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Carregando... Why Art Cannot Be Taught: A HANDBOOK FOR ART STUDENTS (edição: 2001)de James Elkins
Informações da ObraWhy Art Cannot Be Taught: A Handbooks for Art Students de James Elkins
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Registre-se no LibraryThing tpara descobrir se gostará deste livro. Ainda não há conversas na Discussão sobre este livro. Elkins is ultimately commenting on the uncertainty of the critique process, on how it's really more about collecting a bushel of opinions, letting them ferment in a vat for forty-five minutes, and then distilling some form of educational beverage from them. It's an inexact process that he tries unsuccessfully to understand. He does manage to provoke thought about the whole venture, which he contends is ultimately what critiques themselves are supposed to do. Also, yes, as another reviewer has pointed out, there are some humorous moments. In particular, I enjoyed the suggestion that the student arrange his work in reverse-chronological order and try to convince the panel that he had progressed from newest to oldest over time, or to have someone else stand in place of the artist to uncover the biases of the panel. Surreptitious stuff. ( ) For anyone in art school - undergraduate or graduate - READ THIS BOOK. A refreshing look at how art has been "taught" over the years and some really humorous commentary on the critique process; for example speculation on what a Rembrandt critique might have sounded like - hilarious!. This book helps to put it all in perspective and not take it *too seriously. sem resenhas | adicionar uma resenha
In this smart survival guide for students and teachers--the only book of its kind--James Elkins examines the "curious endeavor to teach the unteachable" that is generally known as college-level art instruction. This singular project is organized around a series of conflicting claims about art:"Art can be taught, but nobody knows quite how." "Art can be taught, but it seems as if it can't be since so few students become outstanding artists." "Art cannot be taught, but it can be fostered or helped along." "Art cannot be taught or even nourished, but it is possible to teach right up to the beginnings of art so that students are ready to make art the moment they graduate." "Great art cannot be taught, but more run-of-the-mill art can be." Elkins traces the development (or invention) of the modern art school and considers how issues such as the question of core curriculum and the intellectual isolation of art schools affect the teaching and learning of art. He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes. Why Art Cannot Be Taught is a response to Elkins's observation that "we know very little about what we do" in the art classroom. His incisive commentary illuminates the experience of learning art for those involved in it, while opening an intriguing window for those outside the discipline. - Publisher. Não foram encontradas descrições de bibliotecas. |
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Google Books — Carregando... GênerosClassificação decimal de Dewey (CDD)707.1173The arts Modified subdivisions of the arts Education, research, related topics of fine and decorative arts EducationClassificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia:
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