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Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice.

机译：存在方式：作为当代艺术实践的教育学的概念艺术操作模式。

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摘要

How can a pedagogical and creative practice coexist? Where are the interstices of these two practices that highlight both of their potentialities? How do pedagogy and contemporary art practices challenge and reflect each other to generate new ways of working? Is there a moment when pedagogy and art practice are the same thing? What type of agency can this pedagogy-art confluence create for a learner? This dissertation was conceptualized as a written artwork to make proposals around these topics. The author, coming from a studio art background and having taught at both the high school and college level proposes strategies for examining conceptual art in order to discover "ways of being", which can merge the efforts of pedagogues and artists more readily.;Examining how conceptual art affronts the entrenched labor-equals-rigor models of Western art, the author points to how these subversive modes of operation expand curricular practice. Conceptual art modes such as durational art, relational aesthetics, bricolage, and civic engagement art are placed alongside the non-linear concept of currere (Pinar and Grumet, 1976), or "living curriculum" in order to reconfigure pedagogy as contemporary art practice. Latin American conceptualism is examined as a mode that demarcates a local, hybridized pedagogy as conceptualist practice. Among others, the 1920's work of Los Estridentistas and the contemporary conceptualism of Uruguayan artist Luis Camnitzer is examined. The dissertation also catalogues the author's personal practice through pedagogy as contemporary art practice. Classroom and gallery projects are examined. The author's collaboration with the Chicago performance group Goat Island, his research into the pedagogy of experimental composer John Cage, and one of the author's own autoethnographic performance texts (Denzin, 2003) are included in this dissertation. An analysis of these modes of working is proposed, offering that a pedagogical practice imbricated with a conceptual art practice permits for a more emancipatory pedagogical and creative enterprise. The dissertation ends with evidence of the author's critical discoveries as a first generation Mexican-American navigating the complexities of class, privilege, and race in American schooling---through art education---attaining agency and a more sentient presence in the world.
机译：教学与创新实践如何共存？这两种做法的交叉之处在哪里突出了它们的潜力？教育学和当代艺术实践如何相互挑战和反思，以产生新的工作方式？在教学法和艺术实践上是否有相同的时刻？这种教学法融合可以为学习者创建哪种类型的代理机构？本论文被概念化为书面艺术品，以围绕这些主题提出建议。作者来自工作室艺术背景，曾在高中和大学期间任教，他提出了研究概念艺术的策略，以发现“存在的方式”，从而可以更轻松地将教育者和艺术家的努力融合在一起。概念艺术如何冒犯西方艺术根深蒂固的劳力-平等-严格模型，作者指出这些颠覆性的运作方式如何扩展课程实践。诸如时空艺术，关系美学，bricorage和公民参与艺术之类的概念艺术模式被置于非线性的临时概念（Pinar和Grumet，1976）或“生活课程”的旁边，以将教学法重新配置为当代艺术实践。拉丁美洲的概念主义被视为一种模式，该模式将本地的混合教育学划为概念主义实践。其中，研究了1920年的Los Estridentistas作品和乌拉圭艺术家Luis Camnitzer的当代概念主义。论文还通过教学法将作者的个人实践归类为当代艺术实践。检查教室和画廊项目。作者与芝加哥表演团体山羊岛（Goat Island）的合作，他对实验作曲家约翰·凯奇（John Cage）的教学法的研究以及作者自己的民族志表演文本之一（Denzin，2003）。提出了对这些工作模式的分析，提出与概念艺术实践相融合的教学实践可以使教学和创意事业更加解放。论文最后以作者的重大发现作为证据，证明了他们是墨西哥裔美国人的第一代人，他们通过艺术教育获得代理权，在世界范围内更加有情调地探索着美国学校教育中阶级，特权和种族的复杂性。

著录项

  • 作者

    Lucero, Jorge R.;

  • 作者单位

    The Pennsylvania State University.;

  • 授予单位 The Pennsylvania State University.;
  • 学科 Education Art.;Education Pedagogy.;Fine Arts.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 298 p.
  • 总页数 298
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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