This research is an investigation into the studio practices of five visual artists who teach at the college level, and the rich and complex world of studio art learning. There is a perceived distance between traditional forms of assessment in art education and the ways contemporary artists assess their own practice with all its ambiguity, uncertainties, resistances and opportunities. Measuring value of one's work as an artist and understanding how to improve or make progress in one's practice is complex and often an ongoing struggle. Given the tradition to push art practice towards a relentless search for the new, this study looks at how "re-search" of one's studio experience informs art production and has potential to influence art teaching. The study adapts Judith Butler's writing on the performativity of gender to frame how meaning in an artwork might be "performed" through assessment. Epifanio San Juan's exploration of the political potential of artworks is used to understand how artists create works that facilitate a viewer's experience of "rupture" from taken-for-granted expectations and assumptions about the world. Gilles Deleuze and Felix Guatarri's description of rhizome structures for understanding how meanings are constructed is used to re-frame how we understand the studio practice of these artists. The information gathered through interviews of the artists in this study aids in building a more nuanced and articulated understanding of the thinking artists do in their studio and the methods they develop to assess it. The goal is that through reflection of practice we lay the groundwork for stronger connections to teaching.
|School:||Teachers College, Columbia University|
|School Location:||United States -- New York|
|Source:||DAI-A 73/02, Dissertation Abstracts International|
|Subjects:||Art education, Fine arts|
|Keywords:||Art teaching, Artists, Critique, Inquiry, Studio art|
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