of faculty members involved in the project. The study aimed to explore and reveal the efficiency of the interdisciplinary working processes of the participating students across all artistic production stages, the awareness of the principles and elements of art, and the connections between artistic production and theoretical knowledge. Some of the results obtained from the study were that the participants who expected to improve their design skills met these expectations, and that the participants in the study were able to produce discourse on their artistic productions with the attainment of interdisciplinary work.

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Section: Applied Art Education Research Methodology In the Workhopmentioning

confidence: 99%

Section: Atölye Uygulamalı Sanat Eğitimi Araştırma Metodolojisiunclassified

Management of Artistic Practice Pedagogies of Interdisciplinary Art Students With Critical Analysis Learning Method

YAĞMUR

2023

ENAD

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“…Cornock (1984) gives a good account of a student being 'stung' by a negative assessment of progress. The absence of specification, of only giving the starting point, suggests something not as resolved as understanding.…”

Section: Mapping the Common Groundmentioning

confidence: 99%

Multidisciplinary Contributions to the Science of Creative Thinking

Corazza¹,

Agnoli²

2016

Creativity in the Twenty First Century

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Aims and Scope"Creativity in the Twenty-First Century Book Series" repositions "creativity" as a boundary-crossing discipline that is essential to learning and teaching, socialeconomic dialogues, academic discourses and cultural practices, as well as technological and digital communications. The series serves as a timely platform, bringing together like-minded scientists and researchers around the world to share their diverse perspectives on creativity and to engage in open and productive inquiries into promoting creativity for a more peaceful and harmonious world. Researchers and practitioners from all continents are invited to share their discipline-specific insights, research orientations and cultural practices, as well as to pose new questions on what creativity is, how to promote it, which directions to pursue, who should participate, and so on.The book series is led by emerging eminent and senior scientists, researchers, and educators in the fields of creativity, psychology, the cultural sciences and education studies. They create networks of sharing and spread innovative publishing opportunities within the communities of practice. They invest considerable time and effort in deepening creativity expertise, structuring creativity programs, and organizing creativity activities for the communities of interest. The book series aims not only to "glue together" like-minded scientists (community of practice) to share benefits of creativity theorizing, research and practice, but also to encourage nonexperts (community of interest) in all societies to become supporters and spokespersons of positive engagement in creative learning, teaching and dialogues.More information about this series at

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Creativity and Art Education Gaps Between Theories and Practices

Journeaux

Mottram

2015

Creativity in the Twenty First Century

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Theories of creativity from different disciplines map onto teaching strategies within the fine art field developed since the Renaissance and up to late Modernism. In particular, the outcomes of historical studies by psychologists and experimental studies within cognitive science have significant resonance with some long-standing methods of training artists, which have recently become less common within the art schools. Through a series of interviews with experienced teachers of studio art in the UK university context, and analysis of written material to support teaching, this paper explores where theory and practice overlap. We report on the role of practical strategies, field knowledge, artistic identity, and the importance of 'space'. We note that the latter two factors do not appear to be clearly present within existing models of creativity, but aspects of them reflect tolerance for ambiguity. We conclude by reflecting that this space within conceptions of art education is now being considered as a gap that needs attention. Creativity and the education of artistsThis chapter reports on a study within the visual arts field on whether models of creativity as described in other fields are reflected within art education teaching. As this discussion is located within a multidisciplinary collection of essays on creativity we must initially highlight two points reflecting assumptions about artistic creativity held beyond the field, based on historically located perspectives no longer operational within the field. The first is the idea that current art might have a concern with beauty, and the second that creative capabilities are a special gift. Both would be contested to varying degrees within the world of art in the university or contemporary gallery. We also note a range of different perspectives on creativity within the field of the visual arts, which are based on assumptions not necessarily framed by an understanding of contemporary thinking about creativity.

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Learning Strategies in Fine Art

Cited by 7 publications

References 7 publications

Management of Artistic Practice Pedagogies of Interdisciplinary Art Students With Critical Analysis Learning Method

Management of Artistic Practice Pedagogies of Interdisciplinary Art Students With Critical Analysis Learning Method

Multidisciplinary Contributions to the Science of Creative Thinking

Creativity and Art Education Gaps Between Theories and Practices

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