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This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome‐oriented and individualistic discourse. Taking a weeklong workshop at the Nida Art Colony in Lithuania as a practical axis for its reflections on the fluid nature of art education, the paper discusses possibilities of extending beyond pedagogical, political, human/nonhuman and other borders and treating 'noise' and other 'interferences' as opportunities for transgression and dialogue. This workshop with students from the Vilnius Academy of Arts took place in September 2022, at a time characterised by the Russia–Ukraine war. Nida's proximity to Russia's exclave Kaliningrad, its location on the narrow Curonian Spit, and its immediate environment characterised by woods and sand dunes provide this paper with a setting for a discussion about a variety of borders: territorial borders, border pedagogies, perceived borders between human and nonhuman entities, between land and sea, and so on. Borders are described as dominant indicators of power and distinction, while educational standards and instruments of measurement often replicate similar distinctions between the known and the unfamiliar. Yet, borders can also be shifted while new connections and dialogues across real and conceptual borders can be forged in a porous process that is predisposed towards flexible scenarios characterised by the 'not‐yet'. The surrounding forest and wetlands and huge drifting sand dunes in Nida become analogies for the changing structure of the workshop, silently yet overpoweringly advocating for a mutable pedagogy. Analysed through the work of various contemporary artists, this nonhuman intrusion into a pedagogical and creative experience is both undefined and vulnerable, unlike the preordained structures of attainment targets often associated with contemporary schooling. [ABSTRACT FROM AUTHOR]

Copyright of Dirasat: Educational Sciences is the property of University of Jordan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the personal and professional experiences of three art college educators during the COVID-19 pandemic in 2020. Topics include the educators' transition to online instruction, giving particular focus on institutional support and professional development, instructional strategies, and lessons learned and challenges to share with other art educators.

Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self‐report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem‐solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper. [ABSTRACT FROM AUTHOR]

The author discusses her effort to promote authentic learning through reflection in her college art class. She describes her focus on the pedagogical practices of sharing her creative process and empowering student voices through higher-order thinking questions, among others. She mentions her effort to encourage students to reflect on their experiential connections when discussing art movements in a class. She cites the benefit of such practice to students.

Copyright of International Journal of Education through Art is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Art education in the USA has made great progress toward greater inclusiveness and is generally a force against resurgent fascism. Nevertheless, higher art education theory is dominated by Euro‐Western philosophical legacies, encumbered by dualism, which impede art education's emancipative democratising potential. Recent debate about the uselessness of aesthetics illustrate this ethnocentrism. This article analyses the ethnocentrism that lingers in the postmodern legacies that undergird the debate; then shows how engagement with nondualist philosophies, predominantly non‐Euro‐Western, can make a profound difference to art education theory and practice. They are imperative to comprehending hybridity promoting global citizenship, resisting fascism and advancing global equity. [ABSTRACT FROM AUTHOR]

I comment upon the recent blossoming of writing on art, knowledge and research and connect this to its material roots in the changing nature of higher education. I find much of this writing wanting in that it implies a division of art into 'knowledge‐producing' and 'non knowledge‐producing' art. I examine how art objects might be said to generate knowledge, particularly the kind of propositional knowledge which sits at the centre of both traditional epistemology and 'knowledge transfer' in the contemporary academy. Although there are many ways in which artworks might variously generate such knowledge, I conclude that there is none that is common to all. I go on to examine other kinds of knowledge, particularly Gilbert Ryle's 'knowledge‐how' and use this as a staging post to suggest that there is yet another kind of knowledge, produced by all works of art. Finally I borrow some ideas from recent work in the philosophy of science to suggest a concrete mechanism by which this knowledge is made available to us. [ABSTRACT FROM AUTHOR]

This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors' School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors' School was to explain works of contemporary art on display to the public. Brock understood this process as 'mediation' in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – 'claim for reality', was demonstrated by Brock in two ideas: 'new image‐war' and 'speaking image'. [ABSTRACT FROM AUTHOR]

We are three art educators, Women of Color (WoC), in higher education. In this article, we use trioethnography, a dialogic methodology, to provide context for understanding our struggles as such. We describe our challenges navigating a field (art education) that has embraced feminist scholarship, yet has historically paid little attention to how the intersections of race and gender systemically marginalizes WoC. We utilize scholarship from feminists of color, and the artwork of Black, queer, female visual artist Mickalene Thomas to counter the negation of our voices and reveal the complexity of our lived experiences to our predominately White female field. We look to intersectional feminisms to shift the art education discourse so that WoC's matrices of oppression are considered. Ultimately, we seek to complicate the traditional feminist discourse that occurs in the art education field. Using trioethnography as a methodology allowed our recorded and transcribed dialogs to become our site of inquiry and, ultimately, become narratives of resistance in relation to dominant narratives/discourse. We offer three thematic lenses for examining our dialog: "Keeping it Real," "Invisible Burdens," and "Kinship Ties." Further, we juxtapose these narratives alongside our photographic reenactment of Thomas's artwork as a backdrop and third space for examination. [ABSTRACT FROM AUTHOR]

The serious need for reform of the Leaving Certificate Art Curriculum in Ireland sets the context for this article, which tracks the social and political factors that shaped the emergence of art education in Ireland before and after the formation of the Free State. This historical framing creates the background for the training of art teachers over three paradigms of art teacher education – the Vocational, Expressivist and Contextual. Based on doctoral research, it examines the experiences of a group of art teachers trained within these paradigms. In light of current curriculum reform, it asks the question 'Can art education can move from a modernist skills‐based paradigm, to become a vehicle for transformation, social engagement and citizenship within a revised Leaving Certificate Art curriculum'? It proposes that the contemporary art museum can be a transformative site for change within an art curriculum. [ABSTRACT FROM AUTHOR]

Drawing initially from practical experience of embedding equality and diversity in teaching and learning, this article considers the relevance of Sholette's idea of the 'Dark Matter' to the notion of cultural pluralism. Questioning the canonical and hegemonic practices of the art world, this article importantly posits the notion that the inclusion of minority practices in teaching and learning is not sufficient, but rather discussions of the politics of said groups are necessary for significant change. Finally, this article offers practical suggestions for achieving inclusivity, through the use of social media platforms such as Instagram, where 'Dark Matter' and the 'stars' work side by side. [ABSTRACT FROM AUTHOR]

This article draws on Searle's philosophical realism to explore how critical agency is grounded in critical reasoning and supports the construction of art criticism as an institutional practice in art and design education. Examples of critical exchanges between a teacher and her students reveal how intentional beliefs inherent in the teacher's pedagogical choices implicate students in taking critical agency when constructing a collaborative interpretation of the meaning of a contemporary artwork. The article concludes with some reflections on the implications of a realist account of critical agency for teacher pedagogy and student learning. [ABSTRACT FROM AUTHOR]

The article discusses the use of socially engaged art (SEA) as social practice in art education in the U.S. It reflects on the experience of a group of university art education students who created two socially engaged art (SEA) projects called Project Unway and Project Unity in the hallways of a middle school. The challenges for social practice in art education are explored, including space and budgetary restraints and the perceived value of activities.

The authors discuss the use of the free software application Google Drawings as a tool for generating individual and collective engagement in undergraduate art education students. They cite the introduction of students to Brazilian educator Paulo Freire's concepts of banking education and cultural circles to generate engagement in classrooms. They also mention the successes and challenges of using the application software.

One investigated on the drama "Abdala" of José Martí, with the objective that the theater instructors, when directing their setting in scene converse with the children during the stage of the table work, so that they understand it and assume active and reflexively the points of view that will defend when representing it. The result consists on a group of answers to analytic questions on "Abdala ", and on the place of the theater in José's work Martí whose study has been implemented in the Degree in Education, Instructor of Art of the University of Matanzas, that which viabiliza the employment of the work martiana in the professional formation of the art instructors and its preparation to direct the setting efficiently in scene of "Abdala " in each Cuban school. [ABSTRACT FROM AUTHOR]

The article discusses the origins and development of University of Cincinnati's Critical Visions Certificate Program and its biennial student-produced publication "CVSN." It examines the practical, pedagogical, and institutional concerns of managing a program. It also offers information on how the curriculum was designed, the program's funding, and the use of design software in teaching the program.

How do we conceptualize transdisciplinary curriculum development and what might be the curriculum theory that is driving it? In the following I pursue the development of an object-oriented curriculum theory that assembles material agencies that form praxis in curriculum development. I am particularly interested in the potential of a science, technology, engineering, art and math (STEAM) curriculum that allows arts educators and their disciplinary counterparts an opening to think curriculum anew. I focus on various graphics software from a range of STEAM practices by following their material agency as boundary shifters so that we might come to know the accumulations, translations and mediators doing things important to studio and laboratory practice. In building an object-oriented curriculum theory, I offer three theorems: looking for the immutable image, gathering the materiality of data-bodies and per(form)ing three-dimensional thinking. [ABSTRACT FROM AUTHOR]

How might positioning artistic practice as reflective limit the production of knowledge in art education by positioning theory ahead of practice, language over material, who above what? And, what might be done instead? Blueprinting theories with preservice art teachers illuminates such questions and explores 'what is possible to see and say' differently in art teacher preparation. Emboldened by contemporary materialisms, this visual essay exposes the poetic tangle where preservice teachers may have already pencilled in and sketched out some tentative ways of knowing/being/doing art education. The vibrant intra-activity of cyanotype photography attempts to eclipse this insistent hold on artmaking as reflective practice - just long enough that something different might be seen, said, felt, imagined in art teacher preparation. [ABSTRACT FROM AUTHOR]

Between the tensions of Jane Bennett's human-nonhuman heterogeneous assemblage and Ian Bogost's alienness of things to each other and humans, the author questions the agency of a prosthesis by speculating on its daily experiences and its thing-power (Bennett) on the user. As a visual essay in the form of shaped prose, the thingness of textual components becomes evident as their proximity and isolation across the surface of the page or at page breaks forces the reader to move back and forth between content and form. Thus, we may also consider how words are both manipulated in the construction of assemblages and have the power to shape ideas and aesthetic ideals that necessitate the existence of some objects, including prostheses. [ABSTRACT FROM AUTHOR]

This article explores the pedagogical and methodological implications of the arts-based practice of frottage: a process of 'finding' images by making, and then erasing, an uneven ground. What could this arts practice mean for both research and classroom teaching? The author offers frottage as a mode of inquiry that resists closure, destabilizes solid understandings and treats matter as dynamic energy. Exploring the educational resonances of this practice, the author rubs against her article's academic language with both written erasures made from the paper itself and visual erasures created by the author from disparate surfaces, times and spaces. [ABSTRACT FROM AUTHOR]

Collaboration has become a core aspect of teaching, learning and research in university art departments, especially as contemporary artists have increasingly turned to collective and socially engaged studio practices. Despite this, hylomorphic approaches to arts education continue to position matter as a passive substance to be shaped by the artist(s) in service of linguistic discourse. In this article, we ask how a new materialist approach to collaboration might disrupt humanist ontologies of visual arts education in the university. We first draw on posthumanist writings to re-compose collaboration in ways that are responsive to the specificity of material entanglements as they are enacted within an ecology of studio practices. From there we work diagrammatically across a collaborative 'data event' of art in the making, drawing on a year-long participatory study with a cohort of third-year art students. In the final section, we develop propositions for collaboration as a transversal practice of 'becoming a work of art'. [ABSTRACT FROM AUTHOR]

Developed by Graham Harman, the philosophical approach known as 'object-oriented ontology' examines reality on the basis of objects. Harman has referenced an image of burning cotton, which he uses to illustrate the point that, as objects, fire and cotton interact without changing the essential nature of either object. In keeping with Harman's speculative and poetic approach, I invoke as an example the incidences of cotton being burned during the American Civil War, undertaken first by the Confederacy and later by Union soldiers, including freed slaves; the slaves followed the model of Haitian revolutionaries who famously burned sugarcane fields. Using Harman's ideas about objects, and drawing on one of his major influences, Bruno Latour, I relate the image of burning cotton to other acts of destruction, including repeated attempts made by African Americans to overcome the legacy of being reduced to the status of objects and repeated attempts by whites to sustain this legacy. I link this history to my decade-long tenure as a full-time art teacher on the southeast side of Chicago, and discuss education in an apartheid school system as a conflicted and asymmetrical transaction mediated by objects with distinct boundaries and roles. In closing, I argue for a consideration of objects by art teachers thinking about their students' historical context, and an examination of their own role in the community as teachers. [ABSTRACT FROM AUTHOR]

A lesson plan is presented for an artist-in-residence program for community college art students.

The article focuses on painter Henryk Siemiradzki's ability as a figurative painter. Topics include his figures drawing class at the Imperial Academy of Art in Saint Petersburg, Russia, antique model making and its evaluation by professors at the academy, antique sculpture in the Roman Orgy, which was the first multi-figure oil painting of Siemiradzki that depict an ancient story.

The article features the experience of artist Ray Johnson as an art student at Black Mountain College (BMC) in North Carolina in the 1940s. Johnson studied at BMC under art teachers Josef Albers and Robert Motherwell. He stayed at the college for three years until 1948 before moving to New York City. According to art collector William S. Wilson, the art works of Johnson show themes of friendships, fears and desires.

The author analyzes the work of U.S. artist and educator Josef Albers of Black Mountain College (BMC) in North Carolina. She reflects on her first encounter with the writings of Albers in 1968 while a graduate student in art history at the University of North Carolina-Chapel Hill. She also explores various lectures delivered by Albers at BMC and recognizes the educator for adding his own personal interpretation and emphasis.

The art education program at Central Technical School (CTS) in Toronto, Canada, is so vast in terms of longevity and curriculum that it will never be documented in its totality. My research on this institution of applied and fine art does not provide a definitive story of the past, but a reflexive history self-consciously produced: selected, ordered, and interpreted to make sense of the oral histories, archival sources, and material culture of students and teachers viewed through a postmodern lens. In the following invited article, I have not attempted to summarize my qualitative dissertation; instead, I peel back the layers of stories that form my program of research to focus in on the theoretical and methodological foundations supporting my new history of art education. [ABSTRACT FROM AUTHOR]

The article discusses the Artists' Book Conference, titled "Cultural Bricolage: Artist Books of Cuba's Ediciones Vigía," which was held at the Museum of Art and Archaeology on the campus of the University of Missouri in November 2012. Particular focus is given to the challenges present when a museum launches a new cycle of programming. Additional topics include how Ediciones Vigía press was founded in 1985, museum programming for children that corresponded to the conference and an exhibition based on the event.

As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master's degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree. [ABSTRACT FROM AUTHOR]

Working class men are under-represented in art and design higher education. This article explores the experiences of one such mature student who had fulfilled his dream to go to an art college later in life in order to study a degree in Interdisciplinary Art and Design. Using an approach based on narrative inquiry, the student's learning journey over three years was captured through six verbal and transcribed accounts. Bernstein's work on visible and invisible pedagogies, as well as his comments on vocational education, provided a lens through which to look at the student's experiences. It argues that the strong framing and classification of his previous vocational education led the student to expect to be taught in a particular way. He found the fluid and integrated arts curriculum different to the kind of training a 'master' would transmit to an 'apprentice'. He constructed himself as a doer rather than a thinker, which remained constant throughout his degree. The findings suggest that educators should discuss with students from all backgrounds the pedagogic approaches commonly used in art and design and how these may be different to previous ways of learning. Academic staff should also challenge the theory and practice dichotomy, so that students understand they are drawing on theory not only when they are writing but also when they are making. Finally, even though invisible pedagogies dominate art and design education, staff should reflect on the need for more visible, explicit modes of teaching when students are less confident in their abilities. [ABSTRACT FROM AUTHOR]

This study investigated teacher educators' collective professional agency and identity within an identity coaching programme. The participants in the programme were teacher educators from the field of arts and crafts education. Through a shared process involving increased trust and togetherness, the teacher educators became empowered in terms of their collective identity and agency. The study points to the importance of addressing individual narratives and learning pathways in seeking to understand emergent collective agency and identity in professional contexts. Our theoretical contribution includes an advanced understanding of collective identity and agency, and of their close relationship. [ABSTRACT FROM AUTHOR]

There is continuous debate on the role of digital media tools in art and design Higher Education, and in particular their potential contribution towards teaching and learning. The related literature indicates that there is a dichotomy between digital and traditional tools. This study investigates the views of a cohort of art and design students who undertook a specific instructional task, but instead of using paper and pencil, they used iPads. It is claimed that this computer tablet has considerable potential to enhance teaching and learning, and this study sought to investigate this claim. Inductive qualitative content analysis was used to analyse the interviews provided by 32 ( n = 32) students. Based on the categories that emerged from the analysis of interviews, and within the parameters of this study, the main inference is that the relationship between digital and traditional tools can be better understood as complementary rather than as a dichotomy. A video abstract of this article can be viewed at [ABSTRACT FROM AUTHOR]

Objectives Although many medical schools include arts-based activities in their curricula, empirical evidence is lacking regarding how the creation of art might impact medical students and their professional development. We used a qualitative research design in order to understand this process. Methods We conducted and analysed interviews with 16 medical students who had created and presented original artwork in the context of a required narrative-based undergraduate medical education programme. Teams of students collaborated to create interpretive projects based on common themes arising from conversations with individuals with chronic illness and their families. Open-ended questions were utilised to explore the conceptualisation and presentation of the projects, the dynamics of teamwork and the meaning(s) they might have for the students' professional development. We identified themes using repeated contextual reading of the transcripts, which also enhanced accuracy of the interpretations and ensured saturation of themes. Results Several major themes and sub-themes were identified. The creation of art led to a sense of personal growth and development, including reflection on past life experiences, self-discovery and an awareness of art as a creative outlet. Students also reported an enhanced sense of community and the development of skills in collaboration. Lastly, students reflected on the human dimensions of illness and medical care and identified an enhanced awareness of the experience of those with illness. Conclusions A programme involving the creation of art based on stories of illness encouraged students' explorations of conceptions of the self, family and society, as well as illness and medical care, while enhancing the development of a collaborative and patient-centred worldview. Creative art can be a novel educational tool to promote a reflective, humanistic medical practice. [ABSTRACT FROM AUTHOR]

With art education at Concordia University (Montreal, Canada) celebrating 50 years of program delivery, this article offers a self-study history of the university’s community art education program for undergraduate artist-teachers. Drawing on case study, archival, and oral history methods, this research situates key program events within their university and Montreal contexts and addresses three questions: How did community art education emerge as a teaching direction at Concordia University? What key moments, projects, and themes emerge from a historical review of the past 50 years of curriculum development and teaching activities? What does a review of the history of the teaching of community art education at Concordia University suggest for its future and for the work of other historical researchers? The article identifies practice and collaboration as two enduring themes, and ends with guiding questions to encourage future research. [ABSTRACT FROM AUTHOR]

In his article ‘The Education of the Un-Artist’ (1971), published inArtNews, the academic and performance artist Allan Kaprow (1927–2006) wrote, ‘Playfulness … suggests a positive interest in acts of continuous discovery.’ This article considers how Kaprow’s programmatic interest in play impacted upon his teaching and artistic practices during the late 1960s and early 1970s. It draws upon previously unpublished material from the Allan Kaprow Papers at the Getty Research Institute, and from previously unexamined notes and annotated books from Kaprow’s personal library. His workSix Ordinary Happenings(1969) is read in the context of his co-directorship of Berkeley Unified Schools District's educational experiment Project Other Ways from 1967 to 1968, and in light of his interest in the work of the pragmatist philosopher John Dewey. His pieceMessage Units(1972), conceived of and performed during his tenure as Associate Dean of the School of Art at the California Institute of the Arts (CalArts), helps to elucidate his call for a practice-led research with performance art as its focus. A playful subversion of domestic technology,Message Unitsis understood with reference to his description of performance as a means of ‘basic research’. The feedback sessions, used to evaluate the outcome of such ‘basic research’, are considered in light of the CalArts Feminist Art Programme's 'consciousness-raising' exercises and the group marital counselling sessions he was attending during this time. An analysis of the recording of his provocatively titled piece for couples,Private Parts(1976), gives a rare account of these feedback sessions. The article complicates Kaprow’s ideological division between play and work, addressing the tension between his intention to resist the ends-driven demands of work, and his role as educator and practitioner with a clear idea of how his projects should be executed. [ABSTRACT FROM PUBLISHER]

Higher education in the UK has been subjected to many changes since the 1960s. The merging of institutions has resulted in art schools becoming absorbed into universities while expansion, the abolishment of grants and imposition of fees have challenged received ideas of what art schools are for. More recent changes have been essentially financial, structural and qualitative. Although these have impacted upon course content and pedagogy, there has been little formal consideration of fine art coursecontentsince the1960s. The largely defensive positions taken during periods of cuts and so-called reforms were not supplanted by progressive reviews during periods of reinvestment and expansion. Art and the art world have developed considerably over this period, with interdisciplinarity and socially engaged practices becoming commonplace, but such developments have hardly been reflected in the art schools. So, in uncertain times, what could an art school offer and what pedagogies should operate? In order to attempt to answer this question it is necessary to consider the history and politics around didactic and heuristic pedagogies and to explore how sustained periods of self-directed practical enquiry can be reconciled with the need to learn theories, methodologies, professional development and modes of practice. [ABSTRACT FROM PUBLISHER]

Visual studies are imparted as majors in many western institutions. This concern with visual culture stems from the vital role of images in communication and how they shape the mindset of the global citizen. Moroccan academia has recently introduced such discipline in some departments in order to modernize the curricula and enhance a liberal education. However, socialization and the dominant local culture favor a more conservative perception of images. The paper explores how these converging narratives operate and how students react to some modern values such as body politics, freedom of expression, subjectivity, etc. The last concern of this study is to analyze to what extent images interrogate and disrupt traditional norms and perceptions and contribute in developing students' critical thinking, visual literacy, modernist perspectives, intercultural communication and mindfulness. The paper is a mixture of qualitative and quantitative research methods. It is first grounded in the postmodern theoretical framework, but it is also based on a four year teaching visual arts experience, classroom observation, and questionnaires. The ultimate aim of this paper is to share some findings with other practitioners, to address the impediments and challenges of university education and to contribute in designing modern curricula that smoothly prepare the students to embrace multicultural values. [ABSTRACT FROM AUTHOR]

The author provides a portrait of four young adult artists as they reflect on their educational experiences in a US art college. Theories of creativity, complexity and human development create the conceptual framework for this longitudinal qualitative case study. The resulting narrative portrait describes the ways in which young adult artists perceive and harness their art school education as they make their way through art college and beyond. Analysis reveals consistencies and changes through time, as well as connections to the literature on college student development and adult learning. The author proposes implications for creative climates, pedagogies and future research, and further argues that this report suggests that longitudinal research and portraiture are viable methods for capturing the art school experience and the value of arts learning in our time. [ABSTRACT FROM AUTHOR]

Copyright of Croatian Journal of Education / Hrvatski Časopis za Odgoj i Obrazovanje is the property of Uciteljski Fakultet u Zagrebu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents a letter from Hunter O'Hanian, chief executive officer (CEO) of the College Art Association (CAA), who discusses topics within the issue including depictions of the China-Japan war and art that came out of a 1650 earthquake in Peru. The 107th CAA conference to be held in New York City from February 13-16, 2018 is also noted.

The article features the African Art Gallery at Norfolk State University in Virginia. Topics discussed include the countries where the artifacts displayed at the gallery originated, classroom experiences of university students and their exposure to multicultural learning opportunities and schedule of weekend tours at the gallery.

Learning to be an artist or designer is a complex process of becoming. Much of the early phase of 'learning to be' occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer-academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer-academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's 'learning to be' experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer-academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer-academic participants contribute to the teaching of art/design education. [ABSTRACT FROM AUTHOR]

This article describes a mobile media art curriculum for engaging at-risk students with their schooling and with civic engagement. The pilot study was conducted with at-risk youth who were seeking their high school diplomas. The curriculum encouraged participants to use mobile media in school and outside. Students examined aspects of their neighbourhoods and sometimes explored themes suggested by the workshop leader. Data consisted of participants' images, their posts and interview responses. We noted that civic engagement grew out of participants' initial interest in, and concern for, the formal, technical and aesthetic aspects of their images. Our participants recognized that, if an image is well made, it will be that much more effective in communicating its civic message. In this article, we will consider the primacy of the aesthetic as a promising principle for developing curricula that reorient at-risk youth. [ABSTRACT FROM AUTHOR]

The increasing visit numbers for art teaching and learning-related websites indicated that websites have become an indispensible resource and information provider for art learners and teachers. In this study, I sought answers to questions such as what websites were art learners and teachers using? What technologies were used by these websites? Who built these websites? Why did they build these websites? What expectations did these website builders have for their audiences? I shared over 70 art teaching and learning-related websites, and had 33 of them evaluated by 57 research participants using a seven-part coding scheme. On the basis of the evaluation survey results, I interviewed four website builders/owners. The top-rated websites were shared and discussed, focusing on website builders' motivations, overall purposes, their expectations towards the websites, as well as their technological applications in their websites. [ABSTRACT FROM AUTHOR]

In Arts Nation 2015, the Australia Council documented the current landscape of artistic endeavour in Australia, acknowledging that there are still gaps that need to be filled to build a greater public understanding of the arts in Australia. The contribution of Australian universities to the arts is one such lacuna. This paper seeks to expand this understanding by considering the contribution that the university sector makes to visual and perfonning arts outside its traditional teaching role. It draws upon data contained in university websites and through interviews with practising artists employed as academic staff in three case study universities. It explores how and why these contributions remain largely hidden in reports on artistic endeavour and concludes by suggesting that a greater recognition of the role that universities play in Australia's Arts Nation will deliver benefits to artists, audiences and to Australia's artistic and cultural heritage. [ABSTRACT FROM AUTHOR]

This article aims to introduce an innovative element to teacher training in Art Education. Grounded in romantic, 'kitsch' and even 'gore' archetypes in literature, painting and cinema, both gravestones and cemeteries have become a central part of our collective imagination in western culture. These visual artefacts can therefore play an important role in helping us to understand the often complex relationships between images and writing. The enduring power of gravestone texts, which are commonly inscribed in marble, offers the potential to address issues that have not previously been explored in teacher training education. We hope to promote the acknowledgement of cemeteries as spaces of reflection and historical memory, both of which are key areas in the pedagogical analysis of modern visual cultures. Employing an Arts Based Education methodology, this study uses photographs taken by its author as core sources of information and analysis, in the manner of a photo-essay or visual essay. [ABSTRACT FROM AUTHOR]