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The generative impact of online crit...

Im, Sang-Bin.

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The generative impact of online critiques on individual art practice.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The generative impact of online critiques on individual art practice./
作者:	Im, Sang-Bin.
面頁冊數:	389 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .
Contained By:	Dissertation Abstracts International72-05A.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3448032
ISBN:	9781124535166

The generative impact of online critiques on individual art practice.
Im, Sang-Bin.

The generative impact of online critiques on individual art practice. - 389 p.

Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .

Thesis (Ed.D.C.T.)--Teachers College, Columbia University, 2011.

In Art and Design Schools the studio critique is an important learning experience for artists. It encourages artists to direct their attention to a diversity of worldviews and different perspectives about their work. Therefore, the studio critique has the potential to nurture artists' critical reflective thinking in a dialectic way and help them understand and develop their art.

ISBN: 9781124535166Subjects--Topical Terms:

1018432
Education, Art.

The generative impact of online critiques on individual art practice.
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245 1 4 $a The generative impact of online critiques on individual art practice.
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500 $a Source: Dissertation Abstracts International, Volume: 72-05, Section: A, page: .
500 $a Adviser: John Baldacchino.
502 $a Thesis (Ed.D.C.T.)--Teachers College, Columbia University, 2011.
520 $a In Art and Design Schools the studio critique is an important learning experience for artists. It encourages artists to direct their attention to a diversity of worldviews and different perspectives about their work. Therefore, the studio critique has the potential to nurture artists' critical reflective thinking in a dialectic way and help them understand and develop their art.
520 $a However, studio critiques fluctuate in quality. The studio critique has often been misconstrued as being either competitive or just a form of evaluation. Research on this very important pedagogical practice at College level has been partial and limited. Moreover, the traditional form of the studio critique that takes place at a physical site imposes institutional limitations such as population (peer membership), social identification (in terms of a hierarchy of perceived abilities), and convenience (often replicated and rather set in its ways). In addition, it is often not a sustainable model for many artists after graduation.
520 $a As a self-case study, this study tested two online venues that engaged the studio critique: the researcher's artist's website and a virtual exhibition in Second Life. Three online communication methods were utilized including email, chat, and instant message in Second Life. Participants were recruited online. Email and Second Life respondents provided critiques of the researcher's art.
520 $a This study suggests that online presentations and discussions of art can enrich the experience of critique for artists. The two research sites and the three communication methods had their particular strengths in generating data. This process helped the researcher identify key issues about his art, acknowledge pedagogical aspects of online critique, and reflect on being as an artist-researcher.
520 $a Online art education is still in its early stages. This research argues that online and onsite studio critiques could be complementary. Online critiques could continue to be held in and out of the studio, beyond offline limitations and where they will generate a variety of feedback as another type of "real talk." Furthermore, research by artists who practice and research their art is not as widespread as it could be. By expanding a number of self-reflexive methodological possibilities, this study encourages artist-researchers to develop their own methodology in order to envision new academic possibilities.
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