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Full-Text Articles in Education
Graffiti Walls: Migrant Students And The Art Of Communicative Languages, Fernando Rodríguez-Valls, Sandra Kofford, Elena Morales
Graffiti Walls: Migrant Students And The Art Of Communicative Languages, Fernando Rodríguez-Valls, Sandra Kofford, Elena Morales
Journal of Social Theory in Art Education
Visual Arts help to create communicative actions between teachers and students. In this article, we explain the interdisciplinary methodology –Visual Arts and Language Arts– utilized by three teachers and one faculty member at San Diego State University. The purpose of the project was to create a common ground and a shared agreement based on linguistic codes utilized in the classroom. For four weeks, forty-five high-school sophomore migrant students and the teaching team discussed and analyzed poetry, short stories, graphic novels, and movies. They later created visual expressions –Cultural Tags and Graffiti Walls –that reflected students’ views about their cultural identities. …
Visual Arts And Literacy: The Potential Of Interdisciplinary Coalitions For Social Justice, Melanie L. Buffington, William Muth
Visual Arts And Literacy: The Potential Of Interdisciplinary Coalitions For Social Justice, Melanie L. Buffington, William Muth
Journal of Social Theory in Art Education
In this article, we explore the possibilities of creating a coalition of the visual arts with literacy to work toward meaningful integrated learning experiences with a social justice agenda. We discuss the benefits of integrated curriculum and its potential to support learning at many levels. Following that, we introduce the Hope House mural project as an example of an integrated visual arts and literacy program. Through this project, children and their incarcerated fathers grapple with significant issues in their lives and to build a bond while doing so. We argue that this coalition results in learning that is inseparably tied …
Playing It Safe In The Artroom, Donalyn Heise
Playing It Safe In The Artroom, Donalyn Heise
Journal of Social Theory in Art Education
As a university supervisor, I have the opportunity to observe preservice teachers as they fulfill their student teaching practicum. Part of my task is to assess their performance, including their competence in content; instructional strategies, classroom management and organization. Some of my student teachers deliver art programs that emphasize media, processes, elements and principles. Many also focus on historical and critical inquiry. Some student teachers have already developed effective classroom management and organizational strategies. But is this evidence of quality art education that will prepare students for life's challenges? Are we denying students the opportunity to experience the transformative properties …
Feminist Collaboration In The Art Academy, Cynthia Bickley-Green, Anne G. Wolcott
Feminist Collaboration In The Art Academy, Cynthia Bickley-Green, Anne G. Wolcott
Journal of Social Theory in Art Education
Women's activity in the visual arts both in and outside of the art institutions of Europe and the United States reveals a history of collaboration in artistic production and political activism This paper analyzes the effects of feminist collaboration upon the disciplines of art, the pedagogy of art, and the administration of art institutions. In Part I, the authors review the impact of feminist collaboration in art history, aesthetics, art criticism, and art production. Part II provides examples of collaborative experiences of women in higher education art institutions and in some art communities in the United States, Scandinavia, and Italy. …
Censored By Omission: Imagery That Is Excluded From The Art Education Classroom, Pamela Tarlow-Calder
Censored By Omission: Imagery That Is Excluded From The Art Education Classroom, Pamela Tarlow-Calder
Journal of Social Theory in Art Education
There exists a wealth of imagery that is censored by means of exclusion from general art curricula. This imagery is often highly relevant to students and should therefore be addressed and examined critically in art education at all levels. In what follows, the practice of censorship by exclusion in relation to imagery available for classroom critique will be discussed; a critical-reflective approach to art criticism inquiry In light of prevalent social and interpersonal concerns will be advocate, and an example from classroom practice will be investigated.
The Promises Of Art Appreciation: The Foundations Of Aesthetic Education, Charles R. Jansen
The Promises Of Art Appreciation: The Foundations Of Aesthetic Education, Charles R. Jansen
Journal of Social Theory in Art Education
A history of appreciation could quickly multiply into a collection of histories, some tracing theories of appreciation as a phenomenon of mind and some tracing appreciation as a pedagogical subject or goal. In order to limit the directions a history of appreciation could take, this paper assumes that art appreciation in pedagogy encompasses and reflects various theories of art appreciation as a process of mind and thus focuses on the institutionalization of art appreciation.
The Sociological Implications Of Henry Schaefer-Simmern’S Theory And Research Leading Toward An Integral Theory Of Art Education, Roy E. Abrahamson
The Sociological Implications Of Henry Schaefer-Simmern’S Theory And Research Leading Toward An Integral Theory Of Art Education, Roy E. Abrahamson
Journal of Social Theory in Art Education
Henry Schaefer-Simmern was fully aware of the sociological implications of his work. His theory of visual, artistic conceiving stated that people possess an inherent ability to transform their perceptions into holistic (gestalt) formations expressed as works of art. They have this ability in varying degrees regardless of differences of sex, race, chronological age (above the motor scribble age), lQ (above 47), socio-economic status, creed, and geographic location. He believed that society should encourage the development and expression of this ability and that those of its members who are artistically active (whether children, adolescents, or adults) can uplift and transform society …
The Feldman Method Of Art Criticism: Is It Adequate For The Socially Concerned Art Educator?, Tom Anderson
The Feldman Method Of Art Criticism: Is It Adequate For The Socially Concerned Art Educator?, Tom Anderson
Journal of Social Theory in Art Education
The structure and inherent values of the Feldman (1981) method of art criticism are debated in some art education circles. On one hand it is argued that the Feldman method, because of its emphasis on formal analysis, lends itself more readily to analytical formalist criticism, and is thus not an adequate instrument for socially concerned art educators. The other side of the debate has it that the method is appropriate for socially contextual interpretation when applied by socially concerned art educators. My thesis is that Feldman's method is well suited for socially contextual criticism of aesthetic forms. I intend to …
Marginal Images: Art And Ideology In The School, Dan Nadaner
Marginal Images: Art And Ideology In The School, Dan Nadaner
Journal of Social Theory in Art Education
Art has come to connote something that is eclectic and unpredictable. Art may be concerned with the aesthetic organization of visual elements, or it may defy conventional aesthetics; it may seek to interpret visual experience, or it may interpret psychological phenomenon that have no visual manifestation; it may have significant social content, or it may not. Art defies generalizations about its form, but welcomes more readily a characterization of its spirit. Art is inquiring, open-ended, illuminating, often startling. Art is very close to the central concerns and experiential reality of the artist. While it is increasingly difficult to say what …
Socially Relevant Practice In Art, Culture, And Environment, Nancy R. Johnson
Socially Relevant Practice In Art, Culture, And Environment, Nancy R. Johnson
Journal of Social Theory in Art Education
What is socially relevant practice? From my perspective, socially relevant practice has to do with making knowledge available to students that enables them to know about social institutions and contexts associated with the visual arts. In other words, the students are provided with experiences that lead them to an understanding of the phenomenon of art in culture and society so that they can assess and decide what their own relationship will be to concepts and objects comprising the visual arts.