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Art and design students in higher education often prioritize design skills over written communication. With the opportunity to restructure courses around increased asynchronous flexibility arising from the COVID-19 pandemic, the author of this manuscript (who is also the course instructor) has developed a hybrid-blended course design in the art history survey class for over three years. This design guides students toward developing teamwork skills that are crucial in the professional world. While offering tools for art history assignments, this exploratory research encourages humanities scholars to rethink their role in shaping the 21st-century professional. A model of course redesign, including its successes and limitations, is discussed.

The application of an integrative approach in fairy tale therapy is a cutting-edge method for safeguarding the mental well-being of the younger generation in the era of digital education. The unique aspect of integrative fairy tale therapy is the integration of various methodologies, pedagogical approaches, linguistic techniques, art history, and psychotherapeutic methods within a single fairy tale framework. These are then tailored to the individual psyches of children, with the aim of fostering a well-rounded and healthy personality. Utilising fairy tale therapy techniques in the spiritual and moral growth of students can provide valuable insights into the effective implementation of fairy tale therapy programmes for preschoolers and schoolchildren. These programmes are rooted in the rich oral folk art of the Kazakh people and encompass a harmonious blend of spiritual, national, and universal values. The article reveals theoretical and methodological, general cultural and educational, psychological aspects of the study of fairy tale therapy as an integrative technology. The literature review of the main types of fairy tale therapy is also carried out, the functions of fairy tales are reveale. The educational, developmental, and cognitive possibilities of fairy tales are extensively utilised in academic and correctional-developmental activities with students. The importance of preparing future philologists, art historians, social teachers, psychologists, and kindergarten teachers in utilising fairy tale therapy techniques as an integrative technology is emphasised. The article discusses the theoretical, methodological, cultural, educational, and psychological aspects of fairy tale therapy as an integrative technology. This research is funded by the State Institution "Science Committee of the Ministry of Science and Higher Education of the Republic of Kazakhstan" under the project IRN AP19679368, which aims to preserve the psychological health of the younger generation in the context of digitalization of education.

This research is a case study aiming to reveal the experiences of art students towards the activity of "reproduction through appropriation". During the activity process, students were firstly informed about appropriation and the art of appropriation, especially the works in which two works of art were appropriated by integrating them, and each student was asked to identify two works of art to be appropriated. Students made sketches by establishing relational links between the two works they chose. In the last stage, students were expected to make a new artistic production. In this research, which was conducted with the participation of 8 students attending the art studio course, the experiences of the students regarding the process formed the unit of analysis. Worksheets, process evaluation form and artworks were used as data sources. As a result of the research, it was identified that the students were able to produce thoughts about the concepts emerging with appropriation and appropriation art and question this art practice. The students made an effort to integrate the artistic elements in the two works they used for appropriation in an appropriate way and to create the best visual fiction, and they were able to bring a new interpretation by making use of the artists' application of the paint technique and their understanding of colour in the appropriated works. They also realised that the artwork they produced was only a tool to force themselves into the artistic creation process and to gain artistic knowledge and skills. In other words, they developed an awareness of the limits of utilising the works in the history of art to ensure originality in their future artworks. It is possible to say that making use of the appropriation method in art studio courses will contribute to the artistic development of students.

This article aims to enhance the pedagogy of drawing by integrating relevant aspects of art history and aesthetics with perception and communication theories. "Visualcy" is defined as an articulacy with visual languages, from which the more familiar "3Rs" ("R"eading, w"R"iting, and a"R"ithmetic), alluding to literacy and numeracy, evolved. It embraces not only the more familiar definition of "visual literacy" in the sense of how people perceive, interpret, and learn from existing visual imagery, but also the "semogenic" facility for producing the means to understanding through the articulation of visual elements (line, shape, tone, texture, colour) in the construction of new images. After reviewing the role of drawing in cultural evolution, the article discusses drawing in relation to aesthetics, before outlining a pedagogy of drawing designed to nurture visualcy, of central importance to human culture.

Ar(t)chive, a retroactivist technique for queer worldmaking in art therapy, invites sexual, gender, and relationship diverse (SGRD) clients to engage with queer forms from history and construct a continuum of shared lived experiences across differences to challenge misinformation and discrimination, foster resilience, and build community. Phases include: (1) assessment and informed consent; (2) collection and curation; (3) display and artmaking; (4) intersubjective meaning making and synthesis; and (5) closing and reflexivity. A vignette illustrates its application within a queer adult online art therapy group. Resources are offered for adaptive implementation and advocates for the proliferation of more equitable and affirming art therapy practices.

The "new digital art? genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.

We hear calls to globalize, internationalize, decolonize, and diversify higher education from all corners of the world. What changes do they actually seek? Who is behind them and whose interests do they serve? How much are curricula actually changing? In this article, we explore these questions from outside Europe and the United States by examining art history and comparative literature syllabi from Argentina, Lebanon, and South Korea. We find that despite a broad interest in globalizing the university, stark differences characterize what that means on the ground. Content and theory produced in Europe and North American are still overrepresented in classrooms outside these regions. While a regional focus offsets this somewhat in Argentina, it is a less effective counterpoint in South Korea and Lebanon, where regionalization projects are weaker and contested. The global distribution of intellectual and cultural power still mimics the distribution of geopolitical and economic power.

This paper reviews one of the first systematic programs in the history of art, developed in 1877 by P.V. Pavlov (1823-1895), professor of history at the University of St. Vladimir in Kiev. It is stressed that P. Pavlov's program is a rare case of preserving the original curriculum of educational courses developed by Russian art historians of the 19th-early 20th centuries, which allows of its analysis within the framework of modern historical and cultural discourse. It is proved that the concept of the author of the program who stayed with his educational ideas ahead of the game in world science is unique. The article reveals the content of P. Pavlov's synthetic approach to the consideration of all elements of spiritual culture, woven into the context of social history, intellectual currents, and the system of values. What calls attention to itself is the originality and innovation of P. V. Pavlov's institutional ideas of establishing new departments of "history of fine arts and theory" and "history of artifacts" for in-depth studying and teaching of a wide range of historical and cultural disciplines. It is emphasized that a rethink of P.V. Pavlov's program should become one of the steps towards reinterpretation of the history of Russian art criticism and contribute to the generation of new ideas in the system of history and art history education. The suggestions about reprinting the program of P.V. Pavlov for discussion in the academic community of historians, cultural studies scholars and art historians are expressed. The proposed scholarly discussion around the propaedeutic heritage of art historians of the 19th-early 20th centuries should become one of the steps to prepare a new version of the history of Russian art criticism.

This article aims to understand the place of the tempera technique in art history, which is thought to be encountered for the first time by art education undergraduate students, and to determine the effects on the participants after the application. The study consists of the findings and results of the first and second research questions in the master thesis "Tempera technique and its use in the course of painting courses on undergraduate level." In this study the "case study" pattern was used, and is one of the qualitative research approaches. The participants of the research are eight students studying in Bursa Uludag University, Faculty of Education, Department of Fine Arts Education in the 2018-2019 academic year. The data collection tools of literature review and two interview forms interview were used. The findings obtained were evaluated by thematic analysis technique. According to the findings obtained in the research, it was observed that the participants did not have prior knowledge about the tempera technique before oral presentation and application. It was concluded that there were differences in the levels of interest and knowledge after the teaching process, and that there were positive changes in their opinions regarding the technique.

This article presents a case study of a decolonized curriculum development in the Art History programme at the small liberal arts institution Kalamazoo College (Michigan, USA). It discusses the curriculum plan, methods for learning, assessment and potential applications for this approach beyond the case study. Paying attention to questions about the origins of art history, and its long-established methods and canon within the Western academy, this article proposes that any approach to decolonizing an art history curriculum must take into account the frameworks and methods of the knowledge systems it employs, must continually assess, reflect and hold accountable those who participate in its implementation and maintenance, and, importantly, must recognize that decolonization work is a necessarily messy and ongoing process.

The research focuses on examining the use of the interpretation of works of art in pre-school education in three dimensions - the current state of the use of the interpretation of works of art, the opinions of kindergarten teachers on art, and the opportunities for kindergarten teachers to acquire knowledge about the theory and history of art in their undergraduate training or in other forms of education. The aim of the research was to determine a correlation between the aforementioned variables. 366 kindergarten teachers responded to the items of the self-constructed questionnaire. It has been proven that the current state of the use of the interpretation of works of art in pre-school education can be described as below average, the opportunities for kindergarten teachers to acquire knowledge from the theory and history of art in their pre-graduate training or in other forms of education were lower than average, and the opinions of kindergarten teachers on art can also be described as below average. There is a statistically significant positive correlation between the aforementioned dimensions of the interpretation of works of art in pre-school education.

Purpose: Conducting contemporary art lessons with a traditional art history view and a chronological approach leads to misinterpretations - and even to prejudices - of contemporary art as it is not progressing chronologically, cannot be assessed within specific stylistic forms and defined with strict lines, unlike previous traditional art disciplines. Based upon this problem, in this study, a new course process was planned in which contemporary art pieces are compared to traditional pieces focusing on the five major themes contemporary art differs from traditional art. Within the scope of this research dealing with this process, answers have been sought to the questions how comparative art history education through themes influences the perception of art, professional, personal, social progress of pre-service teachers and what sort of changes this method creates. Methodology: Research findings designed as action research were obtained by reviewing activity forms prepared for the lesson and semi-structured focus group interview. Gathered data were interpreted by the descriptive analysis method. Findings: The findings obtained in this study suggest that this method helps pre-service teachers define art with a broader perspective, better understand and embrace contemporary art, develop awareness about social issues conveyed through contemporary pieces, explore different expression possibilities for art practices and to form new opinions about art education in a professional sense. Implications for Research and Practice: Pre-service teachers expressed positive views for the comparison technique and providing an environment for expressing oneself freely. Within this context, it is suggested to design discussion-based art history lesson plans around specific themes.

Various scientific studies, interpretations, analyses, and comparisons have revealed a strong link in the origin of Kazakh mythology in contemporary Kazakh society. The main problem in this lies in the fact that existing research on mythology has always centered in fields of literature, philosophy, religion and culture, and history. Previous scholars have always overlooked the study of mythology in the field of art. It's for this reason, that this research article centered on the mythology in the art of painting education and especially pictorial analysis of Kazakh mythology. In the article, the definition and history of Kazakh mythology are given and the studies of the researchers on mythology are mentioned. The painting educations made within the scope of the research article are inspired by the myth of "Er Tostik". The research conducted within the scope of a creative and scientific analysis shows that the works related to the formation of Kazakh mythology have an important place in the history of Kazakh painting education. Besides, important subjects of Kazakh mythology in Kazakh art history were determined and how they affected the works of the painters were examined and interpreted comparatively.

Although over the years the conceptual understanding of OER has improved, more insights are needed on faculty's discipline-specific practices with OER. This study explored the motivations and OER-related practices of faculty in lower-level and general education (GE) undergraduate art history courses in the United States. Using twelve in-depth interviews conducted over nineteen months, it investigated why, how and to what ends a diverse group of art historians use OER and related practices in their teaching. The study found six, discipline-specific main motivations for adopting OER, which extend well beyond cost savings for students. At the same time, only small changes were reported in faculty's teaching practices as a result of adopting OER. That is, OER didn't simply trigger pedagogical innovation by virtue of being adopted. Instead, these resources were strategically utilized by faculty to address existing teaching needs and goals, which were shaped by broader conversations and concerns within the field of art history. This suggests that it is impossible to disconnect OER from current pedagogic practices and models, as well as the social and disciplinary context in which they are employed.

The technology of virtual reality (VR) has had proven educational benefits over the last three decades. Yet, most research conducted on these benefits has been confined to the sciences, especially in Computer Science. The application of VR technology for the Digital Humanities is only now beginning to receive attention, but more study needs to be conducted on its uses within various humanistic disciplines. In order to expand on the research at a pivotal time in education when modalities expand to incorporate more hybrid, distance education, and online learning, this study reviews the literature and theories behind the educational use of VR as a tool to reinforce learning outcomes in the field of art history. Through the review, theories and best practices are presented for practical adoption at various level of instruction at other institutions, as well as a list of recommendations for integrating VR technology specifically within art history instruction.

In 2012, Nube Lab was founded in response to the conviction that education in Chile needed a substantial turnaround. Nube--the word for cloud in Spanish--was chosen for the organization name as a simple way of communicating the complexity behind what they do: nothing can be taken for granted, there is something unique in each moment, and what is know beforehand can always turn into a new and unforeseen question. This article examines a contemporary approach to art and art education that can offer important insight into teaching and learning in general.

The author--in the role of one teacher observing another--documented a spring 2021 remote introductory art history course during the COVID-19 pandemic when graduate student teaching assistants called a campus-wide strike. Forced to improvise, the professor replaced formal analysis papers and exams with an ungraded journal. Drawing from the content of these journals, notes from the Zoom classes, and email correspondence with the professor, the author explicates how students took this journal assignment as an invitation to respond personally to the course content, and as an opportunity to grapple with their own identities. These journals allowed students to use art to explore similarities and differences freely across culture, space, and time. With the traditional requirement for an academic argument temporarily on pause, the author raises questions that characterize our present day: how to encourage a world that accepts different identities without hostility.

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.

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.

Dissent has its own special place in art education. It has two stereotypical, polarized faces. The first is a classical institution modelled on Italian and French academies. As official places, they aimed at elevating art to the rank of science and making it an expression and instrument of power. The opposite image of the school is an oasis of intellectual freedom, a space for inventiveness, a place for applying unusual teaching methods and organizing the academic community. The most famous examples are avant-garde activities. This historical division is unreliable in fact. Dissent or even rebellion can be an instrument of morality and principles that could be followed. Quite unexpectedly, a peculiar anarchism can be found in the first art academy run by the Carracci. The name 'academy' popularized among the Italian humanists and Marsilio Ficinno, drew attention to the informal nature of scientific associations, opposing the fossilized formula of the university existing since the Middle Ages. It is surprising then that Joseph Beuys just created the Free International University. The very name of school and its understanding indicate a significant dichotomy not only in art education, but also in art theory. The point is not that the model of education has simply loosened over time. The above-mentioned facts reflect great disputes about the essence of art, about its relationship with science, everyday life, and practical application. An analysis of specific programs will allow us to see the sense of the mutual connections between rebellion and principles in modernizing artistic education.

In recent years, several researchers have introduced spherical video-based virtual reality (SVVR) into classroom teaching to help students learn different subjects. In SVVR learning, learners are typically presented with great autonomy over their learning process. Therefore, learners should engage in self-regulated strategy (SRS) learning in order to successfully study in SVVR. However, learners often struggle to self-regulate their learning. Therefore, we implemented a SRS intervention in SVVR. In this study, a SVVR environment was developed to situate students in art history contexts; moreover, the SRS was employed to guide students to improve their performance and to make reflections on their own performance. In order to evaluate the proposed approach's effectiveness, we carried out an experiment in a university art history class. The experiment results reveal more positive effects of the SRS-based SVVR approach compared with the non-SRS-based SVVR approach in terms of the learners' learning achievements, self-regulation, meta-cognitive awareness, as well as self-efficacy. In addition, this study specified that this approach would not have an effect on students' cognitive load. As a result, the SRS-based SVVR approach proposed in the current study was effective in art history education.

African American artists have participated in every major art style and movement since before the founding of this nation. However, until recent decades, this "grand epic" had been marginalized within the traditional survey canon of American art. Art historians have undertaken considerable scholarship (Bearden & Henderson, 1993; Farrington, 2011, 2016; Jenkins, 2022; Lewis, 2003; Patton, 1998) over the past several decades to address a gap in the field's literature. In this article, Mary Soylu examines an art history project at a Historically Black College or University (HBCU) in Alabama that recognized the need for (1) pedagogical innovation in art history and (2) increasing the visibility of African American artists within the canon of American art history.

Different and competing conceptions of knowledge have recently been the focus of debate in education, especially art education. The cognitive science conception of knowledge as information processing and storage in long-term memory is especially prominent in educational policy. By contrast, within writing that is directly about art education, discussion of knowledge has often been framed in negative, terms, as reductive, as entailing the imposition of rigid subject content and as antithetical to art. Taking issue with both these contrasting views, and using a non-empirical, philosophical approach, this article puts forward a case for the centrality of knowledge and reasoning within the art and design curriculum. Specifically, the article draws on inferentialism, a theory that has not previously been applied to art education. The argument presented understands art as discursive and rational, as concept using and reason sensitive, as essentially a disjunctive set of historical-social practices. Art education is then best thought of as a rational-critical introduction to knowing those practices, as making explicit their proprieties, entailments and contradictions and the choices that are thereby made possible. This view emphasises learning in art and design as developing increasing levels of responsibility and commitment by integrating concepts in practice and theory.

The aim of the study is to bring a critical perspective to the use of projection and copy technologies, which have become widespread and degenerate by developing technology, in the art of painting. The data were evaluated by methods such as literature review, sample analysis, observation and experience. Projection technologies and the history of the camera obscura were examined. The effects of technologies on the art of painting have been questioned: reflection technologies such as photography, video, projection; printing technologies as blueprints and digital printing. The technical process on the basis of reproduction by projection consists of tracing the image and its repetition. Thanks to the printing technologies, this is not even necessary. This method which undermines the creative process, weakening hand-brain-eye coordination, perception development, imagination and composition design; can bring impersonality and uniformity. Wide range of uses and causes of projection technologies, concept confusion and discourses, the dimension that threatens creativity and mastery , encouraging use to support creativity; the subject has been interpreted on the basis of art ethics and aesthetics. One of our most important problems as a country is that we cannot be productive and creative enough to compete with the world market. The origins of the gradual decrease in the importance given to art and creative thinking and the loss of inventive ability can be found in the wrongness of education and cultural policies. We need research and studies that try to bring creativity and inventiveness to the fore, not imitation, and prioritize creativity in art and education through art.

An interdisciplinary approach to science education through history of art is proposed. The approach is innovative, as the artworks complement the history, philosophy and sociology of science contents to increase students' interest and motivation. The approach integrates humanities and science education through history of art, which requests interdisciplinary cooperation of the teachers of the school subjects involved with historical curriculum contents. The approach is elaborated through the case of Galileo's telescope, which provides specific features on the relationships between science and technology (scientific instrumentation applied to generate knowledge), nature of science, and science-technology-society relationships, where history and art meet each other. Further, history of art contributes some contemporary artworks on Galileo case that highlight all those relationships. The explicitness, perception, beauty and accessibility of the paintings may also be a key element to develop teachers' and students' interest and motivation in teaching and learning science through its integration with history of art. Finally, the interdisciplinary educational approach develops a teaching-learning sequence on the basis of Galileo's telescope to guide teaching the issue in science education through history of art. This didactic exemplification elaborates some aims, contents, resources and activities throughout the human, social, philosophical, artistic, scientific and historical aspects involved in the case of Galileo that teachers must adapt to specific subjects, degree and students.

The ability to analyse aspects of visual culture--works of art, maps or plans, graphs, tables and X-rays--quickly and efficiently is critical in decision-making in a broad range of disciplines. Eye tracking is a technology that can record how long someone dwells on a particular detail in an image, where the eye moves from one part of the image to the other, and the sequence the viewer uses to interpret visual information. These MP4 recordings can be played back and graphically enhanced with coloured dots and lines to point out this natural and fluent eye behaviour to learners. These recordings can form effective pedagogical tools for learning how to look at images through the eyes of experts by mimicking the patterns and rhythms of expert eye behaviour. This paper provides a meta-analysis of studies of this kind and also provides the results of a cross-disciplinary project which involved five different subject areas. The consensus arising from our meta-analysis reveals an emerging field with broad concerns in need of more integrated research. None of the studies cited in this article are interdisciplinary across the sciences and arts and, while some of them address higher education in medicine and computing, there are no interdisciplinary studies of how eye tracking is important for teaching in arts and science subjects at undergraduate and postgraduate levels. In addition, none of the studies address how learning practitioners find these eye recordings useful for their own understanding of learning processes. This establishes the unique contribution of this project.

This article provides a discussion on how to promote self-regulated learning by employing scaffolding assignments using the learning management system (LMS) Canvas. With many college courses transitioning to the online environment, students are expected to complete large, complex assignments that meet higher order learning outcomes. Challenges of the online course include allowing for faculty-student interaction and the lack of real-time guidance for these complex projects. A way to increase student success, as research has shown, is to scaffold assignments--that is, create smaller assignments that build toward a larger, more complex assignment. Scaffolding not only allows students the opportunity to practice skills they need to develop but also gives faculty the opportunity to provide feedback to enhance learning. I explain how I adapted the standard formal analysis assignment from an introductory art history course into a series of smaller assignments using the Canvas LMS. By creating assignments that ask students to address select aspects of the larger task, I give students the means by which to repeatedly practice their visual analysis (and writing) skills as well as the opportunity for frequent instructional feedback, both recognized as best practices in teaching and learning. Quantitative evidence supports this practice and suggests student learning and success have improved.

Much has been written on the history of Abeokuta and their artworks since their occupation of Abeokuta. Yoruba works of art are in museums and private collections abroad. Many museums in the Western part of Nigeria including the National Museum in Abeokuta also have works of art on display; however, much of these are not specific to Abeokuta. Writers on Abeokuta works of art include both foreign and Nigerian scholars. This study uses historical theory to study works of art collected and preserved on Abeokuta since inception of the Egba, Owu and Yewa (Egbado) occupation of the town and looks at implications for development in the 21st century. The study involved the collection of data from primary sources within Abeokuta in addition to secondary sources of information on varied works of art including Ifa and Ogboni paraphernalia. In particular, this research unravels a mix up in international documentation of Abeokuta works. The study also shows that very little has been done to improve on indigenous technologies through introduction of modern machinery for production. Recommendations are made for improving production to promote tourism and industrialisation without undermining the cultural identity of the people.

Although the art historical canon has been the subject of fierce debate, it remains an essential construct, shaping textbooks and survey courses. Visual representations of the canon often illustrate these narratives. Students encounter diagrams in their studies and it is important to make them aware of the illusion of scientific objectivity. This paper proposes the use of the computer ontology, as a modeling tool with which students can make translations of existing diagrams. This forces them to reconsider the modeling decisions underlying traditional representations. The article takes as its case study the translation of Alfred Barr's diagram of Modern Art, using the free tool "Protégé." An analysis of this process allows us to consider the ambiguous meanings of nodes, relationships and dimensions of the model. Asking students to actively recreate this network of information is shown to be a valuable addition to traditional survey courses on Modern Art.

In 2014, through the University of the Free State's (UFS) Institute for Reconciliation and Social Justice (IRSJ), three South African universities partnered to collaborate on the pilot phase of a research project focused on understanding whether the Arts could enable social cohesion, as the 2012 National Development Plan (2030) had promoted. All three authors worked in leading positions in the project in 2015 and through their attempt at explaining the processes and findings of the pilot year of the project at the 2016 South African Art Historians Conference, it was confirmed for themselves that the project, while implemented through the Visual Arts sector in 2015, had findings which needed to be developed and shared with the broader higher education environment as well. The reflective discussion presented in this article therefore goes back to the beginning and focuses on each university reflecting on one question, which is framed and guided by key thematic areas drawn from the overall project findings from 2015, and which can be read at the end of the article. This framework, at that particular juncture in time, summarised the social conditions and contingencies which each university had identified as being in need of consideration and work if social cohesion was to be developed within their institutions.

Ralph Pearson's Design Workshop was a center of progressive art education in New York. However, based on the correspondence courses that he developed, he was able to reach artists and art educators across the United States. Women artists and art educators dominated his courses and went on to play an important role in spreading progressive art education ideas within their local communities. Recognition of the contributions of these Design Workshop women, as well as other women studying modern art education in similar venues, is essential in moving away from constructions of art education history that have been overly determined by a disproportionate focus on modern art education in large urban areas, and doing so will lead to a more comprehensive history that is inclusive of local communities as important spaces of experimentation.

This case study of an art education program for medical students examines the efficacy of different types of content and modes of delivery. Through the delivery of art analysis, art history, sculpting, and life drawing seminars, art educators were able to teach empathy, observation, and flexible thinking to first-year medical students. This interdisciplinary approach to museum education can be used across many contexts to complement existing curricula.

Educational opportunities occur through naturalistic everyday life experiences (e.g., reading a newspaper, listening to a podcast, or visiting a museum). Research primarily examines learning under controlled conditions, such as in a classroom or laboratory. There is relatively little known about the extent to which adults extract semantic content, beyond factual recall, from naturalistic educational experiences. In the present work, we focused on virtual museum exhibits. The materials were sourced directly from an art history museum. The naturalistic nature of this work stems from the type of content used though an important component of naturalistic learning--motivational processes--was not measured. In each of three experiments, we assessed adult learners' performance on tests of factual recall, inferential reasoning, and self-derivation through memory integration from naturalistic virtual museum exhibits. In anticipation of the potential challenge associated with learning outcomes under naturalistic conditions, we administered a yoked protocol under which participants had opportunities to engage in retrieval practice (Experiment 2a) or restudy (Experiment 2b) as explicit mechanisms of support for the three tests of learning. In all experiments, participants performed successfully on all three tests of learning; factual recall was the most accessible of the three learning outcomes. There was no difference in performance at the group level across experiments, but there was at the individual level, such that idea units generated during retrieval practice predicted learning outcomes, whereas restudy of those exact idea units did not. The current work provides novel insight into mechanisms underlying adult learning from naturalistic educational opportunities.

With no possibility of teaching in prisons in person because of the pandemic, a group of social justice concerned art history graduate students offered a remote learning college course for people incarcerated in a detention facility in the United States. The culturally sustaining and trauma-sensitive course, delivered asynchronously via tablets, was a survey of contemporary art. Because of a quarantine in response to the COVID pandemic, the class had the opportunity to use technology that is new to carceral spaces. The advantages and problems will be discussed. This article will close with practical recommendations for educators seeking to provide similar programming.

The landscape of tertiary education has significantly changed in recent years with increasing pressure on universities to "globalize" and expand their reach internationally. In this context, there are a range of pedagogical and cultural issues to consider when designing curriculum to address the needs of students taking courses in different geographical locations. In addition to ensuring equivalence and quality, developing context-specific learning resources is a critical part of international delivery. Providing flexibility and autonomy to meet specific geocultural teaching and learning needs is vital. Programs and courses benefit from collaboration and connectivity between students and staff in all locations to ensure meaningful global learning environments. This paper focuses on a case study from an Australian University and examines how curriculum and delivery modes can be adapted to address the changing needs of transnational education a global context. The case study involves the renewal of a core undergraduate art history and theory subject that is offered in art and design programs across three different locations (Melbourne, Hong Kong and Vietnam). A series of learning materials and assessment tasks were designed to maximize a blended learning environment comprising face-to-face workshops, lectures, and online components. The result is a technology-enabled, common curriculum framework designed to allow for content to be adapted for local delivery.

The author designed a midterm podcast assignment to give her students in "Modern East Asian Civilizations," an entry-level survey course, the opportunity to articulate their own understanding of East Asian artifacts, the ways in which objects are seen and imbued with meaning, and what those meanings imply.

Inspired by the affective and sensory turns in the paradigm of art history, this article discusses making pictures as a method of teaching art history in Finnish Upper Secondary Vocational Education and Training (Qualification in Visual Expression, Study Programmes in Visual and Media Arts and Photography). A total of 25 students majoring in visual and media arts and photography participated in the research, studying art history by visual means and reflecting on their learning experiences. This article follows the principles of contextual subject-related didactics, where contemporary conceptions of the discipline and the objectives of the curriculum direct the choice of instructional approaches. The study shows that making pictures motivated the students to study art history and develop practical skills within the discipline in accordance with the curriculum objectives. In visual terms, the kinesthetic and haptic qualities associated with making pictures brought affects and emotions to art historical inquiries, which built bridges between art history and the students' life-worlds.

This essay offers a broad look at the way critique as a mode, method, and attitude in post-war art history research and teaching intersects with occurrences of critique in humanities scholarship and teaching generally, but also how distorted forms of critique occur in contexts outside the academic field. The essay outlines concerns raised by humanities scholars with what they consider to be an over-reliance on critique as a negative skill, resulting in scholarship that tears down without building up, and self-satisfied debunking of anything that does not stand up to the current era's identity politics. The essay argues that the question of critique is of particular urgency to the field of contemporary art. Here critique is embedded in the material studied--artworks, artistic practices, and discourses--and therefore in dire need of being understood, challenged, and decentered as a method.

What are Fayum mummy portraits? Why don't more people know about them? And why are they important for art educators to know about and to integrate into their curricula? In this article, the author aims to answer each of these questions.