Education Commons^™

Building A Pedagogy Of Idea Generation And Embodied Inquiry, Kate Joranson

Art History Pedagogy & Practice

What futures become possible when we center questions, inquiry, and affective responses in research processes? What does it mean to support encounters with new ideas? In this article, I explore non-extractive models of teaching and learning, sharing ways of making space for idea generation, an under-described part of research and creative practice. The coming-up-with-ideas part of creative and scholarly work can be challenging to articulate, share, and teach. What if we paused and stretched this part out, making it more visible? By browsing physical collections of books in community with one another, during “curated browsing” experiences, we give ourselves — …

Ungrading In Art History: Grade Inflation, Student Engagement, And Social Equity, Lauren Disalvo, Nancy Ross

Art History Pedagogy & Practice

Traditional academic pedagogies require that professors assign students grades in a system that creates hierarchies of power of professor over student. This system assumes that grades serve as an intrinsic motivator for students to improve in an academic setting. Many studies suggest that professor-assigned grades do not function as assumed. This article explores one alternative to the traditional system, known as ungrading, a practice whereby students assign themselves grades after a semester of frequent feedback and reflective assignments. This study offers a thematic literature review of ungrading in many disciplines and a small study of ungrading in upper-division art history …

Moocs 2.0: Reviewing N.Paradoxa's Mooc On Contemporary Art And Feminism, Parme Giuntini, Anne Swartz, Kathleen Wentrack

Art History Pedagogy & Practice

This collaboratively written article explores the pedagogical role of MOOCs today through analysis of a MOOC on contemporary art and feminism, created by Katy Deepwell, editor of the international feminist art journal n.paradoxa. Parme Giuntini offers an updated overview of MOOCs and their increasing value as OERs for faculty and students. Feminist art historians Anne Swartz and Kathleen Wentrack investigate the n.paradoxa MOOC from different, but complimentary perspectives. Wentrack explores the structure, documents, and interactivity of the MOOC as a rich source of feminist material useful to both students and scholars. Swartz addresses Deepwell’s international treatment of transnational feminism …

Editors’ Introduction: Continuing The Conversation, Renee Mcgarry, Virginia Spivey

Art History Pedagogy & Practice

No abstract provided.

Editor’S Introduction: Advancing Sotl-Ah, Virginia B. Spivey Phd, Renee Mcgarry

Art History Pedagogy & Practice

No abstract provided.

Making The Absent Present: The Imperative Of Teaching Art History, Beth Harris Phd, Steven Zucker Phd

Art History Pedagogy & Practice

Since its emergence in 2005 as a free and open online resource for instructors, students, and the general public, Smarthistory has made numerous groundbreaking changes and advances for better teaching and more engaged learning. Playing upon the theme "making the absent [art work] present,” we explain how Smarthistory’s lively dialogic pedagogy combined with a rich variety of image views, reconstructions, google street views, diagrams, and essays has successfully replaced the traditional dependence on an art history text for many instructors. The result is an enhanced experiential and contextual experience for the student. For a discipline whose works were often accessible …

Looking Beyond The Canon: Localized And Globalized Perspectives In Art History Pedagogy, Aditi Chandra, Leda Cempellin, Kristen Chiem, Abigail Lapin Dardashti, Radha J. Dalal, Ellen Kenney, Sadia Pasha Kamran, Nina Murayama, James P. Elkins

Art History Pedagogy & Practice

Our pedagogical choices make art history classrooms political spaces of cultural production. Through a global exchange of ideas we consider questions of imbalance between western and non-Western materials and differing art history pedagogies in introductory courses and reveal teaching methods shaped by varied local contexts.

Kristen L. Chiem suggests re-routing students to the fundamentals of art historical inquiry rather than to a specific time or region. Abigail L. Dardashti’s essay re-configures the global art history course by focusing on artworks that defy the neat West and non-West categories. Radha J. Dalal discusses a curriculum that includes a series of courses …