GRONK Mural on Display Until February 2012 (Special Events Space) Albuquerque Museum
In conjunction with the Santa Fe Opera, during two weeks in July the Albuquerque Museum will present the internationally renowned artist Gronk as he paints a site specific and temporary wall painting. Gronk will be designing the set for this summer’s Santa Fe Opera’s production of Antonio Vivaldi’s “Griselda.”
A piece by Ben Schuman (Volcano Vista High, Albuquerque, NM) that was available for A is for Art auction on September 9, 2011
After our biased assumptions and practices have been deconstructed, then what?
What have critical analyses of art education contributed to the field? How can we build upon the insights that have been gained without falling back upon accepted practices? Traditional association of progress with change has been questioned, indicating that progress is not a straight linear construct. In response to the question of what follows deconstruction of long held ideas and practices, I am optimistic that as educators our practices somehow will address some of the inequities revealed by critical educational thought. There is a growing body of voices indicating that either/or antagonistic paradigms will not advance education in general or art education in particular.
Art education as inquiry and as practice draws upon many fields and disciplines, some dealing directly with art, such as the creation, criticism, history, and aesthetics of visual arts. Other inquiries, sometimes tangential to direct applicability, also are important to our conceptions and practice of art education. The feminist movement, conceptions of aesthetics, multiculturalism, and other social issues, such as class, although often treated separately, usually overlap in the shaping of contemporary art education. Feminist inquiry in art education serves as an example of how art education scholars’ inquiries and interpretations have been influenced by several issues raised by postmodernist thought.
“….Postmodernism demands that the audience of art become involved in the discursive process of discerning meaning. This postmodernist view of art means a very different approach to teaching about art than was contained in our previous misconceptions that meaning was given by the high priests—critics, aestheticians, and historians—who were the keepers of the truth or meaning. Instead, meaning is inextricably connected to the tangled and changing web of context to be constructed by the audience. This means that there is no single meaning or truth, but one that is constructed by all who seek to understand art….”
