Reflections of the Social Models in the Formation Process of the Professional Identity and Teaching of Contemporary Art

Author(s):

Helga Correa(presenting / submitting)

Conference:

ECER 2015

Network:

29. Research on Arts Education

Format:

Paper

Session Information

29 SES 02, Teaching the arts in school

Paper Session

Time:

2015-09-08

15:15-16:45

Room:

557.Oktatóterem [C]

Chair:

Catarina Almeida

Contribution

In our recent research concerning the formation of professional identity of teachers in the field of visual arts in the city of Barcelona, we had seen the moment of transition between two social models in which professionals rework their work performance and their professional identities. This paper proposes a reflection about the notions that teachers who was primarily specialized in engraving and nowadays act in the field of contemporary art experience the intersections between corporate and communitymodels as targeted by DUBAR (2010). That points to the need for continuous questioning about the relationships established between the structures of teaching art in the current structures of the contemporary society.

Introduction

The relationship between art and artist with society also changed because the society itself has changed. We now live in a time marked by digital solutions, by changes in the modes of production and in the political systems, which reverberate in ways of thinking, acting, producing and reproducing knowledge, which of course, is reflected into artistic production. That is, this dynamic process of change, where we have no certainties, but with a relativism of values, a continuous movement of ideas, systems and technologies, art has also acquired new features.

The current art is hybrid, plural; there are several trends and their "schools", as there are means and relations between them. CAUQUELIN (2005)

In this articulation, the concept of graphic artist also extends since he uses references of graphic activity, appropriates concepts and elaborations from this and from other areas to weave new reflections on the relationships that we have established with the contemporary world.

The relationship with the digital culture shows signs of a new openness and the evolution of graphic space within the context of a binary image presentation, in which the notion of array and convert print and redefine itself in a new multidimensional space. In this "virtualization" of the building there is a dematerialization not only of the process of "writing", of recording, but also of the stamping process.

These different positions show how, in these discussions between stability/instability, ephemeral/permanent, enlargement/tradition are reflected the impact of the time in which we live. CASTRO (2007), RAMON (2009)

That is, art mixes even more artistic, aesthetic and conceptual matters in everyday issues. Thus, while it is correlated to the political, economic and social system, the identity of the artist actively interacts with this system, not staying apart of it, but explaining it and structuring new relationships.

Method

The relationship between professional identity/art and education: In a recent study with a biographical narrative research approach, to examine the formation of professional identities of Catalan artists, linked to tree different levels of education in the area. Following a narrative research perspective and using the methodology of professional biographies, interviews were conducted semi-structured with the subjects that associated with experiences in their workshops allowed conduct a brief reconstruction of these career paths.HERNÁNDEZ (2000), GOODSON (2004), BOLÍVAR (2002) . I realized that one of the characteristics in common, which was constituted as an identity mark of these interviewees, was the fact that the identification of these professionals to the group of ‘graphic artists’ or ‘teacher gravure’, still showed to be predominant. In the context it was clear that the curricular structure of Courses and Art Schools of the city of Barcelona in Spain continues to maintain an orientation that favors the artistic praxis, the division and hierarchy of media and the segmentation between theory and practice. PRADA (2009). However, in a world saturated with multiple images, in which the technology of image reproduction resized the production scale, it is almost paradoxical that the graphical itself keeps confined to a dynamic that defines its work space.

Expected Outcomes

Final considerations This research has led me to question the different positions of both art and teaching that mix, and that under different identity aspects, constitute and continue the education in arts and, more specifically, the professional identities of graphic artists in the city of Barcelona. Definitely, this is not an easy task, especially because of the interdependence between market, financial institutions and professional trainings reflect the corporate social model. And to work around structures and dynamics that preserve the professional identities of graphic artists, to maintain an orientation that favors the artistic praxis, the division and hierarchy of media and the segmentation between theory and practice reflect a community social model. DUBAR (2002), (1997). Naturally, there are concerns and questions about how to continue their professional practice, how to provide more space from the specificity of the graph proposal, how to be able to articulate the debate of ideas and how to broaden the reflections of multiplicity and the diffusion of image in the moment of transition between two social models in which professionals rework their work performance and their professional identities. This new and uncertain training process implies difficulties because even acting according to certain concepts, subjects remain subordinate to structures of art education, compared to the complex relations between art and society today, they are often forced to make the necessary reflection and reformulation of their artistic training. This study indicated that this specialized mode of teaching art, which still categorizes and divides different ways of thinking about the world from expressive means, continues the values that configure and maintain targets in areas and artistic identity typologies.

References

BECKER, C. in GABLIK, S. Conversations Before the End of Time. Londres, England: Thames e Hudson, 1995. BLAS, J. ¿Arte Gráfico? La Crisis de una categoría. Revista Grabado y Edición. v. I, n. 1. Madrid, España: 2006. BONET, J. La gráfica: algunas pistas españolas. In: INGRAFICA, Catálogo do Primer Festival Internacional de Grabado Contemporáneo. Ciudad de Cuenca, España: Editora Associación Hablar em Arte. 2008. CAUQUELIN, A. Teorias da arte. São Paulo, Brasil: Martins Fontes Editora Ltda., 2005. _______ Arte contemporânea, uma introdução. São Paulo, Brasil: Martins Fontes Editora Ltda., 2005. MORO, J. Un ensayo sobre grabado (A finales del siglo XX). Santander, España: Creática Ediciones, 1998. MUÑIZ, G. Costume Jewelry that Scratches the Skin. Revista Grabado y Edición. Año VI, n. 27. Madrid, España: 2011. PRADA, J. (2003) La enseñanza del arte y la universidad. [http//www.2-red.net/juanmartinprada/textsjmp/laensenanza.pdf] acessado em 31.12.2009. RAMON, J. El grabado actual: entre la artesanía y la guetonización. INGRAFICA, Catálogo do Segundo Festival Internacional de Arte Contemporâneo. Ciudad de Cuenca, España: Editora Associación Hablar em Arte. 2009. _______ Reflexiones: los procesos de la gráfica en el arte digital. In: SOLER, A; CASTRO, K. Impresión piezoeléctrica_la estampa_inyectada_ [algunas reflexiones en torno a la gráfica digital]. Vigo, España: Grupo de Investigación DX5, 2007.

Author Information

Helga Correa (presenting / submitting)

Universidade Federal de Santa Maria

Artes Visuais

Santa Maria RS

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