Educational relation from the teacher performance ethics perspective

Abstract

During the past 60 years, the art scene has undergone more changes than in any other time in history. The vanguards of Modernism left a clear testimony of the break with previous art, both in form and in content. At the end of Modernism one could still speak of disciplines including painting, sculpture, printmaking and drawing in this respect, but for the last 60 years other practices such as, installation, performance, body art, land art, video art or art brut, etc., which have been introduced to the field, however these can be included in the major genres of the arts known to all. The many innovations that have taken place in the art field since the Second World War forces us therefore, to call this new period differently from Modernism: postmodernism. It is in this context that we place raw art, art brut, marginal art or outsider art and the independence that these practices now have is what is meant by artistic learning. The need for new criticism and new historiography have arisen to understand, analyze and judge these new forms and mechanisms of production that lead to the understanding of postmodern art . The question now is whether behind these art forms there is artistic learning, as we understand it today, and if they contribute to the social development of people with diverse abilities.