61,060 research outputs found

    Review: Postmodern Art Education in Practice. Gude, O. (Ed.). (n.d.). Spiral Art Education

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    Book review of Spiral Art Education, Olivia Gude (Editor), University of Illinois, Chicago, 2003

    First Fagnostics: Queering Art Education

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    This article advocates for a “fagnostic” pedagogy that acknowledges the queer aspects of education in relation to not knowing, of the unknown, of the unknowable, making spaces and opportunities for becoming art educator. The article defines fagnostic, questions the assumptions of heteronormative, binary pedagogies, and considers the possibilities of queering the spaces of art education practice to be more inclusive and culturally sustainable in the 21st century

    Pre-service Possibilities: Reconsidering \u27\u27Art for the Elementary Educator

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    Art for the Elementary Educator courses are sites of possibility in the field of art education, particularly art education oriented toward curriculum integration and meaningful art experiences. Drawing on literature about Art for the Elementary Educator courses and our own teaching experiences we make recommendations for reconsidering possible futures for this course as related to the future of art education. We believe that this course, its students, instructors, and course materials are worthy of sustained attention by the art education community. Ultimately, we argue that art education appreciation and advocacy, concepts we define in our concluding remarks, should be primary objectives for such classes. Reconsidering Art for the Elementary Educator in light of these ideas requires renewed examination of course content, student dispositions, instructor preparation, and teaching and learning resources

    Research for Existential Choice

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    Chet Bowers (1984) has developed a theory of how a critical consciousness of our cultural typifications can be developed through an in-depth and elaborated understanding of aspects of a given situation or problem. In this paper, his theory is applied to the role research plays in art education. It is proposed that our existential choices in art education are directly proportionate to the amount and complexity of the research we have available and the extent to which we understand and can apply this research for specific purposes. The lack of research in essential instructional areas as well as the lack of formalized debate regarding major changes in the field of art education suggest that, rather than critical consciousness, art education is currently subject to limited perspectives that are controlled by a select few

    Editorial: PreOccupy/Maximum Occupancy

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    When the Editor and Associate Editor conceived of this call for papers for PreOccupy/Maximum Occupancy, it was based on the Caucus members’ input during the annual meetings of the Caucus on Social Theory and Art Education (CSTAE) at the National Art Education Association conference, NAEA 2012, New York. We listened to our colleagues speak about the year’s events, and we discussed how we as art educators could respond to the needs of the Caucus and of our field for Volume 33 of the Journal of Social Theory in Art Education (JSTAE)

    Alexander Werdmuller von Elgg

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    This research aims to describe a condition of college level art education and is composed of two parts: an annotated bibliography and a survey. The annotated bibliography describes dissertations, research papers, articles, and books about histories and current trends in college level art education. The survey asks students and faculty at San Jose State University, California about their extent of value toward a variety of experiences in college level art education. Some key findings from the research are that studio space, expressivity, and craftsmanship are some of the most valuable qualities in college level art education.https://scholarworks.sjsu.edu/lrsp/1000/thumbnail.jp

    Editorial: Critical Coalitions in Play

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    The theme of Volume 31 of the Journal for Social Theory in Art Education – Critical Coalitions in Play – was developed at the Annual Business Meeting of the Caucus on Social Theory and Art Education, during the 2010 National Art Education Association, held in Baltimore, MD. The theme developed from casual conversations and formal discussions held throughout the conference, a process that has a longstanding history in the Caucus. This process relates to the theme itself, in a meaningful, self-reflexive manner: individuals discussed the critical nature of building coalitions within the field and between other related fields, and how these coalitions are both in play and deal with elements of play

    Captured voices in primary school art education.

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    Eisner (1972) articulated a long-standing orientation in art education as he described the triadic relationship between socio-centric, child-centred and discipline-centred approaches in art education praxis. Hickman (2005) observed that teachers and students are now positioned to embrace a wider range of discourses as to what art might be. This impacts on why students make art and how it is taught. Wider arts discourse has resulted in influential paradigms and historically preferred arts pedagogies (Efland, 2002, 2004; Eisner, 1972; Kerlavage, 1992; Price, 2005). These discourses influence policy, curriculum, teacher beliefs about art and ultimately the ways in which these influences are played out in classrooms. Eisner (2002) argued the need for "empirically grounded examples of artistic thinking related to the nature of the tasks students engage in, the materials they work with, the context's norms and the cues the teacher provides to advance their students thinking" (p. 217). This paper draws on such theory and a two year action-research project, The Art of the Matter (Fraser et al., 2006) involving case studies and analysis. This paper focuses on a Year 4 to Year 6 'drawing into painting' context taught by experienced generalist teachers in New Zealand primary schools. The influence of school culture and programme structures is explored. I raise questions as to which socio-cultural and discipline-centred voices generalist teachers have been captured by, and consider to what extent it possible to still discern a student whisper under the clamour and control of adult proscribed activity

    For Cultural Democracy: A Critique of Elitism in Art Education

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    After reading a good deal about the Reagan administration’s proposed arts policy, I was a bit shaken to discover a strikingly Reagan-like art education policy espoused in the front pages of the July, 1981 issue of Art Education. Was it possible that the nationwide rise of political and cultural conservatism was finding its way into the ranks of our own profession? Over the years, I had come to know art educators as persons of generally liberal persuasion, but here was philosophy and rhetoric to match the best of the Reagan arts advisors. The article causing my surprise was Elitism Versus Populism: A Question of Quality. The writer was Ralph A. Smith, Executive Secretary of the Council for Policy Studies in Art Education, a group which seeks to promulgate and assess policy for the profession
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