Vrouwelijke kunstenaars zijn vaak in de vergetelheid geraakt of in de schaduw gebleven van 'de grote meesters'. Immers, de kunstgeschiedenis is hoofdzakelijk gericht op 'dead white male artists'. Het is nog steeds overduidelijk zijn verhaal (his story) dat de canon van de kunstgeschiedenis bepaalt. Vandaag de dag is er nog steeds geen sprake van gelijkwaardigheid tussen mannelijke en vrouwelijke kunstenaars. Zolang wij uitsluitend de traditionele canon der (kunst)geschiedenis voorgeschoteld krijgen, blijft de geschiedenis er een van helden en overwinnaars, van oorlogen en rooftochten. Ook de mythe van het 'oerpatriarchaat' wordt dan in stand gehouden. In dit boek ontrafelt kunsthistorica Karin Haanappel deze mythe. Zij laat ons een heel andere wereld ervaren, een wereld waarvan ook vrouwen deel uitmaken en waarin niet-westerse en prehistorische culturen eveneens van belang blijken te zijn
In deze rubriek worden zowel methodologieboeken besproken als onderzoeksrapportages, bij voorkeur van Nederlandstalige auteurs. Auteurs krijgen de gelegenheid om op een recensie te reageren. Op de website www.kwalon.nl worden regelmatig boeken ter recensie aangeboden. Wie een boek wil bespreken (al dan niet uit dat aanbod), kan zich richten tot Irene Jonkers: i.jonkers@nyenrode.nl.
Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
With the promotion of lifelong learning, foreign museums pay considerable attention to adult education and are engaged in their art education by developing different specialized educational programmes. However, Lithuanian museums lack such programmes and work experience of adult teaching. The absence of scientific data on what particularities of adult education are displayed during educational activities in Lithuanian museums posed a problem for the study and showed that little research has been conducted in this field. The research focused on the particularities of adult art education in the activities of art museums and aimed at revealing them. To that end, the paper sets: 1) to discuss psychological and sociological development characteristics of adults; 2) to describe the conception of museum education, its forms of activities and aspects of development; 3) to reveal the specifics of adult education in the museum educational activities and the possibilities for art education; and 4) to look at the particularities of adult art education while carrying out educational activities in the museum of art. The research methods employed systematic analysis of scientific sources and the legislation regulating educational activities of the museums, the unstructured interview, the semi-structured interview, and the quantitative data analysis. The research produced the following results: 1. Stages of adult development are better determined by social rather than biological age of a person since the former has a greater impact on maturity of the person. 2. Museum education presents learning possibilities in the museum environment where displayed exhibits employed for educational purposes generate aesthetical satisfaction. Educational activities of art museums produce art users and art lovers. 3. The need for learning (training, teaching, etc.) and self-expression (creativeness, opportunities, etc.), the need for satisfaction/emotional expression and social interaction, and educational methods employed by the museum (practical activities, narration/presentation) determine the particularities of adult art education in the educational activities of art museums. 4. The aspects of educational methods, teaching/training and satisfaction/emotional expression identified through the interview of educators confirmed the needs expressed by adults.
