Search

The article reports on the celebration held at the Victoria & Albert Museum in London, England in line with the launch of the Artists' Papers Register, an online register of documents relating to designers, artists and craftspeople. The register lists papers or groups of papers relating to artists and organizations in 823 repositories. Morever, by "Artists", the register does not only refer to "fine artists" but also to designers and design groups and studios, organizations, critis and art historians. Also, the register covers a wide range of topics and individuals, from the unexpected to the most prolific and talked about.

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

Friendship is a central focus in children's lives and is important for healthy development. During the Covid‐19 pandemic, children experienced restrictions on their interactions with friends. This research heard the voices of 10 children (7–11 years) in England regarding their friendships, drawing on data collected through creative participatory methods including drawings, photography and collages, and accompanying unstructured interviews. Findings provide new insights into how children endeavoured to maintain their friendships through virtual interactions, street/doorstep visits, and artwork, and how friendship disruption affected their well‐being. This paper argues for educators to heed the implications for the period of 'Covid recovery'. [ABSTRACT FROM AUTHOR]

This article presents information on the Art and Illustration Collection at the Botanical Garden, Kew in England. The art collection, which is composed of more than 200,000 original works is managed and developed by the Library, Art & Archives Team. Several photographs of art works included in the collection are presented. It points out that the art and book collection at Kew represent the history of botanical art in the last 500 years.

Background: Although there is a national curriculum for art education in the UK there are also alternative approaches in the private sector. This paper addresses the issue of the effect of these approaches on children's drawing ability., Aim: To compare the drawing ability in three drawing tasks of children in Steiner, Montessori and traditional schools., Sample: The participants were 60 school children between the ages of 5;11 and 7;2. Twenty children were tested in each type of school., Method: Each child completed three drawings: a free drawing, a scene and an observational drawing., Results: As predicted, the free and scene drawings of children in the Steiner school were rated more highly than those of children in Montessori and traditional schools. Steiner children's use of colour was also rated more highly, although they did not use more colours than the other children. Steiner children used significantly more fantasy topics in their free drawings. Further observation indicated that the Steiner children were better at using the whole page and organising their drawings into a scene; their drawings were also more detailed. Contrary to previous research Montessori children did not draw more inanimate objects and geometrical shapes or fewer people than other children. Also, contrary to the prediction, Steiner children were significantly better rather than worse than other children at observational drawing., Conclusion: The results suggest that the approach to art education in Steiner schools is conducive not only to more highly rated imaginative drawings in terms of general drawing ability and use of colour but also to more accurate and detailed observational drawings.

Abstract This contribution is an introduction to an online forum, Vivarium, at the new open¦ed web site. The site will be accessible to an audience of: educationalists, artists, producers, development agencies and funding bodies. The forum will discuss the artist as educator, the culture of art in education, and explicitly Live Art as tool for rendering social issues for exploration in the classrooms of the future. In an era of global ecologies of information, offering users data on everything from hydroponics to Derrida's text The Truth in Painting, fertile knowledge is increasingly accessed through non-hierarchical networks. In such a terrain, a new post-pedagogical approach to creativity appears essential if we hope to excite, channel and challenge young people. This paper charts a series of critical issues that readers are invited to develop and discuss online, but perhaps more importantly signifies potential topics that might return in a series of subsequent dialogues commissioned by the Arts Council England for Vivarium. The broader aim of Vivarium is to create a context to frame potential initiatives that might be delivered through Creative Partnerships, the unprecedented Arts Council England initiative, promoting cultural and creative activity for young people. [ABSTRACT FROM AUTHOR]

This paper describes a partnership project between Hazel Grove High School, Stockport and Cornerhouse Gallery, Manchester, during June 2001. In celebration of National Children's Art Day, all year 10 students (14-15 year olds) spent a full day at the Cornerhouse, engaging with different types of manga (the Japanese word for comic). Pupils explored its diversity and developed their own storyboards and graphic styles. Pupils worked alongside artist, Adela Jones, with each pupil making their own sculptural comic book at school the following week. All artwork produced was exhibited either at the Cornerhouse or at school in celebration of the project. This was a unique experience for all pupils and staff, and the outcomes of the project exceeded all expectations. [ABSTRACT FROM AUTHOR]

Background: Our study aimed to evaluate to what extent Zero2 Expo's 'Birthing a Better Future', a co‐created multimedia exhibition, was effective in raising awareness on the importance of the first 1001 days of life and explore what refinements would help to optimize the impact of future exhibitions. Methods: We conducted a mixed‐methods evaluation of the exhibition delivered in the John Radcliffe Hospital, Oxford. Through convenience sampling, 14 participants were selected to participate in 12 structured interviews and 19 participants completed a questionnaire. Interviews were thematically analysed alongside quantitative analysis of questionnaire responses through Likert scales. Results: The majority (78.6%, n = 11/14) of participants who completed the questionnaire either agreed or strongly agreed that the exhibition raised their awareness about the first 1001 days of life. This was supported by the analysis of interviews. The use of art was found to provoke an emotional engagement from participants. Participants felt that the length of the written pieces and location of the exhibition were important factors for designers to consider in future exhibitions. Conclusion: This study demonstrated that multimedia exhibitions, combining science with art, may be an effective way to raise awareness of public health messages. Engaging with key stakeholders will be an essential step in order to improve future public health exhibitions. Public Contribution: When designing the study, the public reviewed the study tools, which were refined based on their feedback. At every phase of the study, members of the public who are artists co‐created the exhibition content. [ABSTRACT FROM AUTHOR]

The ongoing marketisation of higher education in England can be understood both conceptually – in terms of its ideological commitment to competition and accountability; and practically – in terms of the way that it has altered higher education structurally in a variety of ways. Methods of standardisation and quantification offer validation and reward to institutions through criteria aligned with marketised principles, leading to institutions shaping their operations to suit these forms of justification. Historically, many arts subjects have operated conceptually and organisationally outside the traditional higher education paradigm, and pedagogic approaches and values that are attributable to this subject area could clash with marketised understandings of education, which are becoming more prevalent and influential. This article presents analysis of reflections from creative arts educational practitioners working within higher education institutions in England on explorations of an ontology of the creative arts, as well as experiences of the marketisation process. A series of values relating to the concept of 'the personal', inherent to the creative arts are discussed and an exploration of how these principles clash with the priorities of the marketised educational economy are articulated. The values and principles that are inherent to educators and practitioners working in the creative arts are competing with 'marketised' motives imposed on them by the institutions in which they work. [ABSTRACT FROM AUTHOR]

In this article we discuss our creative research on and with a contested coastal community on one of the UK's last existing plotlands, the humberston Fitties. Plotlands can be briefly defined as places where individuals have historically self‐built holiday houses. This 56‐acre strip of land with 319 chalets is on the Humber estuary and lies close to Cleethorpes, a seaside resort, and Grimsby, a seaport now facing post‐industrial decline. Our cross‐disciplinary collaborative practice between poetry and visual art explores open, environmentally aware engagements and methodologies with landscape and rural place. We investigate the relation of social, environmental and energy politics, looking out to land and sea and back to the community. Our results include original art and poetry presented innovatively together in exhibitions and books, in addition to local people's responses to our methodologies and the work itself. [ABSTRACT FROM AUTHOR]

The paper charts the progress of the ‘Window Sills’ project in Exeter, UK which brings together artists, art students, cultural organisations, and the community in a plan for urban renewal. Seeking to loosen boundaries, it uses the idea of ‘thirdspace’ to question the notion of public and private space, using the city's and its river's constant changes as an analogy. The window and the window sill become the interface where the project seeks a transformational act in the lives of those involved by locating the experience in the local and the personal, although the implications cross much wider boundaries. [ABSTRACT FROM AUTHOR]