DOCSLIB.ORG

Shibboleth & Heterodoxy: a Comparative Study of Trends And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shibboleth & Heterodoxy: a Comparative Study of Trends And University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1994 Shibboleth & heterodoxy: a comparative study of trends and belief in contemporary and traditional ceramic art Alan Peascod University of Wollongong Recommended Citation Peascod, Alan, Shibboleth & heterodoxy: a comparative study of trends and belief in contemporary and traditional ceramic art, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 1994. http://ro.uow.edu.au/theses/929 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. SHIBBOLETH & HETERODOXY A Comparative Study of Trends and Belief in Contemporary and Traditional Ceramic Art A dissertation submitted in partial fulfilment of the requirements for the award of the degree Doctor of Creative Arts from the UNIVERSITY of WOLLONGONG by Alan Peascod Faculty of Creative Arts 1994 CERTIFICATION 1 certify that this work has not been submitted for a degree at any University or Institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Alan Peascod September 1994 SHIBBOLETH & HETERODOXY The past thirty years has seen a rapid democratisation of ceramic art education. In common with other forms of art training, ceramics has become readily accessible to a wide cross-section of the community. Not only are educational resources more plentiful but the accompanying material supplies, technical information and marketing infrastructures are considerably more sophisticated. Since the Industrial Revolution industrial practices have permeated every corner of the community psyche. We not only embrace the place of machinery but are increasingly reliant on mechanisation to make decisions for us. The consequence is the industrialisation of artistic expression and denial of the importance of spiritualism and its relationship to practice. The interest in marketing has also opened opportunities for specialists to supply ready-made materials or equipment representing a loss of control in fundamental decision-making in ceramics practice. The sophistication in media technology has also had its part to play. Promotional opportunities for practising artists now make it possible to accelerate career development at levels unheard of twenty years ago. The emphasis on self-promotion, however, is not without its risks. Despite the resource developments there is an undercurrent of concern amongst established artists and art collectors that the quality of artwork being produced and marketed is declining. The uncritical acceptance of industrial philosophic criteria is replacing important traditional methods and consensus on aesthetic altering the face of creative content. There are important lessons to be learned by appraising traditional attitudes in any artform. There are also many questions to be asked and resolved if the future of studio ceramics is to survive. The purpose of this dissertation is to evaluate the relationship between industry, ceramics education, publishing and community values in the contemporary ceramics world. The value of tradition and belief is also examined to outline some of the spiritual relationships surrounding aesthetic. By constructing a comparative analysis a definition for future directions is attempted. To my wife Ellen, Sam and Jess and to my Mother for their love and untiring support. CONTENTS Page INTRODUCTION 1 INDUSTRIALISM 15 SPIRITUALISM & AESTHETIC 32 EDUCATION 57 THE PRINTED WORD 93 CONTEMPORARY VALUES 123 CONCLUSION 130 APPENDLX 141 BIBLIOGRAPHY 147 ACKNOWLEDGMENTS The preparation of this dissertation was made possible by many colleagues in the Australian and international art teaching systems, by curators, archaeologists and historians who have patiently answered my many enquires, by administrators interested in educational and art practices or collectors, publishers and other independent observers who share a passion for ceramics as an art form. My appreciation is extended to the Faculty of Creative Arts and Wollongong University for the valuable opportunity to undertake post-graduate research. Special thanks and appreciation are extended to my supervisor Lindsay Duncan for his untiring effort, patience and wisdom during the entirety of the exhibition and dissertation preparation. I would also like thank Dr. Peter Shepherd and Dr. Sue Rowley for their encouragement and support during the progress of my work. In particular I would like to thank the following artists and teachers whose philosophical views were most helpful: Colin Pearson, Gillian Loundes, Peter Starkey, Mike Spoor, Sebastian Blackie, Mick Casson and Mike Dodd for their insights into the British educational system; to Don Reitz for his thoughts on contemporary American teaching, Robert Reid for his valuable help and philosophical introspection on industrial practice; Lothar Fischer for his assistance in viewing the German education system; to the many Australian colleagues in particular Bill Samuels, Owen Rye, Bob Allen, John Teschendorf and Don Court for their views on contemporary Australian education; to Chester Nealie whose closer acquaintance has reinforced and encouraged my own perspective. There are many who have assisted my research in the publishing world and for their valuable critical skills I would like to thank Alan Caiger-Smith and Dr. James Allan. In particular I would like to thank Janet Mansfield for her encouragement and leadership during the entirety of my career. I would like to extend my appreciation to gallery staff and owners for their assistance in setting-up and promoting the four dissertation exhibitions: the Wollongong City Art Gallery; Ceramic Art Gallery, Paddington, Sydney; Jam Factory, Adelaide and Distelfink Gallery, Melbourne. For their professional experience and inspiration I would like to thank Tatsuzo Shimaoka, Shoji Hamada, Robyn Welch, Harry Davis, John Reeves, Lucie Rie, S'ad and my teachers Peter Rushforth, Mollie Douglas, Bernie Sahm and Derek Smith who planted the first seeds. I am indebted to Professor Said el Sadr, Egyptian ceramic artist and past Dean of Ceramics, Academy of Applied Art, Cairo, Egypt for his inspiration and leading me to Islamic art and lustre technology; to Alan Caiger-Smith who gave me my first taste of constructive analysis. I would also like to extend my special thanks to Peter Wilde for his support and a restoration of faith. For their invaluable support in accessing important collections and sharing their enthusiasm for ceramic art special thanks to Dr Johanna Zick of the Archaeological Museum (Islamic) Collection, Daalem, Berlin; Dr. Ferouz Baghezadah and Mm. Ann Saurat of the Iran Bastan Museum, Teheran, Iran who gave me a deep appreciation of Persian Islamic Art as did Mdm. Bahmanir of the Ministry of Culture, Teheran; Mdm. Waffiya Ezzy, Director of the Islamic Museum, Cairo, Egypt and Dr E. Rowshadi, Baghdad Museum, Iraq. To Snr. Juan Zozaya, Archaeological Museum, Madrid, Spain, for illuminating discussions on historic Moorish Art; Don Antonio Fernandez Puertas, Director of the National Museum for Hispanic/Moorish Art, Granada, Spain; Balbinez Caviro Martinez, Director Museo Valencia de Don Juan, Madrid, Spain; Ambassador Utray, Ambassador for Spain, Canberra, (1983-1986) and Assistant Secretary Mariano Borerro Hidalgo for an overwhelming generosity in assisting my research on Maghribi culture, Spanish art and educational philosophy . I would also like to thank Curators in the British Museum system in particular Richard Gray, Manchester Museum, John Dore, Corbridge Museum, Dr. James Allan, Ashmolean Museum, Oxford for his invaluable thoughts of Islamic art and writing within the curatorial profession; to Michael Vickers, Ashmolean Museum, Oxford for presenting an entirely new perspective; Eileen Dawson, Curator of Medieval English and German Pottery, British Museum, London for her views on European industrial ceramics; Oliver Watson, Victoria and Albert Museum, London for repeated access to an extraordinary Islamic ceramics collection. Special thanks to Snr. Jame Bennet of the National Palace Museum, Barcelona for his untiring efforts on curatorial practice. I would also like to thank the staff of the Roman Museum, Cologne, the Greek and Urartrian Museums, Munich and the Hetjens Museum, Dusseldorf for views on writing in the Archaeological field; the Rijksmuseum, Amsterdam, The Netherlands for throwing important light on Islamic design principles in Europe. I am indebted to the following organisations for patiently dealing with my questions on education in ceramics as well as allowing me to see, first hand, independent training structures: Ministry for Higher Education and Islamic Culture, Teheran, Iran, for arranging my visits to the art training school in Isfahan; The Ministries for Higher Education and Culture, Cairo for enabling me to see the teaching systems at the Applied Academy and El Ghoori. The various Colleges of Art in Britain: Medway, Farnham, Cardiff, Central School, Camberwell, Cumbria and the Glasgow School of Art where I was fortunate to spend two years experiencing first hand the Scottish teaching systems. In Denmark I would like to thank Elsa Benatar for so kindly assisting the opportunity to view the art schools in Kolding and Arhuus. I am indebted to the Ministry of Information for enabling
Load more

Recommended publications
  • Grade by Grade Fine Arts Content Standards
    Montgomery County Public Schools Pre-k–12 Visual Art Curriculum Framework Standard I: Students will demonstrate the ability to perceive, interpret, and respond to ideas, experiences, and the environment through visual art. Indicator 1: Identify and describe observed form By the end of the following grades, students will know and be able to do everything in the previous grade and the following content: Pre-K Kindergarten Grade 1 Grade 2 I.1.PK.a. I.1.K.a. I.1.1.a. I.1.2.a. Identify colors, lines, shapes, and Describe colors, lines, shapes, and Describe colors, lines, shapes, textures, Describe colors, lines, shapes, textures, textures that are found in the textures found in the environment. and forms found in observed objects forms, and space found in observed environment. and the environment. objects and the environment. I.1.K.b. I.1.1.b. I.1.2.b. I.1.PK.b. Represent observed form by combining Represent observed physical qualities Represent observed physical qualities Use colors, lines, shapes, and textures colors, lines, shapes, and textures. of people, animals, and objects in the of people, animals, and objects in the to communicate observed form. environment using color, line, shape, environment using color, line, shape, texture, and form. texture, form, and space. Clarifying Example: Clarifying Example: Clarifying Example: Clarifying Example: Given examples of lines, the student Take a walk around the school property. The student describes colors, lines, Given examples of assemblage, the identifies lines found in the trunk and Find and describe colors, lines, shapes, shapes, textures, and forms observed in a student describes colors, lines, shapes, branches of a tree.
    [Show full text]
  • European Art & Decorative Arts Wall Text and Extended Labels
    European Art & Decorative Arts Wall Text and Extended Labels FIRST FLOOR The Morgan Memorial The construction of the Morgan Memorial, completed in two sections in 1910 and 1915, more than doubled the size of the original Wadsworth Atheneum that opened in 1844. The building is dedicated to Junius Spencer Morgan, whose bust by William Wetmore Story stands at the top of the western stairs. Morgan was a Hartford man who founded a banking empire, and his son, J. Pierpont Morgan, chose to build the museum’s new wing as a tribute to his father. The total cost of the Memorial—over $1,400,000—represents the largest of J. Pierpont Morgan’s generous gifts. He spent over twelve years purchasing the several properties on which the Memorial stands, and was involved in its construction until his death in 1913. Benjamin Wistar Morris, a noted New York architect, was selected to design what was to be a new home for the Wadsworth Atheneum’s art collection. It was built in the grand English Renaissance style, and finished with magnificent interior details. Four years after J. Pierpont Morgan’s death, his son, J. Pierpont Morgan Jr., followed the wishes outlined in his father’s will and gave the Wadsworth Atheneum a trove of ancient art and European decorative arts from his father’s renowned collection. Living in the Ancient World Ordinary objects found at sites from the countries surrounding the Mediterranean Sea and the Middle East reveal a great deal about daily life in the ancient world. Utensils for eating and drinking, glassware, lamps, jewelry, pottery, and stone vessels disclose the details of everyday life.
    [Show full text]
  • Movers & Shakers in American Ceramics
    A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N.
    [Show full text]
  • Philippa H Deeley Ltd Catalogue 17 Oct 2015
    Philippa H Deeley Ltd Catalogue 17 Oct 2015 1 A Pinxton porcelain teapot decorated in gilt with yellow cartouches with gilt decoration and hand hand painted landscapes of castle ruins within a painted botanical studies of pink roses, numbered square border, unmarked, pattern number 300, 3824 in gilt, and three other porcelain teacups and illustrated in Michael Bertould and Philip Miller's saucers from the same factory; Etruscan shape 'An Anthology of British Teapots', page 184, plate with serpent handle, hand painted with pink roses 1102, 17.5cm high x 26cm across - Part of a and gilt decoration, the saucer numbered 3785 in private owner collection £80.00 - £120.00 gilt, old English shape, decorated in cobalt blue 2 A Pinxton porcelain teacup and saucer, each with hand painted panels depicting birds with floral decorated with floral sprigs and hand painted gilt decoration and borders, numbered 4037 in gilt landscapes with in ornate gilt surround, unmarked, and second bell shape, decorated with a cobalt pattern no. 221, teacup 6cm high, saucer 14.7cm blue ground, gilt detail and hand painted diameter - Part of a private owner collection £30.00 landscape panels - Part of a private owner - £40.00 collection £20.00 - £30.00 3 A porcelain teapot and cream jug, possibly by 8A Three volumes by Michael Berthoud FRICS FSVA: Ridgway, with ornate gilding, cobalt blue body and 'H & R Daniel 1822-1846', 'A Copendium of British cartouches containing hand painted floral sparys, Teacups' and 'An Anthology of British Teapots' co 26cm long, 15cm high -
    [Show full text]
  • Glasunternehmen Vista Alegre Atlantis Group Und Glaswerk IVIMA, Portugal
    Pressglas-Korrespondenz 2006-2 Dieter Neumann, Ralph Sadler, SG März 2006 Glasunternehmen Vista Alegre Atlantis Group und Glaswerk IVIMA, Portugal Guten Tag Herr Neumann, tons per day in 1974, and therefore creating opportuni- ties in new markets. The Atlantis crystal was by then die Firma IVIMA ist unseres Wissens 1998 von der being exported to 20 different countries and has become "Grupo Atlantis" gekauft worden. (siehe unten) famous as one of the purest crystals in the world. Die Website ist folgende: During that same year, 1974, the glass factory in Ma- http://www.atlantis-cristais-de- rinha Grande was converted to produce automatic- alcobaca.pt/ivima/pt/flash/en/index.html made glass in Portugal, which is nowadays, commer- Anschrift und Ansprechpartner finden Sie unter: cialized under the name CRISAL GLASS. http://www.atlantis-cristais-de- In 1985 Atlantis decided do build a new factory to pro- alcobaca.pt/ivima/pt/flash/en/contactos.html. duce 10 tons of crystal per day, and moved to Casal da Mit freundlichen Grüßen, Areia, also in Alcobaça. In 1986 the company was listed António Teixeira on the Lisbon Stock Exchange. [email protected] In 1991 the production capacity of the Marinha Gran- Tauentzienstrasse 7 b/c – 10789 Berlin de factory was increased to 50 tons/day. Tel. +49 30 254106 15, Fax +49 30 254106 99 http://www.portugalinbusiness.com http://www.visitportugal.com http://www.atlantis-cristais-de- alcobaca.pt/ivima/pt/flash/en/historia.html In 1972 the factory was converted to produce top quali- ty handmade lead crystal - the Atlantis crystal, which was launched on the American market that same year.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Lot 1 Royal Worcester Cabinet Cup and Saucer, Circa 1933, Decorated
    Byrne's Auctioneers - The Fine Sale - Starts 18 Sep 2019 Lot 1 Royal Worcester cabinet cup and saucer, circa 1933, decorated with sheep in a Highland landscape by E Barker, the cup with a gilded interior, the saucer 9.5cm diameter Estimate: 80 - 120 Fees: 21% inc VAT Lot 2 Royal Worcester cabinet cup and saucer, circa 1931, decorated with a stag in a Highland landscape by James Stinton, the cup with a gilded interior, the saucer 9.5cm diameter Estimate: 80 - 120 Fees: 21% inc VAT Lot 3 Royal Worcester cabinet cup and saucer, circa 1932, decorated with a red breasted Robin by E Barker, white glazed interior and gilded border Estimate: 40 - 60 Fees: 21% inc VAT Lot 4 Royal Worcester cabinet cup and saucer, circa 1932, decorated with Highland cattle by James Stinton, the cup with a gilded interior, the saucer 9.5cm diameter Estimate: 80 - 120 Fees: 21% inc VAT Lot 5 Royal Worcester cabinet cup and saucer, circa 1932, decorated with blackberries by Kitty Blake, gilded exterior, the saucer 9.5cm diameter Estimate: 80 - 120 Fees: 21% inc VAT Lot 6 Royal Worcester cabinet cup and saucer, circa 1932, decorated with roses by Spilsbury, the cup with a gilded exterior, the saucer 9.5cm diameter Estimate: 50 - 80 Fees: 21% inc VAT Lot 7 Royal Worcester cabinet cup and saucer, circa 1926, hand decorated with fruits by F Harper, and with a gilded exterior, printed marks, the saucer 9.5cm diameter Estimate: 80 - 120 Fees: 21% inc VAT Lot 8 Chinese medallion bowl, early 20th Century, decorated in famille rose colours, Qianlong seal mark, 18.5cm diameter
    [Show full text]
  • And, If Investors Are Resident in a Member State of the European Economic Area, a Qualified Investor)
    Disclaimer THIS DOCUMENT IS AVAILABLE ONLY TO INVESTORS WHO ARE OUTSIDE THE UNITED STATES (AND, IF INVESTORS ARE RESIDENT IN A MEMBER STATE OF THE EUROPEAN ECONOMIC AREA, A QUALIFIED INVESTOR). THIS DOCUMENT MAY NOT BE DISTRIBUTED IN OR INTO AUSTRALIA, CANADA, JAPAN OR THE UNITED STATES. IMPORTANT: You must read the following before continuing. The following applies to the attached document and you are therefore required to read this disclaimer carefully before accessing, reading or making any other use of the attached document. In accessing the attached document, you agree to be bound by the following terms and conditions, including any modifications to them from time to time, each time you receive any information from us as a result of such access. You agree you will not forward, reproduce or publish this electronic transmission or the attached document to any other person. Failure to comply with this directive may result in a violation of the Securities Act or the applicable laws of other jurisdictions. Restrictions: Under no circumstances shall the attached document constitute an offer to sell or the solicitation of an offer to buy nor shall there be any sale of the securities described in the attached document in any jurisdiction in which such offer or solicitation would be unlawful. The securities described in the attached document have not been, and will not be, registered under the Securities Act, or with the securities regulatory authority of any state or other jurisdiction in the United States, and may not be offered, sold, exercised or otherwise transferred except pursuant to an exemption from, or in a transaction not subject to, the registration requirements of the Securities Act and in compliance with any applicable state law.
    [Show full text]
  • ORIENTAL and EUROPEAN CERAMICS and GLASS
    SECOND DAY’S SALE WEDNESDAY 9th JULY 2014 ORIENTAL AND EUROPEAN CERAMICS AND GLASS Commencing not before 10.00pm Oriental and European Ceramics and Glass will be on view on: Friday 4th July 9.00am to 4.00pm Saturday 5th July 9.00am to 1.00pm Sunday 6th July 2.00pm to 4.00pm Monday 7th July 9.00am to 5.15pm Tuesday 8th July 9.00am to 5.15pm Limited viewing on sale day Enquiries: Andrew Thomas Enquiries: Nic Saintey Tel: 01392 413100 Tel: 01392 413100 Email: [email protected] Email: [email protected] 321 A clear glass decanter of mallet shaped form, wheel cut with three shield shaped panels between narrow bands of printies below a facet cut neck and star cut lozenge shaped stopper, early 19th century, 30.5cm high. £180 - 220 322 An airtwist wine glass the bell shaped bowl set on a straight single series airtwist stem on a fold over foot, circa 1740-60, 18cm high. £100 - 150 326 323 An opaque twist wine glass the rounded funnel shaped bowl set on a slightly tapering double series opaque twist stem comprising a lace twist within spiral threads, on a conical foot, circa 1760-80, 14.5cm high. £80 - 120 324 A Regency cut glass water jug, probably Irish of oval form with faceted and hobnail cut decoration, star cut base, 21cm high [small chip to base of handle]. £80 - 120 325 327 328 A large Continental painted and enamelled glass vase in Lobmeyr style, applied with 327 328 eight prunts and on spreading A Rindskopf art glass vase A cameo glass vase by Fritz foot, decorated with stylised of slender garlic-shaped form, Heckert of frosted clear and flowers, foliage and iron red the green body applied with a pink colour cut with trees and cartouches on a green ground, textured and iridescent silver foliage, signed, circa 1905/10, late 19th century, 32cm high.
    [Show full text]
  • Visual Arts Curriculum
    August 2013 Ceramics I: Academic Grade Level 9, 10, 11, 12 Course Number 702 Subject Area Visual Arts Course Description This course introduces clay activities involving basic hand-building techniques, such as coil method, slab method, hollowing out and pinch method. Glazing techniques will be taught as well as techniques of clay preparation, storing of unfinished clay pieces and firing. Electric wheel throwing will be demonstrated. The final project will be of the students’ choosing and will involve a written description of the project to be accompanied with a research paper and presentation. Content Standards What aspects of the state standards does the course address? Standard 1. Students will demonstrate knowledge of the methods, materials, and techniques unique to visual arts. Standard 2. Students will demonstrate knowledge of the elements and principals design. Standard 3. Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials and techniques. Standard 4. Students will demonstrate knowledge of the processes of creating and exhibiting their own art work: drafts; critique; self -assessment; refinement; and exhibit preparation. Standard 5. Students will describe and analyze their own work and the work of others using appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation and evaluation. Standard 6. Students will describe the purposes for which works of dance, music, theater, visual arts, and architecture are created, and, when appropriate, interpret their meanings. Standard 7. Students will describe the roles of artists, patrons, cultural organizations, and art institutions in societies of the past and present. Standard 8.
    [Show full text]
  • Auction Results SA240421 Saturday, 24 April 2021
    Auction Results SA240421 Saturday, 24 April 2021 Lot No Description 2 A Victorian blue and white transfer meat plate liner printed with dog rose border to/w various other ceramics, including Royal £25.00 Worcester Astley coffee service, jasper ware, Japanese eggshell coffee service etc (box) 4 Two cut-glass ring-neck decanters and stoppers to/w three claret jugs with ep tops and give various other decanters (box) £70.00 5 Studio glass lustrous vase, signed Siddy Langley 1997 to/w an Imari cache-pot, Victorian china fruit dishes with matching £85.00 sauce tureens, Denby fruit bowl etc (box) 6 Two boxed Bilston enamel Easter eggs to/w two patch-boxes and two Halcyon Days boxes, lot also includes Victorian £65.00 rosewood tea caddy, coach lamp and eight various pewter mugs (box) 8 A Victorian Shelley blue and white cylindrical vase printed with dragons to/w various collectables including silver oddments, £40.00 Pathescope Ace projector, three Decca Toytown gramophone records, candles etc (box) 9 AnA Clarice 18th century Cliff honey-glazed style enamel dinner box with service hinged with cover, green painted banded with decoration, courting couples37 pieces in includingArcadian tureenssettings, and 9.5 cover cm wide to/w a £40.00 10 (possibly) Capodimonte box with painted interior to lid depicting 18th century family scene, Royal Doulton terrier cleaning £110.00 plate HN1158, Karl Ens owl, Dresden floral-painted heart-shaped pin-dish and an advertising jug for Worthingtons beer 11 A PottschapelMeakin pottery (Dresden) 'Nordic' Carlpattern
    [Show full text]
  • Formative Assessment in the Visual Arts
    The Artful Learning Communities project is designed to help teachers assess student learning in art, including motivating students to self- and peer-assess. Formative Assessment in the Visual Arts HEIDI ANdrade, JoaNNA HEFFEREN, and MARIA PALma lassroom assessment is a hot topic in K-12 education because of compelling evidence that assessment in the form of feedback is a powerful teaching and learning tool (Hattie & Timperley, 2007). Although formal evaluation has been anathema to many art specialists and teachers (Colwell, 2004), informal assessment in the form of feedback is not. As educators in other subjects have discovered, there are myriad ways in which assessment can not only measure and document student C learning but also—and more importantly—actually promote learning (Andrade & Cizek, 2010). This article shares examples and briefly documents the work of art specialists in Brooklyn, New York, who have experimented with the latest assess- ment techniques in order to increase student engagement and learning. The Artful Learning Communities project Our first challenge was to convince our described in this article was supported by a grant collaborators, the arts specialists, of the value from the U.S. Department of Education. The goals of assessment in arts education. Early on, we of the project were to (1) strengthen the capacity were politely told that art cannot be assessed, and of elementary and middle school arts specialists furthermore, we should not assess children’s art to assess standards-based learning in the Arts; because so doing could threaten their self-esteem (2) promote increased student achievement in and diminish their motivation to engage in Detail from Figure 3.
    [Show full text]