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Art as experience

Art as experience Eductional a RE viE ,w 2017 vol . 69, no . 4, 523 https://doi.org/10.1080/00131911.2016.1264206 INFLUENTIAL READERS Art as experience, by John Dewey, New York, Minton, Balch & Company, 1934, £37.29 (hardcover), £12.23 (paperback), ISBN 0399531971 In Art as Experience, Dewey brings together the deep and enduring connection between art and human experience. Art is understood not as a commodity or solitary object but as an intensely meaningful expression and transg fi uration of life. At the core of his argument, Dewey underscores the necessity of approaching art’s creation and interpretation as a continuous process – a paradigm that has laid the theoretical foundation for my practice as an artist, children’s curator and PhD researcher. Like Charles Darwin, Dewey defines experience as the interaction between a being and its exterior world. The connection between art and experience is theorised as both an expression of the human who created it and within the personal experience of the viewer. The first resulting from an “impulsion” to create an outward expression of one’s internal construct through the selection and arrangement of materials, the latter being a consequence of individual interpretation. Both these perceptions are assemblages within one’s mind and are therefore always individually http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Educational Review Taylor & Francis

Art as experience

Educational Review , Volume 69 (4): 1 – Aug 8, 2017

Art as experience

Educational Review , Volume 69 (4): 1 – Aug 8, 2017

Abstract

Eductional a RE viE ,w 2017 vol . 69, no . 4, 523 https://doi.org/10.1080/00131911.2016.1264206 INFLUENTIAL READERS Art as experience, by John Dewey, New York, Minton, Balch & Company, 1934, £37.29 (hardcover), £12.23 (paperback), ISBN 0399531971 In Art as Experience, Dewey brings together the deep and enduring connection between art and human experience. Art is understood not as a commodity or solitary object but as an intensely meaningful expression and transg fi uration of life. At the core of his argument, Dewey underscores the necessity of approaching art’s creation and interpretation as a continuous process – a paradigm that has laid the theoretical foundation for my practice as an artist, children’s curator and PhD researcher. Like Charles Darwin, Dewey defines experience as the interaction between a being and its exterior world. The connection between art and experience is theorised as both an expression of the human who created it and within the personal experience of the viewer. The first resulting from an “impulsion” to create an outward expression of one’s internal construct through the selection and arrangement of materials, the latter being a consequence of individual interpretation. Both these perceptions are assemblages within one’s mind and are therefore always individually

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Publisher
Taylor & Francis
Copyright
© 2017 Louisa Penfold
ISSN
1465-3397
eISSN
0013-1911
DOI
10.1080/00131911.2016.1264206
Publisher site
See Article on Publisher Site

Abstract

Eductional a RE viE ,w 2017 vol . 69, no . 4, 523 https://doi.org/10.1080/00131911.2016.1264206 INFLUENTIAL READERS Art as experience, by John Dewey, New York, Minton, Balch & Company, 1934, £37.29 (hardcover), £12.23 (paperback), ISBN 0399531971 In Art as Experience, Dewey brings together the deep and enduring connection between art and human experience. Art is understood not as a commodity or solitary object but as an intensely meaningful expression and transg fi uration of life. At the core of his argument, Dewey underscores the necessity of approaching art’s creation and interpretation as a continuous process – a paradigm that has laid the theoretical foundation for my practice as an artist, children’s curator and PhD researcher. Like Charles Darwin, Dewey defines experience as the interaction between a being and its exterior world. The connection between art and experience is theorised as both an expression of the human who created it and within the personal experience of the viewer. The first resulting from an “impulsion” to create an outward expression of one’s internal construct through the selection and arrangement of materials, the latter being a consequence of individual interpretation. Both these perceptions are assemblages within one’s mind and are therefore always individually

Journal

Educational ReviewTaylor & Francis

Published: Aug 8, 2017

There are no references for this article.