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"Daichendt, G. James"
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Artist-teacher : a philosophy for creating and teaching
\"Is an artist-teacher a mere professional who balances a career--or does the duality of making and teaching art merit a more profound investigation? Rejecting a conventional understanding of the artist-teacher, this book sets out to present a robust history from the classical era to the twenty-first century. Particular pedagogical portraits--featuring George Wallis, Walter Gropius, Johannes Itten, Victor Pashmore, Richard Hamilton, Arthur Wesley Dow, and Hans Hoffmann--illustrate the artist-teacher in various contexts. From Bauhaus to Black Mountain, this book offers a revelation of the complex thinking processes artists utilize when teaching, and a reconciliation of the artistic and educational enterprises as complimentary partners\"--P. [4] of cover.
Book
Artist scholar
Artist Scholar: Reflections on Writing and Research is part history, introduction and discussion for artists and designers entering, graduating and employed by the contemporary art academy in the United States. The evolution of art education in the university continues to expand in the twenty-first century as the variables of craft, skill, technique, theory, history and criticism shift and expand as the perspective of arts-based research is introduced into this professionalized environment. Given this context: what can MFA students do to improve their understanding of writing and research without sacrificing their commitment to their studio art process?
Through a series of essays, the text argues for better writing at the MFA level with the purpose of becoming better artists. By contextualizing art practice in the university and providing a foundation for future artist scholarship, it serves as an invitation to artist scholars to push their work further and develop the confidence to situate their art in the university context.
eBook
Artist-Driven Initiatives for Art Education: What We Can Learn from Street Art
The economic state of California is representative of the larger financial health of the United States. The budget cuts and the faltering status of art education in public schools has contrasted much of the rhetoric and statistics for art education and employment in the visual arts. Yet, contemporaneously, California has also witnessed the largest production of street art in the state's history. Over 90 street art murals along with dozens of galleries, blogs, and news sites have taken the Los Angeles art scene by storm. While institutionally art education is faltering, it is thriving informally outside the professionalized field through the surprising context of street art. This interview-based study discusses what street art is and what can be learned from it. The redeeming qualities of street art are also highlighted.
Journal Article
Redefining the Artist-Teacher
\"Artist-Teacher\" is a powerful and frequently used term in the fields of art, museum studies, art history, and art education. Art educators typically use the term to describe their dual practice or to emphasize the importance of art production in relation to their teaching. In this article, the author reviews historical uses of the term \"artist-teacher\" in an effort to re-contextualize its origins since George Wallis' (1811-1891) first use of the term. Based on this review, the author proposes that the concept of \"artist-teacher\" can suggest an approach to art education that celebrates artistic practices and artistic ways of thinking into the classroom. In this manner, \"artist-teacher\" represents a more inclusive and richer understanding of the multifaceted aspects of teaching art. In conclusion, the author aims to reintroduce the concept of the \"artist-teacher\" to a 21st-century audience of art educators unfamiliar with its rich history.
Journal Article
From graffiti to gallery
This chapter explores street art by categorizing it within the scope of street culture by analyzing street art's relationship with graffiti and how it evolved from this practice. Street art has also been labeled and described as post-graffiti. Farris claims that post-graffiti challenges the art establishment and allows the public to define what art is by recognizing street art as art in the absence of the museum. N. Riggle acknowledges that we entered this post-historical art world because we allowed everyday objects like Warhol's boxes into the gallery. The borders between practitioners was blurring, but as new terminology was developed, the division between street art and graffiti became clearer. The concept of street art gained international momentum in the 1990s and 2000s as its proponents challenged the borders of graffiti and edged close to traditional notions of professional artists. In September 2010, a line of fans stretched for blocks outside of the Echo Park-based gallery Subliminal Projects.
Book Chapter