This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome-oriented and individualistic discourse. Taking a weeklong workshop at the…

The ongoing marketisation of education is a great loss for visual arts education since explorative learning processes are marginalised in favour of more goal-oriented learning. The empirical material analysed in this research derives from the visual art portfolio of a student from an elective university course in visual arts education. Working…

The world of art, which is mostly based on manual dexterity, has endeavored to raise the new generation of students of the future with today's technology tools. Although art education continues to be up-to-date today, it has had to adapt to technological opportunities. In the face of artificial intelligence and augmented reality applications,…

The author makes the case that the role of the intellectual is to effect change, to challenge vested interests that would limit dialogue on matters of grave importance and to function as a public witness-bearer to personal and public forms of truth. He goes on to state, however, that this role cannot be properly fulfilled unless narrow, purely…

Artistic activities are frequently called imaginative or valuable in developing students' imagination. However, it is not always clear what imagination means. This paper examines questions related to what imagination is, describes the importance of imaginative thinking, and presents educational implications. The paper concludes that imaginative…

Recognizing the public benefits of higher education and the arts, the American Assembly of Columbia University convened a 2004 conference called "The Creative Campus," from which emerged recommendations about better integrating arts offerings on campus into the curriculum, serving the surrounding community and preparing students for the demands of…

Uses a systems approach to creativity to study one student as that person learned to make art in an university-level introductory sculpture class. Shows ways that the class was an open system that modeled and encouraged artistic creativity and provided constraints and opportunities for the student to construct knowledge. (DSK)

Deals with differences between drawing in art class and in other subjects. Points out that the latter are considered serious learning while learning promoted by art class is often dismissed. Advocates both rational analysis of art and the imaginative extension of such rational art as maps and diagrams to promote visual literacy. (KO)