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The book considers different art school models—innovative graduate programs, independent stand-alone schools and art schools which are departments or schools of major research universities and the problems they face operating in what James Elkins describes as “marginalized in university life.” Rethinking the Contemporary Art School sheds light on the debates surrounding the appropriate terminal degree for university-level teaching in the arts and concludes with essays on new media, examining whether the contemporary art school offers the right context for this discipline. The anthology includes contributions from Su Baker, Bruce Barber, Mikkel Bogh, Juli Carson and Bruce Yonemoto, Edward Colless, Jay Coogan, Luc Courchesne, Sara Diamond, Lauren Ewing, Gary Pearson, Bill Seaman, and Jeremy Welsh.

775 Kunstonderwijs --- 373.67 --- 727.3 --- Doctoraat in de kunsten --- Kunst- en architectuuronderwijs ; 21ste eeuw --- Kunstonderwijs ; 21ste eeuw --- Onderwijs ; wetenschappelijk onderzoek --- Onderzoek in de kunsten --- PhD --- academisering --- doctoraat in de kunst --- eenentwintigste eeuw --- kunst --- kunstonderwijs --- nieuwe media --- onderzoek in de kunsten --- 700.8 --- Hoger onderwijs --- Kunstonderwijs --- Wetenschappelijk onderzoek --- artistiek onderzoek (onderzoek in de kunsten) --- Onderwijs ; kunst- architectuuronderwijs --- Gebouwen voor opleiding en wetenschap ; universiteiten, hogescholen --- Beeldende kunst, beroep en opleiding --- art education --- Art --- Higher education --- Art schools --- Educational innovations --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Education --- Innovations, Educational --- Technological change in education --- Educational planning --- Educational change --- Educational technology --- Schools --- Study and teaching (Higher) --- Innovations --- Technological innovations --- Experimental methods --- Study and teaching --- departement Beeldende Kunst 10 --- kunstacademie --- Art, Primitive

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The definitive reference text on curation both inside and outside the museum A Companion to Curation is the first collection of its kind, assembling the knowledge and experience of prominent curators, artists, art historians, scholars, and theorists in one comprehensive volume. Part of the Blackwell Companion series, this much-needed book provides up-to-date information and valuable insights on the field of curatorial studies and curation in the visual arts. Accessible and engaging chapters cover diverse, contemporary methods of curation, its origin and history, current and emerging approaches within the profession, and more. This timely publication fills a significant gap in literature on the role of the curator, the art and science of curating, and the historical arc of the field from the 17th century to the present. The Companion explores topics such as global developments in contemporary indigenous art, Asian and Chinese art since the 1980s, feminist and queer feminist curatorial practices, and new curatorial strategies beyond the museum. This unique volume: Offers readers a wide range of perspectives on curating in both theory and practice Includes coverage of curation outside of the Eurocentric and Anglosphere art worlds Presents clear and comprehensible information valuable for specialists and novices alike Discusses the movements, models, people and politics of curating Provides guidance on curating in a globalized world Broad in scope and detailed in content, A Companion to Curation is an essential text for professionals engaged in varied forms of curation, teachers and students of museum studies, and readers interested in the workings of the art world, museums, benefactors, and curators.

Art museums --- Curatorship

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Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This third volume in the series, What Do Artists Know?, is about the education of artists. The MFA degree is notoriously poorly conceptualized, and now it is giving way to the PhD in art practice. Meanwhile, conversations on freshman courses in studio art continue to be bogged down by conflicting agendas. This book is about the theories that underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations. The contributors are Areti Adamopoulou, Glenn Adamson, Rina Arya, Louisa Avgita, Jan Baetens, Su Baker, Ciarín Benson, Andrew Blackley, Jeroen Boomgaard, Brad Buckley, William Conger, John Conomos, Christopher Csikszentmihályi, Anders Dahlgren, Jonathan Dronsfield, Marta Edling, Laurie Fendrich, Michael Fotiadis, Christopher Frayling, Miguel González Virgen, R.E.H. Gordon, Charles Green, Vanalyne Green, Barbara Jaffee, Tom McGuirk, William Marotti, Robert Nelson, Håkan Nilsson, Saul Ostrow, Daniel Palmer, Peter Plagens, Stephan Schmidt-Wulffen, Howard Singerman, Henk Slager, George Smith, Martin Søberg, Ann Sobiech Munson, Roy Sorensen, Bert Taken, Hilde Van Gelder, Frank Vigneron, Janneke Wesseling, Frances Whitehead, Gary Willis, and Yeung Yang.

Art --- Study and teaching --- Anders Dahlgren. --- Bert Taken. --- Brad Buckley. --- Charles Green. --- Gary Willis. --- George Smith. --- Glenn Adamson. --- Henk Slager. --- Howard Singerman. --- Hákan Nilsson. --- Jan Baetens. --- Janneke Wesseling. --- Jeroen Boomgaard. --- John Conomos. --- Laurie Fendrich. --- Louisa Avgita. --- Martin Søberg. --- Michael Fotiadis. --- Peter Plagens. --- Rina Arya. --- Robert Nelson. --- Su Baker. --- Tom McGuirk. --- Vanalyne Green. --- William Conger. --- Yeung Yang.