Pub Date : 2023-01-02DOI: 10.1080/00043125.2022.2131203
Nanyoung Kim
As a university supervisor for intern students, I have the unique pleasure of witnessing interesting projects created and taught by clinical teachers. One such lesson was “Let Your Inner Monster Out,” taught by art teacher Charlotte Kassnove to 5th graders at the Eastern Elementary School in Greenville, North Carolina. In this project, the students (1) learned basic stitching techniques; (2) looked at and discussed the “art dolls” made by artist Catherine Zacchino (a.k.a. “Junker Jane”; see Figure 1) to learn how an everyday object like a sewn “doll” can be a fantastic artwork; (3) explored facial features related to various emotions, which is a basic vocabulary for visual communication; and (4) planned and constructed their own monster dolls, cutting and stitching fabrics, stuffing forms with artificial cotton, and decorating them with different materials, a process that encouraged the students to think logically and procedurally. This project had everything I like to see in art classes: the serious acquisition of a skill, emphasis on multistep procedures, and the incorporation of children’s own personal choices with inspiration from an adult artist. Moreover, it is a project that centers on crafts.
{"title":"Reformulating Crafts in Art Education Curriculum","authors":"Nanyoung Kim","doi":"10.1080/00043125.2022.2131203","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131203","url":null,"abstract":"As a university supervisor for intern students, I have the unique pleasure of witnessing interesting projects created and taught by clinical teachers. One such lesson was “Let Your Inner Monster Out,” taught by art teacher Charlotte Kassnove to 5th graders at the Eastern Elementary School in Greenville, North Carolina. In this project, the students (1) learned basic stitching techniques; (2) looked at and discussed the “art dolls” made by artist Catherine Zacchino (a.k.a. “Junker Jane”; see Figure 1) to learn how an everyday object like a sewn “doll” can be a fantastic artwork; (3) explored facial features related to various emotions, which is a basic vocabulary for visual communication; and (4) planned and constructed their own monster dolls, cutting and stitching fabrics, stuffing forms with artificial cotton, and decorating them with different materials, a process that encouraged the students to think logically and procedurally. This project had everything I like to see in art classes: the serious acquisition of a skill, emphasis on multistep procedures, and the incorporation of children’s own personal choices with inspiration from an adult artist. Moreover, it is a project that centers on crafts.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45045625","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131199
Michelle S. Bae-Dimitriadis, Injeong Yoon-Ramirez
{"title":"Intersectional Antiracist Art Inquiry Through Asian American Art","authors":"Michelle S. Bae-Dimitriadis, Injeong Yoon-Ramirez","doi":"10.1080/00043125.2022.2131199","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131199","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46561264","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131201
E. Hood, Sarah Travis
{"title":"Critical Reflective Practice for Art Educators","authors":"E. Hood, Sarah Travis","doi":"10.1080/00043125.2022.2131201","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131201","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44833932","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131206
Teresa L. Cotner
{"title":"Make It New: In Support of Collaborative Early Field Experience for Preservice Teachers in Art Museums","authors":"Teresa L. Cotner","doi":"10.1080/00043125.2022.2131206","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131206","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41514807","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131319
Christen Sperry García, Monica Padilla Gutierrez, Kassandra Leal, Jose Hernandez
about a carne asada fries burrito? Some of these foods are considered more U.S. American (i.e., donuts) and the others more Mexican (i.e., pan dulce), and others reside in-between food worlds (i.e., carne asada fries burrito). As defined by Gloria Anzaldúa (1999, 2012, 2015; Keating, 2009), the border is an ideological site called nepantla—a Nahuatl word that refers to the process of living in-between worlds. Nepantla is ambiguous, tense, and contradictory. One who passes through this threshold is “suspended between traditional values and feminist ideas, [and doesn’t] know whether to assimilate, separate, or isolate” (Anzaldúa, 2015, p. 127). The authors of this instructional resource are three students and one faculty member, all Chicana/x identifying, at a Hispanic-Serving Institution on the U.S.–Mexico borderlands (Figure 1). Our privileges and disadvantages vary depending on our skin color, age, sexual orientation, class, gender, and language(s) spoken. Nepantla is a space that we negotiate every day. For example, some of us were raised to be mothers and wives as our Mexican mothers were, but we were not raised to value education and career as is emphasized for women in U.S. culture. The tension between the two can be frustrating, painful, and disorienting. We create mobile art spaces using borderlands foods as an entry point into the process of living in-between worlds. For example, carne asada fries are a way for us to describe how our two worlds merge at the intersection of fries (American food) and carne asada (Mexican food). Neither fully American nor Mexican, our lives are a borderlands patchwork. In this instructional resource, we introduce the concept of mobile art museums. We frame our museos through nepantla (or living in-between worlds). Next, we outline a three-step process of writing visual testimonios, and creating and traveling our mobile museums. We then provide pedagogical prompts for educators.
{"title":"Mobile Arte Museos: Creating Spaces Through Nepantla","authors":"Christen Sperry García, Monica Padilla Gutierrez, Kassandra Leal, Jose Hernandez","doi":"10.1080/00043125.2022.2131319","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131319","url":null,"abstract":"about a carne asada fries burrito? Some of these foods are considered more U.S. American (i.e., donuts) and the others more Mexican (i.e., pan dulce), and others reside in-between food worlds (i.e., carne asada fries burrito). As defined by Gloria Anzaldúa (1999, 2012, 2015; Keating, 2009), the border is an ideological site called nepantla—a Nahuatl word that refers to the process of living in-between worlds. Nepantla is ambiguous, tense, and contradictory. One who passes through this threshold is “suspended between traditional values and feminist ideas, [and doesn’t] know whether to assimilate, separate, or isolate” (Anzaldúa, 2015, p. 127). The authors of this instructional resource are three students and one faculty member, all Chicana/x identifying, at a Hispanic-Serving Institution on the U.S.–Mexico borderlands (Figure 1). Our privileges and disadvantages vary depending on our skin color, age, sexual orientation, class, gender, and language(s) spoken. Nepantla is a space that we negotiate every day. For example, some of us were raised to be mothers and wives as our Mexican mothers were, but we were not raised to value education and career as is emphasized for women in U.S. culture. The tension between the two can be frustrating, painful, and disorienting. We create mobile art spaces using borderlands foods as an entry point into the process of living in-between worlds. For example, carne asada fries are a way for us to describe how our two worlds merge at the intersection of fries (American food) and carne asada (Mexican food). Neither fully American nor Mexican, our lives are a borderlands patchwork. In this instructional resource, we introduce the concept of mobile art museums. We frame our museos through nepantla (or living in-between worlds). Next, we outline a three-step process of writing visual testimonios, and creating and traveling our mobile museums. We then provide pedagogical prompts for educators.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46530036","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131202
John DenHouter, Rodrick Whetstone, Therese Zoski Dickman
Can a building’s ornamentation grow and change? Can it inspire artists, educators, and other scholars to be creative in new ways? In this article, we, an instructional faculty team of two studio art professors and the fine arts librarian at Southern Illinois University Edwardsville (SIUE), describe how its collection of Louis H. Sullivan (1856–1924) architectural ornaments inspired various artistic events, including collaborative studio art projects. We provide information about Louis Sullivan and his connection to Richard Nickel and SIUE’s Sullivan architectural ornament collection. Next, we make a case that collaborative art projects and events like ours add cultural value to original or similar artifacts in one’s physical and virtual communities. Finally, we demonstrate ways in which technology facilitates such collaborative projects. John DenHouter, Rodrick Whetstone, and Therese Zoski Dickman Digital Age Learns From Architectural Ornaments:
{"title":"Digital Age Learns From Architectural Ornaments: Artifacts as Inspiration for Student and Collaborative Art Projects","authors":"John DenHouter, Rodrick Whetstone, Therese Zoski Dickman","doi":"10.1080/00043125.2022.2131202","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131202","url":null,"abstract":"Can a building’s ornamentation grow and change? Can it inspire artists, educators, and other scholars to be creative in new ways? In this article, we, an instructional faculty team of two studio art professors and the fine arts librarian at Southern Illinois University Edwardsville (SIUE), describe how its collection of Louis H. Sullivan (1856–1924) architectural ornaments inspired various artistic events, including collaborative studio art projects. We provide information about Louis Sullivan and his connection to Richard Nickel and SIUE’s Sullivan architectural ornament collection. Next, we make a case that collaborative art projects and events like ours add cultural value to original or similar artifacts in one’s physical and virtual communities. Finally, we demonstrate ways in which technology facilitates such collaborative projects. John DenHouter, Rodrick Whetstone, and Therese Zoski Dickman Digital Age Learns From Architectural Ornaments:","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48641358","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 : 2023-01-02DOI: 10.1080/00043125.2022.2132792
Gloria J. Wilson, Flavia Zuñiga-West
{"title":"Intersectionality for Art Education: A Manifesto for Engaging Homeplace Through Hip-Hop Feminist Arts Praxis","authors":"Gloria J. Wilson, Flavia Zuñiga-West","doi":"10.1080/00043125.2022.2132792","DOIUrl":"https://doi.org/10.1080/00043125.2022.2132792","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49434244","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 : 2023-01-02DOI: 10.1080/00043125.2022.2131207
Libba Willcox, J. Hamrock
of Contemporary Art, n.d.) as an entry point into processes, instructions, and artful encounters. Students were asked to write instructions for creating a drawing of something they enjoyed eating. Students took turns teaching a peer to draw from each other’s instructions. Then, they reflected on the differences between intentions and what occurred when the plan was realized. These instructional methods provided entry points to layered understandings of learning structures, lesson planning, and artmaking.
{"title":"Practice What We Preach: Possibilities for Higher Education Curricular and Pedagogical Practices","authors":"Libba Willcox, J. Hamrock","doi":"10.1080/00043125.2022.2131207","DOIUrl":"https://doi.org/10.1080/00043125.2022.2131207","url":null,"abstract":"of Contemporary Art, n.d.) as an entry point into processes, instructions, and artful encounters. Students were asked to write instructions for creating a drawing of something they enjoyed eating. Students took turns teaching a peer to draw from each other’s instructions. Then, they reflected on the differences between intentions and what occurred when the plan was realized. These instructional methods provided entry points to layered understandings of learning structures, lesson planning, and artmaking.","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45781707","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 : 2023-01-02DOI: 10.1080/00043125.2022.2155000
A. Kantawala
{"title":"Abolitionist Teaching: Building a Future of Accountability, Grace, and Compassion","authors":"A. Kantawala","doi":"10.1080/00043125.2022.2155000","DOIUrl":"https://doi.org/10.1080/00043125.2022.2155000","url":null,"abstract":"","PeriodicalId":36828,"journal":{"name":"Art Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47119326","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：