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Exhibiting children at risk: child art, international exhibitions and Save the Children Fund in Vienna, 1919-1923

机译:展览有危险的儿童:儿童艺术作品,国际展览和1919-1923年在维也纳举行的救助儿童基金会

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In November 1920 an exhibition of children's art by the pupils of Franz Cizek's Viennese Juvenile Art Class opened to the public in London under the auspices of the Save the Children Fund and went on to tour internationally. Supported by a network of influential educators, artists, architects, political and humanitarian activists, the exhibition represents an early example of a practice that became increasingly common during the twentieth century: the exhibiting of the art of children at risk from the effects of war by activists and non-governmental aid agencies as a mechanism for raising public awareness and financial support for issues of child protection. This article will tell two intertwined stories. The first, and the primary focus of the article, concerns the exhibition as a humanitarian intervention in child relief in post-First World War Vienna. Second, it briefly tells the story of the exhibition as an educational intervention that influenced the teaching of art in Britain and the USA. The article evaluates the success, or otherwise, of the exhibition in meeting its organisers' aims. In so doing it explores the network of activists that supported the exhibition, and some of the methodological issues involved in mapping, researching and understanding the web of connections among a group of individuals which at first sight appears very disparate. Finally, historians are increasingly engaging with different methodologies and underused historical sources to counter the silences surrounding children's testimonies in the archive. By comparing the 1920 exhibition with later examples, which represent explicit attempts to exhibit the work of children in war as a means of disseminating their impressions of conflict and their hopes for future peace and international cooperation, the article hopes to make a contribution to this debate by demonstrating that exhibitions of children's artwork are valuable sites for exploring the emergence of the child's “voice” through art.
机译:1920年11月,弗朗兹·齐泽克(Franz Cizek)的维也纳少年艺术班的学生们举办了一场儿童艺术展览,在“救助儿童基金会”的赞助下在伦敦向公众开放,然后继续进行国际巡回演出。由有影响力的教育者,艺术家,建筑师,政治和人道主义活动家组成的网络支持,该展览代表了这种做法的早期例子,这种做法在20世纪变得越来越普遍:对受战争影响的处于危险中的儿童的艺术的展示活动家和非政府援助机构,作为提高公众对儿童保护问题的认识和财政支持的机制。本文将讲述两个相互交织的故事。文章的第一个也是最主要的关注点是,该展览是第一次世界大战后维也纳对儿童救济的人道主义干预。其次,它简要地讲述了展览的故事,作为对英国和美国艺术教学产生影响的教育干预。本文通过评估展览是否成功实现了组织者的目标来进行评估。通过这样做,它探索了支持展览的激进主义者网络,以及与制图,研究和理解一群人之间的联系网络有关的一些方法论问题,这些人乍一看似乎非常不同。最后,历史学家正越来越多地采用不同的方法,并利用不足的历史资料来应对档案中儿童证言的沉默。通过将1920年的展览与后来的例子进行比较,这些例子代表了展示战争中儿童作品的明确尝试,以此来传播他们对冲突的印象以及对未来和平与国际合作的希望,从而希望为这场辩论做出贡献通过证明儿童艺术品展览是探索儿童通过艺术出现“声音”的宝贵场所。

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