Peez Art Education in Germany

1. Auflage 2015
ISBN: 978-3-8309-8265-4
Verlag: Waxmann Verlag GmbH
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 160 Seiten

This book is the first overview of art education in Germany ever published in English. It offers a brief historical outline of developments in the field since 1945, followed by examples of topics which have been discussed in German art education in recent years. This collection of articles aims to present the diversity and vitality of a number of approaches: from theory to practice, from tradition to innovation, from analogue to digital, while at the same time considering art, daily life and the individuals involved.

Autoren/Hrsg.

Peez, Georg

Inhaltsverzeichnis

1;Contents;5
2;Art Education “Made in Germany” (Georg Peez);9
2.1;“Glocal” Diversity;9
2.2;Educational Federalism in Germany;10
2.3;Ties to German-speaking Neighboring Countries;10
2.4;The Book’s Structure;11
2.5;How Contributions Were Sourced;12
2.6;Acknowledgements;12
3;Historical and Current Concepts. Aspects of Art Education in Germany after 1945 (Marc Fritzsche, Martin Klinkner & Georg Peez);15
3.1;Image Orientation;16
3.2;Art Orientation;17
3.3;Subject Orientation;17
4;Art Education in Primary Schools (Constanze Kirchner);21
4.1;Abstract;21
4.2;Tasks and Objectives of Art Class;21
4.3;Aesthetic Interest and Aesthetic Experience;21
4.4;Experiencing Nature and Compensation;22
4.5;Visual Design;23
4.6;Experiencing Environment and Play;23
4.7;Perception and Creativity;25
4.8;Media Literacy;25
4.9;Experiencing Art;26
4.10;Performance Evaluation;27
4.11;References;28
5;Opening Spaces for Opportunities. Staging Materials as an Art Educational Intervention (Petra Kathke);29
5.1;Abstract;29
5.2;Setting Materials – A Field for Playing and Practicing;30
5.3;Intended Inspiration;31
5.4;“Artificial Marking” as a Didactical Impulse;32
5.5;Material Staging as an Action Analogous to Art;34
5.6;References;34
6;Open Dialogues in the Art Workshop. Nobody Knows What It Will Turn out to Be (Thomas Heyl);35
6.1;Abstract;35
6.2;The Art Studio – A School of Fantasy;36
6.3;Multiple Dialogues;37
6.4;Room and Space;40
6.5;All-day;40
6.6;References;41
7;Integrated Arts and Computer Science Education in Mixed Reality Learning Spaces (Daniela Reimann);43
8;Fan Art – Online Youth Aesthetics in the Art Classroom (Jutta Zaremba);49
8.1;Fan Art Sections;49
8.2;Fan Art Giant ANIMEXX;50
8.3;Continuous Improvement through Tutorials;51
8.4;Contests and Comments as Motivation;51
8.5;Expertise, Self-Education and Social Communication in the Art Classroom;52
8.6;References;54
9;For a Sociospatial Practice of Art Education (Ulrike Stutz);57
9.1;Abstract;57
9.2;Sociospatiality Seen Through Procedural Space Theories;57
9.3;Communication Sculptures – Art as a Space-Creating Process;58
9.4;Transformative and structural education processes;58
9.5;Qualitative Empirical Analysis;60
9.6;References;61
10;Artistic Education Within Art Projects (Carl-Peter Buschkühle);65
10.1;Abstract;65
10.2;The Turning Point in German Art Education;65
10.3;The Art Project as a Practice of Art Education;66
10.4;Elements of Art-Oriented Art Education;68
10.5;Goal: Artistic Thinking;70
10.6;References;71
11;Image Orientation and Art Education (Rolf Niehoff);73
11.1;Abstract;73
11.2;A Short Review;73
11.3;On the Current Cultural Situation;73
11.4;The School Subject of Art as the “Subject of Images”;74
11.5;What Does “Image Competences” Mean?;74
11.6;Summary;77
11.7;References;78
12;Art Class or Image Class? Remarks on Naming a School Subject (Dietrich Grünewald);79
13;The Extended Art Space. The Web as a Sphere of Action (Sara Burkhardt);83
13.1;Abstract;83
13.2;Reality and Imagination;84
13.3;Exposure – Production – Reflection;85
13.4;Communication and Cooperation;86
13.5;Intersections;88
13.6;Outlook;88
13.7;References;89
14;Methods of Evaluation and Grading in Art Class (Georg Peez);91
14.1;Abstract;91
14.2;1. Criteria- or Category-Based Evaluation Methods, Frequently Used With Credit and Numerical Scales;91
14.3;2. Evaluation Methods Based on Evidence Assessment;93
14.4;3. Evaluation Methods Within Progressive and Open Art Classes;94
14.5;Conclusion;96
14.6;References;97
15;Color and Space. Two Competing Parameters of Our Perception (Martin Oswald);101
15.1;Abstract;101
15.2;The Change of Color Perception Between the Ages of Eleven and Sixteen;102
15.3;Explanations of the Visual System;105
15.4;Conclusions for Art Education;107
15.5;References;107
16;The Experiment in Art Class (Thomas Michl);109
16.1;Abstract;109
16.2;A General Structural Layout of the Experiment;109
16.3;Several Didactical Consequences of Experimenting in Art Class;109
16.3.1;Supporting Conditions and Classroom Setting for Experimentation;109
16.3.2;The Planning of Topics and Contents for the Experiment;110
16.3.3;The Importance of the Experimenting Classroom as a Social Setting;111
16.3.4;Classroom Guidance and the Experimental Attitude of the Teacher;112
16.4;The Dual Nature of the Experiment;113
16.5;References;114
17;Art Education and Biography (Georg Peez);115
17.1;Abstract;115
17.2;Research Questions;115
17.3;Results;116
17.3.1;(1) Biographical Aspects: Childhood, Schooldays and Youth;116
17.3.2;(2) The Approach to a Profession in Education and the School;118
17.3.3;(3) Attitudes Towards Art Class;118
17.3.4;(4) The Concepts of Art Education as a Background for Art Educational Practice;120
17.4;Conclusion;121
17.5;References;121
18;Play and Language (Johannes Kirschenmann);125
18.1;Abstract;125
18.2;Playful Reconstructions;126
18.3;Language Educates – As Does Artistic Play;127
18.4;References;129
19;Aesthetic Delight (Michael Parmentier);131
20;Play (Gundel Mattenklott);137
21;The Road Towards Intercultural/Transcultural Arts Education (Ernst Wagner);141
22;BDK – Association for Art Education (Marc Fritzsche & Martin Klinkner);149
22.1;Aims of BDK – Association for Art Education;149
22.2;Images for Education;149
22.3;Sources;150
23;Databases and Further Resources. Publications in National and International Contexts;151
24;Authors;153