The Bauhaus Artist-Teacher: Walter Gropius's Philosophy of Art Education

Daichendt, G. James

doi:10.1080/15411796.2010.486748

Cited by 11 publications

(26 citation statements)

References 1 publication

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“…The term 'artist-teacher' in the ATS programme, as defined by Thornton (2013), refers to an individual who actively engages in both art-making and art instruction, displaying dedication to both pursuits. However, Daichendt (2010) presented a slightly different perspective on the concept of an artist-teacher. Tracing back to George Wallis in 1845, the first person to adopt the title of 'artist-teacher', Daichendt highlighted a historical figure who initially pursued a career as an artist but later embraced teaching without formal training as an educator.…”

Section: Discussion On the Terms Of Artist-teacher Artist Teacher And...mentioning

confidence: 99%

Exploring Visiting Artists' Dual Roles and Constraints in Art Educational Programmes

2024

Int J Art Design Ed

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This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist‐teacher, artist teacher, artist‐educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher‐led teaching to student‐centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

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Section: Discussion On the Terms Of Artist-teacher Artist Teacher And...mentioning

confidence: 99%

Exploring Visiting Artists' Dual Roles and Constraints in Art Educational Programmes

2024

Int J Art Design Ed

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“…This leaves the artist unable to be firmly bounded or standardised (Sch€ on 1983). However, Daichendt (2010) suggests that rather than by meeting a list of criteria (Sch€ on 1983;Plowright & Barr 2012), artist professionalism might be shown through the activities they undertake (2010). Such as exhibiting artwork (2010,11) The ambiguous nature of the artist conflicts with one of Sch€ on's criteria for professionalism (1983,23).…”

Section: Professional Status Of the Artistmentioning

confidence: 99%

“…However, for the artist-teacher, their professionalism as an artist is as important to their professionalism as a teacher. Daichendt (2010) identifies the inclusion of the word 'artist' is linked to status, and 'it becomes a commodity to heighten standing. .…”

Section: Artist-teachers As Professionalsmentioning

confidence: 99%

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Professionalism and Artist–Teachers in Adult Community Learning in the UK

Cairns

2023

Int J Art Design Ed

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The professionalism of artists and further education (FE) teachers is often questioned. This research will evaluate the impact this has on artist–teachers working in FE. Schön defines a professional as an individual who works in a highly specialized occupation. This article examines how this applies to artists and FE teachers, with reference to historical and contemporary cross‐disciplinary research. Published research focuses on professionalism in terms of meeting sets of criteria. However, research participants within this study were more concerned with the activities undertaken by artist–teachers and how these reflected their professionalism. The research findings focus on the perceived professionalism of artist–teachers in adult community learning (ACL), a sub‐section of FE in the United Kingdom that encompasses adult and community learning delivered to adults aged 19+ but local authorities or general FE colleges.

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“…Denne pedagogiske strategien kan ein kjenne igjen i målsettinga for DKB. Også for Paynter var det ein sentral føresetnad at komposisjonsprosessane blei leia av laerarar som sjølv var aktive komponistar og hadde brei kunnskap om musikk, fordi kompetanse er eit grunnleggande premiss for at skapande og gjenskapande prosessar kan oppnå «et nivå der musikalske kvaliteter kan forløses» (Hanken & Johansen, 1998, s. 114;Daichendt, 2010).…”

Section: Produksjonsestetikk I Praksis -å Gi Lydar Musikalsk Formunclassified

Kunstnarar i barnehagen – estetiske erfaringar av høg kvalitet?

Furholt

2018

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Samandrag: Artikkelen tematiserer estetisk erfaring og opplaering på bakgrunn av eit komposisjonsprosjekt i Den kulturelle baeremeisen. Den kulturelle baeremeisen har som uttalt premiss at når barnehagebarn skal delta i skapande prosessar og hauste kunstnariske inntrykk og estetiske erfaringar av høg kvalitet, må det vere kunstnarar til stades. Med støtte hovudsakleg i retorisk teori, drøftar artikkelen korleis det å vere kunstnar kan bidra til auka kvalitet i det kunstfaglege arbeidet. Det handlar om kunstfagleg danning gjennom eit musikalsk materiale, og at det ikkje er likegyldig korleis ein arbeider med materialet. Nøkkelord: Barnehage, Den kulturelle baeremeisen (DKB), kunstuttrykk, retorikkAbstract: The article explores the aesthetic experience and learning process in kindergarten through the perspective of a project in Den kulturelle baeremeisen. Den kulturelle baeremeisen's stated premise is that when preschool children participate in creative processes enabling acquisition of artistic impressions and aesthetic experiences of high quality, professional artists must be present. Based mainly in rhetorical theory the article examines how being an artist can enhance the quality of the artistic experience for children. It is about arts education through a musical material, deeply engaged with a creating process.

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The Bauhaus Artist-Teacher: Walter Gropius's Philosophy of Art Education

Cited by 11 publications

References 1 publication

Exploring Visiting Artists' Dual Roles and Constraints in Art Educational Programmes

Exploring Visiting Artists' Dual Roles and Constraints in Art Educational Programmes

Professionalism and Artist–Teachers in Adult Community Learning in the UK

Kunstnarar i barnehagen – estetiske erfaringar av høg kvalitet?

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