New Futures in Art Education

Cover of New Futures in Art Education
 

Artlink has not only set a standard of readability that is exceptional in the field. It has stood firmly against temptations that much of the comparable literature has found irresistible. One of the most insidious of these is the invitation to embrace the artworld’s profitable association with the dealership system and the art market. Another is the pressure to acquiesce in a conception of its role as the public relations arm of the culture industry.

Donald Brook
Arts writer and philosopher

Current Issue | Issue 39:3 | September 2019

Editors: Maria Bilske is a researcher, arts writer and visual arts educator. Belinda MacGill is a lecturer and researcher in arts education at the University of South Australia.

At a time of change and diversification of the models for cultural production, this edition embraces new perspectives on visual art education across the school, university, museum and gallery sectors. Inspired by the clustering of debates and fluctuating drivers positioning art education in particular ways right now, the essays presented here are pluralistic in their views, reflecting a world-centred approach to the public education debate.

Studio view: Agatha Gothe-Snape, Save Art From Education, 2018, (detail), performed at All Schools Should be Art Schools: Symposium on Art Education, presented by Kaldor Public Art Projects and UNSW Art & Design, Sydney, 24 October 2018, posca pen on arches hot press paper. Photo: Document Photography




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