Art Education Commons^™

Art Is Always A Series Of Questions To Contemplate, Not Solve, Carla Poindexter

UCF Forum

Why do people value a painting or drawing? An elementary-school student I know recently answered: “Because when we look at art we can see how the artist felt about things.”

Composition And Community: Integrating Design And Service Learning, Linda Gottesfeld

Cornerstone 2 Reports : Community Outreach and Empowerment Through Service Learning and Volunteerism

No abstract provided.

Taking In: A Juried Selection Of Photography 2012, Aib Students

Taking In

Taking In is a student run project featuring a selection of work created by students attending the Art Institute of Boston. The project focuses on the business of promoting art and culminates each year with a juried exhibition, publication, and website all designed to promote selected works of AIB artists. The selected pieces were chosen anonymously by a jury of distinguished members of the Boston art community. The book in your hand is the end result of a collective effort by those in the class.

Elements Of Art (Ages 8-11), Stephanie Rodriguez

Curricula

No abstract provided.

Fenced In/Out In West Texas: Notes On Defending My Queer Body, Ed Check

Journal of Social Theory in Art Education

In this article, I utilize autoethnography to describe and reflect upon my experiences as a queer artist, associate professor, and activist living in West Texas (1996-2012). To date, I believe there exist too few testimonies in art education that document how queer educators/artists manage myriad social, political, and everyday issues in their lives and workplaces. Such stories are necessary if I am going to equip present and future art teachers with anti-homophobia classroom strategies. I believe such stories are also necessary to counter cultural homophobia and violence and let queer students and teachers know they do not stand alone. Stories …

The Terror Of Creativity: Art Education After Postmodernism, Jan Jagodzinski

Journal of Social Theory in Art Education

This essay addresses two problematics. The first concerns the question of creativity, which has become a key signifier for art and its education in the 21st century. I try to situate this interest in creativity within the broader context of neoliberalism and capitalist designer capitalism. The second problematic addresses the term ‘after postmodernism,’ which has left us in a state of relativity by rejecting universality. My interest is to show how these two problematics are at play in the well-known documentary film, Waiting for Superman, directed by Davis Guggenheim. An attempt is made to expose the structure of this film …

Taking In: The Best Of Aib Photography 2011, Aib Students

Taking In

Taking In is a student run project featuring a selection of work created by students attending the Art Institute of Boston. The project focuses on the business of promoting art and culminates each year with a juried exhibition, publication. and website all designed to promote selected works of AIB artists. The selected pieces were chosen anonymously by a jury of distinguished members of the Boston art community to represent the best of AIB Photography in 2011. The book in your hands is the end result of a collective effort by those in the class.

Risd Pod 2011 Evaluation & 2012 - 2015 Strategic Plan, Project Open Door

Publications + Documents + Videos

This evaluation report and strategic plan documents key findings of an external review of Project Open Door and agreement and the 2012-2017 Project Open Door Strategic Plan. The plan represents consensus among Project Open Door faculty, staff, and Dean of Graduate Studies, Research and Engagement, and Advisory Committee members to strengthen and institutionalize the program. Dean Phillips asked that the review “...evaluate the current condition of the program, confirm its scope, scale, and feasible and fruitful staffing scenarios, explore ways to successfully institutionalize it both within and outside of RISD, and identify pathways for the future, including greater visibility for …

A Study Of Printed Family Guides And Their Relationship To The Family Museum Experience, Matana Ettenheim

Graduate Student Independent Studies

This thesis analyzes the role of family guides in the family museum experience. Family guides are generally handheld pamphlets produced by the museum with the intention of supporting the family experience in the galleries. This study starts by sharing the results of my undergraduate work. After, I describe the preliminary process of contributing to a family guide at American Folk Art Museum. Lastly, I share my current research, in which I interviewed twelve families, asking them to speak to their museum experiences and compare and contrast four family guides. From these interviews, I am able to evaluate the family guide …

Taking In: The Best Of Aib Photography 2010, Aib Students

Taking In

Taking In is a student run project featuring a selection of work created by students attending the Art Institute of Boston. The project focuses on the business of promoting art and culminates each year with a juried exhibition, publication, and website all designed to promote selected works of AIB artists. The selected pieces were chosen anonymously by a jury of distinguished members of the Boston art community to represent the best of AIB Photography, 2010. The book in your hand is the end result of a collective effort by those in the class.

The Pedagogical Role Of Reggio-Inspired Studios In Early Childhood Education, Laura Ann Ganus

Electronic Theses and Dissertations

The influence of the Reggio Emilia philosophy has been present in early childhood programs across the United States for decades, with many programs attempting to adapt the philosophy's concept of a studio, but few studies have examined them. This study describes, interprets, and appraises two Reggio-inspired studios in the United States in order to provide an in-depth analysis and shed new light on such practices.

Four questions guided this study: 1) What is the role of a studio in a Reggio-inspired school? 2) What is happening in the studio? 3) What are children learning in this environment? 4) How does …

The Unprecedented Event: Acknowledging Badiou’S Challenge To Art And Its Education, Jan Jagodzinski

Journal of Social Theory in Art Education

In terms of this year’s journal theme, ”unprecedented,” there is no other contemporary philosopher who has a more radical notion than Alain Badiou when it comes to theorizing the new; that is, the emergence of an unprecedented Event ex nihilio—not novel or innovative, but free of the authority of any prior example—to make a truth claim. For art educators, especially for the Social Caucus, Badiou offers a challenge to what has largely captured the theoretical writing in this journal — namely aesthetics and representation. As well intentioned as these theorizations have been concerning identity politics and critical theory stemming from …

Decolonizing Development Through Indigenous Artist-Led Inquiry, Christine Ballengee-Morris, James Sanders, Debbie Smith, Kryssi Staikidis

Journal of Social Theory in Art Education

In this article four university art educators explore theories of self-determination and describe decolonizing, approaches to research that are built on mutual trust. As researchers we recognize that (re)presenting the stories of others—especially across international and transcultural boundaries—is both problematic and an ethical challenge. We acknowledge the risks that participants assume when sharing their stories, and follow the culturally sensitive strategy of having collaborating indigenous artists lead the research.

Development Of An Art Curriculum That Best Prepares Students For Careers In The Visual Arts By Conducting Interviews With Professional Artists And Designers., David James Willits

Theses and Graduate Projects

The purpose of this study is to examine ways to best prepare students in an art curriculum at a high school level who wish to go on to pursue a career as a professional artist or designer. In this study I have interviewed eleven professional artists and designers. I asked them a series of questions regarding the types of subjects that, based upon their experience, they would recommend be taught at that level. I have also asked them to identify those things that they feel teachers could do to encourage students to consider art or design as a career.

Taking In: Photography 2009, Aib Students

Taking In

Taking In showcases a selection of work from students attending the Art Institute of Boston Work was collected by members of this class for presentation before a jury of distinguished artists from outside of the school. The images selected by the jury were then sequenced for the book, which is designed to be distributed throughout the artistic community. In addition, the work is displayed in a gallery exhibition and on our website. In your hands is the result of the hard work and dedication of the members of this class.

The Space Between: Intersubjective Possibilities Of Transparency And Vulnerability In Art Education, Sara Wilson Mckay

Journal of Social Theory in Art Education

This paper argues for the pedagogical value of the pursuit of transparency and vulnerability in art education. The author defines transparency and vulnerability in the context of art, offering subsequent pedagogical examples of both. Possibilities are born through intersubjectivity and answerability, the Bakhtinian notion that considers "how shall I say [do] anything when the other can answer?" (Bakhtin, 1990; Nielsen, 2002). The author asserts that art educators should pursue an idea of transparency and encourage an open attitude toward vulnerability in their pedagogy to emphasize intersubjective relationships and social possibilities through art. The author discusses artwork by Kelli Connell and …

Art Speaks! Connecting Visual Arts And Language Arts A Program For Fourth-Grade Students In The School District Of Philadelphia, James Stein

Graduate Student Independent Studies

The Philadelphia Museum of Art (PMA) received a National Leadership Grant from the Institute of Museum and Library Services to support a partnership among PMA, Pennsylyania Academy of the Fine Arts, The Barnes Foundation, The Fabric Workshop and Museum, and Institute of Contemporary Art at the University of Pennsylvania. These five art institutions collaborated with each other, and with the School District of Philadelphia (SDP), to develop a literacy-based museum visit program called Art Speaks! that is open to all 13,500 fourth-grade students in SDP public schools. The program features a museum visit to one of the five collaborating institutions …

Taking In: The Best Of Aib Photography 2008, Aib Students

Taking In

Taking In is the culmination of a semester's worth of work done by a group of thirteen students who set out to publish a collection of the best of AIB's student work. Guided by professor and artist Matthew Nash, and previous issues of Taking In, the class organized production, solicited work from peers, selected distinguished members of the art community to jury the work, and communicated with a team of designers to layout the book. The thirty-seven images are only a fraction of the work currently being produced by the students at the Art Institute of Boston, and there is …

The Laboratory On 53rd Street : Victor D' Amico And The Museum Of Modern Art 1937-1969, Briley Rasmussen

Graduate Student Independent Studies

This project addresses previously unexplored areas of Victor D'Amico's career as Director of the Education Department at the Museum of Modern Art (MoMA) from 1937-69, during which time he developed and implemented his philosophy on creative teaching that developed creativity, innovation and appreciation for modern art through a focus on individual aesthetic experience. Beginning with MoMA's early role and mission and the founding of the Education Project, the education programs as a laboratory for experimental art education are studied, specifically the Museum's television series Through the Enchanted Gate and the Children's Art Carnival as exemplars of D'Amico's experimental programming. This …

Teaching Washington State History Through The Arts: A Curricular Guide, Rebekah Norgard

All Graduate Projects

Students benefit both academically and nonacademically when a core subject is taught through the arts. The arts allow students to develop cognitively, extend their research skills, define their ability to problem solve, and strengthen their self-image. Personal connections and student attentiveness is increased when classes incorporate the study of the arts. The purpose of this project was to encourage the integration of arts into core subjects and provide a framework and examples of effective arts content infusion as an instructional strategy for use by Washington State History teachers.

Ua68/5/1 Senior Art Show Catalog, Wku Art

WKU Administration Documents

Exhibition catalog showcasing the artwork of senior art students in a variety of mediums.

Taking In: Aib Photography 2007, Aib Students

Taking In

Taking In is a student run project featuring a selection of work created by students attending the college of art and design. The project focuses on the business of promoting art and culminates each year with a juried exhibition, publication and a website all designed to promote selected works of AIB artists. The selected pieces were chosen anonymously by a jury of distinguished members of the Boston Art Community to represent the best of undergraduate in 2007. The book in your hands is the end result of a collective effort by those in the class.

A Choice-Based Art Curriculum For Eighth Graders At A Public Charter School, Elisa Hirvonen

Graduate Student Independent Studies

In a choice-based art curriculum students select units of study, explore ideas, and choose specific elements of their projects to develop, e.g., media. The goal is to provide a more authentic artistic experience. Surveys conducted at the beginning and end of the year-long program indicate that students are enthusiastic about choice, and that attitudes towards art improved.

Taking In: Aib Photography 2006, Aib Students

Taking In

This book is our fourth edition of Taking In:...a collection, a celebration really, of the best photography created by the students of The Art Institute of Boston at Lesley University. Students came together in the class, taught by Gretjen Hargesheimer, and dedicated themselves to all facets of this yearly publishing event...including design, fund raising, jury selection, editing, layout, and print production. Taking In: is truly a collaboration of the images, ideas, and talents from all departments at AIB. The concept has always been a simple one...to showcase the artistic diversity and vision of students who incorporate photography in heir …

The Permeable Classroom Or The Tilted Arc Revisited, Karen E. Frostig

Journal of Social Theory in Art Education

"The Permeable Classroom or the Tilted Arc Revisited" reviews the author's various roles as artist, community activist, art educator and art therapist, in the design and implementation of a large, sequential community-based ''Tree Memorial" project. Using the Tree Memorial Project as a compelling example of the "permeable classroom," the paper delivers an overview of the project that takes place in and around the public school setting, featuring collaboration between teachers, students, parents, administrators, community residents, and city officials.

Voices Of Women: Telling The Truth Through Art Making, Alice Pennisi

Journal of Social Theory in Art Education

On Wednesdays, when the last period of the school day is finished, the students trickle out of room 412 of Burnham High School and the young women enter who have been waiting outside. They immediately push all the desks to the side or back walls, leaving a large open space. Then each carries a chair toward the front of the room, creating a circle. Someone closes the door, and they begin to talk with one another. Thus begins a weekly meeting of Voices of Women (VOW), a group comprised mainly of high school girls who create collaborative artwork based on …

How To Draw A Heart: Teaching Art To Incarcerated Youth, Dennis Earl Fehr

Journal of Social Theory in Art Education

This article traces the progress of a social theory-based university art education program in which undergraduate majors teach art to incarcerated youth. It addresses and goes beyond the editor's question, "What imagery lies 'outside' art educators' accepted sphere?" Not only is the imagery of these populations out of sight, but so are the sites of incarceration themselves, they exist not only outside the purview of the art education field, but of nearly every sector of society except the police. Even their families are often "out of sight." The readable, conversational format is a political choice. I offer an alternative to …

Reading Objects: Collections As Sites And Systems Of Cultural Order, Alice Wexler

Journal of Social Theory in Art Education

The political nature of making personal and cultural meaning of objects (both ordinary and aesthetic) is the site where transactions between our innate need for order and environmental influences, such as consumerism, are made. Valuing objects leads to the phenomena of collection, a subject that has been of interest in education and psychology since the nineteenth century. I ask how the private collections of children, and later adults, lead to systems of labeling, grouping, and display of art and artifacts in the art and natural history museum. In the age of the meta museum, how do educators question the museum's …

Taking In: Aib Photography 2005, Aib Students

Taking In

This book is the third edition in the Taking In: series. As was the case in Taking In: I and II, the work, dedication, detail, and graphic design is extraordinary and impressive. The work submitted by our students, and selected by our distinguished judges, reflects the eclectic vision, visual intelligence, perception, and promise of a talented student body. During this first year as a class, Taking In: worked through twice as many submissions than the previous years in half the amount of time. The stable class structure allowed a dependable process to support creativity and enabled the students, as artists, …

(Un)Becoming Working Class? Living Across The Lines, Ed Check

Journal of Social Theory in Art Education

I am writing this piece as a white self-identified gay male raised working class associate professor in art who is actively reconnecting with my past/roots, trying to better understand my sense of isolation in academe and my slowly seething anger directed at many of my academic colleagues. By working class I mean 2nd and 3rd generation Polish-American, devout Catholic, white privilege, contractor father, housewife mother, large family, in and out of poverty at times, racist with no real information. By academe I mean working for six years to achieve and be granted tenure at Texas Tech University in visual studies.