Suchergebnisse

Bien que les femmes du Québec bénéficient aujourd'hui de l'égalité de droits, grâce aux décisions de la politique gouvernementale et au mouvement des femmes qui a été centré sur la lutte contre la violence domestique, l'obtention du congé maternité et de l'égalité de rémunération, il reste encore du chemin à parcourir avant d'arriver à une égalité de fait. Mais, il faut être optimistes! Dans cette étude nous nous proposons de jeter un regard critique sur le rôle joué dans le Québec contemporain par ces éditrices, directrices et blogueuses qui sont des exemples de réussite. Il s'agira d'appuyer notre attention sur certaines protagonistes littéraires qui apportent leur contribution dans une société où les femmes continuent d'être moins payées que les hommes. Although women are better off today in Quebec, thanks to the decisions of the government policy and to the feminist movement, with its series of political campaigns for reforms on issues, such as reproductive rights, domestic violence, maternity leave, equal pay, there is still a long way to go to achieve Gender equality. But, we have to be optimistic! In this article, we propose to take a critical look at the role played in contemporary Quebec by some women newspaper editors and some popular women bloggers who broke the glass ceiling in their respective fields. We will focus on some literary protagonists who help to improve a society where they continue, despite huge changes in terms of employment, to earn less than men.

In this article our central argument is that we should be promoting creative education and that this is a necessity, not an option. How creative education is applied by and to different individuals, groups of people, in different communities, institutions and societies, historically and culturally, is dependent on how the term 'creativity' is grounded, politicised, and practised. We are told that we need new thinking in the current world crises of economics and global environmental concerns. We are also told that in education, a new critically reflexive form of creativity is in order to address the task of the age of reconciling the need for a stable, safe, ethical and empathetic world within which a productive, adaptive and innovative workforce can operate. In this article we make a case and provide evidence from several projects for how artists-in-residence transform higher education and provide teachers and learners an excellent resource for exploring a creative paradigm to guide pedagogic practices. ; This is the final version. It was first published by Science Publishing Group at http://www.sciencepublishinggroup.com/journal/paperinfo.aspx?journalid=196&doi=10.11648/j.edu.20150403.12.

The War Artists' Advisory Committee, under the chairmanship of Kenneth Clark, was established in November 1939 by the Ministry of Information 'to draw up a list of artists qualified to record the [Second World] war at home and abroad., to advise on the selection of artists from the list for War purposes and [to] advise on such questions as copyright, disposal and exhibition of works and the publication of reproductions.' It ceased operation at the end of 1945, after which time two other committees supervised the final acquisitions, and the distribution of the WAAC collection to museums and other institutions in Britain and abroad. Some 5887 paintings, drawings, prints and sculptures were eventually secured by means of funds administered by the Committee. This thesis constitutes the first systematic study of the formation of the Committee, its aims and objectives, and its policies and activities. Its often stormy relationship with the Ministry of Information is considered, with particular emphasis on disagreements over the validity of using for propaganda purposes the paintings, drawings, prints and sculptures acquired by the Committee. An analysis of the works acquired by the WAAC indicates areas in which its collecting policies betrayed unevenness or bias. The partial (if unofficial) role of the Committee as a body attempting to ensure the wartime employment of artists in capacities appropriate to their skills is considered in relation to the prospects of artists from c.1935 to 1945. Other forms of wartime employment - with government ministries, with the Armed Services, or with projects organised by individuals and institutions concerned with artists' welfare - are briefly described, and their degrees of effectiveness evaluated.

Post-industrial cities experience physical changes as they transition from manufacturing-based economies towards knowledge- and culture-based economies. Vancouver is no exception. In Vancouver's post-industrial period, combinations of both market and planning forces have converted land use from industrial and commercial to residential use, causing an increase of housing close to the Central Business District (CBD), or downtown area. The new buildings included increased amenities and design features that also increase the price of housing. As more and more new housing develops, artists are sometimes directly displaced from their studios when the buildings they occupy are sold to developers for strictly housing use and artists are evicted. More often, artists are indirectly displaced when they are unable to afford the new rent in a renovated building, or the local everyday amenities become too expensive. In these cases, artists are forced to move further away from the CBD, or face drastic increases in rent to remain in the same area. This problem will only be exasperated with time as housing prices have surpassed pre-recession levels and continue to climb. The average income of the Vancouver artist is $27,100 CAD, compared to $35,000 CAD for all BC workers, and $47,299 as the median household income in Vancouver. Artists are at a disadvantage financially as they cannot afford to compete for living and working space with other Vancouverites in terms of price. The City of Vancouver, individual artists and other organizations have strived to make affordable studio space possible for artists. The City runs several initiatives such as an Artist Studio Award program and owns artist studios that are leased to the CORE artists' co-operative. Other individual artists have banded together and secured space by forming their own studio co-operative with the help of outside organizations. Some centres have also focused on sharing common space on a rental or membership basis. To better understand the context of this issue in Vancouver, the City recently commissioned a study that produced the Cultural Facilities Priorities Plan 2008-2023 with the help of the local arts and culture community. This study has identified that increased capacity building in terms of networking as well as facility skills is needed to further advance the progress on this issue. To assist in tackling this issue, this project examines eight studies from other cities that have used innovative methods to ensure that affordable studio space is available for artists. Through an examination of the Cultural Facilities Priorities Plan as well as careful analysis of books, journals, newspaper articles, websites, policy documents and interviews, this study has found some measures that have been recently taken to address the lack of affordable artist studio space in Vancouver. However, some problems still persist including a lack of communication and co-ordination of existing information for artists on this issue. Also lacking is effective partnership between different groups interested in affordable studio space for artists. Funding is another problem as the British Columbia provincial government does not have any formal programs for arts and culture infrastructure support, even though the highest relative concentration of artists in Canada are located in Vancouver. Hill Strategies' analysis of the 2006 Census found that artists comprise 2.35% of the population in Vancouver, compared to the second-highest concentration of 1.87% in Victoria and concentrations of 1.60% in Toronto and 1.53% in Montreal (Hill, 2009). An emphasis should also be placed on creative approaches to securing long-term spaces for artists as short-term projects may only have a limited effect and could lead to increased gentrification in artist neighbourhoods. A review and update of current policy and zoning bylaws would enforce compliance at development permit and construction stages so that appropriate studio spaces for artists are created. A postoccupancy review of artist studios is also required to ensure that they are actually used by artists for the production of art. ; Applied Science, Faculty of ; Community and Regional Planning (SCARP), School of ; Unreviewed ; Graduate

In this chapter, I have used the concept of precarity to capture the lives and livelihoods of marginalized Cameroonians as portrayed in Lapiro's music. How this artist observed and most of all, depicted suffering and uncertainties of life in Cameroon was, par excellence, an unapologetic fight for human rights. For three decades, Lapiro brought to limelight the degrading socioeconomic and political circumstances in his country, strongly believing that he could draw the attention of the greedy leaders to these worsening conditions. Despite the hardship they experience daily, Lapiro saw Cameroonians as resilient people, as overcomers, as those who do not easily give up in the face of misery imposed on them. Lapiro eulogizes the economic feat of these strugglers and at the same time, accuses the power structure of negligence and dishonesty. For the fact that through his music he advocated for the downtrodden all his life, we can describe Lapiro as a religious man. He examined the deteriorating conditions of life in his country and found himself playing the role of Jeremiah, the weeping prophet.

The creation of a the Biennale of young artists in Paris takes place for the first time at the Museum of Decorative Arts at the Pavillon de Marsan (in the Louvre) in 1957. However, this event organised in favour of the so called New "Ecole de Paris" will be erased from the history of Biennales organized and narrated by Raymond Cogniat at the beginning of the French fifth Republic. This first experiment however turns out however many lessons about relationships between the government and the artists and therefore, deserves to be discussed. Its organization, which precludes any real selection and its relative failure, will give valuable indications to the future organizers of similar events, such as Raymond Cogniat and François Mathey, the Museum of Decorative Arts curator, a defender of contemporary art. ; La création d'une Biennale des jeunes artistes à Paris se déroule pour la première fois au musée des Arts décoratifs, au Pavillon de Marsan (au palais du Louvre) en 1957. Toutefois cette manifestation favorable à la nouvelle école de Paris, va être effacée de l'histoire des Biennales qui seront organisées et racontées par Raymond Cogniat au début de la Ve République. Cette première expérience s'avère pourtant riche d'enseignements sur les rapports entre les pouvoirs publics et les artistes vivants, et mérite à ce titre d'être commentée. Ses modalités d'organisation, qui écartent toute sélection réelle et son échec relatif, vont servir de leçons aux futurs organisateurs de manifestations similaires, comme Raymond Cogniat et François Mathey, conservateur musée des Arts décoratifs et promoteur de l'art vivant.

The youths of any nation are the bedrock of her development, through viable socio-political and economic contributions. They are the indispensable agents of change that can turn the table round for better, especially in developing nations. The natural psycho-biological development of youths and young adults, living in a nation going through socio-political economic and security challenges, coupled with their being nurtured in some cases through faulty parenting, have manifested in the typology of Nigerian youths. The nation now has a high number of misguided youths who portray demeaning image about Nigeria. This study, hinged on Elkind's (1967) constructionists' perspective of adolescents' cognitive development and womanists' theory as opined by Hudson-Weems (1993) and Kolawole (1997), to the effect that the desire of the agitating African women is complementarity with men in all aspects of life. With these views; exemplified with excerpts from randomly selected Yoruba dramatic, prosaic, and poetic texts, this essay submits that improper parenting, peer group pressure, excessive drive for material wealth, unemployment, poverty, inaccessibility to social and financial aids as experienced by the youths, are some of the reasons why the future appears bleak for Nigeria. The study recommends collective responsibility by parents, to become positive role models for their children by spending undivided and qualitative time with them, thus creating a good and safe environment for their children to be free to express themselves. Corporate organizations and religious bodies should pay back to the society by organizing workshops and low-capital focused entrepreneurial seminars for the youths. Government should as a matter of urgency, put massive employment generation on priority list, ensure a drastic reduction in the years of working experience required before youths' employment and ensure desirable remuneration for employed youths by individual and corporate bodies.

In The Artist Is A Thief, Gray tells the fictional story of Margaret Thatcher Gandarrwuy, an internationally famous Aboriginal artist from the Mission Hole Community in the Northern Territory. Her works command high prices - until a new painting of hers is unveiled at the opening of an Aboriginal art award in Darwin. Two characters gossip about the controversy: "The painting had been vandalised. One knife slash down the middle, and one horizontal, just like a cross. And above the cross was sprayed a slogan in red paint. It must have taken a good ten or fifteen minutes alone to do all that". "What was the slogan?" "The artist is a thief." "The artist is a thief?" "Well, that's what most people thought it looked like. The writing was pretty crude, and obviously done in a hurry. It's a reference to a well-known post-modernist idea, you see. It means something like there's no such thing as an original work any more. Everything's been stolen from somewhere else. Or maybe it was racist. Some people said the vertical and horizontal slashes were meant to be a swastika, or even a cross. Or it could have been someone quite different, and the words were just a blind". The ensuing artistic and political furore calls into question the reputation of the artist Margaret Thatcher Gandarrwuy. Rumours abound that she does not paint traditional work; that the stories she paints are not from her country; and that other artists do all the hard work for her.

In The Artist Is A Thief, Gray tells the fictional story of Margaret Thatcher Gandarrwuy, an internationally famous Aboriginal artist from the Mission Hole Community in the Northern Territory. Her works command high prices - until a new painting of hers is unveiled at the opening of an Aboriginal art award in Darwin. Two characters gossip about the controversy: "The painting had been vandalised. One knife slash down the middle, and one horizontal, just like a cross. And above the cross was sprayed a slogan in red paint. It must have taken a good ten or fifteen minutes alone to do all that". "What was the slogan?" "The artist is a thief." "The artist is a thief?" "Well, that's what most people thought it looked like. The writing was pretty crude, and obviously done in a hurry. It's a reference to a well-known post-modernist idea, you see. It means something like there's no such thing as an original work any more. Everything's been stolen from somewhere else. Or maybe it was racist. Some people said the vertical and horizontal slashes were meant to be a swastika, or even a cross. Or it could have been someone quite different, and the words were just a blind". The ensuing artistic and political furore calls into question the reputation of the artist Margaret Thatcher Gandarrwuy. Rumours abound that she does not paint traditional work; that the stories she paints are not from her country; and that other artists do all the hard work for her.

Autre titre : Les artistes français à la conquête des États-Unis . en voyages organisés ; International audience ; Hélène Trespeuch (« Les artistes français à la conquête des États-Unis. en voyages organisés ») analyse la politique culturelle du voyage entreprise dans les années 1980 par le gouvernement français. Pour concurrencer New-York, devenue depuis la Seconde Guerre mondiale la capitale de l'art occidental, la France entreprend de promouvoir l'art contemporain à l'étranger. Dans ce cadre, elle organise notamment plusieurs expositions aux États-Unis. L'article interroge l'efficacité de cette politique ainsi que sa retombée sur la carrière des artistes. Il explique que l'échec de ces expositions est dû au fait que l'initiative est clairement perçue comme gouvernementale, donc évaluée en termes de stratégie politique plutôt qu'en termes esthétiques.

Autre titre : Les artistes français à la conquête des États-Unis . en voyages organisés ; International audience ; Hélène Trespeuch (« Les artistes français à la conquête des États-Unis. en voyages organisés ») analyse la politique culturelle du voyage entreprise dans les années 1980 par le gouvernement français. Pour concurrencer New-York, devenue depuis la Seconde Guerre mondiale la capitale de l'art occidental, la France entreprend de promouvoir l'art contemporain à l'étranger. Dans ce cadre, elle organise notamment plusieurs expositions aux États-Unis. L'article interroge l'efficacité de cette politique ainsi que sa retombée sur la carrière des artistes. Il explique que l'échec de ces expositions est dû au fait que l'initiative est clairement perçue comme gouvernementale, donc évaluée en termes de stratégie politique plutôt qu'en termes esthétiques.

This is the peer reviewed version of the following article: Adams, J. (2020). Planting critical ideas: Artists reconfiguring the environmental crisis. International Journal of Art and Design Education, 39(2), 274-279, which has been published in final form at [https://doi.org/10.1111/jade.12293]. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving ; This article looks at possible artistic responses to the environmental crisis, using the theory of anti-mimesis as a means to rethink and reconfigure the ways that the crisis is understood. Initially using the nineteenth-century idea of anti-mimesis, or life imitating art, where art brings nature into existence in people's minds, the article looks at the work of contemporary artists and writers who are challenging existing assumptions about human interventions into the natural world and the ways in which thinking may be reconfigured by these responses. In particular the sluggish response of governments towards tree preservation and planting is used as an example of the potential for artist educators to revivify the thinking around this issue through their creative insights, hence the metaphor of planting critical ideas, with the aim of creating a momentum of consciousness about the preciousness and fragility of our natural environment.

This article presents an excerpt from an interview with Judy Schavrien, a transpersonal psychology scholar, poet, and artist. In the course of this dialogue, Schavrien uncovers the philosophical and psychosocial underpinnings for the artworks included in her books Alice at the Rabbithole Café and Everything Voluptuous: The Love Songs 1970-2014. The collegial conversation, unstructured in advance yet guided by the art it explores, inquires into the following: the role of the transpersonal artist-scholar; the meaning Schavrien attributes to her subject matter; the environments and people that act as catalysts; the relevance of her choice of media and process; and, finally, whether the aims in her art and research converge. It becomes clear that, for Schavrien, it is not enough for artists to be mere custodians of their culture. Their role, in her view, is to challenge conventions, cry out, provoke thought, engage multiple ways of knowing, and offer alternatives that push society forward. Her research intends the same. Both Schavrien and the interviewer perceive a participatory element in her art, her research, and the approach taken in this article that explores them.

Historically, educators and philosophers have struggled with defining the role and the value of formal curriculum and its impact on classroom praxis. As the current accountability movement dominates discussions in education, educators are pressured to implement increasingly standardized curricula. The authors of this work consider these tensions, situated first within contrasting theories on teaching and learning. They then explore the concept of phronesis through an interpretive biography of one teacher-artist, Frieda, whose praxis also demonstrates the aesthetic and artistic side of the teaching-learning process. This ninety-year- old teacher-artistlsquo3Bs experiences with implementing her curriculums suggest that it is always possible to implement onelsquo3Bs praxis, despite any potential societal or legislative impediments. Frieda23393Bs story shows how a teacherlsquo3Bs praxis can incorporate Eisnerlsquo3Bs artistic approach to curriculum as well as many of Deweylsquo3Bs principles of child-centered pedagogy.

This research considers how America's national parks can illuminate invisible histories or the stories of human's interactions with the landscape that are not visible to national park visitors. With the rise of climate change, it is important now more than ever to convey how humans alter landscapes and I maintain that artists are uniquely able to do this. I begin by addressing the ideologies that led to the creation of the National Park Services, and explain the development of Artist-in-Residence programs at national parks. I analyze the Wilderness Act of 1964 to demonstrate how it encourages whitewashing in national parks by encouraging national parks to devote resources to educating visitors about nature, more than the signs of human influence on the land. Congaree National Park and the Apostle Islands National Lakeshore are two sites that I critique for upholding the Wilderness Act of 1964. I recommend that the work of artists Kara Walker and David Brooks could respectively address the overshadowed histories of each park. Next, I discuss past successful artist partnerships at Alcatraz National Historic Site and Bandelier National Monument. The final chapter proposes a methodology for creating artist programs at parks, and applies this method to the Indiana Dunes National Park. In its entirety, this research is a timely investigation into how exhibitions by artists at national parks create more truthful representations of humans' relationship to landscape so that future generations can continue to enjoy national parks.