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»Cultural Education« is much debated. It is pivotal in sustaining a sense of community in a society that is constantly shifting. A space where differences can be explored, art exhibitions act as a superb medium for cultural and aesthetic education. They don't aspire to peace and harmony but to stage controversy. They enable multiple models of communication, open to dissent and rupture.
Education is situated in tension between public sphere and institution, amateur and professional, artist and audience. Its development needs felicitous examples as well as rigor in discussing problems towards identifying practical solutions.
»documenta 12 education« presents in two illustrated volumes the education formats with concomitant research, providing a basis for developing theory and praxis of gallery education.
These volumes are an ideal resource for people working in the fields of curating exhibitions, gallery education, youth work and cultural policy. People less familiar with cultural work will find in these books a valuable introduction to the field of gallery education.
Volume 2 focuses on a theory of gallery education, its methods and contexts, and reflects theoretically on examples presented in Volume 1. It is addressed to professionals from the field of gallery education, cultural education and formal education.
Über den Autor / die Autorin
Carmen Mörsch ist Juniorprofessorin für Materielle Kultur und ihre Didaktik an der Universität Oldenburg. Ihre Forschungsschwerpunkte sind Kunstvermittlung und kulturelle Bildung; Interdependenz von Kulturwissenschaft und Didaktik unter der Perspektive der Transkulturalität und Geschlechterdifferenz.Von 2006 bis 2007 ist sie wissenschaftliche Begleiterin und konzeptuelle Beraterin der Vermittlung auf der documenta 12.Der Landesverband der Kunstschulen ist die Fach- und Interessenvertretung der Kunstschulen in Niedersachsen.
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Art education as a social practice
