Pub Date : 2023-04-03DOI: 10.1080/00393541.2023.2180260
Betsy Maloney Leaf, Macarre Traynham, Nora Schull, James W. Bequette, Ted Hansen
This article addresses antiracist arts education by examining key aspects of the critical response protocol (CRP) to disrupt notions of neutrality when responding to works of art. Building on a large urban district’s professional development work to support arts educators’ awareness of their racial identity, we examine how the CRP perpetuates whiteness in K–12 arts classrooms, ultimately maintaining racial inequality. Our research addresses the following question: How do markers of identity, like race, intersect with CRP in K–12 arts classrooms? Our findings contribute to literature on antiracist arts education.
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Pub Date : 2023-04-03DOI: 10.1080/00393541.2023.2180313
R. Little
Introduction A ccording to Saldanha (2010), “all politics ultimately seek ways of reorganizing the social for there to be justice and peace, however defined” (p. 283). Recently, the National Art Education Association (NAEA) has harnessed the energy surrounding collective organizing and protesting into conversations about racism that are part of producing socially just possibilities using art and education. NAEA highlights racism as discriminatory and exclusionary, as well as a practice that is normalized, institutionalized, and systematized for the benefit of one group over another, with narratives and images that support its painful fictions (Rolling, 2020a; Rolling & Bey, 2016). Critical race theory is the main framework associated with these conversations. Introduced in the 1970s, critical race theory was developed by legal scholars and others to further understand why race-based oppression and White privilege continue to exist, and how the law could serve emancipatory actions and change. They point to how race is socially constructed, made normal, used to exploit and oppress people of color, and functions to create inequities (Price, 2010). Moreover, they address intersectionality, structural injustices, hate crimes, and voting rights, among other issues, and how placing people in racial categories has material effects in relation to power and wealth (Nash, 2003). In using critical race theory for insights into racism, scholars connect race to diverse discursive concepts with cultural representations of race, and they use narrative or counterstory to question the status quo and rework racialized injustice. They also encourage teachers and students, among others, to be aware of their privileges, biases, beliefs, values, stories, and the stereotypes that they hold, so they can understand how this affects the work that they do and how they interact in the world (Desai, 2010; Kraehe et al., 2018; Lee & Lutz, 2005; Rolling, 2020a, 2020b; Rolling & Bey, 2016).
根据Saldanha(2010)的说法，“所有政治最终都寻求重组社会的方法，以实现正义与和平，无论如何定义”(第283页)。最近，全国艺术教育协会(NAEA)利用围绕集体组织和抗议的能量，展开了关于种族主义的对话，这是利用艺术和教育创造社会公正可能性的一部分。NAEA强调种族主义是歧视性和排他性的，也是一种为了一个群体的利益而被规范化、制度化和系统化的做法，其叙事和图像支持了其痛苦的小说(Rolling, 2020a;Rolling & Bey, 2016)。批判种族理论是与这些对话相关的主要框架。20世纪70年代，法律学者和其他人发展了批判种族理论，以进一步理解为什么基于种族的压迫和白人特权继续存在，以及法律如何为解放行动和变革服务。他们指出种族是如何被社会建构的，如何被正常化，如何被用来剥削和压迫有色人种，以及如何产生不平等(Price, 2010)。此外，他们还讨论了交叉性、结构性不公正、仇恨犯罪和投票权等问题，以及将人们置于种族类别中如何对权力和财富产生实质性影响(Nash, 2003)。在使用批判性种族理论来洞察种族主义时，学者们将种族与各种话语概念与种族的文化表征联系起来，他们使用叙事或反故事来质疑现状并重新审视种族化的不公正。他们还鼓励教师和学生，除其他外，意识到他们的特权、偏见、信仰、价值观、故事和他们持有的刻板印象，这样他们就可以理解这是如何影响他们所做的工作以及他们如何在世界上互动的(德赛，2010;Kraehe et al.， 2018;Lee & Lutz, 2005;滚动，2020a, 2020b;Rolling & Bey, 2016)。
{"title":"Emergent Bodies: Rethinking Race and Racialization Through Materialities","authors":"R. Little","doi":"10.1080/00393541.2023.2180313","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180313","url":null,"abstract":"Introduction A ccording to Saldanha (2010), “all politics ultimately seek ways of reorganizing the social for there to be justice and peace, however defined” (p. 283). Recently, the National Art Education Association (NAEA) has harnessed the energy surrounding collective organizing and protesting into conversations about racism that are part of producing socially just possibilities using art and education. NAEA highlights racism as discriminatory and exclusionary, as well as a practice that is normalized, institutionalized, and systematized for the benefit of one group over another, with narratives and images that support its painful fictions (Rolling, 2020a; Rolling & Bey, 2016). Critical race theory is the main framework associated with these conversations. Introduced in the 1970s, critical race theory was developed by legal scholars and others to further understand why race-based oppression and White privilege continue to exist, and how the law could serve emancipatory actions and change. They point to how race is socially constructed, made normal, used to exploit and oppress people of color, and functions to create inequities (Price, 2010). Moreover, they address intersectionality, structural injustices, hate crimes, and voting rights, among other issues, and how placing people in racial categories has material effects in relation to power and wealth (Nash, 2003). In using critical race theory for insights into racism, scholars connect race to diverse discursive concepts with cultural representations of race, and they use narrative or counterstory to question the status quo and rework racialized injustice. They also encourage teachers and students, among others, to be aware of their privileges, biases, beliefs, values, stories, and the stereotypes that they hold, so they can understand how this affects the work that they do and how they interact in the world (Desai, 2010; Kraehe et al., 2018; Lee & Lutz, 2005; Rolling, 2020a, 2020b; Rolling & Bey, 2016).","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"12 1","pages":"251 - 260"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81152814","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 : 2023-04-03DOI: 10.1080/00393541.2023.2180267
Gloria J. Wilson
A growing and influential cohort of Black scholar–creatives are choosing to think, theorize, aesthetically practice, and articulate blackness (Black being and living) in excess of a settled Western racial logic (nonbeing) that produced it. I set forth to advance a paradigm of Black study for thinking and theorizing the intersections of Black livingness and its inherent fugitivity within and beyond chattel enslavement. By expanding on the concepts of Black compositional thought and wake work, I illuminate an assembly of metaphors and materialities, working collectively to articulate the overall, ongoing condition and circumstance of Black life as a predictable and constitutive aspect of existing in the shadows of antiblack violence. Juxtaposing Torkwase Dyson’s aesthetic practice in concert with Christina Sharpe’s theorization of reading metaphors of Black life in diaspora (the wake, the ship, the hold, the weather), I expose how creative production and Black consciousness serve as tools for refusing “death” and offer possibilities for living.
{"title":"Black Geospatial Inquiry and Aesthetic Praxis: Toward a Theory and Method","authors":"Gloria J. Wilson","doi":"10.1080/00393541.2023.2180267","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180267","url":null,"abstract":"A growing and influential cohort of Black scholar–creatives are choosing to think, theorize, aesthetically practice, and articulate blackness (Black being and living) in excess of a settled Western racial logic (nonbeing) that produced it. I set forth to advance a paradigm of Black study for thinking and theorizing the intersections of Black livingness and its inherent fugitivity within and beyond chattel enslavement. By expanding on the concepts of Black compositional thought and wake work, I illuminate an assembly of metaphors and materialities, working collectively to articulate the overall, ongoing condition and circumstance of Black life as a predictable and constitutive aspect of existing in the shadows of antiblack violence. Juxtaposing Torkwase Dyson’s aesthetic practice in concert with Christina Sharpe’s theorization of reading metaphors of Black life in diaspora (the wake, the ship, the hold, the weather), I expose how creative production and Black consciousness serve as tools for refusing “death” and offer possibilities for living.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"12 1","pages":"113 - 131"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80895897","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 : 2023-04-03DOI: 10.1080/00393541.2023.2180242
Dustin Garnet
Art education associations across the United States have been hit hard by the COVID-19 pandemic, and the force of societal change has impacted all aspects of both the personal and professional lives of teachers. Leadership that is elected and currently serving during this point of inflection find themselves in turbulent positions that demand adaptation to stay relevant as well as “flight plans” that responsibly steward organizations toward sustainability and future succession. As COVID-19 moves into an endemic phase and art educators shift their practice toward embracing the principles of equity, diversity, inclusion, and access (EDIA), the California Art Education Association (CAEA) has taken bold action to confront contemporary challenges. In this article, I share a perspective on organizational change that both traces the evolution of EDIA work within CAEA and provides a preliminary flight plan that outlines current activities and potentialities for future sustainable initiatives.
{"title":"Diverted Flight Path: The California Art Education Association’s Progress Toward Sustainable Runways","authors":"Dustin Garnet","doi":"10.1080/00393541.2023.2180242","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180242","url":null,"abstract":"Art education associations across the United States have been hit hard by the COVID-19 pandemic, and the force of societal change has impacted all aspects of both the personal and professional lives of teachers. Leadership that is elected and currently serving during this point of inflection find themselves in turbulent positions that demand adaptation to stay relevant as well as “flight plans” that responsibly steward organizations toward sustainability and future succession. As COVID-19 moves into an endemic phase and art educators shift their practice toward embracing the principles of equity, diversity, inclusion, and access (EDIA), the California Art Education Association (CAEA) has taken bold action to confront contemporary challenges. In this article, I share a perspective on organizational change that both traces the evolution of EDIA work within CAEA and provides a preliminary flight plan that outlines current activities and potentialities for future sustainable initiatives.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"64 1","pages":"234 - 250"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85879498","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 : 2023-04-03DOI: 10.1080/00393541.2023.2180248
Kevin Hsieh, Yichien Cooper, Alice Lai
The ongoing news about anti-Asian hate crimes prompted us to address racism through art education. In this article, we exemplify a model of antiracism art education implemented through three workshops: (1) Imagining Asians, which adopts an anticolonial pedagogy to destabilize the colonial and racist gaze toward Asians; (2) Animating the Chinese Taotie, which applies critical multicultural art education approaches to contextualize Chinese Shang arts and culture (1600–1046 BCE) and issues of social inequalities; (3) Layering Identity, which follows the cultural competence standards to emphasize the complexity of identity work and raise awareness of diverse identity-based narratives and issues. After explaining the conceptual foundation for each workshop, we describe the individual workshop and showcase selected preservice art teachers’ artworks reflecting their informed and empowered interpretation of Asian artifacts and intersectional identity. We conclude that the participants gain enriched knowledge toward Asian and Asian American subjectivities and experience with antiracism art education.
{"title":"No More Yellow Perils: Antiracism Teaching and Learning","authors":"Kevin Hsieh, Yichien Cooper, Alice Lai","doi":"10.1080/00393541.2023.2180248","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180248","url":null,"abstract":"The ongoing news about anti-Asian hate crimes prompted us to address racism through art education. In this article, we exemplify a model of antiracism art education implemented through three workshops: (1) Imagining Asians, which adopts an anticolonial pedagogy to destabilize the colonial and racist gaze toward Asians; (2) Animating the Chinese Taotie, which applies critical multicultural art education approaches to contextualize Chinese Shang arts and culture (1600–1046 BCE) and issues of social inequalities; (3) Layering Identity, which follows the cultural competence standards to emphasize the complexity of identity work and raise awareness of diverse identity-based narratives and issues. After explaining the conceptual foundation for each workshop, we describe the individual workshop and showcase selected preservice art teachers’ artworks reflecting their informed and empowered interpretation of Asian artifacts and intersectional identity. We conclude that the participants gain enriched knowledge toward Asian and Asian American subjectivities and experience with antiracism art education.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"30 1","pages":"150 - 168"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88513698","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 : 2023-04-03DOI: 10.1080/00393541.2023.2180238
Indira Bailey
This study investigated the narratives and racial experiences of Black women K–12 art educators navigating the White field of art education. Drawing from a Black feminist outsider-within positionality framework, their shared stories reveal how Black women art educators are unprivileged insiders within their schools and outsiders to a social system that privileges White people as the dominant group in art education. Outsider-within positionality is foundational in providing a platform for revealing the exclusion of Black women’s identities in White spaces. A Black feminist approach to narrative inquiry is a crucial methodology in identifying why Black women matter in art education. Their interviews expose the experiences of racist obstacles that hinder their progress as art educators. As a result, approaches to implementing gender equity with antiracist strategies are presented for an inclusive and safe environment for Black women art educators and create a critical dialogue in art education at large.
{"title":"Antiracism Approaches Through an Outsider-Within Positionality: Making Black Women’s Lives Matter in Art Education","authors":"Indira Bailey","doi":"10.1080/00393541.2023.2180238","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180238","url":null,"abstract":"This study investigated the narratives and racial experiences of Black women K–12 art educators navigating the White field of art education. Drawing from a Black feminist outsider-within positionality framework, their shared stories reveal how Black women art educators are unprivileged insiders within their schools and outsiders to a social system that privileges White people as the dominant group in art education. Outsider-within positionality is foundational in providing a platform for revealing the exclusion of Black women’s identities in White spaces. A Black feminist approach to narrative inquiry is a crucial methodology in identifying why Black women matter in art education. Their interviews expose the experiences of racist obstacles that hinder their progress as art educators. As a result, approaches to implementing gender equity with antiracist strategies are presented for an inclusive and safe environment for Black women art educators and create a critical dialogue in art education at large.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"7 1","pages":"219 - 233"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79451754","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 : 2023-04-03DOI: 10.1080/00393541.2023.2180257
Albert Stabler
The 2010s saw a revival of reactionary politics on college campuses, which now appear to have paved the way for contemporary right-wing culture-war talking points regarding K–12 education. Revanchist attitudes around race, as well as gender and sexuality, can be linked to White Americans’ affective attachments to ideas of historical entitlement, which can be seen both in campus responses to university art programming and in acts of student vandalism. I describe a campus gallery exhibition I organized in 2016 around the theme of White affect, and I make connections between expressions of rage, anguish, and reasonableness on the part of White people within White-dominated institutions of art and education, before considering what possibilities and difficulties may exist for leading substantive classroom discussions and projects that engage explicitly with race generally, and Whiteness in particular.
{"title":"Stoic Indulgence, Gratuitous Restraint: White Feelings and Campus Art","authors":"Albert Stabler","doi":"10.1080/00393541.2023.2180257","DOIUrl":"https://doi.org/10.1080/00393541.2023.2180257","url":null,"abstract":"The 2010s saw a revival of reactionary politics on college campuses, which now appear to have paved the way for contemporary right-wing culture-war talking points regarding K–12 education. Revanchist attitudes around race, as well as gender and sexuality, can be linked to White Americans’ affective attachments to ideas of historical entitlement, which can be seen both in campus responses to university art programming and in acts of student vandalism. I describe a campus gallery exhibition I organized in 2016 around the theme of White affect, and I make connections between expressions of rage, anguish, and reasonableness on the part of White people within White-dominated institutions of art and education, before considering what possibilities and difficulties may exist for leading substantive classroom discussions and projects that engage explicitly with race generally, and Whiteness in particular.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"49 1","pages":"198 - 218"},"PeriodicalIF":0.6,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80997661","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: 10.1080/00393541.2022.2154532
J. Sutters
Scholars in the field of art education have varied professional trajectories, yet they are networked in academia, both through their advisors as well as through the universities in which they completed their graduate degrees. This study makes these complex relationships visible through the use of visualizations and an interactive website created by data collected through a digital survey of 272 art educators with doctoral degrees. The article also details methodological implications regarding digital data collection and dissemination through data-visualization software programs.
{"title":"Visualizing an Academic Genealogy of Art Education","authors":"J. Sutters","doi":"10.1080/00393541.2022.2154532","DOIUrl":"https://doi.org/10.1080/00393541.2022.2154532","url":null,"abstract":"Scholars in the field of art education have varied professional trajectories, yet they are networked in academia, both through their advisors as well as through the universities in which they completed their graduate degrees. This study makes these complex relationships visible through the use of visualizations and an interactive website created by data collected through a digital survey of 272 art educators with doctoral degrees. The article also details methodological implications regarding digital data collection and dissemination through data-visualization software programs.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"32 1","pages":"53 - 74"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77941312","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: 10.1080/00393541.2022.2155176
Cala Coats
I n Studious Drift: Movements and Protocols for Postdigital Education, Tyson E. Lewis and Peter B. Hyland introduce a process of studioing, which revives a relationship between the art studio and the act of study with the writing of experimental protocols. They describe the process as an indeterminate ritualistic practice and experience of moving with thought, play, and experimentation without predetermined functions, outcomes, or disciplinary boundaries. Studious Drift emerged from a series of in-person and online events, where participants critically experimented with contemporary education’s neoliberal logics, which the authors explain have been exacerbated by the expansion of digital learning platforms, e-learning, and online education. In March 2020, Lewis and Hyland opened the Studio-D Project, Education as Experimentation: Possibilities Beyond Outcomes-Based Learning, which was an online project that paired teams of artists, scholars, and educators to design experimental protocols that became accessible for public activation. The book and larger project contribute to a movement of international scholars, artists, educators, and activists using creative, conceptual, experimental, and experiential approaches to disrupt habituated institutional and educational norms through collective action (Harney & Moten, 2013; Illich, 1972; Madoff, 2009; Ouwens et al., 2020; Stein & Miller, 1970/2016; Thorne, 2016). The current movement builds on a history of artists engaged in radical pedagogy and institutional critique (i.e., Critical Art Ensemble, Fluxus, Global Tools, Group Material, Situationist International).
在《勤奋的漂移:后数字教育的运动和协议》一书中，Tyson E. Lewis和Peter B. Hyland介绍了一个学习的过程，通过实验协议的写作，恢复了艺术工作室和学习行为之间的关系。他们将这一过程描述为一种不确定的仪式实践和体验，伴随着思想、游戏和实验而移动，没有预定的功能、结果或学科界限。Studious Drift源于一系列面对面和在线活动，参与者批判性地尝试了当代教育的新自由主义逻辑，作者解释说，数字学习平台、电子学习和在线教育的扩张加剧了这种逻辑。2020年3月，Lewis和Hyland开设了Studio-D项目，“作为实验的教育:超越基于结果的学习的可能性”，这是一个在线项目，由艺术家、学者和教育工作者组成的团队设计实验协议，供公众激活。这本书和更大的项目促成了一场国际学者、艺术家、教育家和活动家的运动，他们使用创造性的、概念性的、实验性的和经验性的方法，通过集体行动破坏习惯的制度和教育规范(Harney & Moten, 2013;教育家,1972;马多夫,2009;欧文斯等人，2020;Stein & Miller, 1970/2016;索恩,2016)。当前的运动建立在艺术家从事激进教学法和制度批判的历史上(即，批判艺术合奏，激流，全球工具，团体材料，国际情境主义)。
{"title":"Building on the Radical Potential of Conceptual Indeterminacy in Studious Drift","authors":"Cala Coats","doi":"10.1080/00393541.2022.2155176","DOIUrl":"https://doi.org/10.1080/00393541.2022.2155176","url":null,"abstract":"I n Studious Drift: Movements and Protocols for Postdigital Education, Tyson E. Lewis and Peter B. Hyland introduce a process of studioing, which revives a relationship between the art studio and the act of study with the writing of experimental protocols. They describe the process as an indeterminate ritualistic practice and experience of moving with thought, play, and experimentation without predetermined functions, outcomes, or disciplinary boundaries. Studious Drift emerged from a series of in-person and online events, where participants critically experimented with contemporary education’s neoliberal logics, which the authors explain have been exacerbated by the expansion of digital learning platforms, e-learning, and online education. In March 2020, Lewis and Hyland opened the Studio-D Project, Education as Experimentation: Possibilities Beyond Outcomes-Based Learning, which was an online project that paired teams of artists, scholars, and educators to design experimental protocols that became accessible for public activation. The book and larger project contribute to a movement of international scholars, artists, educators, and activists using creative, conceptual, experimental, and experiential approaches to disrupt habituated institutional and educational norms through collective action (Harney & Moten, 2013; Illich, 1972; Madoff, 2009; Ouwens et al., 2020; Stein & Miller, 1970/2016; Thorne, 2016). The current movement builds on a history of artists engaged in radical pedagogy and institutional critique (i.e., Critical Art Ensemble, Fluxus, Global Tools, Group Material, Situationist International).","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"9 1","pages":"97 - 101"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83079016","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: 10.1080/00393541.2022.2154530
Carissa DiCindio
This article examines how community art centers of the Federal Art Project (FAP) of the Works Progress Administration served as a third space, one that was explicitly designed to be different from art museums at that time. Created to employ artists during the Great Depression under President Franklin D. Roosevelt, goals of FAP programs included creating a national identity in the arts through cultural production, and developing individual consumers of art who would continue the support after government programs had ended. Another motivation for these programs was created in the spirit of progressivism. Thus, by incorporating art into the community, artists and organizers reenvisioned how citizens could interact with art through active engagement by developing studio experiences, art exhibitions, and community programming. The programs were conceived in direct contrast to established museums as new organizations developed with the communities they were designed to reach.
{"title":"The Community Art Center of the Works Progress Administration as a Third Space","authors":"Carissa DiCindio","doi":"10.1080/00393541.2022.2154530","DOIUrl":"https://doi.org/10.1080/00393541.2022.2154530","url":null,"abstract":"This article examines how community art centers of the Federal Art Project (FAP) of the Works Progress Administration served as a third space, one that was explicitly designed to be different from art museums at that time. Created to employ artists during the Great Depression under President Franklin D. Roosevelt, goals of FAP programs included creating a national identity in the arts through cultural production, and developing individual consumers of art who would continue the support after government programs had ended. Another motivation for these programs was created in the spirit of progressivism. Thus, by incorporating art into the community, artists and organizers reenvisioned how citizens could interact with art through active engagement by developing studio experiences, art exhibitions, and community programming. The programs were conceived in direct contrast to established museums as new organizations developed with the communities they were designed to reach.","PeriodicalId":45648,"journal":{"name":"Studies in Art Education","volume":"38 6","pages":"40 - 52"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72492527","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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