Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Creativity has a significant place in visual arts education (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014) but an understanding of creativity leads to the recognition that for something to be deemed creative, it must be both novel and appropriate in context (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). While the ‘in context’ addition to the concept of appropriate, creates more space for visual artists, the constraints of appropriateness remain. For a visual arts and design instructor, this creates tension. How do I encourage students to be creative and push boundaries, yet also teach them to be mindful of the constraints?             This paper discusses observations in undergraduate design education studio classes wherein students learn to use process and thumbnail sketches to push their concepts beyond predictable and into the radical or novel realm. A modified design thinking process provides the structure that allows students to feel confident about exploring ideas. Ongoing feedback from peers and instructor serves to both push and reign in ideas when revisions are valuable. The process requires diligence and practice. It also requires that students work to break free from either/or thinking and view their work on a continuum.             Reflecting on relevant methods for encouraging students to accept the value of novel ideas that also acknowledge the viewer is worthwhile. Encouraging students to recognize that creativity is enhanced through process while also engendering an understanding of the nature of creativity is valuable and can lead to the generation of radical ideas that have merit due not only to their novelty but also to their ‘appropriateness.’

My presentation collage looks at image productions that were individually (but also collectively) developed by my students within the concept of art education during their studies for a degree in Art Education. This is combined with the search for the semantic content of the terms "thought", "aesthetic thought" and "artistic thought". Where these aspects are concerned, I am interested in the question as to how artistic art education differs from other concepts. On the one hand, other concepts eliminate the mediation of art because there is apparently nothing to learn and therefore nothing to teach about art (see Ehmer et al.) but on the other hand, they legitimise the existence of art lessons in schools by reducing them to display procedures focusing on image analysis and/or the pragmatic examination of images (Bering, Niehoff et al.) or favour the everyday aesthetic experiences of children and young people without reaching more in-depth and independent transformational processes as a result. The ultimate question that needs to be asked is what are the educational potentials and methods of art education that focuses on training artistic thought? “If you don't want to think, you're out!” (himself) (Joseph Beuys, 1977, documenta 6 in Kassel, Germany) (Image: Beuys card)

Pandemic called covid 19 has had a significant influence in college teaching. It has transformed a face-to-face reality in a virtual reality. This research has aimed to discover the perceptions and opinions of the students about teaching in this context. We have carried out discussion groups, technical of qualitative type, within the framework of the subject of Planning and Teaching Innovation. It is taught in the Primary Educatión degree of the University of Córdoba. Different themes have been discussed in these places of reflection: evaluation, coordination, collaboration, individualism, teachers, types of modality, issues, problems, improvement proposals, theoretical and practical modules, meaningful learning…Students have participated in a voluntary, open and reflective way, expressing their opinions, which have been very constructive in planning the next teaching sessions, affected in equal measure by the health crisis. Within the final reflections, it is mainly concluded that the students prefer the follow-up of the face-to-face classes, a preferably practical evaluation and greater coordination between all the parties involved in the process. These lines of debate have also opened up new research paradigms for future work within this university.

This paper analyzes the use of the thread in classical Mythology with values and meanings in relation to women and their representation in traditional Literature and Art, studying later the usefulness of the thread in contemporary Art as an unrepresented material, but presented with a claiming sense. With all this, the study treats the thread as a vehicle of mythological, literary and artistic meaning and compares it with its new artistic use and application, turned into an element of denunciation and social value.

Today, more and more people are engaged in the art industry. Thanks to this, new works of art and productions are constantly emerging. With so many options out there, many clients, creators and producers are easily getting lost in this dazzling array of artworks, especially for art creators who find themselves in a quandary when it comes to designing. Therefore, how to best market artwork has become an important question for most of the people working in this area. Ceramics is a technique that has been maintained from ancient times to the present day, It gives rise to many productions that span form different types of merchandise all the way to works of art. Due to this, the commercialization of works of art is considered a good object of study for the author. To better support this research, the author will analyze two ceramists from the international magazine Cerámica, Pablo Picasso and contemporary ceramist Xavier Monsalvatje. From the analysis, we will learn how to create better art works and establish a good foundation for business development. At the end, the author will also show some of his works related to this topic.   Keywords: commercialization of works of art, ceramics, Pablo Picasso, Xavier Monsalvaje, design.    

The A / R / Tographic task is understood as an inquiry that promotes the doing of artistic practices and processes configured from the trilogy: Artist (Artist), Researcher (Researcher) and Teacher (Teacher) represented in the same person. Given this conformation, the following article addresses a research based on the development of creativity from the A / R / Tographic, promoted in adult women with no previous training in the arts or teaching. The study consisted of the participation of a first group of women initiators in the role of A / R / Tographers who experienced and transmitted to a second group of continuing women, explorations drawn from their own daily lives linked to the concept of creativity. For this, the research carried out was raised from a qualitative approach, describing and interpreting, through micro-ethnographies resulting from interviews and daily records produced by the participating women, the correspondences between creative action and the transfer of textual and visual experiences. Finally, the collaborating artists-teachers confirmed through their perceptions, the importance of the A / R / Tographic practice not as an isolated method and alien to the suitability of the female participants, but rather by defining the analysis based on the recognition of capacities constitutive of the human being, fostered and explored from the actions and meanings given to the experience by the collaborating women themselves.

In this brief study we introduce the analysis of spontaneous children’s photography from a mixed methodology, both qualitative, through a case study, and based on the visual arts using research instruments based on photography. The main objective of this research is to investigate the learning of Clara (4 years old) in her spontaneous processes of creating photographic images. From these analyzes we will try to develop a methodology for teaching photography. We start from two research questions: When is a child’s photograph spontaneous? And can a relationship be established between the spontaneous and learned way of creating photographs at an early age? To answer these questions, we have started from an exhaustive review of the most recent specialized literature for the design of a workshop that would allow data to be collected and analyzed in depth, as well as to propose various image creation activities that provide us with data of interest. In the discussion of data, an analysis of Clara’s spontaneous photographs has been carried out, through study series, as defined by Roldán and Marín Viadel (2012). In this analysis we have been able to identify some of the key characteristics of children’s spontaneous production based on a four-phase scheme that was developed in a previous study (Moreno Córdoba, 2020): a) spontaneous contact photography; b) experimental photography; c) enhanced photography; and d) satisfactory photograph. As a conclusion to our work, series and photo-essays are presented that show some coincidences and divergences between the two models of creation mentioned above: spontaneous and learned.

This classroom innovation proposal focuses on the context of children’s art education, through the concept of the void of sculptures, in which an active teaching-learning strategy takes place where the construction of space is the core of the study. . To this end, works by authors such as Naum Gabo, Pablo Gargallo, Jorge Oteiza or Eduardo Chillida are worked on in which both matter and emptiness coexist for the configuration of space, giving meaning, at the same time, to the three-dimensional work. From this premise, in the simultaneous coexistence of mass and air, the image is brought to the fore, addressing the three-dimensionality of sculpture in the third year of the early childhood education stage. The construction of the body through verticality in the sculpted space and embraced by the void, is addressed in the complexity of children’s artistic development, in a relationship beyond aesthetic and cognitive simplicity, giving way to a research methodology based on the arts, halfway between teaching, workshop practice, visual perception and the development of abstract thought. A proposal that seeks the autonomous work of students based on their own inquiry and exploring new formal models, such as three-dimensional forms that contain openings, matter or incomplete parts, combining both, allowing creativity, imagination and plastic empowerment to flourish from the earliest ages.

The Queen´s Dressing Room of the Alhambra in Granada is a court room situates at the top of the nasrid tower Abu–l–Hayyay. It was painted between 1539 and 1545 by two Italian artists: Julio de Aquiles and Alexander Mayner. It shows an exquisite iconography suitable to Christian taste with mythological scenes, allegories, naval scenes and grotesques elements. Thus the Renaissance pictorial languages ​​of the Queen´s Dressing Room are influenced by the narratives of the Raphaelian current. The color used by certain pigments and the shape given by the lines of the drawing create images very well studied without leaving anything to chance. These images are loaded of meanings that allude to qualities and virtues of Emperor Charles V.

We present a performative workshop in which four methods created independently by each author in their own academic space open up meanings and possibilities among them, provoked by the suggestions, affections and answers that are proposed collectively. The result is not a universal and prescriptive method that encloses the act of teaching, learning or researching in the inertias of what has already been experienced, already thought, already felt, but it is a diverse, alive, open and porous method that makes possible and acquires new meanings in the intersubjective dialogues teacher-teacher, teacher-discussant, student-discussant. We believe that methods in Art Education should allow subjective methodological paths that enable the poetic without ceasing to "serve" its academic purpose of researching, teaching, learning art.