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The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”
model is that of ‘Arts Education’ whereby the (visiting) artist is seen as a teacher helping participants to ‘develop’ to a higher stage of competence and achievement (within certain parameters). A third, and potentially more useful one is that referred to as the ‘Collaboration’ or ‘Client-led’ model where there is a degree of acceptance of the legitimacy of the perspective of the person identified as a ‘problem’. This is related to my own work which tries to go beyond these definitions and find ways to re-validate those people who have been defined as ‘invalid’ by
In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.
Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.
from the university worked on the Oscar-winning film, The King’s Speech. The university has a formal partnership with the Yorkshire Sculpture Park, which is home to a superb collection by internationally renowned sculptors; Huddersfield’s research students based there use its national arts education archive, the park’s staff use the university library, university staff have exhibited at the park and students make regular visits to draw and for inspiration and work as guides at exhibitions. The School of Music, Humanities and Media also develops arts practitioners
youth to be efficient workers. Workers. That language is so common among us now that an extraterrestrial might think we had actually lost the Cold War. ( When I was a Child I Read Books 24) Here we also find what Robinson identifies as the driving ideology held by those who actively work to devalue liberal arts education: economics. Robinson raises the notion that Americans have forsaken their identity as Citizen for that of Taxpayer ( What Are We Doing Here
-class community of Irish Americans in which he lived, and by his Roman Catholic faith. It was inculcated in him by the Church and his parochial grade school and high school MUP_Hume_Peacemaking.indd 30 11/10/2013 15:25 Thomas P. ‘Tip’ O’Neill Jr. 31 education at St John the Evangelist parish in North Cambridge. The Jesuits at his alma mater, Boston College, where he received a classical liberal arts education, further honed the importance of fairness. ‘All politics is local’ To paraphrase his eldest son, Tom III, Tip was an Irish American without a dark side. A shrewd
activity, or via school fees. The divide in resources for culture between state and fee-paying schools draws attention to larger issues within the education system. Much of this debate has been focused on England, where curriculum reform has had controversial results. In 2018 analysis of Department for Education figures conducted by the Cultural Learning Alliance (CLA) 22 suggested a crisis for arts education in schools. The CLA estimated a decline in the hours of arts teaching by 21% between 2010 and 2017, and a 20% decline in arts teacher numbers. Design and
learning. As a teacher-researcher in visual arts education I appreciate the ways formal and informal learning with artwork phenomena can enrich engagements with art-historical contexts and communicating and interpreting about artworks – art historical and aesthetic learning. As an art historian studying Japanese visual culture, I am committed to addressing the ways viewer/audience experiences of aesthetic phenomena are conditioned by enhanced knowledge of the social-cultural contexts within which these phenomena evolved, and were conceived, made and received, or against
La voce , Valori plastici , Dedalo , and Corrente were mostly members of the educated bourgeoisie, with disposable incomes that made it possible to acquire relatively expensive periodicals, a liberal arts education to understand scholarly references, and significant interest in the cultural politics of countries outside of Italy. 11 The same audiences attended the exhibitions that Ojetti organised, the schools that Fasolo designed, and the Venice and Roman Biennales where Wildt and the ‘seicentophile’ painters