Teaching painting : how can painting be taught in art schools? / edited by Ian Hartshorne, Donal Moloney and Magnus Quaife.

Contributor(s):

Material type: Text

1911164104
(paperback)
9781911164104
(paperback)

Subject(s):

Painting -- Study and teaching (Higher) -- Great Britain -- Congresses

DDC classification:

751.4 HAR

Summary: The ways in which painting is taught within art schools and academies has undergone several significant changes in recent years. As the barriers between media have eroded into more fluid borders, art schools have responded by adapting and evolving. Many painting departments have been absorbed into general fine art courses but specialist painting courses and pathways still continue to be developed. How have these courses defined and redefined themselves to reflect the current artistic landscape and how can painting maintain an identity within non-specialist approaches? The book includes contributions by: Maggie Ayliffe and Christian Mieves, senior lecturers at Wolverhampton School of Art, who write about their Dirty Practice workshop which introduces risk and open-ended approaches to painting; Ian Gonczarow, who discusses how painting can be approached and taught in a post-analogue world; and Sarah Horton and Sarah Longworth-West, who detail their series of workshops that encourage a quick rotation through different approaches to producing work, and encourage an overlap between these.

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	751.4 HAR (Browse shelf(Opens below))	1	Available		39002100629238

Enhanced descriptions from Syndetics:

The ways in which painting is taught within art schools and academies has, in recent years, undergone several significant changes. As the barriers between media eroded into more fluid borders, art schools have responded by adapting and evolving. Many painting departments have been absorbed into general Fine Art courses but specialist painting courses and pathways still continue to be developed. How have these courses defined and redefined themselves to reflect the current artistic landscape and how can painting maintain an identity within non-specialist approaches?Teaching Painting addresses the historical, theoretical, pedagogical and continually shifting methods of how the medium is taught. It asks how and why approaches to teaching painting have changed and developed and offers a platform through which practices and experience can be shared.The book includes contributions by: Maggie Ayliffe and Christian Mieves, Gordon Brennan, Ian Gonczarow, Sarah Horton and Sarah Longworth-West, Sean Kaye, John McClenaghan, Dougal McKenzie, Alistair Payne, David Rayson, Craig Staff, Daniel Sturgis, Sarah Taylor, Joseph Wright and Stuart MacKenzie.

Includes bibliographical references.

The ways in which painting is taught within art schools and academies has undergone several significant changes in recent years. As the barriers between media have eroded into more fluid borders, art schools have responded by adapting and evolving. Many painting departments have been absorbed into general fine art courses but specialist painting courses and pathways still continue to be developed. How have these courses defined and redefined themselves to reflect the current artistic landscape and how can painting maintain an identity within non-specialist approaches? The book includes contributions by: Maggie Ayliffe and Christian Mieves, senior lecturers at Wolverhampton School of Art, who write about their Dirty Practice workshop which introduces risk and open-ended approaches to painting; Ian Gonczarow, who discusses how painting can be approached and taught in a post-analogue world; and Sarah Horton and Sarah Longworth-West, who detail their series of workshops that encourage a quick rotation through different approaches to producing work, and encourage an overlap between these.

Excerpt provided by Syndetics

"We are consistently told we live in a plural age, a polyvocal, multifaceted, post-conceptual, post-ironic, post-everything age, but maybe the pendulum of what painting's definable characteristics are has swung too far away from us? "It is this heterogeneity which is unteachable, unreachable and untouchable. In fact untouchability is becoming increasingly problematic, as studio space as a site crucial for thinking and making remains threatened. [...] One can imagine a situation where everything is going on--and therefore nothing is going on--and that may induce a kind of paralysis. The key mode of painting within the context of art schools should be an emphasis on making, on vision, perhaps to counter the feeling that because and not despite the fact that we live in an image-saturated world, we may in fact be experiencing a form anti-ocular centrism. "When the narrative of painting'is this the right place for an apostrophy?s history often refers to painting as dead, or dying, or irrelevant, or outmoded, a media amongst media--it might be all of these things--the redundancy of painting perhaps is becoming the only way that students can produce anything meaningful--redundancy itself as a kind of currency." From the introduction to Teaching Painting Excerpted from Teaching Painting: How Can Painting Be Taught in Art Schools? by Ian Hartshorne, Donal Moloney, Magnus Quaife All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.