The Importance of Social Justice Art Curriculum a Thesi
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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Art as a Tool for Communication: The Importance of Social Justice Art Curriculum A thesis submitted in partial fulfillment of the requirements For the degree of Master of Art in Art, Art Education By Charlene Hattier December 2017 The thesis of Charlene Hattier is approved: Mario Ontiveros, Ph.D. Date Edie Pistolesi, Ph.D. Date Lynette K. Henderson, Ph. D. Chair Date California State University, Northridge II Table of Contents SIGNATURE PAGE .................................................................................................................... II LIST OF FIGURES ...................................................................................................................... IV ABSTRACT .................................................................................................................................. VI INTRODUCTION ........................................................................................................................ 1 MAJOR INFLUENCES ............................................................................................................ 5 METHODOLOGY .................................................................................................................... 9 PROJECT DESCRIPTIONS ........................................................................................................ 11 PROJECT 1 ................................................................................................................................ 11 PROJECT 2 ................................................................................................................................ 33 PROJECT 3 ................................................................................................................................ 41 PROJECT 4 ................................................................................................................................ 52 CONCLUSION AND IMPLICATIONS ...................................................................................... 63 APPENDICES .............................................................................................................................. 67 A. ACTIVIST ART ............................................................................................................... 67 B. TOOLS FOR RESEARCH AND WRITING ................................................................... 72 C. INTRODUCTION TO SATIRE ....................................................................................... 76 D. LESSON OUTLINE FORMAT ....................................................................................... 78 WORKS CITED ........................................................................................................................... 81 III List of Figures Project 1 Figure 1 Woman’s March protest sign……………………….……………………………….. 18 Figure 2 Brainstorming word map for project 1……………….……………………………….18 Figure 3 Instructional resources for project 1…………………………………………………. 19 Figure 4 Student I example of superhero drawing…….………….…………………………….20 Figure 5 Student II example of superhero drawing……….……..……………………………..20 Figure 6 Student III example of superhero drawing……………………………………….…...21 Figure 7 Student IV example of superhero drawing……………..……………………………..21 Figure 8 Student V example of kite construction………………………………………………22 Figure 9 Student example VI of completed kites…………………..…………………………..27 Figure 10 Student example VII of kite artwork…………………….………………………….28 Figure 11 Student example VII of kite artwork…………………….………………………….29 Figure 12 Student example IX of kite artwork…………..……………………………………..30 Figure 13 Student example X of kite artwork…………………………………………………..31 Figure 14 Student example XI of kite artwork…………………………………………………32 Project 2 Figure 15 Student example I of book construction…………………………………………..... 37 Figure 16 Student example II of book construction…………………………………………....37 Figure 17 Student example III of completed book sculptures…………………………...……. 38 Figure 18 Student IV example of book sculpture ……………………………………….……..38 Figure 19 Student V example of book sculpture………………………………………….……39 Figure 20 Student VI example of book sculpture………………………………………………39 Figure 21 Student VII example of book sculpture…………………………………………..…40 IV Project 3 Figure 22 Brainstorming word map for project 2………………….……………………...……46 Figure 23 Student example I of sketchbook……………………………………………..……..47 Figure 24 Student example I of completed artwork………………………………….…..…….47 Figure 25 Student example II of sketchbook………………………………………………..….48 Figure 26 Student example II of completed artwork……………………………………….…..48 Figure 27 Student example III of sketchbook …………………………...……………………..49 Figure 28 Student example III of completed artwork …………………….……………………49 Figure 29 Student example IV of sketchbook ………………………………………………….50 Figure 30 Student example IV of completed artwork………………….……………………….50 Figure 31 Student example V of sketchbook……………………………….…………………..51 Figure 32 Student example V of completed artwork…………………..……………………….51 Project 4 Figure 33 Student example I……………………………………………………………………58 Figure 34 Student example II…………………………………………………………………..58 Figure 35 Student example III………………………...………………………………………..59 Figure 36 Student example IV………………………………………………………………….60 Figure 37 Student example V…………………………………………………….…………….61 Figure 38 Student example VI………………………………….………………………………62 Figure 39 Student example VII………………………….……………………………………..62 V Abstract Art as a Tool for Communication: The Importance of Social Justice Art Curriculum By Charlene Hattier Master of Art in Art, Art Education The general question to be investigated is, “How do educators address difficult, controversial topics of the human experience through effective strategies of art education?” The objective of this investigation is to understand the important responsibility art has in fostering personal growth within the classroom; especially regarding the development of a student’s own sense of identity relative to the chaos and complexity of life outside of school. My thesis contends that art education curriculum created with an umbrella theme, or broad concept, can provide a conceptual focus for teachers and students to explore various power struggles of the human experience. By challenging students’ preconceptions and opinions through controversial artwork, educators can create a forum for navigating the various contradictions or inequities VI students may experience in society. The art making process is often integrative in exploring the meaning, value, and interrelationships of art and society. The artwork students learn about and create naturally raises sensitive topics and promotes controversial discussions related to greater social issues. Art education should provide opportunities for students to think critically about these issues and make connections across disciplines. Creating “Big Idea” themes for curricula can help inspire creative and meaningful work along with incorporating technique, artistic perception and historical context. For this reason, the curriculum unit for my culminating thesis is created under the umbrella theme, “All humans are social beings.” This theme encourages students to explore larger social issues and express their unique perspectives about them through art. This exploration lends itself to artwork that can raise awareness of relevant social issues in a safe space. VII Introduction In the fall of 2015, I began my first job as a high school art teacher. In order to fulfill the requirements for my teaching credential, I had taught in two different high school settings prior to this position. It was in the first full year of teaching in my own classroom that I realized the various discrepancies between the art world and the art classroom as well as discrepancies between my values and motives as an artist and those of the greater institution of education. As a first year high school art teacher, I spent a lot of time reflecting on the transition between my identity as a student and as a teacher. Moreover, as my first year of teaching progressed, I realized that my identities as an individual, artist and teacher began to conflict. In my relatively brief experience teaching art, I quickly learned that pedagogy for art education differs based on the programs, departments, and individual teachers involved. Art educator develop differing ideals and expectations in the process of practicing art, versus the process of teaching it; and these ideals and expectations are constructed by the contrasting communities surrounding art practice and education (Cohen-Evron 3). Within these communities, art and artists are very highly regarded. However, their role in the school setting “is defined by an educational system that has discourses and agendas in which art and art teachers are marginalized” (Cohen-Evron 3). In my own experience as an art educator in a variety of school settings, the administration and school community tend to agree that art is important to include on campus, but they lack a developed understanding of why it is important. This superficial understanding of art often leads to the trivialization of the subject. Censorship In addition to feelings of isolation and misunderstandings of the field of art, I have also witnessed an aspect of censorship in art education. It is common that artwork created by students 1 or artwork studied in class may touch upon sensitive topics and can promote controversial discussions of greater social issues.