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Full-Text Articles in Education
Scanscape I, Bob Sweeny
Scanscape I, Bob Sweeny
Journal of Social Theory in Art Education
Image of Bob Sweeny's, Scanscape I, 2014, Mixed Media.
Scanscapes I-V, Bob Sweeny
Scanscapes I-V, Bob Sweeny
Journal of Social Theory in Art Education
The similarities between utopian architectural forms and standardized testing are many. Both set forth a behavioral model that is designed to elicit a prescribed set of actions, which are then measured, codified, and folded back into the dynamic relationship set in motion. These models also involve rhetorical strategies, employing terms such as ‘efficiency’ and ‘progress’ that reassure the user that they will benefit from the process.
Scanscape Ii, Bob Sweeny
Scanscape Ii, Bob Sweeny
Journal of Social Theory in Art Education
Image of Bob Sweeny's, Scanscape II, 2014, Mixed Media.
Scanscape Iii, Bob Sweeny
Scanscape Iii, Bob Sweeny
Journal of Social Theory in Art Education
Image of Bob Sweeny's, Scanscape III, 2014, Mixed Media.
Scanscape Iv, Bob Sweeny
Scanscape Iv, Bob Sweeny
Journal of Social Theory in Art Education
Image of Bob Sweeny's, Scanscape IV, 2014, Mixed Media.
Scanscape V, Bob Sweeny
Scanscape V, Bob Sweeny
Journal of Social Theory in Art Education
Image of Bob Sweeny's, Scanscape V, 2014, Mixed Media.
Precinct, Gayle Gorman
Precinct, Gayle Gorman
Journal of Social Theory in Art Education
"Precinct" was a site-specific art project/ performance/ exhibit put on by SITE: Buffalo Artist Collective, an organization devoted to a nontraditional approach to art emphasizing the experiential and the value of spectered memories contained in found objects and images. With the aid of the Buffalo Arts Commission, the abandoned police precinct (now destroyed) on Niagara Street on Buffalo's West side was open to the public, occupied and interacted with for a one-day event. This venue was specifically selected in order to bypass the gallerycentric mode of display which tends to dominate the world of art. By doing so, SITE made …
Images: An Unbecoming Child: A (Per)Verse Growth Chart, Kevin Tavin
Images: An Unbecoming Child: A (Per)Verse Growth Chart, Kevin Tavin
Journal of Social Theory in Art Education
Within silhouettes of male and female figures, cut out in the space between two walls, are chemically transferred images from (Spectral traces of) photos in my life-adulthood to childhood. These are representations of d(evolved) (dis)solutions to the crisis between my / self and other(s). The growth chart is reversed and perverse with the marking and masking of my maleness/femaleness. It is (the) unbecoming of me.
Images: Unbecoming War: Becoming Witness And Scribe, Deborah Smith-Shank
Images: Unbecoming War: Becoming Witness And Scribe, Deborah Smith-Shank
Journal of Social Theory in Art Education
My artwork, called Wargoddess: Shock&Awe, positions me as a Witness and a Scribe. I cut pictures of my family into small pieces and pasted these people I love without reservation around the goddess. I wrote and pasted words. I pasted the map of Iraq on her stomach and made Baghdad her belly button. As I worked, I wondered whose side god[dess] is on and why anyone could possibly think that s/he took sides.
Abu Ghraib: (Un)Becoming Photographs: How Can Art Educators Address Current Images From Visual Culture Perspectives?, Nancy Pauly
Abu Ghraib: (Un)Becoming Photographs: How Can Art Educators Address Current Images From Visual Culture Perspectives?, Nancy Pauly
Journal of Social Theory in Art Education
On Friday, May 7, 2004 the front page of The New York Times contained two photographs and a headline: "From Picture of Pride to Symbol of Abuse" (Dao, 2004, p.1). In the top photograph Lynndie R. England appears in 2003, smiling, standing in a relaxed family setting, and wearing a blue" Authentic USA" hooded sweatshirt with red and white lettering. Until early May that photo had been displayed in the Mineral County West Virginia Courthouse with other photographs of local soldiers stationed in Iraq.
Gulf War Series: 1996 Untitled, Bob Bersson
Gulf War Series: 1996 Untitled, Bob Bersson
Journal of Social Theory in Art Education
Mixed media image from Bob Bersson's 1995 Gulf War Series.
Art, Education, And The Bomb: Reflections On An International Children’S Peace Mural Project, Tom Anderson
Art, Education, And The Bomb: Reflections On An International Children’S Peace Mural Project, Tom Anderson
Journal of Social Theory in Art Education
As a community muralist (T. Anderson, 1985) and contextualist I believe that the purpose of art is communication from one human being to another about things that count (R. Anderson, 1990; Dissanayake, 1988; Lippard, 1990). This does not mean that we disregard the aesthetic component—the “wonder”—in an artwork. Rather, it implies that the aesthetic serves an extrinsic function beyond its supposed raison d’être. That function, which is usually both prosaic and symbolic, is to serve as a marker that in some way defines the people who make, use, and view artworks or aesthetically framed objects (R. Anderson, 1990). Art is …
The Gallery, David Amdur, Robert Bersson, Gene Cooper, Drent Howenstein, Laurie Lundquist, Meryl Meisler, Juanita Miller, Gretchen Riemer, Kai Staats
The Gallery, David Amdur, Robert Bersson, Gene Cooper, Drent Howenstein, Laurie Lundquist, Meryl Meisler, Juanita Miller, Gretchen Riemer, Kai Staats
Journal of Social Theory in Art Education
Images related to the Eco-Techno theme from nine artists.