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ART
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Inclusive
Art Education |
| OBJECTIVES There are three principle objectives for this course. The first objective is to develop an understanding of the complexity and diversity in the contemporary world of art that are reflected in the art classrooms and community art settings of today. The second objective is to participate in the discussion of complex and issues in a manner shows respect for guests speakers, other class participants, and their perspectives. The third objective is to express one's understanding of the issues raised in two ways: written papers and class discussions. STRUCTURE The course will present a series of guest speakers of addressing art and culture. Many will be artists addressing their own work and the issues they have encountered; others will be experts addressing art and culture they have researched. Students will participate actively in the following discussions: 1- personal experiences of inclusion and exclusion, 2- presentations of guest speakers, and 3- a discussion planned and conducted by group members. Students will represent their grasp of the issues guests raise in brief reaction reports. ASSIGNMENTS Personal Experience of Inclusive or Exclusion. One-hour writing experience describing an experience of Inclusion or Exclusion that had significant personal meaning for you. This may be any experience in art, but it does not have to be. It may be any kind of experience of Inclusion or Exclusion. Describe immediate experience: sensory perceptions, feelings, actions and thoughts. No analysis, interpretation, comparison, or categorization. Be sure to select an experience you are willing to read to the class and discuss with the class. Allow a maximum of one hour for this writing. Reaction Reports to Speakers. Write a one-to-two-page discussion of your insights in relation to each guest speaker's ideas. Your paper may include your own experience, connections to related reading(s), and your analysis. Do not summarize the speaker's points. Present your thoughts, connections you see, your thoughtful analysis. Maximum length: two pages, double spaced, 12 pt font. Group Discussion. Group members select significant article from the related readings on reserve*. Your group organizes a class discussion to engage class members in this work. The group must announce the required reading two weeks in advance of the discussion. Total time allowed is 25 minutes. Each member of the group prepares a list of questions for discussion. The group leads a discussion engaging the class through open-ended questions while respecting differences of opinion within the class. Each group member submits a list of their questions and a summary of their contribution to the group work. *If you would choose another article, you must provide copies. Reaction Reports to Group Discussions. Write a one-to-two-page discussion of your insights in relation to each group discussion. Your paper may include your own experience, connections to related reading(s), and your analysis. Do not summarize the group discussion. Present your thoughts, connections you see, your thoughtful analysis. Maximum length: two pages, double  spaced,
12 pt font. top |
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Contemporary
Art, Collaboration and Social Change Art Education 660/850 |
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DESCRIPTION Environment, poverty, sexual orientation, human rights and ethnicity are now recognized as important issues in art. Artists and art teachers are forming new alliances to address social issues and create new forms of art. Current economic and political conditions unfavorable to art have also sparked new partnerships among people in traditionally separate groups including artists and art teachers; people of First Nations and developing countries; activists, writers, designers, engineers, and philosophers; and parents, elders, adolescents, and children of diverse cultures and economic groups. For these collaborations, artists and art teachers are finding new resources and means to support art. This course considers contemporary art that addresses these issues. Examples include the Concordia-Kanehsatà:ke Aboriginal Voice in Video Project; LOVE, a Montreal project of adolescents working against violence; inner-city and community-based art; Future Landscapes: New Partnerships, a United Kingdom public art project recovering previously industrialized land; Documenta in Kassel, Germany, and Internet exhibitions, artists' sites and projects. Guest speakers will talk about their art and how they found resources on local and international levels. Students' course projects may include studying collaboration and social change in contemporary art or creating art and teaching projects of their own design. OBJECTIVES The purpose of the course is to explore art, collaboration and social change. This exploration may take the form of intervention, performance, construction (sculpture, painting), moving or still images, discursive text or a combination of forms. The creative inquiry should be grounded in one's personal experience and artistic / social / cultural position. The student should understand and apply the concepts and search techniques introduced in the course. They should also understand and respond to the work of activists, artists, educators, writers and classmates. Students' creative inquiry should help them better understand and improve art teaching (individual, collaborative, local, regional, international; in art or in other fields). Students should articulate their work's implications for teaching. Work a student begins in this course may be continued in an MA Art / Teaching / Research Thesis Project or a Ph. D. dissertation. REQUIRED TEXT Elizabeth J. Saccá (Ed.). (1997). Readings for Contemporary Art, Collaboration and Social Change: Art Education 660/850, Winter 1998. Photocopied compilation, Concordia University Bookstore, 1st Floor Webster Building, 1400 de Maisonneuve West. ASSIGNMENTS |
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RESEARCH |
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Women
Art Educators IV Herstories, Ourstories, Future Stories
Preserving Kanien'kehà:ka Culture and Language
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