Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

DOI: https://doi.org/10.46502/issn.1856-7576/2024.18.02.5

Cómo citar:

Sydor, M., Pankiv, H., Drotenko, V., Yasenitska, J., & Savchyn, H. (2024). Analysis of modern approaches to interdisciplinary art education: combining art with

other fields of knowledge. Revista Eduweb, 18(2), 77-87. https://doi.org/10.46502/issn.1856-7576/2024.18.02.5

Analysis of modern approaches to interdisciplinary art

education: combining art with other fields of knowledge

Análisis de los enfoques modernos de la educación artística

interdisciplinaria: combinando el arte con otros campos del conocimiento.

Mykhailo Sydor

https://orcid.org/0000-0003-1616-6075

PhD in Art History, Associate Professor, Drohobych Ivan Franko State Pedagogical University, Drohobych,

Ukraine.

Hanna Pankiv

https://orcid.org/0000-0001-5173-9188

PhD in Art Criticism, Associate Professor, Izmail State University of Humanities, Izmail, Ukraine.

Valentyna Drotenko

https://orcid.org/0000-0002-6582-652X

PhD in Philosophy, Associate Professor, Drohobych Ivan Franko State Pedagogical University, Drohobych,

Ukraine; Associate Professor, Lviv Polytechnic National University, Lviv, Ukraine.

Janna Yasenitska

https://orcid.org/0000-0002-1845-0531

Senior Lecturer, Drohobych Ivan Franko State Pedagogical University, Drohobych, Ukraine.

Halyna Savchyn

https://orcid.org/0000-0002-0973-4014

Senior Lecturer, Drohobych Ivan Franko State Pedagogical University, Drohobych, Ukraine.

Recibido: 14/04/24

Aceptado: 30/05/24

Abstract

This article examines the relationship between three different approaches to art: aesthetic, sociological

and historical. The aim is to confirm the interdisciplinary connection between art education, on the one

hand, and the status and role of discourse in contemporary art, cultural policy, educational reforms and

institutional transformations that affect creative activity. The contemporary merger of art and theoretical

discourse can be viewed from two interrelated perspectives. On the one hand, the “educational turn” in

contemporary art shows a special interest in the production and dissemination of knowledge, which is

marked by a focus on the educational aspects of artistic activity and its potential for mediation and

intercultural communication. Using the method of literary analysis and processing of such databases as

SCOPUS, Google scholar and Research Gate, the paper analyses the growing importance of the practice

and spread of interdisciplinarity in contemporary art, its disadvantages and advantages. The results of the

presented research indicate that in the contemporary context, the concept of “artistic research” is becoming

the subject of increasingly complex discussions. Its use is becoming official and gaining scientific status,

which makes it even more problematic. The relationship between the “educational turn” and “artistic

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

research” can be seen in the context of the political economy of knowledge, as it determines the cognitive

value of contemporary art. The conclusion is that the educational turn in art opens up new opportunities

and challenges for artists in terms of combining professional activity and the creative process. Although

there are problems of disproportionality between teaching and creativity, the analysis shows that openness

to interdisciplinary discourse can contribute to the development of shared knowledge and communication

between artists and the academic community.

Keywords: Interdisciplinarity in education, integration of art, STEAM education, creative thinking, project-

based learning.

Resumen

En este artículo se discute la relación entre tres enfoques diferentes del arte: estético, sociológico e

histórico. El objetivo es confirmar la conexión interdisciplinaria de la educación artística, por un lado, y el

estatus y el papel del discurso en el arte contemporáneo, la política cultural, las reformas educativas y las

transformaciones institucionales que afectan a la actividad creativa que sale al mercado del conocimiento.

La fusión contemporánea del arte con el discurso teórico se puede ver desde dos perspectivas

interrelacionadas. Por un lado, el “giro educativo” en el arte contemporáneo muestra un interés especial

en cuestiones de producción y difusión del conocimiento, centrado en los aspectos educativos de la

actividad artística y su potencial para la mediación y la comunicación intercultural. A través del análisis

literario y el procesamiento de bases de datos como SCOPUS, Google Scholar y Research Gate, se analiza

la creciente importancia de la práctica y la difusión interdisciplinaria en el arte contemporáneo, así como

sus desventajas y ventajas. Los resultados de la investigación presentada indican que en el contexto actual,

el concepto de “investigación artística” se convierte en objeto de debates cada vez más complejos. Su uso

adquiere un carácter oficial y obtiene un estatus científico, lo que lo vuelve aún más problemático. La

relación entre el “giro educativo” y la “investigación artística” se puede ver en el contexto de la economía

política del conocimiento, ya que determina el valor cognitivo del arte contemporáneo. La conclusión es

que el giro educativo en el arte ofrece a los artistas nuevas oportunidades y desafíos relacionados con la

combinación de la actividad profesional y el proceso creativo. Aunque surgen problemas de discrepancia

entre la enseñanza y la creatividad, el análisis muestra que la apertura al discurso interdisciplinario puede

promover el desarrollo de conocimiento compartido y la comunicación entre artistas y la comunidad

académica.

Palabras clave: Іnterdisciplinariedad en la educación, integración del arte, educación STEAM,

pensamiento creativo, aprendizaje basado en proyectos.

Introduction

In contemporary art, there is a growing interest in interdisciplinary education that combines art with other

fields of knowledge. This interest emerged in the context of the questions raised by relational aesthetics

in the 1990s. The educational turn, which lasted for about ten years, reflected the convergence between

artistic creation and discourse about art, viewed from the perspective of learning and knowledge

dissemination.

This phenomenon is mainly related to the growing importance of teaching theory in art institutions since

the 1970s and the emergence of a generation of artists who considered learning and writing not only an

important part of their professional activity, but also necessary for artistic practice. To investigate this

issue, we need to turn to the works of scholars, critics, philosophers and theorists who have shown interest

in transforming art teaching into “teaching as art”.

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

According to Chifor (2023), contemporary art is undergoing an “educational turn”, which can be seen as a

shift from “teaching as art” to “art as learning”. This process is an instance and reflects the complex

relationship between education and art. Corey's (2023) work expands the horizons of experimentation with

language and speech to include research related to audience reception, institutional context, and other

aspects of artistic specificity.

Dorren (2024), considering the educational turn in the art world, offered a similar argument. In the 1990s,

the term 'performance' began to emerge through contemporary dance to refer to a variety of previously

heterogeneous practices that went beyond traditional art. Practices such as the increased value of

conversation as a means of knowledge production in a world of hypercommunication and the role of

contemporary research artists in the educational process became central to the new image of art.

As Mullen (2023) notes, the lecture-performance is considered in the context of the tradition of conceptual

conferences and the history of performance. However, it seems that such educational interpretations can

undermine the potential of this format by putting forward the concept of genre and media specificity. This

necessitates a clear definition of the lecture-performance methodology and the need to confront limitations

by problematising the status of information.

Pippin (2021) understands interdisciplinarity in art as language, visuality and the body. On the return of

discourse to the present. Taylor (2023) looks at teaching as art through the lens of contemporary lecture-

performance, trying to identify contradictions in the educational approach. He analyses the genealogy,

history and different applications of art, considering it as a more artistic genre or less autonomous, and

tries to overcome the distinction between aesthetic experience and knowledge production, between art

and non-art.

Tupan (2023) explores the role of interdisciplinarity in art in the context of representation, power and

culture, pointing out that conceptual art is becoming key in this regard as it shifts the paradigm in the

relationship between artistic work and artists' theoretical production. Historically, the tradition of theoretical

artists has its roots in the Renaissance and, in various forms, continues to this day through the avant-

gardes.

However, according to Barçin (2020), for the modernist artist, writing was not simply an alternative aimed

at aesthetic practice; it was a means of explaining a work that was never produced. This leads to the

auxiliary status of modernist artistic discourse in an interdisciplinary context, where it was subordinated to

plastic production and served to explain what was excluded rather than to define its own essence. Thus,

the works of Malevich, Mondrian, or Kandinsky, according to the author, played the role of declarations

rather than texts in the traditional sense, which refer to “a space with multiple dimensions where writing

combines and interacts with each other, none of which is original” rather than “a string of words that reveal

a unique meaning that is, to some extent, theological (as if it were a 'message' from the Author-God)”

(Brondino & Greaney, 2023).

In this context, the paradigm shift that took place in the 1960s can be seen as an attempt to revive the

modernist approach that was suppressed with the emergence of interdisciplinary discourse in the field of

art (Cahn et al., 2020). This transition did not only take place alongside the emergence of a new approach,

as Koblížek (2023) reports in his work on Robert Smithson, Robert Morris, Carl Andre, Sol LeWitt, Yvonne

Rainer, and other artists. Drawing attention to the materiality of language as a kind of plastic tool, artists

are now beginning to consider theoretical production as an integral part of their practice, displacing

aesthetic categories that were established through the act of writing (in Derrida's sense), which, as it

spreads, crosses all artistic media and questions the boundaries between them, disciplines and knowledge.

By integrating theory and practice, language becomes an important element of an experiment that

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

transforms the field of art into a field of transdisciplinary research that opens creativity to questions related

to knowledge.

From the perspective of the new great transformations in the art world and globalisation, Alesina & Tabellini

(2024) discuss various aspects and uses of language in conceptual and post-conceptual art, as well as the

importance of structuralism, post-structuralism and deconstruction. Rather, it emphasises the gap that

separates the current situation from these historical models and the new role that artistic discourse is called

upon to play in the era of “cognitive capitalism13” and the politics of valuation, in the production of value

and power. Because if “art as research” is currently labelled as experimental, reflexive and transdisciplinary

and presented as the best of the contemporary scene, there is reason to wonder whether the

decompartmentalisation of disciplines and the promotion of an experimental spirit are not combined with

professional hyper-specialisation and the promotion of certain types of practice at the expense of others

or even the constitution of new institutionally recognisable genres.

Theoretical framework

Firstly, the educational interpretation of an interdisciplinary approach to art is seen as a historical process

that is responsible for a model of progressive “expansion” or “democratisation” of the artistic sphere to

prevent it from being separated from the wider culture and society (Akkoyun & Uyar, 2020). According to

this model, contemporary researchers, building on the legacy of the neo-avant-garde of the 1960s, could

broaden their focus to consider not only aesthetic autonomy, but also issues related to information,

communication, knowledge production and dissemination.

Nevertheless, even without the utopian grounding that characterised the historical avant-gardes, the

critique of aesthetic autonomy in the 1960s and 1970s aimed to connect art with the outside world and

language with society (Bull & Galimberti, 2022). Today, according to Rotter-Broman (2023), the main

aspect is “the specificity of art as a structure of knowledge”. Over the past four decades, the expansion of

the artistic sphere and the constant shifting of its traditional boundaries have been paralleled by

fragmentation. This means that with the blurring of the boundaries between art and life, artistic production

has become refined, fragmented and divided into new categories that can be found in the art world (Foster,

2023). The ambiguous status of contemporary art and the lack of clear criteria for its evaluation have not

prevented its strong commercialisation and institutionalisation. It has also seen the development of various

structures of control and mediation, as well as networks and parallel circuits of distribution, which shape

what we understand as living art.

This process of particularisation also reflects a shift from the artist-theorist model to more specific roles

such as artist-ethnographer, artist-mapper, artist-scientist, etc. In other words, it is a manifestation of

interdisciplinarity in the form of practical and applied knowledge that gives rise to the call for contributions

expressed in this paper.

Cole (2023) illustrates the evolution of language in art, which is now seen as a material tool, not just

abstract or speculative knowledge. This is due to an awareness of the material conditions of art's

dissemination and the importance of theoretical discourse in shaping the visibility and value of a work.

According to the scientist, language is used in different forms and with different effectiveness as a material,

concrete and practical tool. It can also function as a heteronomous entity that points to something other

than language itself and frustrates any hope of fully understanding its meaning.

Theoretical and interdisciplinary reflections on the essence of art merge with its practice, which has become

speculation (Wigena et al., 2023). From the very beginning, language was aimed at practical use and had

an applied character, even when conceptual art used it to contradict the separation between artistic activity

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

and the context of its perception by the viewer, as well as the traditional connection between the work and

the discourse that accompanies it. In this context, Slugan (2020) adds: “Over the years, we have observed

that most people learn about an artist's work mainly through print media or conversation, rather than

through direct contact with the work itself. For a drawing or sculpture, where visual presence is important

- colour, proportions, size, location - a photograph or description is only a support.”

But when art deals with aspects that are not related to physical presence, its intrinsic (communicative)

value does not change because of its printed presentation. Using catalogues and books to communicate

(and distribute) the work is the most neutral way to present this new art form. The catalogue can now act

as the primary source of information about an exhibition, distinct from secondary information about art in

magazines, brochures, etc., and in some cases the “exhibition” may actually be the “catalogue” (Simmons

III, 2021).

The indexing of an artwork on the information and communication devices it requires tends to blur the

distinction between the process of creation and dissemination, as well as between (theoretical) reflection

and (practical) application (Say & Seng, 2022). In this context, Rugg (2022) adds that conceptual art

remains ambiguous in relation to the knowledge domain (specialised, artistic) and the information domain

(general, non-artistic). Indeed, if we understand “practical” and “applied” knowledge as that which is not

specifically artistic and which changes in the transition from artist-theorist to artist-researcher (in a broad

sense that encompasses various fields of knowledge), then this is the same relationship between

knowledge and information.

Cognitive content, once isolated within a single discipline or specific discourse, is now becoming the result

of interdisciplinarity, practices and knowledge, where it is formed in a “horizontal” way through mutual

exchange, circulation and transmission between different fields, rather than in a “vertical” way within an

established hierarchy of values (Rudenko et al., 2022). Paying attention to the didactic and mediating

aspects of contemporary art, the educational field fits into a general trend that is associated with national

and European cultural policies (O'Donnell, 2023). This trend is aimed at integrating artistic activity into the

information and communication systems of cultural industries, assigning it a usefulness and practical

function, such as the production of intangible capital.

Thus, the development of e-learning and the variety of STEAM education, project-based learning methods,

MOOCs (massive open online courses), in particular those that focus on career strategies, the development

of professional and social networks, fundraising and the collection of administrative documents, can be

seen as interdisciplinary. This approach sees the specificity of art as a structure of knowledge that tends

to be associated with abstract mechanisms that regulate the functioning and internal reproduction of the

art world as a set of interdependent participants.

Methodology

The methods and design of the research included the method of literature analysis and processing of such

databases as Scopus, Google Scholar and Research Gate. The paper analyses the growing importance of

the practice and spread of interdisciplinarity in contemporary art, its disadvantages and advantages.

A literature analysis was conducted to identify current issues and trends in contemporary art in the context

of the educational market. The collection and analysis of data from academic research made it possible to

assess the deep understanding and attitude to the concept of artistic research in the context of

interdisciplinarity. The paper also analyses the results of the study and formulates proposals for the further

development of art education and research in the context of the modern educational market. This

comprehensive approach allowed for a deeper understanding and assessment of the impact of

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

interdisciplinarity, highlighting the disadvantages and advantages, and addressing the issue of

standardisation in the arts.

Results and discussion

Contemporary art is inextricably linked to the educational market. In a world where the spaces of

knowledge production and dissemination are globalised, traditional structures are evolving into a network

of diverse collaborations and partnerships that form a new landscape where the concept of artistic research

becomes imperative for understanding and evaluation (Kelikli, 2024). Here, the concept of network is not

limited to the interaction of individual and semi-independent actors, but rather represents a state where

each actor acts as a node in this network or, if you like, forms itself as a network. This leads to a double

movement of decompartmentalisation and hyper-specialisation of artistic knowledge, which needs to be

taken into account in the context of cultural industries and the current conditions of interaction between

art and knowledge markets, and of course, this process is characterised by advantages and disadvantages

(Table 1).

Table 1.

Advantages and disadvantages of art in the educational market

Advantages Disadvantages

Promotes the convergence of art and education

Art's participation in the educational market can lead

to commercialisation and standardisation of

creativity

Stimulates the development of creativity and critical

thinking of participants

Restrictions on artists' creativity and freedom of

expression

The globalisation of knowledge production and

dissemination spaces fosters new collaborations and

partnerships

Globalisation can lead to the loss of local cultural

specificity

Increases the accessibility of art to a wider audience

and broadens its impact

Globalisation can lead to the loss of the uniqueness

of art from different regions

The concept of artistic research becomes more

accessible and understandable to the public, which

contributes to its evaluation and promotion

Focusing on the evaluation and understanding of

artistic research can cause a loss of the creative

process itself and its intrinsic meaning

In the field of art education in Ukraine, there is a tendency towards concentration and independence. The

transformation of regional art schools and the merger of institutions and local authorities is the first step

in the development of art as a profession (Sydorenko, 2024). This means, on the one hand, that faculties

of fine arts, deprived of their research monopoly, are gradually coming into direct competition with art

schools, and on the other hand, it indicates a redirection of cultural policy towards the integration of

learning and professional development, with an emphasis on values such as “intangible labour” and

“knowledge capital” (Chi & Belliveau, 2022).

As public institutions, art schools face new challenges, such as the need to reach out to the general public

(including through extracurricular and co-curricular activities), to cooperate with state and local authorities,

and to generate new resources and develop partnerships (Kowalik, 2023). These requirements lead to

significant changes in their organisation, management and work processes.

In recent years, art schools have been reorganising their programmes internally to strengthen teaching

and research. This includes the creation of laboratories, the development of research areas and projects,

and partnerships with other universities, museums and research institutions. An important aspect of this

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

process is the revision of the prerogatives of assessment, which is carried out by independent

administrative bodies.

According to Gelsanda, Marchianti & Nurdian (2024), the importance of artistic research lies in its capacity

to create new knowledge. This leads to the question of dissertations, which are the theoretical and critical

work that young artists are encouraged to do alongside their visual work and which are directly linked to

the master's degree (Kłeczek & Hajdas, 2024). In the current context, it is evident that the scientific

approach is often seen as an attempt to interfere with the creative process and subordinate it to

administrative requirements imposed from the outside. According to Gunin (2024), the consideration of

artistic practice as an object of research implies that the artist-researcher is able to demonstrate

generalised results, separated from his or her practical experience, which, when displayed in the

appropriate context, will testify to its originality and usefulness for the scientific community.

Thus, interdisciplinarity in the arts is emerging as a result of the globalisation of the knowledge market and

the standardisation of European diplomas, which is caused by the Bologna Process. This situation should

be considered in the context of research in the humanities and social sciences. As this new paradigm of

learning also calls for a disciplinary formatting of university knowledge, its rigidity and separateness limit

its ability to address contemporary issues and create new experiments.

In recent years, interdisciplinarity has become an important concept in the humanities, particularly in the

context of art and culture, but the use of this term does not always raise genuine doubts about the

boundaries between different disciplines. This may be due to the uniqueness of the Ukrainian higher

education system and the organisation of research at the scientific, administrative and economic levels. On

the other hand, the need for openness and transversality often masks a process in which the cultural

sciences become the ideological foundations of a market economy, and the process of knowledge

production becomes similar to the production of market value. This phenomenon is not limited to Ukrainian

specifics, but is an intersection of national reforms.

Interaction between different disciplines in art can take many forms. It can be interdisciplinary research,

where artists collaborate with scholars from other fields to study certain aspects of art or topics (Jove et

a., 2022). It can also include the synthesis of different artistic techniques or genres, where artists combine

elements from different fields to create new works (Jürgens & Hildbrand, 2022). In addition, interaction

can take place through joint projects, exhibitions, residencies, where artists collaborate or exchange ideas

with representatives of other disciplines, such as literature, science, technology, etc. (Kergel, 2023). These

forms of interaction help to expand the horizons of art and create new and interesting creative opportunities

(Fig. 1):

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Figure 1.

Interdisciplinarity in art.

The idea of interdisciplinarity, linked to key concepts such as 'excellence', 'originality' and 'innovation',

seems more or less obvious as a tool for creating added value, provided it is properly planned and

profitability is achieved (Abrudan, 2023). The growing importance of bibliometric data, the presence of a

publish or perish logic (Arnold, 2023), and the semi-technocratic and semi-communication jargon from

central research funding bodies all point in the same direction (Ioris, 2023), pointing to the current tensions

between academic research goals and productivity demands. The interdisciplinarity of art raises the

problem of its standardisation, which has already been noted by Baker & Joselit (2022). This problem has

implications for art itself and its teaching, including the process of standardising, measuring and formatting

artistic work according to scientific, administrative and educational standards (Hanna & Paans, 2020).

On the other hand, Baca (2023) suggests that standardisation in art education has its own merit,

considering it as a distinct type of knowledge that can be generated in the field of art. This knowledge is

focused on the specifics of a specialised network of professionals (artists, teachers, critics, curators, editors,

managers, technicians, galleries) who develop “special skills” in search of greater recognition and

legitimation. This is seen as a way of strengthening their position, rather than a process that raises doubts

arising from the fragmentation and synthesis in this type of knowledge (Farokhinejad, 2022).

In this context, where artistic knowledge is becoming institutionalised and art is highly dependent on the

interaction and collaboration of different actors in the contemporary art scene, art, as a branch of

knowledge production, often turns into a specialised field of intangible labour (Di Sabatino & Mastrantoni,

2022). This labour is aimed at creating new forms of value or even value itself in its purest and most

exchangeable form (Brannigan & Lawson, 2023). We are in solidarity, because the gradual transformation

of art practice into the provision of certain services, often aimed at meeting the specific needs of curators,

leads to the fact that the knowledge it incorporates also evolves in this direction. This knowledge becomes

subject to quantification and rationalised content, which is formed through the interaction of a network of

actors and operates in the accumulative mode of the market (Earley, 2023).

On the other hand, when artists often criticise the academic and institutional interdisciplinary discourse of

art, questioning their system of legitimation and authority, one wonders whether, in this context, they do

not feel the need to re-emphasise part of their aura and intellectual legitimacy. This topic is currently very

relevant and represents an interesting object for further research.

Art

Science

Literature

Technologies

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

Conclusions

In this paper, the educational turn is associated with the emergence of a new generation of artists for

whom teaching and writing have become an important part of their professional activities, even an essential

part of the creative process. However, there is a significant difference between “professional activity” and

“artistic work” that is worth noting. Indeed, for many artists today, teaching is an additional or even the

main source of income, not just a freely chosen means of artistic expression.

On a sociological level, the educational turn leaves a mark of a mismatch between professional demands

and the creative process. For many artists, it becomes a means of turning sincerity into duty as they adapt

to an increasingly competitive atmosphere that encourages the creation of artworks aimed at adding

cognitive value. Although theory and practice are often seen as complementary, in practice they often turn

out to be opposites. In such a situation, the artist-researcher and the teacher-researcher face similar

challenges: the daily disconnect between teaching and research, which means that the more they try to

reconcile these aspects, the more they are confronted with a sense of their asymptotic divergence.

The conclusions drawn from the literature analysis show that artistic research, consciously or

unconsciously, can become a means of implementing cognitive and economic neoliberalism, or the

interdisciplinary discourse it generates risks being reduced to a search for authority in crisis, in accordance

with a completely different scenario.

The comparative analysis carried out in the academic environment was intended to show that the problem

is not limited to the arts, but covers the broader context of knowledge organisation and management. The

confrontation is not between practice and theory, but between different approaches to their relationship.

This is especially true for the possibility of transferring artistic knowledge and communicating it by

transferring it to other areas of experience in order to reconnect it with the real world and society.

Bibliographic References

Abrudan, E. (2023). Relational aesthetics and the production of meaning in contemporary

art.

Philobiblon

(1), 119-130. https://acortar.link/4thPI4

Akkoyun, B., & Uyar, S. (2020). Analysis of the effect of organizational structure and culture on refugee

problem and pandemic crisis management with artistic expression.

Technium Social Sciences

Journal

, 596.

https://heinonline.org/HOL/LandingPage?handle=hein.journals/techssj9&div=57&id=&page=

Alesina, A., & Tabellini, M. (2024). The political effects of immigration: Culture or economics?

Journal of

Economic Literature

(1), 5-46. https://www.aeaweb.org/articles?id=10.1257/jel.20221643

Arnold, C. (2023). Newman and" modernism": a matter of definition?

Newman Studies Journal

(2),

11-25. https://doi.org/10.1353/nsj.2023.a917838

Baca, A. (2023). Poststructuralism/postmodernism/postcolonialism: Mapping poststructuralism,

postmodernism, and postcolonialism. In

A Companion to Contemporary Art in a Global Framework

(pp. 359-376). John Wiley & Sons. https://doi.org/10.1002/9781119841814.ch27

Bahamón, M. J., Pulido Jiménez, A., & Serrato Rodríguez, Y. (2023). Prácticas de seguridad de la

información en estudiantes de escuela secundaria en Colombia.

Entre Ciencia E Ingeniería

(33),

16-23. https://doi.org/10.31908/19098367.2832

Baker, G., & Joselit, D. (Eds.). (2022). A questionnaire on global methods.

October

180

, 3-80.

https://doi.org/10.1162/octo_a_00453

Barçin, A. B. (2020).

How to live together: Examining the role of culture and the arts in the case of Syrian

refugees in bursa

. (Master's thesis), Institute of Graduate Programs.

https://acikbilim.yok.gov.tr/handle/20.500.12812/94622

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Botvyn, T., Aleksandrova, M., Krymets, L., Dobrovolska, R., & Rudenko, O. (2022). Philosophical

comprehension of the formation and development of Ukrainian culture in the context of military

realities: the geopolitical aspect.

Amazonia Investiga, 11

(58), 84-92.

https://doi.org/10.34069/AI/2022.58.10.9

Brannigan, E., & Lawson, L. (2023, November).

Precarious movements: Contemporary dance as

contemporary art.

Performance

(pp. 278-292). Routledge.

Brondino, A., & Greaney, J. (2023). Total modernism.

CoSMo| Comparative Studies in Modernism

5-12.

Bull, M., & Galimberti, J. (2022). Contemporary art and class: reassessing an analytical category.

Oxford

Art Journal

(2), 167-177. https://doi.org/10.1093/oxartj/kcac013

Cahn, S. M., Ross, S., & Shapshay, S. L. (Eds.). (2020).

Aesthetics: a comprehensive anthology

. John Wiley

& Sons. 2nd Edition. https://www.wiley.com/en-us/exportProduct/pdf/9781118948323

Chi, X. B., & Belliveau, G. (2022). Between tradition and modernity: developments in Xiqu (Chinese opera)

actor training.

Theatre, Dance and Performance Training

(4), 616-622.

https://doi.org/10.1080/19443927.2022.2135873

Chifor, M. (2023). Modernism-context and overlooked literary manifestations.

The Creative Launcher

(4),

61-72.

Cole, S. (2023). Telling time in modernism.

Modernism/Modernity

(1), 201-208.

https://doi.org/10.1353/mod.2023.a902617

Corey, P. N. (2023). CRAFT: Craft and the making of “global” contemporary art.

A Companion to

Contemporary Art in a Global Framework

, 119-131. https://doi.org/10.1002/9781119841814.ch11

Di Sabatino, P. A., & Mastrantoni, C. (2022). Tradition and modernity/place and time. The island of Murano:

past–present–future.

Design International Series

https://re.public.polimi.it/handle/11311/1218910

Dorren, L. (2024). Locating the modernist state. On whether or not modernist principles govern

contemporary policy practice.

Administrative Theory & Praxis

(1), 76-94.

https://doi.org/10.1080/10841806.2023.2176076

Earley, C. (2023).

Crisis and engagement: a philosophy of contemporary art

(Doctoral dissertation),

University of Warwick. http://webcat.warwick.ac.uk/record=b3941363

Farokhinejad, P. (2022). Analyzing the opportunities and threats of postmodernism from the point of view

of moral and religious values with emphasis on implications for educational managers.

Journal of

New Approaches in Educational Administration

(6), 165-175.

https://doi.org/10.30495/JEDU.2022.30511.6117

Foster, H. (2023). Modernism in a non-melancholic key.

October

, 186, 197-204.

https://doi.org/10.1162/octo_a_00504

Gelsanda, C. I., Marchianti, A. C. N., & Nurdian, Y. (2024). The relationship between well water quality and

cognitive function in well water users.

Futurity Medicine

(2).

https://doi.org/10.57125/FEM.2024.06.30.01

Gunin, A. (2024). The future of mortgage financing in the era of fintech: a systematic review.

Futurity

Economics & Law, 4(

2), 31-47. https://doi.org/10.57125/FEL.2024.06.25.02

Hanna, R., & Paans, O. (2020). This is the way the world ends: A philosophy of civilization since 1900, and

a philosophy of the future.

Cosmos & History

(2).

https://cosmosandhistory.org/index.php/journal/article/view/865

Ioris, A. A. (2023). World out of difference: Relations and consequences.

Philosophy & Social

Criticism

(10), 1220-1243.

https://journals.sagepub.com/doi/abs/10.1177/01914537221101316

Jove, G., Gutiérrez‐Ujaque, D., Bonastra, Q., & Simón‐Martín, M. (2022). From hybrid spaces to in‐between

spaces: a journey with contemporary art and situated knowledge.

International Journal of Art &

Design Education

(2), 242-256. https://doi.org/10.1111/jade.12411

Este artículo está bajo la licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). Se permite la reproducción, distribución y comunicación pública de

la obra, así como la creación de obras derivadas, siempre que se cite la fuente original.

Eduweb, 2024, abril-junio, v.18, n.2. ISSN: 1856-7576

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge. - Eduweb, 2024, abril-junio,

v.18, n.2. / 77-87

Jürgens, A. S., & Hildbrand, M. (2022). Arts for all senses: Circus and the avant-gardes–introduction.

Circus and the Avant-Gardes

(pp. 1-16). Routledge. https://doi.org/10.4324/9781003163749

Kelikli, M. (2024). Revisiting aristotle’s master-slave relationship: a casual evaluation in the context of

human-AI dynamics.

Futurity Philosophy, 3

(2), 25-39. https://doi.org/10.57125/FP.2024.06.30.02

Kergel, D. (2023). Postmodern Cyberspace. In

Digital Cultures: Postmodern Media Education, Subversive

Diversity and Neoliberal Subjectivation

(pp. 35-121). Springer Fachmedien Wiesbaden.

https://link.springer.com/chapter/10.1007/978-3-658-35250-9_2

Kłeczek, R., & Hajdas, M. (2024). Transforming practices of co-creating values in a contemporary art

exhibition.

Qualitative Market Research: An International Journal, 27

(2),

254-279.

https://doi.org/10.1108/QMR-05-2022-0084

Koblížek, T. (2023). Contemporary art and the problem of indiscernibles: An adverbialist

approach.

Aesthetics: The European Journal of Aesthetics

(1), 19-35.

https://www.ceeol.com/search/article-detail?id=1122875

Kowalik, G. (2023). Post-postmodernism, the “affective turn”, and inauthenticity.

Humanities

(1), 7.

https://doi.org/10.3390/h12010007

Mullen, A. L. (2023). Locating meaning in contemporary art: how artists conceptualize the aesthetic

experience. In

The Cultural Sociology of Art and Music: New Directions and New Discoveries

(pp.

133-162). Springer International Publishing. https://link.springer.com/chapter/10.1007/978-3-

031-11420-5_6

O'Donnell, L. A. (2023). On the question of the ground of Fredric Jameson's postmodern dialectic.

Cosmos

& History

(2), 279-303. https://cosmosandhistory.org/index.php/journal/article/view/1094

Pippin, R. B. (2021).

Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts

University of Chicago Press. https://doi.org/10.1093/jaac/kpab046

Rotter-Broman, S. (2023). Wilhelm Stenhammar: A European modernist.

Swedish Journal of Music

Research Swedish Journal of Music Research, 105

, 65-87. https://doi.org/10.58698/stm-

sjm.v105.19195

Rugg, J. J. (2022). Further remarks on modern sepulture: Twenty years of cemetery studies and eight core

questions defining cemetery research.

Eastern and Northern European Journal of Death

Studies

(1), 16-46. https://acortar.link/YTObLa

Say, J., & Seng, Y. J. (Eds.). (2022).

Intersections, Innovations, Institutions: A Reader in Singapore Modern

Art

. World Scientific. https://acortar.link/bdXGG0

Simmons III, S. (2021).

The value of drawing instruction in the visual arts and across curricula: Historical

and philosophical arguments for drawing in the digital age

. Routledge. https://acortar.link/xeruX4

Slugan, M. (2020).

Noël Carroll and film: A philosophy of art and popular culture

. Bloomsbury Publishing.

78(1). https://doi.org/10.1111/jaac.12701

Sydorenko, T. (2024). Critical evaluation of modern strategies and methods of formation of communicative

competency in the system of continuing education of document managers.

Futurity of Social

Sciences

(1), 28-55. https://doi.org/10.57125/FS.2023.12.20.04

Taylor, D. R. (2023).

The future needs the past: remaking William Morris through contemporary art

practice

. (Doctoral dissertation), Sheffield Hallam University. https://doi.org/10.7190/shu-thesis-

00544

Tupan, M. A. (2023).

Phenomenology and Cultural Difference in High Modernism

. Cambridge Scholars

Publishing. https://acortar.link/2OgdZw

Wigena, I. B. W., Sumilat, G. D., & Wibowo, A. S. (2023). Social studies in the postmodernism

era.

Technium Social Sciences Journal

, 158. https://acortar.link/j5L3DU