Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum
- Authors: Belluigi, Dina Zoe
- Date: 2008
- Subjects: Art -- Study and teaching (Higher) Postmodernism and education Universities and colleges -- Philosophy Universities and colleges -- Curricula Education, Higher -- Political aspects Creative thinking -- Study and teaching Discourse analysis -- Methodology Critical pedagogy
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1531 , http://hdl.handle.net/10962/d1003413
- Description: This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.
- Full Text:
- Date Issued: 2008
- Authors: Belluigi, Dina Zoe
- Date: 2008
- Subjects: Art -- Study and teaching (Higher) Postmodernism and education Universities and colleges -- Philosophy Universities and colleges -- Curricula Education, Higher -- Political aspects Creative thinking -- Study and teaching Discourse analysis -- Methodology Critical pedagogy
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1531 , http://hdl.handle.net/10962/d1003413
- Description: This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.
- Full Text:
- Date Issued: 2008
Broken vessels : the im-possibility of the art of remembrance and re-collection in the work of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
- Authors: Belluigi, Dina Zoe
- Date: 2002
- Subjects: History in art Kiefer, Anselm, 1945- Boltanski, Christian, 1944- Kentridge, William, 1955- Mofokeng, Santu, 1956-
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2395 , http://hdl.handle.net/10962/d1002191
- Description: This thesis is structured around investigating the philosophical and aesthetic problematics, politics, and possibilities of representing the past for the purposes of demythifying the present as well as commemorating the losses of history, as explored in the artworks of Anselm Kiefer, Christian Boltanski, William Kentridge and Santu Mofokeng. The first chapter begins with Theodor Adorno’s philosophical understanding of myth and history: how he is influenced by and then develops Karl Marx’s critique of society, Sigmund Freud’s critique of reason and its subject, and particularly Walter Benjamin’s ideas of history as catastrophe, the role of the historian and his messianic materialism. The second section looks at Theodor Adorno’s dialectic of art and society: immanent criticism in aesthetic practice, mimesis, and the shift in conceptions of allegory from Walter Benjamin’s understanding to that of Jacques Derrida. The last section of the chapter looks at Jacques Derrida’s poststructuralist theories against boundary-fixing, within that the ethical relation to the ‘other’ and the theorist/artist as psychic exile. The second chapter deals with the politics of remembrance and representation — beginning with Theodor Adorno’s historic interpretation of the Mosaic law against the making of images and Jean-Francois Lyotard on the im-possibility of representing the unrepresentable. The chapter is divided in two parts between the post-Holocaust European artists Anselm Kiefer and Christian Boltanski, and the post-apartheid South African artists William Kentridge and Santu Mofokeng. It explores, within these artists’ specific contexts, their formal and philosophical approaches to myth and history, and the problematics of image-making, representing the unrepresentable, and commemorating the immemorial. The thesis concludes by considering different conceptions of melancholia as they relate to these artists: the Freudian psychoanalytic approach, Benjamin’s notions of the artist-genius, and Julia Kristeva’s Lacanian reading of the humanist melancholic, concluding with the mythic-historical Kaballist notion of melancholia as the historical burden or responsibility to commemorate loss.
- Full Text:
- Date Issued: 2002
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