WorldView: Cultural Intersections in Contemporary Art

Autores/as

  • Dionne Custer Edwards Ohio State University — OSU, Ohio

DOI:

https://doi.org/10.22456/2357-9854.89345

Palabras clave:

Global Learning. Arts Learning. Contemporary Art. Film. Brazil.

Resumen

WorldView: Cultural Intersections in Contemporary Art is an art education program that allows K-12 students to engage in global cultural learning through arts learning. Each year, WorldView examines a new theme with social impact around the globe, and inserts experience with work by a contemporary artist and study as a way for learners to access and explore both pertinent global issues and topical contemporary art. Through WorldView, learners and educators engage creatively with a different social issue each year. This article will examine the program’s methods and practice, featuring WorldView: Brazil, a programmatic collaboration within the Wexner Center for the Arts. The WorldView: Brazil program incorporated Brazilian visual arts and film by centering on Cruzamentos: Contemporary Art in Brazil (exhibition), Doméstica (film by Gabriel Mascaro), and Wasteland (film by Lucy Walker). The program created a layered learning experience with art, culture, identity, social studies, and humanities.

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Biografía del autor/a

Dionne Custer Edwards, Ohio State University — OSU, Ohio

Dionne Custer Edwards writes poetry, nonfiction, and hybrid forms. She is an educator at The Wexner Center for the Arts, and created Pages, a writing program where she curates writing and arts experiences for high school students and their teachers, and co-edits an anthology of teen writing and art. She has work in or forthcoming in 3Elements Review, The Seventh Wave, Stoneboat, Tahoma Literary Review, Grist, and others. She lives in Columbus, Ohio, with her husband and three sons. Find her online at lifeandwrite.com. 

Citas

BERSSON, Robert. Why Art Education Lacks Social Relevance: A Contextual Analysis. Art Education, v. 39, n. 4, p. 41–45.1986, JSTOR, JSTOR, www.jstor.org/stable/3192988.

DOMÉSTICA. Dir. Gabriel Mascaro. Perf. Flávia Santos Silva, Helena Araújo, Dilma dos Santo Souza, Lucimar Roza. FiGa Films, 2012.

GAUDELIUS, Yvonne & SPEIRS, Pegg. (Eds.) Contemporary Issues in Art Education. Upper Saddle River, NJ: Pearson. 2002.

HORRIGAN, Bill; VERNANCIO FILHO, Paulo; LANGE, Jennifer; TEJO, Christiana & STULTS, Chris. An Idea in the Hand and a Camera in the Head. In: BREMNER, A. & SHAFER, R. (Eds.), Cruzamentos: Contemporary Art in Brazil. Columbus: Wexner Center for the Arts, 2014. (pp. 153- 163)

LAVE, Jean; WENGER, Etienne. Situated Learning: Legitimate Peripheral Participation. New York: Cambridge University Press. 1991.

ROSENBLUM, Paula. The Popular Culture and Art Education. Art Education, v. 34, n.1, p. 8-11. doi: 10.2307/3192515. 1981.

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Publicado

2018-12-30

Cómo citar

EDWARDS, Dionne Custer. WorldView: Cultural Intersections in Contemporary Art. Revista GEARTE, [S. l.], v. 5, n. 3, 2018. DOI: 10.22456/2357-9854.89345. Disponível em: https://seer.ufrgs.br/index.php/gearte/article/view/89345. Acesso em: 9 ago. 2026.

Número

Vol. 5 Núm. 3 (2018): Diálogos entre o Ensino de Artes Visuais no Brasil e em outros contextos

Sección

Diálogos entre o Ensino de Artes Visuais no Brasil e em outros contextos

Licencia

Los lectores son libres para transferir, imprimir y utilizar los artículos publicados en la Revista, a condición de que haya siempre mención explícita al (a los) autor(es) y a la Revista GEARTE y que no haya cualquier alteración en el trabajo original. Cualquier otro uso de los textos tiene que ser aprobado por el(los) autor(es) y por la Revista. Al someter un artículo a la Revista GEARTE y tenerlo aprobado, los autores están de acuerdo en ceder, sin remuneración, los siguientes derechos a la Revista: los derechos de primera publicación y el permiso para que la Revista redistribuya ese artículo y sus metadatos a los servicios de indización y referencia que sus editores juzguen apropiados.

Este periódico utiliza una Licencia de Atribución  Creative Commons 4.0 Internacional.