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Journal of Social Theory in Art Education

Art History

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Linear Perspective And Montage: Two Dominating Paradigms In Art Education, Charles R. Garoian Jan 2013

Linear Perspective And Montage: Two Dominating Paradigms In Art Education, Charles R. Garoian

Journal of Social Theory in Art Education

As a former public high school art teacher, I was always puzzled by the common belief held by my students in what they referred to as the right way to represent images and ideas in their drawings and paintings. After years of producing art works during early childhood that appeared to be uninhibited in their expressive qualities, their world view in adolescence had shifted dramatically towards a preoccupation with photographic representation realism.


Reasserting Humanity Through The Liberatory Gaze, Melissa Crum Jan 2012

Reasserting Humanity Through The Liberatory Gaze, Melissa Crum

Journal of Social Theory in Art Education

The act of critically looking can be a method used to consider alternative ways of conceptualizing marginalized cultures and ethnicities. By engaging in a series of inquiries about the subject of an image, the spectator can form a more comprehensive representation of the subject, thus preparing post-secondary students to discuss and interpret visual culture. From the perspective of an African-American female artist and educator’s travels to Brazil, this work proposes that a self-reflective educator’s personal narratives and insight can assist in creating an arts-based critically-thinking learning atmosphere. Such an atmosphere encourages students to move beyond the realms of their cultural …


A National Labor Project: Recovering Unprecedented Numbers Of Working Class Lives And Histories Through Art, Ed Check Jan 2010

A National Labor Project: Recovering Unprecedented Numbers Of Working Class Lives And Histories Through Art, Ed Check

Journal of Social Theory in Art Education

I consider this essay an initial mapping where I reconstruct multiple ways of knowing and understanding the lived realities and plights of workers, whether they are manual workers, teachers or artists (Zandy, 2004). I use autobiography from a perspective of Standpoint Theory where I use the lives of working people as theory, method and evidence. I speak from my standpoint of my experiences as being raised white working class and my shift in salary and education to middle class.


African Art: What And To Whom? Anxieties, Certainties, Mythologies, David Gall Jan 2004

African Art: What And To Whom? Anxieties, Certainties, Mythologies, David Gall

Journal of Social Theory in Art Education

It has taken nearly a whole century to publish two books on African art that recognize the continent as a complex cultural unit within which there is diversity, A History of Art in Africa (Blackmun Visona, M et al, 2001) and Africa, The Art of a Continent (Phillips, T. 1995). Why it taken so long far North and East Africa past and present to be included in texts labeled African art? Why were they not recognized as African? India, also a place of diversity of race and ethnicity, has not similarly treated. The assumptions underlying the norms a representation of …


Discussion And Depictions Of Women In H.W. Janson’S History Of Art, Fourth Edition, Paul E. Bolin Jan 1996

Discussion And Depictions Of Women In H.W. Janson’S History Of Art, Fourth Edition, Paul E. Bolin

Journal of Social Theory in Art Education

During the past twenty-five years there have been numerous highly charged and open criticisms levied against the field of art history. These accusations have been launched from a variety of fronts, both within and outside the discipline of art history (Simmons, 1990), with some of these critical questions and subsequent condemnation directed toward textbooks used to teach this subject in traditional courses that survey historical aspects of Western art. A primary criticism of these survey textbooks has been aimed at their lack of attention given to the important work of women artists. The manner in which these criticisms are treated …


Feminist Collaboration In The Art Academy, Cynthia Bickley-Green, Anne G. Wolcott Jan 1996

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. …


Feminist Film Theory And Art Education, Michael J. Emme Jan 1991

Feminist Film Theory And Art Education, Michael J. Emme

Journal of Social Theory in Art Education

Every ten years or so, lonely voices make themselves heard in the art education literature shouting something like ‘Pay attention to the “newer media” (Lanier, 1966, p.7), or ‘Have you heard? There a “new image world” (Nadaner, 1985, p.9) out there.’ One writer even suggested that “directed, critical inquiry of [television] will extend knowledge in art and aesthetics and enhance the quality of peoples’ lives (Degge, 1985, p.85) Despite these sporadic exhortations, Jaglom and Gardner’s (1981) observation that “our culture has not yet invented ways of presenting [the mass media] or teaching its structure to children” (p.35) is still true …


Social Purposes Of Art Education, Robert J. Saunders Jan 1987

Social Purposes Of Art Education, Robert J. Saunders

Journal of Social Theory in Art Education

In very broad terms, I wish to address the social purposes of art and art education in an historical context, assuming that art education's purposes extend to some extent from those of art. I will discuss these social purposes in the framework of major historical divisions: the tribal society, the agricultural community, industrial civilization, and the future scientific planetary community, or new age.


Feldman On Feldman, Edmund Feldman Jan 1986

Feldman On Feldman, Edmund Feldman

Journal of Social Theory in Art Education

The inadequacy of writing on the sociology of art has been mentioned. We know the names of those who have taken a sociological approach--Frederick Antal, Arnold Hauser, Anthony Blunt, John Berger, and Tim Clark. Much of the sociology of art has been written by Marxists who have a political as well as a sociological axe to grind. Still, we in art education should be doing more sociological analysis, more work on the consumption of art --with art defined to include every type of man-made image. I fought for the admission of this Social Theory Caucus as an affiliated group of …


The Nature Of Philosophical Criticism, Ann L. Sherman Jan 1984

The Nature Of Philosophical Criticism, Ann L. Sherman

Journal of Social Theory in Art Education

Nielsen challenges philosophers to examine the nature of philosophy. He criticizes them for adhering to 'philosophy for philosophy's' sake and points out the non-neutrality of philosophy. Nielsen and other radical philosophers ask: In what sense are the concepts and distinctions which philosopher address 'ordinary'? What are the societal influences on the formation of their discourse? What are the societal consequences of their discourse? Can philosophy be conceived in such a way as to perform a critical service to society? and In what ways does or should philosophy interface with other disciplines?


Art Research And Curriculum To Accomplish Multicultural Goals, Myrna T. Amdursky Jan 1983

Art Research And Curriculum To Accomplish Multicultural Goals, Myrna T. Amdursky

Journal of Social Theory in Art Education

If there were no budget constraints, art education would be nice. Most people agree it’s fun to do, and students do enjoy it. But most people also think it's a frill and unnecessary. As thinking art educators, we must address these issues and the concerns of our policy makers. We must definitively respond to the questions of why we spend all that time, effort, and money teaching art.