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Paradigmen der Kunstbetrachtung

Aktuelle Positionen der Rezeptionsästhetik und Museumspädagogik

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Edited By Peter J. Schneemann

Die vorliegende Publikation analysiert aktuelle Modelle der Kunstbetrachtung. Welche Vorstellungen einer idealen Beziehung zwischen Werk und Rezipienten haben sich als Leitbilder erwiesen? Erstmalig wird eine Differenzierung der von den jeweiligen Protagonisten verfolgten Interessen geleistet. In welchem Verhältnis stehen künstlerische und institutionelle Zielsetzung der Betrachterführung?
Die Beiträge internationaler Experten verfolgen künstlerische Konzeptionen ebenso wie Projekte der Vermittlung und methodologische Implikationen einer Kunstwissenschaft, die sich auf die Rezeptionsästhetik beruft.
Durch Fallstudien und pointierte Diskussionen wird die Tragweite der Fragestellung deutlich: Welche Freiheit wird der Figur des Betrachters zugebilligt, der doch als konstitutive Instanz für den Kunstbegriff so mächtig zu sein scheint?
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Opening Relational Spaces: Eamon O’Kane’s Fröbel Studios

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BARBARA BADER

Initial talk of an educational turn and of the emancipated spectator was prompted by the widespread adoption of pedagogical models in curatorial strategies and critical art projects. Historically speaking, such discussions have been merely tangential to exhibitions, thus operating in a secondary role in relation to the display of art for public consumption. More recently, discursive projects or interventions have become central to contemporary art practice; increasingly, they are also framed in terms of education, research, knowledge production and learning.

Characteristically, such discursive interventions tend to distance themselves from established formats of museum education and related official cultural pedagogies, which are commonly associated with prescriptive schooling or explication. When galleries and other art spaces commission artists and curators to initiate or reflect on pedagogical practice, this is usually undertaken in a critical register. Implied in these initiatives is not only a mistrust vis-à-vis the issue of power relationships and the practice of instruction with regard to traditional museum pedagogy, but also of the cultural hegemony, elitism and conservatism associated with museums and education more generally. Given education has historically been an intensely contested category, this explicit demarcation hardly surprises. Education has always been a key site for social, political and economic conflict, traditionally played out over content and purpose, curriculum and canon, and more recently, as a sector of service economy and a space private enterprise.1

Alternative artistic and educational formats are thus often characterised by critical cultural and...

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