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One criticism of published curricula addressing implicit bias is that few achieve skill development in implicit bias recognition and management (IBRM). To inform the development of skills-based curricula addressing IBRM, we conducted a scoping review of the literature inquiring, "What interventions exist focused on IBRM in professions related to social determinants of health: education, law, social work, and the health professions inclusive of nursing, allied health professions, and medicine?" Authors searched eight databases for articles published from 2000 to 2020. Included studies: (1) described interventions related to implicit bias; and (2) addressed knowledge, attitude and/or skills as outcomes. Excluded were interventions solely focused on reducing/neutralizing implicit bias. Article review for inclusion and data charting occurred independently and in duplicate. Investigators compared characteristics across studies; data charting focused on educational and assessment strategies. Fifty-one full-text articles for data charting and synthesis, with more than 6568 learners, were selected. Educational strategies included provocative/engagement triggers, the Implicit Association Test, reflection and discussion, and various active learning strategies. Most assessments were self-report, with fewer objective measures. Eighteen funded studies utilized federal, foundation, institutional, and private sources. This review adds to the literature by providing tangible examples of curricula to complement existing frameworks, and identifying opportunities for further research in innovative skills-based instruction, learner assessment, and development and validation of outcome metrics. Continued research addressing IBRM would enable learners to develop and practice skills to recognize and manage their implicit biases during clinical encounters, thereby advancing the goal of improved, equitable patient outcomes.

The article takes up the notion of process and artmaking as an event to be understood neither as a singular moment of forces (e.g., artist, artwork, viewer, and/or site) coming together, nor as the "end" of a productive process that is then superseded by another event. Rather, the authors suggest that the artmaking process can be understood as an event of movement through relationships between all things and people as they come into contact. Grounded in Gilles Deleuze's philosophical concept of "becoming," the artmaking process is conceptualized not as a predictable or identifiable aspect of change (i.e., becoming something else), but instead as a quality associated with the effects of art as a "process-event". To demonstrate the efficacy of this conception of the artmaking process, the article explores the practice of two art education students engaged in dramatically different types of artistic practice. (Contains 5 figures and 2 endnotes.)

Drawing upon Lacanian psychoanalytic theory, neuroscience brain research, and the practices of contemporary artists Ann Hamilton, Jasper Johns, Elizabeth Murray, and Oliver Herring, this article argues for the relevance of conscious and unconscious knowledge in artistic practice. Parallels drawn between Lacanian psychoanalytic clinical practice and artistic practice demonstrate a meaningful interdisciplinary alliance forged through a shared interest in conferring agency on the unconscious. The description of a recent graduate art education course, designed around artistic practices with conscious and unconscious knowledge, strongly exemplifies the pedagogical implications of the foregoing investigation. (Contains 4 endnotes.)

In this article, the author describes a high school art teacher's experience in teaching big ideas with her high school graphics design class. The author's purpose is to offer an example of concrete instructional practice with artmaking that focuses on making meaning and incorporates the perspectives of contemporary culture, personal relevance, and contemporary art and practice. Prior to describing the high school graphics design class, the author briefly references art educators who have recently advocated art learning from these perspectives. (Contains 3 endnotes.)

In this article, the author expresses concern that art educators and art teachers frequently lack sufficient and tangible understandings of the processes that distinguish artmaking activity. An open-ended situation directed by ongoing dialogue make for an elusive process that is difficult to get one's hands around; however, substantive knowledge about this process is needed to guide effective planning for artmaking instruction. This article addresses this concern by describing and analyzing the results of a 10-week art education studio methods course that sought to develop graduate and undergraduate students' abilities to plan meaningful studio instruction. A major strategy for accomplishing this objective was engaging the graduate students (who ranged from highly to less experienced practicing art teachers and the undergraduate students who were preparing for future practice) with the artmaking process in a highly conscious and reflective manner. The artmaking process, presented to the graduate and undergraduate students, evolved from this author's study of the artistic practice of numerous contemporary artists including sculptors, installation artists, photographers, and painters. The study of these artists' practices was motivated by two questions: what is it that artists do when they create artworks? and, in particular, how do artists pursue meaning? The goal was to understand conceptual approaches to artmaking and comprehend how specific artistic practices enabled conceptualization. (Contains 6 figures and 4 notes.)