Art education

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Art education is an art educational concept. It justifies its objectives, educational methods and content from art. Research by Carl-Peter Buschkühle on Joseph Beuys and his expanded concept of art are of fundamental importance for the concept .

root

The concept of artistic education is essentially based on the expanded concept of art developed by Joseph Beuys and on research into artistic thinking. Joseph Beuys' saying “Every person is an artist” does not mean that everyone has the ability to be a painter, musician or actor, but that every person is, in principle, a creative individual capable of creative achievements. According to Beuys, the creative abilities of each individual should be developed so that they can be fruitful in the service of society. Beuys formulates this in the concept of social sculpture , which understands society as a dynamic organism, the shape of which each individual contributes to through his or her activities. Beuys sees art as an essential field in which central qualities of creative thinking can be trained.

Artistic thinking is not understood in the context of artistic education as the opposite of rational thought processes. Instead, it incorporates rational elements and relates them to further abilities. In the philosophy and psychology of art, this is usually described in polar relationships, such as sensuality / reason in Immanuel Kant or mimesis / rationality in Theodor W. Adorno .

concept

Art education aims at the formation of a complex, creative way of thinking and in a broader sense describes all forms of education in the field of the arts. In the field of art education, the term describes art didactic positions that have developed in German-speaking countries since the late 1990s.

These aim to “develop artistic forms of thinking in art didactic processes that practice artistic ways of acting.” This is the departure from a purely communication-oriented art didactics, whose focus is on gaining knowledge, acquiring competencies and operationalizable goals. In their place there is a turn towards artistic forms of examination. They are supposed to initiate mediation and action processes in an artful way. Art education sees artistic thinking and acting as the basis for the forms and content of art educational activities. The concept always moves in a wide range of polarities, e.g. B. between theory and practice of an artistic project or forms of work such as research, construction and transformation. These polarities open up scope for work-oriented work, in which independence, independent learning, experimental problem solving, critical reflection of contexts, creative thinking and acting can be experienced and promoted.

However, characteristics of artistic thought and action are not to be restricted to art. As the formation of the most complex and creative thinking skills possible, artistic education ultimately aims at the ability to live the art of living. This means the ability and the challenge of each individual to be able to shape his life independently within the given possibilities in heterogeneous social and cultural conditions. For example, the individual has to react to changes caused by globalization and transculturality. Art education aims to promote creative forces as comprehensively as possible. The range of possible arguments is as wide as the working methods of art. They range from the creative work in materials to thematic discussions, e.g. B. have social problems as an object.

The didactic concept of artistic education can be broken down into various elements: the structural elements, which essentially stagger the artistic project, the operational elements, which can be divided into three methodical forms of work, and the elements of artistic thinking as a target perspective.

Structural elements

As a practice of artistic education, the focus is on artistic projects. These contain the three structural elements induction, experiment and contextuality, which are in a continuous interplay in the work process

  • Induction describes a largely open entry into a topic. The aim is to give each learner the most individual possible way of dealing with it. This should be done in the best possible balance between the necessary prerequisites and requirements of the topic on the one hand and the opening of free spaces for personal discussion by the creative learners on the other.
  • Experiment means dealing with the topic as individually as possible in terms of content and design. It requires critical reflection and, if necessary, targeted research into facts and, if necessary, the practice of technical skills.
  • Contextuality refers, on the one hand, to the inclusion of significant contexts in the individual processing of a topic, which can be done through research and constructive reflection on relevant and, if necessary, interdisciplinary aspects. On the other hand, the term describes the internal relationship of the individual phases of the creative and content-related work in the artistic project, the aim of which is that the thematic discussion is increasingly deepened and differentiated.

Depending on the topic, the relevant contexts in artistic projects are interdisciplinary. This represents a challenge for teachers and learners to think of a topic in a larger context and to formulate personal positions from it in artistic representations. As learning that combines knowledge and design, artistic education represents an alternative learning principle. Interdisciplinary artistic projects open up opportunities for interdisciplinary learning.

Methods

The artistic project is process and work oriented. All successively developing learning processes take place within the framework of the topic-oriented design work. A distinction can be made between three methodical forms of work or operational elements that are practiced in constant change.

  • Research refers to the targeted search for information based on sources such as B. from the Internet, from the analysis of images or texts. Technical trials, perception and observation tasks can also be objects of research.
  • Construction refers to the constructive thinking together of disparate partial aspects that were obtained from the research. This includes critical reflection in which the learners develop their own attitude towards the subject.
  • Transformation , working on the work, is the core area of ​​the learning process in artistic projects. The design work prompts the learners to take a position on the topic and to formulate this in the work. Transformation means to create something new, your own, a reality of your own, based on your own experiences and knowledge. It is not about objectifying representations such as B. in scientific documentation, nor purely subjective expressions. Rather, the work process exerts its decisive educational effect in that it demands work that is appropriate to the material, adequate application of techniques, and proper examination of the topic. In this respect, the resulting work has an objectifying effect. In order to meet these demands of the work, a sensitive sensory perception must be practiced, which enables the expression and the expressiveness of the resulting form to be grasped and assessed. This may result in impulses that require further research with regard to the content or with regard to formal or technical implementation.

aims

The overarching goal of arts education is the exercise of artistic thinking. This is divided into several sub-areas that are closely related to one another:

  • Empathetic perception
  • Critical reflection
  • Independent imagination
  • Training of will
  • Craft skills

Artistic production and reception require a sensitive perception of form, material, expression and processes as the basis for appropriate experiences, insights and actions. Critical reflection not only practices thinking in larger contexts that are relevant to a problem, but also includes oneself and one's attitude towards the object. Imagination is necessary to create works, but also to capture works of art or other images or phenomena in their potential contexts. As a faculty of representation, imagination activates memory, but at the same time it is the ability to anticipate something future, something that has not yet been realized. The exercise of sensitive perception, critical reflection and independent imagination are understood in artistic education as goals that are not only effective in art in the narrower sense, but also represent fundamental skills for the personal and social life of the subject.

Sensitive perception and critical reflection are just as essential for grasping and acting in social relationships as z. B. for a competent behavior under the influence of media culture. The imagination makes it possible to form ideas of connections and consequences of processes and is therefore an essential skill for the design of future processes. Analyzing works or images, but especially designing works, exercises the will and thus the ability to take responsibility for one's own actions. Craftsmanship mediates between intellectual operations and executive action. It represents the vehicle by means of which perception, reflection, imagination and effort of will can come to appropriate realizations in exchange with the object.

Art education shares the widespread goal of art education to enable a competent handling in the reception and production of images through training in critical perception and exercises in creative practice. It includes such approaches, but considers them to be insufficient as overarching objectives. By promoting the skills of complex, artistic thinking, it aims to educate the person. It is linked to a humanistic education in which the focus is on the acquisition and reflection of interdisciplinary knowledge as well as the reflected and responsible use of this knowledge by the socially capable subject. In this respect, artistic education is critical of the development of a competence-oriented approach to teaching and learning, provided this personality development is reduced to the pragmatic training of situation-relevant skills.

reception

The concept of artistic education is received controversially. Franz Billmayer, for example, criticizes that art lessons can no longer legitimize themselves through art, because art is the result of social agreements and describes only a tiny fraction of all images. But it is precisely the popular images in the media that should be met in a qualified manner. Children and young people are particularly influenced by these. Art education goes here too closely to an idealistic thought and focuses too much on the extraordinary in art.

Hubert Sowa warns of ethical imbalances. Because the practices of artists or elements of the destructive on a cultural, social and subjective level, which can be isolated and to a certain extent part of artistic projects, are often anything but educationally valuable.

literature

  • Theodor W. Adorno: Aesthetic Theory. Suhrkamp, ​​Frankfurt am Main 1970/2003.
  • Franz Billmayer: Art endangers art education. In: Cornelia and Kunibert Bering (eds.): Conceptions of art didactics. Documents of a complex structure. Athena, Oberhausen 2011, pp. 228-233.
  • Carl-Peter Buschkühle: Warmth time . On art as art education with Joseph Beuys. Lang, Frankfurt am Main. 1997, ISBN 3-631-30992-9 .
  • Carl-Peter Buschkühle (ed.): Perspectives on artistic education. Salon, Cologne 2003, ISBN 3-89770-170-7 .
  • Carl-Peter Buschkühle: The world as a game. 1. Cultural theory: digital games and artistic existence. Athena, Oberhausen 2007, ISBN 978-3-89896-282-7 . (2nd edition 2011)
  • Carl-Peter Buschkühle: The world as a game. 2. Art Education: Theory and Practice of Art Education. Athena, Oberhausen 2007, ISBN 978-3-89896-283-4 . (2nd edition 2011)
  • Carl-Peter Buschkühle (Ed.): Artistic art education. A discourse on arts education. Athena, Oberhausen 2012, ISBN 978-3-89896-514-9 .
  • Carl-Peter Buschkühle: Artistic Education. Theory and practice of an artistic art education. Athena, Oberhausen 2017.
  • Volker Harlan, Rainer Rappmann, Peter Schata: Social plastic. Materials for Joseph Beuys. Achberger Verlag, Achberg 1984.
  • Immanuel Kant: Critique of Judgment (1790). Felix Meiner, Hamburg 1974.
  • Joachim Kettel: Self-STRANGER. Elements of a different art education. Athena, Oberhausen 2001, ISBN 3-932740-93-9 .
  • Joachim Kettel, International Society of Fine Arts (IGBK), State Academy Schloss Rotenfels (ed.): Artistic education to Pisa. Contributions to the international symposium "Mapping Blind Spaces - New Paths Between Art and Education". Athena Verlag, Oberhausen 2004, ISBN 3-89896-205-9 .
  • Iwan Pasuchin: Artistic media education - approaches to a didactic of the arts and their media. Peter Lang, Frankfurt am Main 2005, ISBN 3-631-53547-3 .
  • Günther Regel: The Second Modern Age, School and Art - Consequences for Art Education. In: Carl-Peter Buschkühle (ed.): Perspectives on artistic education. Salon, Cologne 2003, ISBN 3-89770-170-7 , pp. 121-140.
  • Hubert Sowa: Ethical Implications of Art Education Processes. Preliminary remarks on a future art-educational theory of action. In: Carl-Peter Buschkühle (ed.): Perspectives on artistic education. Salon, Cologne 2003, ISBN 3-89770-170-7 , pp. 213-233.
  • Mario Urlaß: Commuting and bundling. Potentials of artistic education in primary school. In: Carl-Peter Buschkühle, Joachim Kettel, Mario Urlaß (eds.): Horizonte. International art education. Athena, Oberhausen 2009, pp. 335-350.
  • Christian Wagner: High school students who think artistically. Art lessons as an artistic project. Athena, Oberhausen 2016.

Individual evidence

  1. ↑ Volker Harlan, Rainer Rappmann, Peter Schata: Social plastic. Materials for Joseph Beuys. Achberger Verlag, Achberg 1984, p. 102.
  2. ↑ Immanuel Kant: Critique of Judgment (1790). Felix Meiner, Hamburg 1974, p. 175 ff.
  3. ^ Theodor W. Adorno: Aesthetic Theory . Suhrkamp, ​​Frankfurt am Main 1970/2003, p. 72 ff.
  4. ↑ Carl-Peter Buschkühle: contours of arts education. In: ders. (Ed.): Perspectives on artistic education . Salon, Cologne 2003, p. 19.
  5. ↑ See Joachim Kettel: SelbstFREMDheit. Elements of a different art education. Athena, Oberhausen 2001, p. 348 ff .; Carl-Peter Buschkühle: Artistic Education. Theory and practice of an artistic art education. Athena, Oberhausen 2017, p. 261 ff.
  6. ↑ Cf. Carl-Peter Buschkühle: Die Welt als Spiel, Volume II (Art Education): Theory and Practice of Art Education. Athena, Oberhausen 2007, p. 160 ff .; ders .: Artistic education. Theory and practice of an artistic art education. Athena, Oberhausen 2017, p. 202 ff.
  7. ↑ Franz Bill Mayer: Art endangered art education. In: Cornelia and Kunibert Bering (eds.): Conceptions of art didactics. Documents of a complex structure. Athena, Oberhausen 2011, pp. 228-233.
  8. ↑ Hubert Sowa: Ethical Implications of Art Education Processes. Preliminary remarks on a future art-educational theory of action. In: Carl-Peter Buschkühle (ed.): Perspectives on artistic education. Salon, Cologne 2003, pp. 213-233