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Articles 211 - 240 of 523
Full-Text Articles in Art Education
(Un)Becoming Queer/(Un)Becoming Lgbtic, Kimberly Cosier, Laurel Lampela, Susan Marie De La Garnica, James Sanders, Deborah L. Smith-Shank, Mindi Rhodes, Jessie Whitehead
(Un)Becoming Queer/(Un)Becoming Lgbtic, Kimberly Cosier, Laurel Lampela, Susan Marie De La Garnica, James Sanders, Deborah L. Smith-Shank, Mindi Rhodes, Jessie Whitehead
Journal of Social Theory in Art Education
This article is one result of an ongoing dialogue among a number of members of the LGBTIC/Queer Caucus. The dialogue has taken place primarily through a torrent of e-mails, but also through a number of emotionally charged telephone calls. It began as a friendly, (perhaps naively) simple idea -to turn members' viewpoints about changing the name of our caucus, from "Lesbian, Gay, Bisexual and Transgendered Issues Caucus" to "Queer Issues Caucus" into an article. What began with good will and a fervent hope for understanding, at times turned into vitriol and contention -volleys of world views, personal identities, and philosophies. …
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.
Editorial: The Paradoxes Of Un(Becoming), Jan Jagodzinski, Bill Wightman
Editorial: The Paradoxes Of Un(Becoming), Jan Jagodzinski, Bill Wightman
Journal of Social Theory in Art Education
Un(becoming) is one of those adjectival words in the Merriam Webster dictionary that holds the tension of its own contradiction. Its synonyms seem to summon an endless array of descriptive abjections: unsuitable, unflattering, unappealing, undesirable, unfitting, out of place, unfit, tasteless, malapropos, unseemly, indecorous, inappropriate, unsuitable. We need not go on to get the point. Becoming, on the other hand, appears entirely positive. It denotes well chosen, tasteful, presentable, welcoming, excellent, graceful, acceptable, agreeable, attractive, effective, and so on; in short, all that which is familiar, acceptable and beautiful. Un(becoming) is, therefore, purposefully presented as a portmanteau word containing the …
Visual Culture And Teenage Girls: Unraveling “Cultural” Threads Tied To “Self” And “Other”, Carrie Markello
Visual Culture And Teenage Girls: Unraveling “Cultural” Threads Tied To “Self” And “Other”, Carrie Markello
Journal of Social Theory in Art Education
Visual culture is prevalent in almost every aspect of our lives. We take photos with our cell phones, read magazines brimming with full color images, visit art museums, download streaming video, watch MTV, and scan street signs to find our favorite fast food restaurant. One hundred years ago, except for visiting art museums and reading magazines, these activities were nonexistent. As the twentieth century progressed, visual culture has increasingly been disseminated through new technological developments. In the sixties, Marshall McLuhan forecasted the impact of media upon our changing world. "The medium or process, of our time-electronic technology-is reshaping and restructuring …
In The Realm Of The “Real”: Outsider Art And Its Paradoxes For Art Educators, Jan Jagodzinski
In The Realm Of The “Real”: Outsider Art And Its Paradoxes For Art Educators, Jan Jagodzinski
Journal of Social Theory in Art Education
In this essay I want to argue that un (becoming) is a word much like Freud's (1919) discussion of the word unheimlich (uncanny), which reveals a secretive and clandestine aspect of art that art educators must and should concern themselves with, since it identifies a "realm of the Real" whose abjection legitimates our very practice at its expense. It marks a return of the repressed. Un (becoming), like Freud's uncanny is visual art's non-reflected double as I attempt to show. This is the issue I wish to raise when it comes to the question of so-called "Outsider art," sometimes referred …
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.
The Journal Of Social Theory In Art Education
The Journal Of Social Theory In Art Education
Journal of Social Theory in Art Education
No abstract provided.
“Catching Sight Of The Permanent Possibility Of War:” Images Of Totality And Words Of Peace, Norm Friesen
“Catching Sight Of The Permanent Possibility Of War:” Images Of Totality And Words Of Peace, Norm Friesen
Journal of Social Theory in Art Education
In Totality and Infinity (1969), a landmark critique of the Western philosophical tradition, Emmanuel Levinas poses the provocative question: "Does not lucidity, the mind's openness on the true, consist in catching sight of the permanent possibility of war" (21)? Levinas asks, in other words, whether knowledge of the truth as truth has been "seen” in the western philosophical tradition? is in some fundamental way related to the war.
Documentary Rhetoric, Fact Or Fiction? University Students React To The Film, Bowling For Columbine, Mary Stokrocki
Documentary Rhetoric, Fact Or Fiction? University Students React To The Film, Bowling For Columbine, Mary Stokrocki
Journal of Social Theory in Art Education
In American schools, violence has evolved as one of our most riveting social problems. The FBI reported at least 28 cases of school shootings since 1982 (Diket & Mucha, 2002). Educators are concerned about the growing number of violent acts in schools across America and seek reasons and results. They insist that teachers pay attention to the pictures students create, discuss violence and related issues with them, and make time to talk about understanding a volatile world (Susi, 2001; Diket & Mucha, 2002). Freedman (1997) earlier advocated that teachers encourage students to examine the media. Ballengee-Morris and Stuhr (2001) advocate …
Meditating On The Voiceless Words Of The Invisible Other: Young Female Animé Fan Artists—Narratives Of Gender Images, Jin-Shiow Chen
Meditating On The Voiceless Words Of The Invisible Other: Young Female Animé Fan Artists—Narratives Of Gender Images, Jin-Shiow Chen
Journal of Social Theory in Art Education
My interest in youth anime/manga (Japanese animation and comics) culture in Taiwan began three years ago when my niece, Kitty, then 15 years old, showed me some photos of her cosplay performances and manga drawings (doujinshi) by her good friends. The beautiful pictures fascinated me but in all honesty, I was stunned that my own niece and her good friends were participating in 'those exotic activities'. As far as I knew, my niece and her friends were good students-smart, creative and diligent in pursuing fine art as their majors in high school. I was disturbed by this incongruity and could …
The Embodied Pedagogy Of War, Charles Garoian, Yvonne Gaudelius
The Embodied Pedagogy Of War, Charles Garoian, Yvonne Gaudelius
Journal of Social Theory in Art Education
In March of 2003 we sat huddled over the computer trying to make sense of the paper that we were trying to write on the obsolete body of art education for presentation at the National Art Education Association (NAEA) conference in Minneapolis. When we began the paper the war on Iraq had not yet begun but it was daily becoming more of a real possibility. The buzz about the impending war became a louder and louder as we lived and worked, not in an mythical ivory tower isolated from the world but in the midst of 24-7 media coverage of …
Editorial: Silence Under Erasure—The Silence Of Silence, Jan Jagodzinski, Bill Wightman
Editorial: Silence Under Erasure—The Silence Of Silence, Jan Jagodzinski, Bill Wightman
Journal of Social Theory in Art Education
Author Guagtiumi's cover design speaks eloquently to the theme of this year's journal: silence. The fractal spaces of a complex topological landscape with various intensities of lines that compress and depress throughout are cut and interpenetrated by blank spaces whose sinuous curves stake out a depthless territory that we know nothing about. The "spine" of the cover becomes an artificial divide where the two sides butt together, as if some giant fault tine had been intentionally created. Occasionally a translucent film grows over the force and intensity of these tines, both masking and holding them together to neutralize their force. …
African Art: What And To Whom? Anxieties, Certainties, Mythologies, David Gall
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 …
Three Silences: Infection … Abjection … Art Education, Bob Sweeney
Three Silences: Infection … Abjection … Art Education, Bob Sweeney
Journal of Social Theory in Art Education
The students were waiting for the bus that would take them home after Drama Club, Intramurals, detention. Some students were sitting on the steps, as instructed by another teacher and myself who had either been assigned or volunteered for 'bus duty' that afternoon. The majority of the students were in various states of agitation, fueled by hormones that had just recently been switched into overdrive by developing pituitary glands. Buying sodas, 'athletic' drinks, and junk food from the vending machines, chasing each other around the bathrooms that separated the cafeteria from the exits, most of the students seemed like a …
Anding—The Dynamic In Education, Katie Roberts
Anding—The Dynamic In Education, Katie Roberts
Journal of Social Theory in Art Education
The world exists in a dynamic that can be described as a web. The moment that you are born, you become part of this web by your every move through space, every encounter with people, and every interaction with objects. Never ending but changing direction, never moving up or down but always laterally, the web progresses and grows continuously. This metaphor also describes the singular existence of all of us by outlining the experiences that help form us. From the common details to the formative moments in life, our lives are a series of cumulative experiences. These experiences connect and …
Table Of Contents
Journal of Social Theory in Art Education
Table of contents for The Journal of Social Theory in Art Education, 2004, Number Twenty-Four.
Imaged Voices—Envisioned Landscapes: Storylines Of Information-Age Girls And Young Women, Marjorie Manifold
Imaged Voices—Envisioned Landscapes: Storylines Of Information-Age Girls And Young Women, Marjorie Manifold
Journal of Social Theory in Art Education
In Information Age societies around the world, adolescents are storylining-that is, creating and sharing their own stories and images of who they are and how they would like to be in the world. The youth meet in real or cyber spaces to plan, write, and illustrate stories that incorporate either originally conceived characters or adapt characters from published sources. Insofar as these young people intimately identify with the characters of their stories, story lining may be understood as a kind of socio-aesthetic play. By projecting pieces of themselves into the fictive characters of the collaborative story, they are practicing, correcting, …
Piercing Gaze: Public Art In Schools, Laura Felleman Fattal
Piercing Gaze: Public Art In Schools, Laura Felleman Fattal
Journal of Social Theory in Art Education
A gaze is a silent facial gesture while a piercing gaze suggests a shrieking sound. Unpacking the word, silence, allows one to look at the difference between the verbalizations hailing empowerment and the actual functioning of reinstatements of purpose in learning, teaching and mentoring in a public school. Silence, in the following article, signals a discomfort, sometimes solitude and, at times, an abyss perhaps indicating the disparity between expectation and implementation. The depth of research necessary by the school community to reach consensus for names of dignitaries and the in-depth archival photographic research on the part of the professional artists …
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 …
The Journal Of Social Theory In Art Education
The Journal Of Social Theory In Art Education
Journal of Social Theory in Art Education
No abstract provided.
Schooled In Silence, Patricia M. Amburgy, Wanda B. Knight, Karen Keifer-Boyd
Schooled In Silence, Patricia M. Amburgy, Wanda B. Knight, Karen Keifer-Boyd
Journal of Social Theory in Art Education
What is not said, is often more powerful than what is spoken about diversity, difference, and identity in U.S. classrooms. Examples are everywhere: Although no students of color may be enrolled in a course at a prominent research university, members of the class do not believe there is such a thing as institutional racism. A handful of women are discussed in course textbooks, all authored by men, but no one thinks it odd that only men have written accounts of women's achievements that appear on the syllabus. Gay, lesbian, bisexual, and transgendered people do not speak for themselves, either, in …
Questioning Fantasies Of Popular ‘Resistance:’ Democratice Populism And Radical Politics In Visual Cultural Studies, Jan Jagodzinski
Questioning Fantasies Of Popular ‘Resistance:’ Democratice Populism And Radical Politics In Visual Cultural Studies, Jan Jagodzinski
Journal of Social Theory in Art Education
This is the second part to a complementary essay that appeared in JSTAE (jagodzinski 2003). It was also written in 1998 and is being revisited some six years latter given that the cultural landscape in art education is slowly turning its sights towards visual cultural studies, a position JSTAE has been exploring for almost a quarter of a century if we take into account our earlier "Bulletin" publication, which began in 1980. The theme of silence arises, for me, a question of what is a radical politics at the tum of the century? It seems that the only game in …
Review: Postmodern Art Education In Practice. Gude, O. (Ed.). (N.D.). Spiral Art Education, Karen Keifer-Boyd, Patricia M. Amburgy, Wanda B. Knight
Review: Postmodern Art Education In Practice. Gude, O. (Ed.). (N.D.). Spiral Art Education, Karen Keifer-Boyd, Patricia M. Amburgy, Wanda B. Knight
Journal of Social Theory in Art Education
Book review of Spiral Art Education, Olivia Gude (Editor), University of Illinois, Chicago, 2003.
Black Hawk Down And The Silences Of Ridley’S Scott’S Realism, Robert Nellis
Black Hawk Down And The Silences Of Ridley’S Scott’S Realism, Robert Nellis
Journal of Social Theory in Art Education
A telling moment occurs in the film Black Hawk Down (Bruckheimer & Scott, 2001) when the "reliable" Shawn Nelson is literally struck deaf by the gunfire of his partner. Nelson can no longer hear his fellow American soldiers, their gunfire, or the screams of his dying enemies. Prior to losing his hearing, Nelson puts in a mouth protector, explaining that on his last mission, he almost bit off his tongue. Thus, Nelson ensures that he will be able to speak of any evil he hears, but, alas, he becomes deal. Nelson's predicament somewhat parallels that of the audience of Ridley …
The Comic/Anime Fan Culture In Taiwan: With A Focus On Adolescents’ Experiences, Jin-Shiow Chen
The Comic/Anime Fan Culture In Taiwan: With A Focus On Adolescents’ Experiences, Jin-Shiow Chen
Journal of Social Theory in Art Education
A striking phenomenon in this technology-laden and media-driven modern Taiwanese society is that fan culture has become overly active and enthusiastic. Adolescents make up the major percentage of the fan population. Whenever a famous singer or movie star launches an event, a mass of youngsters are sure to chase him or her throughout the series of fan parties that go on afterwards. This phenomenon also happens in comic/anime fandom. In August of 1995, an event of Meeting Anime Stars given in a department store across the Taipei Train Station attracted more than fifteen thousand adolescents who lined up for hours …
Table Of Contents
Journal of Social Theory in Art Education
Table of contents for The Journal of Social Theory in Art Education, 2003, Number Twenty-Three.
(Re)Marking Time/(Re)Examining The Social History Of A Community School Of Visual Art, James H. Sanders
(Re)Marking Time/(Re)Examining The Social History Of A Community School Of Visual Art, James H. Sanders
Journal of Social Theory in Art Education
In this paper the author argues that education researchers, artists, educators and arts agencies need to reexamine their policies and practices and grapple with the difficult knowledge of their embeddedness in the problems they seek to resolve. The author identifies the narrative research methods and post positivist analyses he employs in constructing a polyvocal history of an arts education agency. Drawing on fifty-five years of agency meeting minutes, promotional catalogs and news clippings as cross-read within/against the oral testimonies of participants in a community school of visual art, the author critically reflects on the ways community-based arts institutions navigate the …
Commentary: Art Education And New Technology: Are You Ready?, Susan Witwicki
Commentary: Art Education And New Technology: Are You Ready?, Susan Witwicki
Journal of Social Theory in Art Education
As an Art education major, I was somewhat daunted by a recent job offer requiring me to teach in the Career and Technology Studies department. As a recovering technophobe and lover of scissors and paste, I was cautious of this ‘Brave New World’ of computers. I perceived post-millennial teens to be cyber savvy know-it-alls, largely due to the way in which they were portrayed in the media. As well, if the ads were true, teens weren’t the only ones riding the new technological wave; Cisco Systems 1999 television campaign presented a global Utopia of citizens united through surfing the net. …
From Bucktown To Niketown: Doing Visual Cultural Studies (Chicago Style), Kevin Tavin, Lea Lovelace, Albert Stabler, Jason Maxam
From Bucktown To Niketown: Doing Visual Cultural Studies (Chicago Style), Kevin Tavin, Lea Lovelace, Albert Stabler, Jason Maxam
Journal of Social Theory in Art Education
We begin this article with an epigrammatic manifesto: Art education should be a political project that engages visual representations, cultural sites, and public spheres through the language of critique, possibility, and production. Art educators should help students understand, critique, and challenge how individuals, institutions, and social practices are inscribed in power differently, to expand the possibilities for freedom, equality, and radical democracy, through relevant and meaningful production. These are the elements and principles of a politically engaged and socially just art education. This is art education as visual cultural studies.
Teaching Critical Practice For Future Technologies, Leslie Sharpe
Teaching Critical Practice For Future Technologies, Leslie Sharpe
Journal of Social Theory in Art Education
What are the issues when faculty wishes to teach art students critical or alternative practices with newer technologies not yet widely available to the public? Can one teach alternative practices that consider social or personal contexts when the technologies are not yet publicly available? What other issues are involved when teaching art students to do fine art with such technologies, and when not training artists to do commercial work for the communications industry or mainstream media? What does it mean for the art students who wants to use these technologies for fine art to have ideas for their use, but …