Pub Date : 2023-05-04DOI: 10.1080/00043125.2023.2203665
A. Kantawala
Schön (1983) explains that reflection-in-action occurs during an actual experience or event. Thus, in our teaching practices, this involves adapting and responding to emerging classroom needs and challenges in real-time. In the same vein, artists engage in reflection-in-action as they continuously assess, adjust and experiment with their own work and techniques while immersed in the artistic process. Both educators and artists rely on reflection and adaptation for growth and skill development. Simply put, reflection-in-action entails thinking on one’s feet and being attuned to classroom dynamics or artistic nuances while making informed decisions based on immediate observations and interactions. On the other hand, reflection-on-action happens after an experience or event and also encompasses a deliberate retrospective analysis of one’s actions and outcomes to identify areas for improvement. In the context of teaching, reflection-on-action requires educators to critically examine instructional strategies, classroom management techniques, and student interactions, which enables us to understand the methods that worked, the ones that didn’t, and how we can strengthen our practice overall. For artists, this reflective process involves assessing their creative choices and artistic techniques. Therefore, reflection-on-action allows teachers and artists to learn from their experiences, which enables us to make informed decisions about modifying our practices to achieve better outcomes. Reflecting and Adapting:
{"title":"Reflecting and Adapting: The Role of Reflective Practice in Transforming Education During the Pandemic and Beyond","authors":"A. Kantawala","doi":"10.1080/00043125.2023.2203665","DOIUrl":"https://doi.org/10.1080/00043125.2023.2203665","url":null,"abstract":"Schön (1983) explains that reflection-in-action occurs during an actual experience or event. Thus, in our teaching practices, this involves adapting and responding to emerging classroom needs and challenges in real-time. In the same vein, artists engage in reflection-in-action as they continuously assess, adjust and experiment with their own work and techniques while immersed in the artistic process. Both educators and artists rely on reflection and adaptation for growth and skill development. Simply put, reflection-in-action entails thinking on one’s feet and being attuned to classroom dynamics or artistic nuances while making informed decisions based on immediate observations and interactions. On the other hand, reflection-on-action happens after an experience or event and also encompasses a deliberate retrospective analysis of one’s actions and outcomes to identify areas for improvement. In the context of teaching, reflection-on-action requires educators to critically examine instructional strategies, classroom management techniques, and student interactions, which enables us to understand the methods that worked, the ones that didn’t, and how we can strengthen our practice overall. For artists, this reflective process involves assessing their creative choices and artistic techniques. Therefore, reflection-on-action allows teachers and artists to learn from their experiences, which enables us to make informed decisions about modifying our practices to achieve better outcomes. Reflecting and Adapting:","PeriodicalId":36828,"journal":{"name":"Art Education","volume":" ","pages":"4 - 7"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46813267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/00043125.2023.2203666
A. Kantawala
{"title":"Unveiling the Invisible: A Conversation With Derald Wing Sue on Addressing Racism and Microaggressions in Educational Settings","authors":"A. Kantawala","doi":"10.1080/00043125.2023.2203666","DOIUrl":"https://doi.org/10.1080/00043125.2023.2203666","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"48 - 51"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44823931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153561
Dianna Huxhold
{"title":"Exploring the Concept of Art Teacher as Moral Support in The Dreaming Art Studio","authors":"Dianna Huxhold","doi":"10.1080/00043125.2022.2153561","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153561","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"19 - 23"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46704883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153553
Leslie Gates
Figure 1. Collaborative inquiry concept map. I love maps. At first, I was drawn to the visual vocabulary of maps and began collecting and using them in my artwork. I also rely on mapping to help me find relationships within and among ideas (Figure 1). I have also used the language of maps metaphorically in my writing (Gates, 2010, 2011). I started engaging my students in mapping to make their learning visible (Marshall, 2019; Ritchhart et al., 2011) and as part of their artistic practice.
{"title":"Mapping as Artistic Practice","authors":"Leslie Gates","doi":"10.1080/00043125.2022.2153553","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153553","url":null,"abstract":"Figure 1. Collaborative inquiry concept map. I love maps. At first, I was drawn to the visual vocabulary of maps and began collecting and using them in my artwork. I also rely on mapping to help me find relationships within and among ideas (Figure 1). I have also used the language of maps metaphorically in my writing (Gates, 2010, 2011). I started engaging my students in mapping to make their learning visible (Marshall, 2019; Ritchhart et al., 2011) and as part of their artistic practice.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"53 - 61"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46396978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153565
Borim Song, Steven Taylor, K. Wheeler, Michael D. Winstead
{"title":"Reaching Across Remote Worlds: Collaboration Between In-Service and Prospective Art Teachers in the Age of COVID-19","authors":"Borim Song, Steven Taylor, K. Wheeler, Michael D. Winstead","doi":"10.1080/00043125.2022.2153565","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153565","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"38 - 46"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42456715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153571
Lori Ungemah, Julia Beck Vandenoever
{"title":"Agency, Vision, and Voice: Community College Students Work With an Artist-in-Residence to Photograph Their Dreams","authors":"Lori Ungemah, Julia Beck Vandenoever","doi":"10.1080/00043125.2022.2153571","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153571","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"24 - 30"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49334416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153552
Yichien Cooper, Emilie Cooper
3
3
{"title":"An Arts-Based Journey: A Mother–Daughter’s Dialogue on Cultural Hybridity, Displacement, and Being an Asian American","authors":"Yichien Cooper, Emilie Cooper","doi":"10.1080/00043125.2022.2153552","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153552","url":null,"abstract":"3","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"31 - 37"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46879907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153557
Christina Hanawalt
This article is situated amid the ongoing effects of multiple crises in the United States—the COVID-19 pandemic, pressing calls for racial justice in the face of continued police violence against Black Americans, and the storming of the U.S. Capitol building at the incitement of Donald J. Trump in the final weeks of his presidency. In addition to these crises, our present time is marked by an environmental crisis that has led anthropologists to use the term Anthropocene to define the current “epoch in which human disturbance outranks other geological forces” (Tsing, 2015, p. 19). Given the cumulation and intensity of these multifaceted issues facing society, scholars like Anna Lowenhaupt Tsing (2015) have recognized a pervasive sense of precarity, described as the condition of being vulnerable to human and nonhuman others at a time when “we can’t rely on the status quo; everything is in flux, including our ability to survive” (p. 20). Yet, in the face of all of this, Tsing proposed that we should move toward understanding precarity as something other than a state of being provoked by crises that are exceptions to an otherwise smooth unfolding of life. Instead, she suggested that precarity, in fact, describes the ongoing condition of our world—a world that is always in process and that rests on the uncertain. According to Tsing, each moment of experience is characterized by the continuous coming together of elements and forces past and present, human and nonhuman entities gathering and entangling to produce life as infinitely contingent and unpredictable—but also always open to the possibility of something new. In Tsing’s view, precarity, as a state of being, presents us with conditions ripe with possibilities for new understandings, new ways of being, and the potential for change.
{"title":"Developing a Politics of Attunement in Art Teacher Preparation: Documentation and Collage in a Precarious Present","authors":"Christina Hanawalt","doi":"10.1080/00043125.2022.2153557","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153557","url":null,"abstract":"This article is situated amid the ongoing effects of multiple crises in the United States—the COVID-19 pandemic, pressing calls for racial justice in the face of continued police violence against Black Americans, and the storming of the U.S. Capitol building at the incitement of Donald J. Trump in the final weeks of his presidency. In addition to these crises, our present time is marked by an environmental crisis that has led anthropologists to use the term Anthropocene to define the current “epoch in which human disturbance outranks other geological forces” (Tsing, 2015, p. 19). Given the cumulation and intensity of these multifaceted issues facing society, scholars like Anna Lowenhaupt Tsing (2015) have recognized a pervasive sense of precarity, described as the condition of being vulnerable to human and nonhuman others at a time when “we can’t rely on the status quo; everything is in flux, including our ability to survive” (p. 20). Yet, in the face of all of this, Tsing proposed that we should move toward understanding precarity as something other than a state of being provoked by crises that are exceptions to an otherwise smooth unfolding of life. Instead, she suggested that precarity, in fact, describes the ongoing condition of our world—a world that is always in process and that rests on the uncertain. According to Tsing, each moment of experience is characterized by the continuous coming together of elements and forces past and present, human and nonhuman entities gathering and entangling to produce life as infinitely contingent and unpredictable—but also always open to the possibility of something new. In Tsing’s view, precarity, as a state of being, presents us with conditions ripe with possibilities for new understandings, new ways of being, and the potential for change.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"8 - 18"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43402009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2023.2185441
A. Kantawala
{"title":"Standing On the “Right” Side of History: How Can We Remain Alert and Stop Eliminating Black Artists and Institutions From Our Curriculum?","authors":"A. Kantawala","doi":"10.1080/00043125.2023.2185441","DOIUrl":"https://doi.org/10.1080/00043125.2023.2185441","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":" ","pages":"4 - 7"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49097760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-04DOI: 10.1080/00043125.2022.2153574
Juyoung Yoo
47 The inquiry-based approach in museum education often takes the form of an educator asking open-ended questions to facilitate discussions around artworks, while encouraging students in careful observation and interpretive processes (Terrassa et al., 2016). Openended questions might include “What do you notice?,” “Can you describe what you see?,” and “What makes you say that?” (Herz, 2010). However, although art museums are emphasizing learners’ experiences and their interpretative processes, many of these institutions still continue their “traditional deeply engrained, didactic, and expert driven practices” for adult learners (Clover & Bell, 2013, p. 40). Accordingly, adult learners are still more accustomed to lecture-based tours. For example, to encourage a group of adults to observe the details and share their imaginative thoughts about an abstract sculpture—tall, rectangular, empty in the center, and made of smooth marble stone—I asked them to imagine that they were the air surrounding the sculpture, and then asked what they saw and how they felt. Right away, one woman with a frown on her face stopped me and told me that she wanted to learn about the artist’s philosophy and intention, as well as the meaning of the artworks, and that I should talk instead of asking questions. Soon after, most of the participants walked away and looked for wall labels.
47博物馆教育中的探究式方法通常采用教育工作者提出开放式问题的形式，以促进围绕艺术品的讨论，同时鼓励学生仔细观察和解释过程(Terrassa et al.， 2016)。开放式问题可能包括“你注意到了什么?”“你能描述一下你所看到的吗?”、“你为什么这么说?”(赫兹，2010)。然而，尽管艺术博物馆正在强调学习者的经验和他们的解释过程，但许多这些机构仍然继续为成人学习者提供“传统的、根深蒂固的、说教的和专家驱动的实践”(Clover & Bell, 2013，第40页)。因此，成人学习者仍然更习惯于以讲座为基础的参观。例如，为了鼓励一群成年人观察细节，并分享他们对一个抽象雕塑的想象——一个高大、长方形、中间空着、由光滑的大理石制成的雕塑——我让他们想象自己是雕塑周围的空气，然后问他们看到了什么，感觉如何。马上，一个皱着眉头的女人拦住了我，告诉我她想了解艺术家的哲学和意图，以及作品的意义，让我谈谈，而不是问问题。不久之后，大多数参与者都走开了，去寻找墙上的标签。
{"title":"Evidence of Transformative Learning Experience From the Art Museum’s Adult Program","authors":"Juyoung Yoo","doi":"10.1080/00043125.2022.2153574","DOIUrl":"https://doi.org/10.1080/00043125.2022.2153574","url":null,"abstract":"47 The inquiry-based approach in museum education often takes the form of an educator asking open-ended questions to facilitate discussions around artworks, while encouraging students in careful observation and interpretive processes (Terrassa et al., 2016). Openended questions might include “What do you notice?,” “Can you describe what you see?,” and “What makes you say that?” (Herz, 2010). However, although art museums are emphasizing learners’ experiences and their interpretative processes, many of these institutions still continue their “traditional deeply engrained, didactic, and expert driven practices” for adult learners (Clover & Bell, 2013, p. 40). Accordingly, adult learners are still more accustomed to lecture-based tours. For example, to encourage a group of adults to observe the details and share their imaginative thoughts about an abstract sculpture—tall, rectangular, empty in the center, and made of smooth marble stone—I asked them to imagine that they were the air surrounding the sculpture, and then asked what they saw and how they felt. Right away, one woman with a frown on her face stopped me and told me that she wanted to learn about the artist’s philosophy and intention, as well as the meaning of the artworks, and that I should talk instead of asking questions. Soon after, most of the participants walked away and looked for wall labels.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":"76 1","pages":"47 - 52"},"PeriodicalIF":0.0,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47310044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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