Art Education in Germany
1st Edition
Published on 20. July 2015
160 pages
978-3-8309-8265-4 (ISBN)
Description
This book is the first overview of art education in Germany ever published in English. It offers a brief historical outline of developments in the field since 1945, followed by examples of topics which have been discussed in German art education in recent years. This collection of articles aims to present the diversity and vitality of a number of approaches: from theory to practice, from tradition to innovation, from analogue to digital, while at the same time considering art, daily life and the individuals involved.
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Content
1 - Contents [Seite 5]
2 - Art Education "Made in Germany" (Georg Peez) [Seite 9]
2.1 - "Glocal" Diversity [Seite 9]
2.2 - Educational Federalism in Germany [Seite 10]
2.3 - Ties to German-speaking Neighboring Countries [Seite 10]
2.4 - The Book's Structure [Seite 11]
2.5 - How Contributions Were Sourced [Seite 12]
2.6 - Acknowledgements [Seite 12]
3 - Historical and Current Concepts. Aspects of Art Education in Germany after 1945 (Marc Fritzsche, Martin Klinkner & Georg Peez) [Seite 15]
3.1 - Image Orientation [Seite 16]
3.2 - Art Orientation [Seite 17]
3.3 - Subject Orientation [Seite 17]
4 - Art Education in Primary Schools (Constanze Kirchner) [Seite 21]
4.1 - Abstract [Seite 21]
4.2 - Tasks and Objectives of Art Class [Seite 21]
4.3 - Aesthetic Interest and Aesthetic Experience [Seite 21]
4.4 - Experiencing Nature and Compensation [Seite 22]
4.5 - Visual Design [Seite 23]
4.6 - Experiencing Environment and Play [Seite 23]
4.7 - Perception and Creativity [Seite 25]
4.8 - Media Literacy [Seite 25]
4.9 - Experiencing Art [Seite 26]
4.10 - Performance Evaluation [Seite 27]
4.11 - References [Seite 28]
5 - Opening Spaces for Opportunities. Staging Materials as an Art Educational Intervention (Petra Kathke) [Seite 29]
5.1 - Abstract [Seite 29]
5.2 - Setting Materials - A Field for Playing and Practicing [Seite 30]
5.3 - Intended Inspiration [Seite 31]
5.4 - "Artificial Marking" as a Didactical Impulse [Seite 32]
5.5 - Material Staging as an Action Analogous to Art [Seite 34]
5.6 - References [Seite 34]
6 - Open Dialogues in the Art Workshop. Nobody Knows What It Will Turn out to Be (Thomas Heyl) [Seite 35]
6.1 - Abstract [Seite 35]
6.2 - The Art Studio - A School of Fantasy [Seite 36]
6.3 - Multiple Dialogues [Seite 37]
6.4 - Room and Space [Seite 40]
6.5 - All-day [Seite 40]
6.6 - References [Seite 41]
7 - Integrated Arts and Computer Science Education in Mixed Reality Learning Spaces (Daniela Reimann) [Seite 43]
8 - Fan Art - Online Youth Aesthetics in the Art Classroom (Jutta Zaremba) [Seite 49]
8.1 - Fan Art Sections [Seite 49]
8.2 - Fan Art Giant ANIMEXX [Seite 50]
8.3 - Continuous Improvement through Tutorials [Seite 51]
8.4 - Contests and Comments as Motivation [Seite 51]
8.5 - Expertise, Self-Education and Social Communication in the Art Classroom [Seite 52]
8.6 - References [Seite 54]
9 - For a Sociospatial Practice of Art Education (Ulrike Stutz) [Seite 57]
9.1 - Abstract [Seite 57]
9.2 - Sociospatiality Seen Through Procedural Space Theories [Seite 57]
9.3 - Communication Sculptures - Art as a Space-Creating Process [Seite 58]
9.4 - Transformative and structural education processes [Seite 58]
9.5 - Qualitative Empirical Analysis [Seite 60]
9.6 - References [Seite 61]
10 - Artistic Education Within Art Projects (Carl-Peter Buschkühle) [Seite 65]
10.1 - Abstract [Seite 65]
10.2 - The Turning Point in German Art Education [Seite 65]
10.3 - The Art Project as a Practice of Art Education [Seite 66]
10.4 - Elements of Art-Oriented Art Education [Seite 68]
10.5 - Goal: Artistic Thinking [Seite 70]
10.6 - References [Seite 71]
11 - Image Orientation and Art Education (Rolf Niehoff) [Seite 73]
11.1 - Abstract [Seite 73]
11.2 - A Short Review [Seite 73]
11.3 - On the Current Cultural Situation [Seite 73]
11.4 - The School Subject of Art as the "Subject of Images" [Seite 74]
11.5 - What Does "Image Competences" Mean? [Seite 74]
11.6 - Summary [Seite 77]
11.7 - References [Seite 78]
12 - Art Class or Image Class? Remarks on Naming a School Subject (Dietrich Grünewald) [Seite 79]
13 - The Extended Art Space. The Web as a Sphere of Action (Sara Burkhardt) [Seite 83]
13.1 - Abstract [Seite 83]
13.2 - Reality and Imagination [Seite 84]
13.3 - Exposure - Production - Reflection [Seite 85]
13.4 - Communication and Cooperation [Seite 86]
13.5 - Intersections [Seite 88]
13.6 - Outlook [Seite 88]
13.7 - References [Seite 89]
14 - Methods of Evaluation and Grading in Art Class (Georg Peez) [Seite 91]
14.1 - Abstract [Seite 91]
14.2 - 1. Criteria- or Category-Based Evaluation Methods, Frequently Used With Credit and Numerical Scales [Seite 91]
14.3 - 2. Evaluation Methods Based on Evidence Assessment [Seite 93]
14.4 - 3. Evaluation Methods Within Progressive and Open Art Classes [Seite 94]
14.5 - Conclusion [Seite 96]
14.6 - References [Seite 97]
15 - Color and Space. Two Competing Parameters of Our Perception (Martin Oswald) [Seite 101]
15.1 - Abstract [Seite 101]
15.2 - The Change of Color Perception Between the Ages of Eleven and Sixteen [Seite 102]
15.3 - Explanations of the Visual System [Seite 105]
15.4 - Conclusions for Art Education [Seite 107]
15.5 - References [Seite 107]
16 - The Experiment in Art Class (Thomas Michl) [Seite 109]
16.1 - Abstract [Seite 109]
16.2 - A General Structural Layout of the Experiment [Seite 109]
16.3 - Several Didactical Consequences of Experimenting in Art Class [Seite 109]
16.3.1 - Supporting Conditions and Classroom Setting for Experimentation [Seite 109]
16.3.2 - The Planning of Topics and Contents for the Experiment [Seite 110]
16.3.3 - The Importance of the Experimenting Classroom as a Social Setting [Seite 111]
16.3.4 - Classroom Guidance and the Experimental Attitude of the Teacher [Seite 112]
16.4 - The Dual Nature of the Experiment [Seite 113]
16.5 - References [Seite 114]
17 - Art Education and Biography (Georg Peez) [Seite 115]
17.1 - Abstract [Seite 115]
17.2 - Research Questions [Seite 115]
17.3 - Results [Seite 116]
17.3.1 - (1) Biographical Aspects: Childhood, Schooldays and Youth [Seite 116]
17.3.2 - (2) The Approach to a Profession in Education and the School [Seite 118]
17.3.3 - (3) Attitudes Towards Art Class [Seite 118]
17.3.4 - (4) The Concepts of Art Education as a Background for Art Educational Practice [Seite 120]
17.4 - Conclusion [Seite 121]
17.5 - References [Seite 121]
18 - Play and Language (Johannes Kirschenmann) [Seite 125]
18.1 - Abstract [Seite 125]
18.2 - Playful Reconstructions [Seite 126]
18.3 - Language Educates - As Does Artistic Play [Seite 127]
18.4 - References [Seite 129]
19 - Aesthetic Delight (Michael Parmentier) [Seite 131]
20 - Play (Gundel Mattenklott) [Seite 137]
21 - The Road Towards Intercultural/Transcultural Arts Education (Ernst Wagner) [Seite 141]
22 - BDK - Association for Art Education (Marc Fritzsche & Martin Klinkner) [Seite 149]
22.1 - Aims of BDK - Association for Art Education [Seite 149]
22.2 - Images for Education [Seite 149]
22.3 - Sources [Seite 150]
23 - Databases and Further Resources. Publications in National and International Contexts [Seite 151]
24 - Authors [Seite 153]
2 - Art Education "Made in Germany" (Georg Peez) [Seite 9]
2.1 - "Glocal" Diversity [Seite 9]
2.2 - Educational Federalism in Germany [Seite 10]
2.3 - Ties to German-speaking Neighboring Countries [Seite 10]
2.4 - The Book's Structure [Seite 11]
2.5 - How Contributions Were Sourced [Seite 12]
2.6 - Acknowledgements [Seite 12]
3 - Historical and Current Concepts. Aspects of Art Education in Germany after 1945 (Marc Fritzsche, Martin Klinkner & Georg Peez) [Seite 15]
3.1 - Image Orientation [Seite 16]
3.2 - Art Orientation [Seite 17]
3.3 - Subject Orientation [Seite 17]
4 - Art Education in Primary Schools (Constanze Kirchner) [Seite 21]
4.1 - Abstract [Seite 21]
4.2 - Tasks and Objectives of Art Class [Seite 21]
4.3 - Aesthetic Interest and Aesthetic Experience [Seite 21]
4.4 - Experiencing Nature and Compensation [Seite 22]
4.5 - Visual Design [Seite 23]
4.6 - Experiencing Environment and Play [Seite 23]
4.7 - Perception and Creativity [Seite 25]
4.8 - Media Literacy [Seite 25]
4.9 - Experiencing Art [Seite 26]
4.10 - Performance Evaluation [Seite 27]
4.11 - References [Seite 28]
5 - Opening Spaces for Opportunities. Staging Materials as an Art Educational Intervention (Petra Kathke) [Seite 29]
5.1 - Abstract [Seite 29]
5.2 - Setting Materials - A Field for Playing and Practicing [Seite 30]
5.3 - Intended Inspiration [Seite 31]
5.4 - "Artificial Marking" as a Didactical Impulse [Seite 32]
5.5 - Material Staging as an Action Analogous to Art [Seite 34]
5.6 - References [Seite 34]
6 - Open Dialogues in the Art Workshop. Nobody Knows What It Will Turn out to Be (Thomas Heyl) [Seite 35]
6.1 - Abstract [Seite 35]
6.2 - The Art Studio - A School of Fantasy [Seite 36]
6.3 - Multiple Dialogues [Seite 37]
6.4 - Room and Space [Seite 40]
6.5 - All-day [Seite 40]
6.6 - References [Seite 41]
7 - Integrated Arts and Computer Science Education in Mixed Reality Learning Spaces (Daniela Reimann) [Seite 43]
8 - Fan Art - Online Youth Aesthetics in the Art Classroom (Jutta Zaremba) [Seite 49]
8.1 - Fan Art Sections [Seite 49]
8.2 - Fan Art Giant ANIMEXX [Seite 50]
8.3 - Continuous Improvement through Tutorials [Seite 51]
8.4 - Contests and Comments as Motivation [Seite 51]
8.5 - Expertise, Self-Education and Social Communication in the Art Classroom [Seite 52]
8.6 - References [Seite 54]
9 - For a Sociospatial Practice of Art Education (Ulrike Stutz) [Seite 57]
9.1 - Abstract [Seite 57]
9.2 - Sociospatiality Seen Through Procedural Space Theories [Seite 57]
9.3 - Communication Sculptures - Art as a Space-Creating Process [Seite 58]
9.4 - Transformative and structural education processes [Seite 58]
9.5 - Qualitative Empirical Analysis [Seite 60]
9.6 - References [Seite 61]
10 - Artistic Education Within Art Projects (Carl-Peter Buschkühle) [Seite 65]
10.1 - Abstract [Seite 65]
10.2 - The Turning Point in German Art Education [Seite 65]
10.3 - The Art Project as a Practice of Art Education [Seite 66]
10.4 - Elements of Art-Oriented Art Education [Seite 68]
10.5 - Goal: Artistic Thinking [Seite 70]
10.6 - References [Seite 71]
11 - Image Orientation and Art Education (Rolf Niehoff) [Seite 73]
11.1 - Abstract [Seite 73]
11.2 - A Short Review [Seite 73]
11.3 - On the Current Cultural Situation [Seite 73]
11.4 - The School Subject of Art as the "Subject of Images" [Seite 74]
11.5 - What Does "Image Competences" Mean? [Seite 74]
11.6 - Summary [Seite 77]
11.7 - References [Seite 78]
12 - Art Class or Image Class? Remarks on Naming a School Subject (Dietrich Grünewald) [Seite 79]
13 - The Extended Art Space. The Web as a Sphere of Action (Sara Burkhardt) [Seite 83]
13.1 - Abstract [Seite 83]
13.2 - Reality and Imagination [Seite 84]
13.3 - Exposure - Production - Reflection [Seite 85]
13.4 - Communication and Cooperation [Seite 86]
13.5 - Intersections [Seite 88]
13.6 - Outlook [Seite 88]
13.7 - References [Seite 89]
14 - Methods of Evaluation and Grading in Art Class (Georg Peez) [Seite 91]
14.1 - Abstract [Seite 91]
14.2 - 1. Criteria- or Category-Based Evaluation Methods, Frequently Used With Credit and Numerical Scales [Seite 91]
14.3 - 2. Evaluation Methods Based on Evidence Assessment [Seite 93]
14.4 - 3. Evaluation Methods Within Progressive and Open Art Classes [Seite 94]
14.5 - Conclusion [Seite 96]
14.6 - References [Seite 97]
15 - Color and Space. Two Competing Parameters of Our Perception (Martin Oswald) [Seite 101]
15.1 - Abstract [Seite 101]
15.2 - The Change of Color Perception Between the Ages of Eleven and Sixteen [Seite 102]
15.3 - Explanations of the Visual System [Seite 105]
15.4 - Conclusions for Art Education [Seite 107]
15.5 - References [Seite 107]
16 - The Experiment in Art Class (Thomas Michl) [Seite 109]
16.1 - Abstract [Seite 109]
16.2 - A General Structural Layout of the Experiment [Seite 109]
16.3 - Several Didactical Consequences of Experimenting in Art Class [Seite 109]
16.3.1 - Supporting Conditions and Classroom Setting for Experimentation [Seite 109]
16.3.2 - The Planning of Topics and Contents for the Experiment [Seite 110]
16.3.3 - The Importance of the Experimenting Classroom as a Social Setting [Seite 111]
16.3.4 - Classroom Guidance and the Experimental Attitude of the Teacher [Seite 112]
16.4 - The Dual Nature of the Experiment [Seite 113]
16.5 - References [Seite 114]
17 - Art Education and Biography (Georg Peez) [Seite 115]
17.1 - Abstract [Seite 115]
17.2 - Research Questions [Seite 115]
17.3 - Results [Seite 116]
17.3.1 - (1) Biographical Aspects: Childhood, Schooldays and Youth [Seite 116]
17.3.2 - (2) The Approach to a Profession in Education and the School [Seite 118]
17.3.3 - (3) Attitudes Towards Art Class [Seite 118]
17.3.4 - (4) The Concepts of Art Education as a Background for Art Educational Practice [Seite 120]
17.4 - Conclusion [Seite 121]
17.5 - References [Seite 121]
18 - Play and Language (Johannes Kirschenmann) [Seite 125]
18.1 - Abstract [Seite 125]
18.2 - Playful Reconstructions [Seite 126]
18.3 - Language Educates - As Does Artistic Play [Seite 127]
18.4 - References [Seite 129]
19 - Aesthetic Delight (Michael Parmentier) [Seite 131]
20 - Play (Gundel Mattenklott) [Seite 137]
21 - The Road Towards Intercultural/Transcultural Arts Education (Ernst Wagner) [Seite 141]
22 - BDK - Association for Art Education (Marc Fritzsche & Martin Klinkner) [Seite 149]
22.1 - Aims of BDK - Association for Art Education [Seite 149]
22.2 - Images for Education [Seite 149]
22.3 - Sources [Seite 150]
23 - Databases and Further Resources. Publications in National and International Contexts [Seite 151]
24 - Authors [Seite 153]
