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Preface And Table Of Contents Jan 1985

Preface And Table Of Contents

Journal of Social Theory in Art Education

The membership of The Caucus on Social Theory and Art Education has identified the need to raise questions about issues that affect the teaching of art from a critical knowledge of its social ramifications. The papers in BULLETIN NUMBER FIVE acknowledge the importance of looking at art teachers, looking at ourselves, to gain perspective on the art education process as a socially relevant experience.


The Art Educator As Disenfranchised Intellectual: A Problem Of Social Legitimation, Karen A. Hamblen Jan 1985

The Art Educator As Disenfranchised Intellectual: A Problem Of Social Legitimation, Karen A. Hamblen

Journal of Social Theory in Art Education

In this paper the occupational role and options of art educators are examined with the discussion generally limited to those art educators that have doctorates or prospects of university employment. On the basis of a theory that artistic knowledge comprises a form of cultural capital, it is proposed that the art educator is able to exercise power to the degree aesthetic capital is legitimated in modern society. It is further proposed that the art educator is particularly vulnerable to the Western world view wherein conditional legitimation is given to affective knowledge modalities and nonquantifiable learning. As a result, art educators …


Hold The Pickles, Hold The Lettuce, Special Orders Do Upset Us: The Franchise System In American Art Education, Tom Anderson Jan 1985

Hold The Pickles, Hold The Lettuce, Special Orders Do Upset Us: The Franchise System In American Art Education, Tom Anderson

Journal of Social Theory in Art Education

I have a history of advocating locally specific art content as very important to the construction of art curricula. This position arises from my readings in the area of socially contextual aesthetics. By art content I mean not only thematic content but also formal qualities, media, and technical execution all of which contribute to an artwork's style. By locally specific art content I mean the style of the work as it arises from a specific place at a specific time, and which in some way reflects the collective consciousness of the culture or subculture of the work's genesis. If one …


The Journal Of Social Theory In Art Education Jan 1985

The Journal Of Social Theory In Art Education

Journal of Social Theory in Art Education

The membership of The Caucus on Social Theory and Art Education has identified the need to raise questions about issues that affect the teaching of art from a critical knowledge of its social ramifications. The papers in BULLETIN NUMBER FIVE acknowledge the importance of looking at art teachers, looking at ourselves, to gain perspective on the art education process as a socially relevant experience.


Cultural Knowledge: The Unrecognized Responsibility Of Art Education, Helen J. Muth Jan 1985

Cultural Knowledge: The Unrecognized Responsibility Of Art Education, Helen J. Muth

Journal of Social Theory in Art Education

Art educators are a subgroup within the larger culture whose role it is to communicate information and skills in the visual arts for guiding individuals to find greater personal satisfaction in the visual arts, to gain knowledge of the visual arts as areas of specialized interest, and to become aware of the contribution the visual arts make to their cultural heritage. This paper proposes that the kinds of information that future art teachers gain while training in their specialized area fails to prepare them adequately for their role. A parallelism discovered in the work of cultural geographer, Yi-Fu Tuan (1974) …


Art As A Social Study: Theory Into Practice, Graeme Chalmers Jan 1985

Art As A Social Study: Theory Into Practice, Graeme Chalmers

Journal of Social Theory in Art Education

The concept of dialogue is one that is rarely applied in art education. The attitude prevails that teachers of art know what is best, that students are ignorant of "real" art, that student aesthetic experiences are trivial or worthless, and so they, the teachers, settle for a curriculum and teaching approach that reaches less than 5% of the students. The remaining 95% plus are regimented in activities less meaningful than Trivia Pursuit or are ignored altogether. Dialogue is not one sided. For knowledge to take place, the learner must have access to meaning and meaning cannot be handed down like …


Thought On Social Contextualism In Art And Art Education, Tom Anderson Jan 1985

Thought On Social Contextualism In Art And Art Education, Tom Anderson

Journal of Social Theory in Art Education

Art as a manifestation and reflect ion of culture has been clearly established. Discussions of various depth on the subject are available in many general art education texts. However, the concept of art as a reflection of culture may take many forms and thus has the potential for ambiguity. Culture, as defined by the social sciences, is the complex of knowledge, beliefs, mores, customs, laws, and social institutions held by human beings as a part of society. Culture, in this sense, does not refer to what is commonly known as high culture, except as high culture is included in the …


Art Education In Social Context, Dan Nadaner Jan 1985

Art Education In Social Context, Dan Nadaner

Journal of Social Theory in Art Education

Discourse about art, like other discourse, contains limits as well as possibilities for creating meaning about human experience. The following essay raises a series of questions about the difference between the discourse of most art education, and the discourse of contemporary art critics and artists. Why are these subcultures of the art world different, and what is the significance of their separation? Is art education systematically losing its capacity to make contact at the level of human experience? Has it alienated itself from larger social concerns? These issues are explored through general review of art education discourse and through the …


Playing In Public Or Creatively Expressing The Aesthetic Dimension In Social Life, Duke Madenfort Jan 1985

Playing In Public Or Creatively Expressing The Aesthetic Dimension In Social Life, Duke Madenfort

Journal of Social Theory in Art Education

This philosophical study is in part a critical examination of Richard Sennett's sociological account of what it means to be out in public in the company of strangers and expressing oneself aesthetically in a playful, self-distanced encounter with them. His urging for a rediscovery of the classic mid-eighteenth century connection between actors on the stage and persons on the street in order to make social life aesthetic once again is seen as having significant implications for art educators concerned with putting into practice the aesthetic and social function of art and art education. The arguments developed in the paper take …


Nicaragua, Art And Social Change: Interviews With Three Artists, Betty Laduke Jan 1985

Nicaragua, Art And Social Change: Interviews With Three Artists, Betty Laduke

Journal of Social Theory in Art Education

Five years after their participation in the successful 1979 revolutionary struggle against the Somoza dictatorship, the artists of Nicaragua continue to be an effective force in redefining, shaping and defending their country's cultural heritage. In these years it has also become evident that the government continues to value and support all of the arts as a significant component in the formation of a national consciousness and identity. The data for the following paper is based on the author’s personal experiences in Nicaragua. Starting in 1981, four summers were spent interviewing artists, visiting the places where they worked, and talking to …


Book Review: Who Needs It: A Review Of Instant Art Instant Culture, David M. Quick Jan 1985

Book Review: Who Needs It: A Review Of Instant Art Instant Culture, David M. Quick

Journal of Social Theory in Art Education

Book review for Instant Art Instant Culture: The Unspoken Policy for American Schools, Laura Chapman, Teachers College Press, New York, 1982.