Zenoviy Flinta’s artistic ceramics of 1960-80s: Stages of development of the author’s creative manner and influence of artist’s painting on his artistic ceramicsand Ukrainization

The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.

(Un)seen Undulation: Reflecting on the Ripples made by Artist-Teachers and Researchers

This Artistic and Creative Inquiry (ACI) uses personal narrative to share examples of how poetry has been successfully used in both classroom and academic support settings to enhance students’ understanding of course concepts and to identity their own learning preferences. This pragmatic discussion of poetry as a teaching tool is then coupled with a poetic exploration of artist-teacher identity and how this identity influences teaching approaches. The inquiry concludes with a discussion of the power that exists when there is an awareness and ownership of the role of artist-teacher (and researcher) and the impacts that it can have on students and ultimately society.

Models of Leadership in Plato and Beyond

This book draws on Plato’s philosophy to throw light on contemporary leadership theory and practice. It combines an account of his thought with applications to modern case studies and approaches, in both politics and business. Rather than attempting to give a single ‘one-size-fits-all’ definition of leadership, his strategy was to break it into its different strands. He presents several ‘models’ of leadership, most of them images or analogies: the leader as doctor, navigator, artist, teacher, shepherd, weaver, or sower. Each model points to features of leadership that we intuitively recognize to be important (e.g. curing a social malaise, charting a new course, or weaving together the social fabric). Some were already in wide circulation in Plato’s time, like the shepherd and the navigator. What he did was to make them much richer and more complex. The book goes through the models individually, setting out the essentials of Plato’s thought and then illustrating each model with modern case studies—eighteen in total, including presidents, CEOs, and Nobel laureates. There is also a chapter comparing Plato’s models with four recent leadership approaches. Highly innovative in its approach, this book presupposes no prior knowledge of Plato, although those familiar with his philosophy will find it a fruitful way of re-reading his work. But the focus is first and foremost on leadership, rather than celebrating Plato’s achievements: the priority is to present a multi-faceted approach, which does justice to the complex phenomenon of leadership.

Introduction

Here the main themes of the book are introduced, starting with an explanation of why Plato is so relevant to understanding leadership today. We outline one of the fundamental ideas of the book: rather than attempting to give a single ‘one-size-fits-all’ definition of leadership, the best approach is a variegated one that breaks it into its different strands. Plato gives us a series of models—most of them analogies or images designed to capture important features of leadership: the models of the doctor, navigator, artist, teacher, shepherd, weaver, and sower. Since Plato’s views on leadership are mostly found in his political writings, a justification is given for using these to apply to leadership outside of the political realm, notably business.

Creativity And Pedagogical Activity Of The Academician Of The Art Academy Of Uzbekistan, Holder Of The Order Of Friendship Of Peoples - Janis Salpinkidi (Dedicated To The 75th Anniversary Of The Artist And Teacher)

This article examines the possibilities necessary for more effective assimilation of the methods of the visual arts in the preparation of pedagogical personnel in the speciality "Fine Arts" on the example of the work of the artist-teacher Janis Salpinkidi and students of his school.

Trabajo artístico detrás de los símbolos de la protesta docente

A partir del concepto de artista-docente hemos focalizado sobre las formas que asume la participación, de estos/as trabajadores/as, en las marchas y manifestaciones de reclamos salariales, convocadas por la Asociación de Trabajadores de la Educación de Neuquén (Argentina). Nos proponemos aquí realizar una etnografía de la protesta docente, prestando especial atención a los símbolos y sus representaciones plásticas y musicales. Consideraremos a estas como el resultado del trabajo artístico de un sector de la docencia militante. Nos interesará mostrar de qué manera pesa sobre estas tareas una cultura del trabajo artístico docente, atravesada por las representaciones de la Modernidad, en torno del arte y la docencia. Munidos de las herramientas provistas por la Antropología, hemos analizado la relación establecida entre el mundo simbólico y el mundo material-laboral del/la artista docente. De esa manera, a partir de un marco referencial provisto por la Historia Cultural del Arte, hemos detectado cómo “vocación” y “donación de sí”, dos categorías presentes en la concepción del artista, desde los albores de la Modernidad, se solapan con las mismas exigencias, en la construcción social de la docencia. Desde un abordaje etnográfico de la protesta gremial docente, nos interesa subrayar la dialéctica familiaridad –extrañamiento y la necesidad de considerar a las emociones como parte del estudio antropológico en terrenos como el abordado.Palabras clave: Artista-Docente. Trabajo. Protesta Gremial. Etnografía. The work behind the symbols of protest. An ethnography of the teacher marches (Neuquén 2017-2019)Abstract: Based on the concept of artist-teacher we have focused on the forms assumed by the participation from these workers in public protests and wage claims called by the Association of Education Workers of Neuquén (Argentina). We propose here to carry out an ethnography of the teacher protest, paying special attention to the symbols and their plastic and musical representations. We will consider these as the result of the artistic work of a militant teaching sector. We will be interested in showing how a culture of teaching artistic work weighs on these tasks, crossed by representations of Modernity around art and teaching. In addition to the tools provided by anthropology, we have analyzed the relationship established between the symbolic or ideetic world and the material-work world of the/the teaching artist. In this way, from a reference framework provided by the Cultural History of Art, we have detected how "vocation" and "donation of self", two categories present in the conception of the artist from the dawn of Modernity, overlap with the same requirements in the social construction of teaching. From an ethnographic approach to teacher union protest, we are interested in highlighting the dialectic familiarity -strangement and the need to consider emotions as part of anthropological study in areas such as we addressed. Keywords: Artist-Teacher. Work. Union protest. Ethnography. O trabalho por trás dos símbolos do protesto. Uma etnografia das marchas docentes. (Neuquén, 2017-2019)Resumo: A partir do conceito de artista-professor, focalizamos as formas assumidas pela participação dos professores-artistas nas marchas e manifestações de reivindicações salariais convocadas pela Associação de Trabalhadores da Educação de Neuquén (Argentina). Propomos aqui fazer uma etnografia do protesto docente, dando especial atenção aos símbolos e às suas representações plásticas e musicais. Vamos considerá-los como fruto do trabalho artístico de um setor pedagógico militante. Teremos interesse em mostrar como uma cultura do ensino do trabalho artístico pesa sobre essas tarefas, atravessada pelas representações da Modernidade em torno da arte e do ensino. Além das ferramentas fornecidas pela antropologia, analisamos a relação estabelecida entre o mundo simbólico ou ideético e o mundo material-trabalho do / do artista docente. Desse modo, a partir de um referencial proporcionado pela História Cultural da Arte, detectamos como "vocação" e "doação de si", duas categorias presentes na concepção do artista desde os primórdios da Modernidade, se sobrepõem com as mesmas exigências. na construção social do ensino. A partir de uma abordagem etnográfica ao protesto sindical docente, interessa-nos destacar a dialética familiaridade-estranhamento e a necessidade de considerar as emoções como parte do estudo antropológico em áreas como as abordadas.Palavras-chave: Professor-artista. Trabalho. Protesto de Guilda. Etnografia.

What COVID-19 has brought us to: Art, activism, and changes in social work education

This essay is a reflection about the COVID-19 pandemic from the vantage point of being on a sabbatical. As a result of the virus and global shut down, people are experiencing widespread suffering and economic devastation. The author, a professor, artist, and qualitative researcher advocates for a return to the profession’s community-based roots and an activist pedagogy. Additionally, as an artist/teacher/scholar, the author discusses the potential and importance of art and storytelling in social work education with examples of the author’s art created during the pandemic.

International Artist ‘Interactions’

In this visual article we will share experiences of an artist-in-residency project at the University of Tsukuba in Japan. The article starts by explaining the reasoning and motivations of an international artists collaboration. It explores and visually documents the context of developing a learning community of artistic practice. It visually describes a range of interactions, and peer reviewing opportunities which aimed to develop new understandings, knowledge and skills. It also highlights the use of an international artist teacher to facilitate and support the community in its exploration. A buddy system, studio-based crits, museum and gallery visits, curating, exhibiting and speaking publicly are all shown as processes for enabling the artists’ dialogue and development in an international context for making.