SECTION 1 - via - School of Visual Arts

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TEACHING ART EDUCATION IN A STUDIO ORIENTED ART DEPARTMENT Shari S. Stoddard Central Washington University For the past two years I have taught at a small to medium size state supported university in the northwest. Size of course is relative to what one is used to. As an undergraduate and graduate I attended two big ten universities in the mid-west. My first teaching position was at a flagship university in the South where I taught with five colleagues in the art education program. After five years I took a position at a medium size teaching university in the Midwest along with six other art educators. Four years later I moved to the Pacific Northwest where I am currently the only art education faculty member. I teach Art in the Elementary School taken by elementary and art education majors, and Components of Art Education and Art in Secondary School for art education majors. I also oversee a one-credit course in which art education majors make a portfolio that they will use in applying for a job. My undergraduate degree is in fine arts. My master’s degree is in art education, and my Ph.D. is in Curriculum and Teaching with art education as my cognate area. I have experienced prejudice against the discipline of art education from both studio professors and education professors. Art education is sometimes viewed by education faculty as the far-out, rulebreaking, strange and weird program where students do not have to adhere to rules and guidelines, keep deadlines, or stay on task. On the other hand studio faculty sometime view the art education program as the conservative, rule following, lack-luster, over-there area. They blame the art education area for not teaching future teachers how to better prepare students for studio or art history classes, for not teaching students to be more creative or more knowledgeable, and for being too uptight in creating artwork. They view these students as the products of the education system to which the art education program belongs. Also the art studio professors sometime feel the reason the general public does not appreciate and/or understand art is because the art education program did not do an adequate job in educating teachers who later teach the future public. Because of these beliefs I think it is important for studio and art history faculty to know about the curriculum being taught in art education today, its value and it’s content. It is also important for studio and art history faculty to realize that students the art education professors educate will in turn someday teach the students who will then apply for admission into art schools. This talk will focus on the main art education curricula being taught in institutions of higher learning so that the audience will be better informed as to what is involved in educating future art teachers. Some of the problems inherent in having an art education program housed within an art department will also be presented. For the last twenty years Discipline-Based Art Education (DBAE) has been taught in most art education programs in institutions of higher learning across the United States. Having graduated from such institutions, art teachers K-12 and elementary teachers K-6 then use DBAE to guide their teaching of art to children. DBAE involves four disciplines—aesthetics, art history, art criticism, and art production. Content and strategies for teaching these four disciplines are key components in most programs. However, quality art education programs, must also include the following topics: child development in art, the history of art education, 17
teaching and learning standards in art education (national and state), current art education issues, information about and strategies for teaching students (K-12) with special needs, writing and implementing curriculum, teaching strategies and techniques, including multiculturalism within the curriculum, student learning styles, classroom environment and management, developing teaching aids, art materials and ordering supplies, safety issues, evaluating art outcomes, displaying artworks, careers in art, applying for art education positions, and field experience observations. Individual institutions will of course have some other topics added to the list, but a quality art education program will at least include these components. There is a great deal of information that needs to be covered in teaching future art teachers. In the past, most institutions have done a fairly good job in teaching the above information including child development in art, safety issues, and ordering art materials; but now institutions must try to include teaching the four disciplines of art as well. Thankfully art education programs can rely on the studio and art history faculty to teach the content in two of the four disciplines. The art educator must, however, teach future teachers strategies for teaching the content covered in these courses to the appropriate grade levels. Teaching the content and strategies for teaching the content in the areas of aesthetics and art criticism are usually left up to the art education faculty. Large enough art education programs sometimes are fortunate enough to support an entire course to teaching these two disciplines, smaller programs are often not so fortunate. For a better understanding of what is actually involved in including Disciplined Based Art Education in an art education program the following is offered. DBAE is a theoretical approach rather than a curriculum. It can be configured in a variety of ways to meet the instructors goals and resources. In 1992 The Getty Center for Education in the Arts published The DBAE Handbook: An Overview of Disciplined-Based Art Education by Stephen Mark Dobbs. This text includes chapters on definitions, features of DBAE, curriculum, teaching, evaluation, implementation, and resources. The definition given in this text states that “Disciplined-based art education is an approach to instruction and learning in art that derives content from four foundational disciplines that contribute to the creation, understanding, and appreciation of art.” (p. 9) Because DBAE is an approach and not a specific curriculum, it exists in a variety of forms. However, all versions of DBAE have the following features in common: Art is taught as a subject within general education with a written and sequentially organized curriculum consisting of lessons containing content drawn from four foundational art disciplines. The lessons build a body of cumulative knowledge, understanding, and skills in art that can be appropriately evaluated. Students’ abilities are developed to make art (art production); analyze, interpret, and evaluate qualities of visual form (art criticism); know and understand art’s role in society (art history); and understand the unique nature and qualities of art and how people make judgments about it and justify those judgments (aesthetics). (p.10) Using a DBAE approach to curriculum, students must learn how to write lesson plans appropriate for each grade level and coordinated with other grades. The curriculum needs to be sequentially organized and reflect learning simple concepts before complex ones so that students may build their knowledge, skills, and understanding in a logical fashion. Works of art by adult artists from many cultures are central to the organization of the curriculum. Mature 18
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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imitative learning. Grazio Fiorito
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ain organization, hormone-disruptin
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once, but most of the time it is a
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species evolving objectivity and lo
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institutional frameworks and laws t
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Memories of the intellectual past s
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But an important variable is being
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surfaced again and continues to ass
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In an abstract of an article entitl
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cognition in more or less dominance
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This is a description of some 4 mil
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complex semantic and syntax with wh
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monkey only correspond to the much
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primitive ceremonial burial of some
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BOXES OF REMEMBRANCES: THE JEWISH R
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are as beautifully and precisely ma
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IV. BINDING AND PRAYING: THE TEFILL
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Symbolic as these words are, they b
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8. The Eternal Present, the Beginni
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Concordance to Tent of Meeting and
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Tefillin of the Head (Shel Rosh) Th
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optimally-sized for processing spee
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movement can be seen to take on ren
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THEIR FACES BRIEF AS PHOTOS (John B
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in the Ghetto’s orphanages and ch
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A small man with glasses with a gen
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Wiesel Elie. Night. New York: Banta
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photographs have helped us to grasp
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only in the degree of ingenious sev
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SEWING PLANTS: THE INTERTWINED HIST
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colleges for women. And there were
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While Grierson’s needlework in pi
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Lang, L. (2001, January/February).
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difficult to find a full reconcilia
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6. COLLABORATION Quite by accident
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and Amsterdam. But the focus is on
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EXHIBITING 9-11: A HISTORIOGRAPHY L
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Batchen also points out that many m
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access to ground zero has not only
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PHOTOGRAPHY THROUGH DOCUMENTATION A
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Representation” in the late 1990s
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MERITORIOUS OR MERETRICIOUS Jacquel
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Images which once glimpsed pierce o
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humans who sometimes against great
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However, when an artist placed the
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national and international exhibiti
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whether a thing is good or bad, ful
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REMEMBERING RABINDRANATH TAGORE Mar
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Page 148 and 149: MONUMENTS IN MINIMALISM: SAFELY UNI
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Page 166 and 167: MOURNING, ABSENCE, AND TRAUMA: REPR
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Page 178 and 179: WITH A PEN AS HIS WORD AND ME AS HI
Page 180 and 181: FROM IDEALISM TO TOTALITARIANISM: T
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SECTION 1 - via - School of Visual Arts

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