What Is a Work of Art?

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

SILVA, Diana G. Life experiences in the teaching experience: to teach and to learn Arts as awareness of the self and the other. Dissertation (master’s degree in Art) — Institute of Arts of Uberlândia’s Federal University, 2023 razil is a society that still faces problems in the quality of its public education. Some subjects end up having status of “minor” among teachers. Art is an example. As school subject, it’d be much closer to school entertainment and decoration than to school knowledge and learning. In this logic, the debate on serious issues such as sexual abuse, hunger and racism in childhood and adolescence would not enter the scope of Art as school subject. This study presents a research contrary to such conception. It does so by taking into account the following question as starting point: how would work the female Art school teacher interested in provoking and instigating her students as to see the relationships between art and everyday life? To unfold this issue as the research guiding line, I’ve considered my professional teaching experience in art and my memory and other forms of past recording. My general aim was to systematically understand the work of the Art teacher in an education that leads students to the critical awareness of social reality. My specific aims were to present the process of a female art teacher training; to articulate events from my past life with experiences and conditions of current personal and professional existence; to characterize the importance of the development of constant reflection through dialogue, listening and a close look at reality and its translation into art form; to outline art’s links with society in view of discussions that can lead to integral student formation. The research was developed according to the precepts of the “narrative research” method. In this sense, my research data were my memories as autobiographical writing, as well as photographs and drawings. In view of the research question, results allow me to point out the creation of diverse opportunities in art classes to think critically about social reality. The work of teaching art with intentions of social awareness can reach women in situations of social and emotional vulnerability. Art classes can create conditions for black children to reflect on racism with more openness and awareness, to the point of valuing Afro origins. Apart from the effectiveness of children's awareness, being an agent of social transformation as teacher led me to want to create conditions for mutual help and effective results in social reality. Until the end of the research underlying this work, there were nine reports of abuse events addressed to the city public protection networks.

Çağdaş sanatların yeni akımlarından ve kavramsal sanatların yaratıcı versiyonlarından biri de enstalasyon (kurulum, yerleştirme) sanatıdır. Bu sanat dalı uygulandığı mekânın fizikî gerçeğine göre biçimlenmektedir. Zira bu durumda artık sanat objesi odakta olmayıp dublör olarak bir görev üstlenmektedir. Yeni sergileme pratiklerinin sahne aldığı sanat galerileri, dijital platformlar ve asıl kahramanları olan müzelerde, sanatsal ürünler bir performans ortaya koymaktadır. Enstalasyonlar, izleyicileri ilk önce düşünsel bir yolculuğa çıkarmakta daha sonra tekrar fizikî âleme döndürmektedir. Sonuçta bu yeni programlar sergilenen eserlere bir anlam yükleme arayışının farklı bir eylemidir. İslam sanatlarının mistik, tezyini kompozisyonlarının ve daha birçok estetik yönü yüksek yapıtlarının, farklı kombinasyonları yüzyıllardır çeşitli araçlar vasıtasıyla ziyaretçilerine görsel ziyafetler sunmaktadır. Bu sebeple İslam sanatlarını ulusal ve uluslararası platformlarda özellikle yeni kuşaklarla temas kurmalarına olanak sağlayan mekanizmalardan biri olan enstalasyonlar etkili bir sanatsal iletişim aktörüdür. Doküman araştırması, tarama yöntemi ile gerçekleştirilmeye çalışılan bu incelemede, İslam sanatlarının nadide objelerinin, eserlerinin yeni medya sanatlarının çağdaş teşhir pratiklerinden olan enstalasyonlarla kurgulanmalarının müzelerdeki izleyicilerle etkileşimleri çözümlenmeye çalışılmıştır. Sonuçta bazı sanatsal etkinlikler dijital mecralarda giderek daha çok boy göstermektedir. Kadim İslam medeniyetinin en özel sanatsal içeriklerinin, teknolojiden de ilham alarak, etkili platformlar aracılığıyla yakın gelecekte kümülatif olarak daha fazla gündeme gelecekleri öngörüler dahilindedir. İslam sanatları, zengin ve çeşitli bir kültürel mirasa sahip olan İslam dünyasının sanat anlayışını belirleyen bir dizi disiplinden oluşur. Bu sanat yanı sıra tarihi ve estetik önemleriyle birlikte İslam kültürünün derinliklerine dair bir anlayış sunar. Müzeler, İslam sanatlarının korunması, sergilenmesi ve anlatılması için önemli bir ortam sağlar. Ancak, İslam sanatları enstalasyonlarının müzelerindeki performans hâlâ tartışma sorun ve zorluklar içeren bir uygulama tarzıdır. Dolayısıyla İslam sanatları enstalasyonlarının müzelerdeki etkilerini değerlendirmek için birçok faktör göz önünde bulundurulmaktadır. İslam sanatları enstalasyon tasarımlarında ilk olarak, görüntüleme ve alan düzenlemesi planlanmaktadır. İslam sanatları estalasyonları, özgün tarzları ve hassas yapısıyla dikkat çeker. Zira doğru objelerin sağlıklı bir şekilde sergilenmesi, müze katılımcılarına kalıcı ve keyifli bir deneyim sunması bakımından üzerinde durulan hassas bir konudur. İslam sanatları, İslam kültürü, tarihi, sembolizmi ve estetik değerleri gibi birçok unsuru içerir. Burada amaçla, İslam kültürünün nesneler aracılığıyla doğru bir şekilde aktarılmasını, anlaşılmasını İslam sanatlarının daha iyi bilinmesini sağlamaktır. İslam sanatları enstalasyonlarının müzelerindeki incelemeleri sanatsal, tarihsel, sosyal ve politik faktörlerce de ele alınır. İslam sanatları, kültürel çeşitlilik, inanç, tarih ve kimlik gibi konulardan elde edilen verilerden oluşmaktadır. Müzeler, İslam sanatları enstalasyonları ile İslam sanatlarını topluma nasıl sunacaklarını kurgulamaktadır. Ayrıca, müzeler, İslam sanatlarına ait eserlerin koruma altına alınması ve restorasyonu gibi teknik konularla da ilgilenir. Bu eserler, zamansal etkilere karşı hassas ve doğru koruma yöntemlerine ihtiyaç duyarlar. Bu konuda müzelerin, İslam sanatlarının nadide eserlerini uzun yıllar muhafaza edecek şekilde koruma altına alması ayrı bir uzmanlık bilgisi gerektirir. Bu araştırmanın sonucu göstermektedir ki, İslam sanatı ve mimarisinin sergilenmesinde yeni müzecilik eğilimleri, düşünce faktörleri etkili unsurlardandır. Sosyolojik olarak özel referansla, bir mekânın kullanımının kültürel ve teknik açıdan nasıl değerlendirilebileceği çağdaş bir çözümleme pratiği gerektirir. Dolayısıyla enstalasyon, sanatın özel bir dalı olarak, çeşitli materyalleri ve mekânı kullanarak keşif yaparak bilgilenilebilecek bir sanatsal faaliyettir. Enstalasyonların İslamî enstitüler yoluyla sergilenmesi de mümkündür. Örneğin, bir müzede, geleneksel İslami sanat eserleriyle birleştirilmiş modern mimari ile yapılmış enstalasyonlar sergilenebilir. Bu bağlamda İslami simgesel yapı, modern imge ve sembollerle programlanması ile birleştirilerek yeni anlamlar yaratılır. Ayrıca, İslam sanatlarının geleneksel unsurlarının farklı biçimlerine dikkat çekmek için de enstalasyonlar kullanılabilir. Ancak, İslam'ın dinin kutsallığı ve inanç prensipleri özel bir şekilde ele alınması gereken konulardır. Küratörler, bazı İslami sanat unsurlarını, dinî ritüellerle birlikte sergilediklerinde tutarlı ve titiz davranarak önemli sanatsal içerikler üretebilmektedirler.

The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.

Uspostavljanje modela filmske edukacije u srednjoj školi

Appreciation of a work of art, whether in two-dimensional or three-dimensional form, is currently widespread enough to carry out exhibitions in public spaces or exhibitions in the form of conventional spaces and virtual spaces. Many of these digital virtual exhibition platforms come with various applications for designing virtual spaces. Postgraduate students in the art study program, master of arts program, and doctoral program at the Indonesian Institute of the Arts are required not only to create creative works of art but also to be able to appreciate art exhibitions in virtual space. Seeing the condition of the development of digital technology and works of art in a virtual gallery, the ISI Surakarta Postgraduate School needs to create a model of the virtual gallery space so that postgraduate students and lecturers can use it. As a pilot project for applied arts in this virtual gallery, it is in the Studio 2 Fine Arts and Design course in the master's program with an interest in art creation. This design uses a virtual reality platform, Google Sketchup, and other 3D applications. The many advantages of this device are that it is light, easy to use, and can be accessed by all devices. The Gres virtual gallery uses the studio.panoee.com application to present a showroom for works of art and design so visitors can widely appreciate it.

This case study explores four elementary art teachers' perspectives of play-basedlearning and creativity in art education. The research questions guiding this study are: (1) What are art teachers' perspectives on play-based learning and creativity? (2) How do art teachers teach for play and creativity? (3) Why are the art teachers teaching for various levels of play and creativity? Various qualitative methods of data collection wereemployed including, observing one 45-minute art class at each of four different PublicElementary Schools, interviews and questionnaires with the four art teachers, photos ofstudents' artwork, and researcher's notes. The purpose of the study was to understandhow play for creativity development is valued in schools and if it may be used as a bestpractice for play-based learning by art educators. Results indicated that all the art teachers valued and taught for creativity to varying degrees, with one of the four art teachers declaring that she used play-based learning practices in her classroom. The other three teachers recognized the importance of play in child development although they did not specifically utilize play-based learning in their practice. The findings of the study may be helpful to other art teachers who are interested in developing students' creativity through carefully structured playful experiences.

Click to increase image sizeClick to decrease image size Notes 1. Presented in 1961 at the Stedelijk Museum, Amsterdam, March–April; Moderna Museet, Stockholm, May–September; the Louisiana Museum, Humlebaek, Denmark, September–October. 2. Billy Klüver and Robert Rauschenberg, Art in Motion – A Combined Memory, 1961, published in English for the first time in this issue. 3. The illicit act suggested by the title of work is open to interpretation. Branden Joseph provides an analysis of the work in his entry in the Combines catalogue, relating how the work connects to other of the artist's works and providing a reading of the various elements of the piece. He suggests that the incorporation of new objects into Black Market functioned as a »means of smuggling unauthorized objects … into the art museum«. »Rauschenberg's Refusal«, Robert Rauschenberg: Combines, exh. cat., Museum of Contemporary Art, Los Angeles, 2005, pp. 267–275. 4. Even after his Combine phase, Rauschenberg continued to produce innovative solutions, such as Mud Muse (1968–71), which would forge a way for sculpture away from static shapes to elements of constant varied movement and sound in a manner much more organic and variable than even Jean Tinguely had envisioned. 5. Alan R. Solomon, Robert Rauschenberg, exh. cat., Jewish Museum, New York, 1963, p. 3. 6. Solomon, 1963, pp. 1–2. 7. »The basis of Rauschenberg's position lies extraordinarily close to the aesthetic of Picasso, especially in the sense that both are involved in the tension between the illusionism of paint and the impinging presence of fragments of reality«. Solomon, 1963, p. 2. In 1965, for the show of Rauschenberg's work at the Walker Art Center, Dean Swanson repeatedly stressed the lack of social comment in Rauschenberg's art, for example: »He avoids exploiting topical references for the sake of social comment. Even the powerful image of President Kennedy that appears in several of the silk-screen paintings was chosen because it was comparatively uncontroversial«. »Robert Rauschenberg Paintings 1953–1964«, Walker Art Center, Minneapolis, 3 May-6 June, 1965. 8. Branden Joseph notes that efforts to assign specific iconographies to Rauschenberg's works have generally been in vain: »nearly three decades of such analyses (which at their most reductive condense a work's evident heterogeneity into a single sentence or illustration of a mythic event) have yielded only partial and unsatisfactory results. Indeed, those relatively few of Rauschenberg's pieces that seem to invite such readings are far outweighed by the majority that do not«. Random Order: Robert Rauschenberg and the Neo-Avant-Garde, MIT Press, Cambridge, MA, 2003, p. 11. 9. See Rauschenberg's interview with Dorothy Seckler, 21 December 1965, made for the Archives of American Art, Smithsonian Institution, available at http://www.aaa.si.edu/collections/oralhistories/transcripts/rausch65.htm. Branden Joseph discusses this work in his book, 2003, pp. 172–177. 10. Quoted in Joan Young and Susan Davidson, »Chronology«, in Walter Hopps and Susan Davidson (eds), Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York, 1997, p. 559. Reprinted in Joseph, 2003, p. 177. 11. A Time magazine article from 1964 noted: »Juxtaposed in Tracer [1963] are army helicopters, a Rubens nude, a bald eagle, a street scene, all balanced in colorful harmonies and anchored by skeletal perspective boxes. As pure forms in relation, they make amusing pictorial sense … .«, »Most Happy Fella«, Time, 18 September 1964, p. 94. Thomas Crow, in his essay in the Combines catalogue, discusses the historiography behind formal interpretations superceding iconographic ones: »Rise and Fall: Theme and Idea in the Combines of Robert Rauschenberg«, Robert Rauschenberg: Combines, 2005, pp. 244–245. 12. Solomon, 1963, p. 3. 13. Ron Eyerman and Andrew Jamison, Seeds of the Sixties, University of California Press, Berkeley, 1995, p. 2. 14. Eyerman and Jamison, 1995, pp. 5, 7. 15. The »Why We Fight Series« included a total of seven films: Prelude to War, The Nazis Strike, Divide and Conquer, The Battle of Britain, The Battle of Russia, The Battle of China, and War Comes to America. Prelude to War was first released to the Armed Forces in the fall of 1942, then to personnel in munitions factories in April 1943, and to the public at large in May 1943. It won best documentary film at the Academy Awards in 1943. 16. Quote by Gen. George C. Wallace, 1942, attributed in the film to Secretary of War, Henry L. Stimson. 17. Vice-President Henry A. Wallace, May 8, 1942. 18. Declaration of Independence, 1776. 19. Prelude to War, 1942. 20. »I do take a stance in questions like race issues and atrocities of all sorts. . . If you feel strongly [about political issues], it's going to show there. I mean, that's the only way it can come into my work. And I believe it's there … I think cultivated protest is just as dreamlike as idealism«. Seckler interview with Rauschenberg, 1965 (see note 9 above). 21. In the Truman Doctrine, at the beginning of the Cold War, Harry Truman stated, »I believe that it must be the policy of the United States to support free peoples who are resisting attempted subjugation by armed minorities or by outside pressure«, 28 April 1947. During the Berlin Blockade, in 1948, General Lucius D. Clay, US military governor in Berlin, stated on 24 June, »If we mean that we are to hold Europe against communism, we must not budge. I believe the future of democracy requires us to stay here until forced out«. 22. In the United States in the 1950s, 80% of 15- to 19-year-olds were in enrolled in school, versus less than 30% of Europeans; between 1940 and 1950, the increase in college enrollment in the United States grew by nearly 80%. National Center for Education Statistics: Thomas D. Snyder (ed.), »120 Years of American Education: A Statistical Portrait«, 1993, pp. 6, 65. Available at: http://nces.ed.gov/pubsearch/pubsinfo.asp?pubid=93442 (accessed 15 November 2006). 23. Not the least of which was the Civil Rights Act of 1964. 24. Alan Solomon, »Four Germinal Painters, Four Younger Artists«, in XXXII International Biennial Exhibition of Art, Venice 1964, United States of America, exhibition brochure/catalogue, 1964. 25. In 1964, the United States Information Agency (USIA) had charge of the American entry at the Venice Biennale. The USIA, under the auspices of Edward R. Murrow and Lois Bingham, selected Alan Solomon as the commissioner for the American section, allowing him free rein in selecting the artists and works that would be included. The USIA's participation was limited to funding, facilitating the transportation of works, and other administrative duties, such as helping with printed material. See my »Political Promotion and Institutional Patronage: How New York Displaced Paris as the Center of Contemporary Art, ca. 1955–1968«, UMI, Ann Arbor, MI, 1995, pp. 184–203. 26. USIA Memorandum, 6 April 1964. USIA Inter-office Miscellaneous Memos file – 73, Smithsonian Institution Archives, Washington, DC. For a discussion of the relevance of Cold War politics and the promotion and exhibition of American art in general and Rauschenberg's art in particular, see Boyer, 1995. Not only did the US government want to juxtapose American art and issues of freedom and democracy, it wanted to combat the (Soviet-encouraged) view of the United States as a cultural wasteland, competent merely in the areas of technology. 27. I discuss Solomon's statement regarding New York replacing Paris as the center of art, reaction to the statement, as well as the importance of American cultural success within a Cold War context (Boyer, 1995, p. 191). 28. Boyer, 1995, p.190. See, for example, D. C., »Pop'art & dollars, ou la semaine de Venise«, No. 18, Vol. II, July–August 1964, La Côte des peintres, pp. 24–27. 29. The 1947 exhibition »Advancing American Art« serves as one excellent example. Some US congressmen, who were upset by the representation of the United States by art they found incomprehensible and ugly, forced the cancellation of the international schedule of the show as well and the wholesale unloading of the artworks, which had been government property. See Advancing American Art: Politics and Aesthetics in the State Department Exhibition, 1946–48, Montgomery Museum of Fine Arts, Montgomery, Alabama, 1984. 30. Robert Sivard, Memorandum to Mr Harris, »The Venice Biennale Art Exhibit«, 14 August 1964, Record Unit 321, Box no. 9, Smithsonian Institution Archives, Washington, D.C. 31. »[Rauschenberg] … is the artist of American democracy, yearningly faithful to its clamor, its contradictions, its hope and its enormous demotic freedom, all of which find shape in his work. Other American artists have had this ambition – one thinks of Robert Henri and the Ashcan painters at the turn of the century – but none fulfilled it so well«, Robert Hughes, »The Great Permitter«, Time, 3 November 1997, p. 57. 32. Calvin Tomkins, »Master of Invention«, New Yorker, 13 October 1997, pp. 92–96. 33. It should be also noted that Rauschenberg's biography and later professional career reveal a distinct liberal bias that argues that he was aware of liberal causes early on. Rauschenberg's 1965 interview with Dorothy Seckler reveals this. And note that Rauschenberg gave the work Election as a gift to the Kennedys. He supported the space program and championed environmental causes. Evidence of his later professional allegiance to liberal causes is found in the current Smithsonian Institution traveling exhibition of Rauschenberg's art, Robert Rauschenberg, Artist-Citizen. The promotional information from the SI website states that the exhibition includes prints from 1970 to 1996 »that reverberate with Rauschenberg's commitment to making the world a better place«.

The principal concern of my paper is a distinction between two ways of appreciating works of art, characterised here in terms of the phrases ‘seeing is believing’ and ‘believing is seeing’. I examine this distinction in the light of an epistemological requirement at times at least grounded in what David Davies, in his Art as Performance, refers to as the ‘common sense theory of art appreciation’ in order to assess exactly what aspect of the philosophical approach generally known as aesthetic empiricism his account commits him to reject. I argue that the ‘experiential requirement’, if only conceived in a slightly broader way than is usual, might very well have an important role to play not only in the appropriate appreciation of works that do not demonstrate the need for such a requirement (primarily works of late modern and conceptual art), but also in the ontological account Davies himself favours.

The demand that publicly funded art museums contribute to the creation of a more socially inclusive society poses a fundamental challenge to many assumptions about what these institutions are for and to how they function. To go beyond providing mere physical access to the presence of works of art (even if this is free) to providing intellectual and emotional access to the meanings of the works of art for all potential visitors and to taking a developmental approach to visitors’ aesthetic experiences, will require changes in the conventions of art museums. Such changes often evoke real and profound opposition. Is this opposition designed to protect a valued tradition, which is coincidentally and not intentionally exclusive? Or is it that art museums, as currently conceived, are inherently exclusive? What is the relationship between aesthetic standards applied to works of art and traditions of display, and the ethical standards that shape the public services provided by art museums, which receive public subsidy either directly or through the tax system?

Art education is commonly interpreted as education in the production and appreciation of art objects. The major emphasis in practice has been upon the production of works of art, while the appreciation of art has been neglected. Recently, educators have recognized that neglect, and they have turned their attention to teaching for appreciation of art work or to esthetic education.' 2 3 4 Their aim, in general, is to improve the responses the people make to the visual environment, including works of art. Before art educators can decide if improved responses have been made, however, they need to know how people respond to works of art before those people have received formal instruction in art appreciation. Basically, investigators have used two methods of estimating children's responses to art objects. First, many investigators have noted those art works that people prefer. The second method of investigation analyzes the verbal statements that the subjects offer about works of art. Both methods of investigation have revealed valuable information about responses that people make to art works. Picture preference studies give general information about the choices people make. Essentially, the picture preference investigations show that subjects who are trained in art tend to prefer the art work preferred by art experts.5 6 Further, these studies indicate that subjects' preferences change with age.7 For instance, several studies conclude that older subjects prefer more realistically depicted art work than do younger subjects.8 9 It is important to note, however, that most picture preference studies do not give specific information about which aspects of the art objects influenced the subjects' choices. Several preference investigators do attempt to explain what influenced the subjects' choices by examining only the art work that was chosen by the subjects.'? It is possible that the reasons for preference inferred by inspecting only the art objects are different from the reasons the subjects would say influenced them. Consequently there seems to be a need for research which will uncover the factors that the subjects themselves consider to be the primary influences affecting their preference for certain works of art. Several investigators have attempted to meet this need by examining the verbal responses that subjects make to works of art. Some researchers concerned with verbal responses describe the aspects of the art work which the subjects say influence their choices, while other investigators describe the kinds of statements the subjects make about the art work.'2 13 In general, these studies also have weaknesses. Frequently, the subjects are asked to respond to extremely small black and white reproductions of colorful originals.'4 It seems evident that responses to size, detail, and color may be influenced by the inaccuracies of small reproductions. Furthermore, many subjects are asked to respond only to the art object they like.5 16 Hence, we have no way of knowing what causes people to dislike certain art objects. In addition, several studies fail to indicate how the responses were solicited.'7 18 Obviously, the method of solicitation may have conditioned the subjects to respond to certain ways or to

Art Teacher Profile and Preference Thomas M. Brewerl University of Central Florida The primary purpose of this Art Teacher Profile and Preference Survey is to better understand the educational background, educational needs, and scheduling preferences of art teachers. All too often, higher education designs programs for teachers without really exploring the interests ofthat population. Results from this study have implications for graduate programs, and also for district and state in-service programs. Some 141 of approximately 440 teachers (32.0%) responded to the survey. According to the survey, 67% of the art teachers do not have a master's degree, and 55% are in one. They are most in attending evening classes (62%) and one- or two-week summer classes (60%). Only 8 1 % of the teachers claim to have backgrounds in art/art education, and 37% received their degrees from out-of-state institutions. The teachers' interested rating is easily twice as much for studio courses as for art education, aesthetics, criticism, or art history. When the very and moderately interested categories are combined, interest in various art education courses ranges from 68% to 52%. Studio art classes range from 81% to 76%. Teachers' combined interest in aesthetics is 62%, art criticism 63%, and art history 61 %. The Art Teacher Profile and Preference Survey was conducted to better understand the educational background, educational needs, and scheduling preferences of art teachers in four central Florida school districts. The results were used to shape the graduate art education program at a state university by estimating the potential interest in the M.Ed. program and/or graduate course work. Along with this direct use of data, the survey also provides some general information and perspective about art teachers. All too often, higher education designs programs for teachers without really exploring the interests of that population. This is but one way we can better align interests and needs in art education. The findings shed some light on the education and interest of many visual art teachers. Results from this study also have implications for district and state-level in-service art programs and special workshops for art teachers. Review of Literature This study relates to the Demographic and Teacher Preparation Task Forces established by the NAEA Research Commission. The NAEA Briefing Papers (1996) served as a primary source for this review. It is somewhat surprising that so few studies have examined the educational profiles and preferences of art teachers. The surveys by Rogers (1990), Degge (1987), Jeffers (1993), and Burton (1996), vary in purpose, but do touch on the need and content in teacher preparation programs (Rogers), the highest degree held (Degge), and college major Ueffers). To these variables Burton adds the number of years teaching, and at what grade level. The purpose of the Rogers (1990) survey was to obtain information on art teacher preparation programs, and to see how these compare with the NAEA's recommendations. Of the 225 surveys sent out, 169 (75%) were returned. The survey asked specific questions about what types of classes the art teachers had to take while they were working on their degrees. Fifty-nine of the 169 respondents said that their programs equaled or exceeded the NAEA's recommendations for total credit hours in studio art and art history courses. The requirements ranged from 20 to 81 credit hours. The author says it is important to be aware of current practices in teacher preparation programs because these can suggest in practical terms what is deemed important by those in charge of drafting curricula. The Degge (1987) research article is a descriptive study of community art teachers with implications for teacher preparation and cultural policy. In this research, a questionnaire was developed which addressed four specific areas: personal background, including professional preparation; perceptions about programs and students; career goals and aspirations; and instructional aims and practices. …

The rapid social changes taking place in modern society, forming new principles of human activity. They are driven by processes of social integration and an increase in the dynamism of change, which causes diminished opportunities for sustainable development and the dominance of the situation of uncertainty. This requires educational institutions, including higher education, to train competent professionals who are able to interact effectively with the surrounding world. When education is focused on the principles of interpersonal interaction, education is manifested not only in the transfer of cultural experience, but in its transformation into inner, reflective consciousness, which makes the transition to a new state identity. From an ontological standpoint, education is a process of interaction of meanings in the world of culture, which results in changes in the world and in man. The interpersonal interaction in the context of art education, in particular on a creative basis, enriches the process of music education of students in art and pedagogical institutions of higher education with a special meaningful attitude and transformative content. The artistic and pedagogical interaction in the process of conductor and choral training helps to expand the possibilities of prospective teachers of music art to acquire the necessary meaning in the art-educational field through co-existence with works of music art, teacher and accompanist. The emotional form of meaning is the product of the transformative life of the personality of future specialist, which is developing dynamically The communicating during the process of conductor and choral training helps to develop the image of the «Ideal Self», which is formed on the basis of the «Real Self» and contains the «Self» of Others. The analysis of philosophical, psychological, art and pedagogical works is basis of concludes that interaction is a process of direct or indirect influence of objects (subjects) on each other, which causes their mutual conditionality and connection. The interpersonal creative interaction of prospective teachers of music art in the process of conductor and choral training is a complex and integral system of formation and functioning of the community «teacher – accompanist – prospective teacher of music art». It develops in conductor and choral pedagogical reality on the basis of mutual artistic and creative actions on realization of professional and specialist knowledge, skills, skills and qualities. The process of interpersonal creative interaction is characterized by the acceptance of a future specialist of a new role through the definition of the goals of personal artistic and creative development. This process accompanied by an understanding of «own place» in the system of interaction and individual values, as well as the state of satisfaction with the realization of personal performing potentials in the process of conductor and choral training. The formation of the interpersonal creative interaction will be facilitated by the use of certain pedagogical conditions: actualization of value and semantic aspects of interpersonal creative interaction of prospective teachers of music art in the process of conductor and choral training; use of synergistic potential of conducting a choral work; as well as pedagogical principles: dialogue of conductor and performance creativity, facilitative artistic-pedagogical interaction.

The purpose of the article consists of considering a wedding as a form of ceremonial-ritual "entertainment" in the fine arts of Ukraine of the XX-XXI centuries. The research methodology consists of the application of the hermeneutic method in the aspect of interpreting a wedding as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries, and as a way to preserve the national cultural code and folk traditions; analytical method - to determine the theoretical foundations of the study of the wedding as a form of ceremonial-ritual "entertainment" in the works of G. Akishina, G. Verbitsky, M. Guyda, T. Danylych, E. Neuman and other Ukrainian artists of the XX-XXI centuries. The scientific novelty of the work is that the first time the wedding is considered as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries, as a means of preserving the national Ukrainian cultural code and Ukrainian folk traditions. Conclusions. Wedding as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries F. Krichevsky, A. Kulchytskaya, M. Primachenko, G. Akishina, I. Verbitsky, G. Galaganov, M. Guyda, I. Ilko, and others, occupied a special place, not only as a rite in the system of family rituals but as one of the elements of preserving the national cultural code, a means of transmitting and preserving Ukrainian folk traditions. The works made in the style of primitivism, realism, socialist realism reflect wedding ceremonies as a dynamic spectacle that carries a magical type of thinking, combining individual self-consciousness and the collective unconscious, preserving the folk traditions of Galicia, Carpathian, and Hutsulshchyna, acquired by numerous generations of Ukrainians. A wedding as a form of ceremonial-ritual "entertainment" acts not only as a plot theme in the visual arts of the XX-XXI centuries, but also art exhibitions, art projects dedicated to the wedding theme in the visual arts, themselves act as "entertainment" since they are accompanied by a corresponding performance that carries the historical meaning of the revival of Ukrainian national traditions. An example is the exhibition of N. Onatsk "Wedding in Poltava region", which was accompanied by an interactive presentation of a fragment of the wedding ritual with the participation of the folk ensemble of Ukrainian music "Roksolania".
 Key words: fine arts, Ukrainian artists of the XX-XXI centuries, "entertainment", wedding, ceremony, ritual, Ukrainian folk traditions.

Introduction to the semiotics of Colombian art. Interpretive studies is an in-depth investigation into an aspect of art as a semiotic system that establishes relationships by renewing cultural, historical, and social meanings. Based on the pioneering works of Charles Sanders Peirce, and with the care put into recent advances in contemporary art theory, a conceptual reflection on the work of art, the corporeity and the aesthetic sign, the materiality in the work unfolds. plastic, the concept of culture and the production and disappearance of the image. Likewise, the work of some Colombian artists is analyzed and semiotic tools are presented that allow a more expeditious analysis with the ultimate aim of understanding the meaning proposed by the artistic work.The book constitutes a useful tool for artists, art teachers, teachers of criticism and art theory, as well as for the ordinary viewer and reader, who is faced daily with an agglomeration of images, which can be confusing.