ART, SPACE, EDUCATION: Studies of international literature of art education


Emil, G; Kárpati, A.; Pataky, G. ; Illés, A ( Org,)


Language: Hungarian

When we compiled this volume, we had a difficult time going over the more than 500 lectures and selecting the ones that would be of interest to our Hungarian readers. In the end, 30 were chosen; for reasons of constraint, we excluded both the works of Hungarian lecturers and the material of the exhibitions. Most pieces (14) give a European overview, while the rest are concerned with other parts of the world: North America (6), the Far East (4), South America – to be specific, Brazil (2) and Africa (2).

The chapter The contribution of sciences shows how sciences bordering pedagogy – psychology, sociology, anthropology and communication theory – help to systematise and understand educational contents. Socially committed visual education is an approach applied throughout the world, which sees taking on a social role as the purpose of art and art education. In our collection, an American, an Israeli and a Nigerian author recommend similar practices in the vastly different environments of their respective countries. Curriculum theory and methodological practice is deservedly the longest chapter of the book, as it represents the mainstream of visual education. Upon choosing the studies for this chapter, our main priority was the quality of the article, as it would have been impossible to include everything that can be counted as good practice. Authentic pedagogical assessment – the chapter containing possibly the most scientific results – includes four studies from the best professionals of the field, selected from the material of the Research Pre-Conference. In Virtual art spaces, four studies discuss the areas where today’s most typical genre touches upon school and education. The last chapter, Museum pedagogy in visual education, offers Italian, Brazilian, Malaysian and Japanese results to professionals of that field, which is new but already very influential in Hungary.

We hope that art teachers, museum pedagogues and visual educators working in higher education alike will find interesting, novel thoughts in the book. Even though we cannot replicate the personal, lively feeling that comes with experiencing a conference firsthand, we hope that the rich and current content of the selected studies will provide visual educators with the strength they need to do their fine but fatiguing work.

The Editors

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