THE ART of FLOCKING CURRICULUM the Art of Flocking Curriculum
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1 a Multicultural and Social Reconstructionist Approach to Art
A Multicultural and Social Reconstructionist Approach to Art Education: A Framework for Social Justice through Art Curriculum DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Joni Etta Boyd, M.A. Graduate Program in Art Education The Ohio State University 2011 Dissertation Committee: Dr. Karen Hutzel, Co-Advisor Dr. Christine Ballengee-Morris, Co- Advisor Dr. Vesta Daniel Dr. Adrienne Dixson 1 Copyright by Joni Etta Boyd 2011 2 Abstract The primary question that framed this study was “How does a multicultural and social reconstructionist approach to art education facilitate the three broad goals of social justice (a) increase personal awareness, (b) expand knowledge and (c) encourage action among youth?” This inquiry was formulated based on a previous research project that indicated the need for a multicultural and reconstructionist approach in art education. Some art education curriculum has been identified as hegemonic in that it assists in maintaining the status quo. Curriculum can be oppressive if it consistently uses voices only from the dominant population and continues to neglect the needs of its receivers. Therefore, an art education curriculum that promotes inclusivity, transformation, social change and social reconstruction was the goal for this research. In addition, this study worked to examine the results of the implementation of this approach. To attend to this objective, this study utilized participatory action research (PAR), a methodology theoretically driven by social justice and advocacy for change on a local level. Using this methodology initiated stakeholder engagement and helped to reveal the significance of student voice in curriculum. -
I Is for 3 6 9 11 13 15 17 19 21 24 26 28 30 32 34 36 Institute Local
I is for Institute Local Context 2/22, 6:30 PM 3 Asian Arts Initiative 6 The Fabric Workshop and Museum 9 Fleisher Art Memorial 11 FJORD Gallery 13 Marginal Utility 15 Mural Arts Philadelphia 17 Pennsylvania Academy of the Fine Arts (PAFA) 19 Philadelphia Contemporary 21 Philadelphia Museum of Art 24 Philadelphia Photo Arts Center (PPAC) 26 The Print Center 28 Rosenwald-Wolf Gallery, The University of the Arts 30 Temple Contemporary 32 The Village of Arts and Humanities 34 Ulises 36 Vox Populi What’s in a name? This is the question underlying our year-long investigation into ICA: how it came to be, what it means now, and how we might imagine it in the future. ASIAN ARTS INITIATIVE Address 1219 Vine Street Philadelphia, PA 19107 Website asianartsinitiative.org Founding Date Spring, 1993 Staff Size 7 Full-time, 7 Part-time. Do you have a physical location? Yes Do you have a collection? No Logo Mission Statement A meeting place, an idea lab, a support system, and an engine for positive change, Asian Arts Initiative strives to empower communities through the richness of art. We believe in a universal human capacity for creativity, and we support local art and artists as a means of interpreting, sharing, and shaping contemporary cultural identity. Created in 1993 in response to community concerns about rising racial tension, we serve a diverse constituency of both youth and adults—Asian immigrants, Asian Americans born in the U.S., and non-Asians—who come together to give voice to experiences of cultural identity and heritage and claim the power of art- making as a vital form of expression and catalyst for social change. -
Mapping the Landscape of Socially Engaged Artistic Practice
Mapping the Landscape of Socially Engaged Artistic Practice Alexis Frasz & Holly Sidford Helicon Collaborative artmakingchange.org 1 “Artists are the real architects of change, not the political legislators who implement change after the fact.” William S. Burroughs 2 table of contents 4 28 purpose of the research snapshots of socially engaged art making Rick Lowe, Project Row Houses | Laurie Jo Reynolds, Tamms Year Ten | Mondo Bizarro + Art Spot Productions, 9 Cry You One | Hank Willis Thomas | Alaskan Native methodology Heritage Center | Queens Museum and Los Angeles Poverty Department | Tibetan Freedom Concerts | Alicia Grullón | Youth Speaks, The Bigger Picture 11 findings Defining “Socially Engaged Art” | Nine Variations 39 in Practice | Fundamental Components (Intentions, supporting a dynamic ecosystem Skills, and Ethics) | Training | Quality of Practice 44 resources acknowledgements people interviewed or consulted | training programs | impact | general resources | about helicon | acknowledgments | photo credits purpose of the research Helicon Collaborative, supported by the Robert Raus- tural practices of disenfranchised communities, such chenberg Foundation, began this research in 2015 in as the African-American Mardi Gras Indian tradition order to contribute to the ongoing conversation on of celebration and protest in New Orleans. Finally, we “socially engaged art.” Our goal was to make this included artists that are practicing in the traditions important realm of artmaking more visible and legible of politically-inspired art movements, such as the to both practitioners and funders in order to enhance Chicano Arts Movement and the settlement house effective practice and expand resources to support it. movement, whose origins were embedded in creat- ing social change for poor or marginalized people. -
Social Justice and the Arts
2015 Social Justice and the Arts ARTS ORGANIZATIONS PARTNERING WITH THEIR COMMUNITIES TO ADVANCE SOCIAL JUSTICE J.A. DEWALD, CONSULTANT PARTNERSHIP FOR THE PUBLIC GOOD BUFFALO, NEW YORK Open Buffalo | Partnership for the Public Good Innovation Lab 2 Table of Contents INTRODUCTION .................................................................................................................................................................................. 5 GENERAL INSIGHTS ........................................................................................................................................................................... 6 OPEN BUFFALO AREAS OF FOCUS ............................................................................................................................................... 8 EXAMPLES OF RELEVANT ARTS/SOCIAL JUSTICE PROGRAMS, NETWORKS, AND ORGANIZATIONS ....................... 9 Philadelphia Mural Arts Program (MAP), Philadelphia, Pennsylvania .............................................................................. 10 ARTWELL, Philadelphia, Pennsylvania ...................................................................................................................................... 11 Thousand Kites, headquarters in Norton, Virginia ................................................................................................................. 11 The Prison Arts Coalition/Poetry in Corrections, a National Network .............................................................................. -
The Contemporary Significance of Design in Art
THE CONTEMPORARY SIGNIFICANCE OF DESIGN IN ART by ARNO MORLAND submitted to PROF. KAREL NEL in January 2005 in partial fulfillment of the requirement for the degree MA (FA) by Coursework in the Department of Fine Art University of the Witwatersrand School of the Arts Table of Contents 1. Introduction………………………………………………………..……….…p.1 2. The conceptual climate of contemporary art production………….……….…p.5 3. The social context of contemporary art production……………….………….p.12 4. The adoption of design as creative idiom in contemporary art….……………p.18 5. The artist as designer…………………………………….……………………p.21 6. Conclusion………………………………………………….…………………p.27 7. Bibliography……………………………………………….………………….p.30 8. Illustrations……………………………………………………………………p.32 THE CONTEMPORARY SIGNIFICANCE OF DESIGN IN ART By Arno Morland 1. Introduction Do we live by design? Certainly many of us will live out the majority of our lives in environments that are almost entirely ‘human-made’. If the apparent orderly functionality of nature is likely to remain, for the time being, philosophically controversial, the origin of our human-made environment in design is surely beyond dispute. If this is indeed the case, then the claim by Dianne Pilgrim, director of the Cooper-Hewitt National Design Museum, that “design affects our lives every second of the day”, may not be as immodest as it appears to be at first (2000: 06). Perhaps then, it is with some justification that eminent art critic Hal Foster refers to the notion of “total design” to describe what he sees as contemporary culture’s state of comprehensive investment in design (2002: 14). For Foster, we live in a time of “blurred disciplines, of objects treated as mini-subjects”, a time when “everything…seems to be regarded as so much design” (2002: 17). -
FOR IMMEDIATE RELEASE July 26, 2021 CONTACT: Mayor's Press
FOR IMMEDIATE RELEASE July 26, 2021 CONTACT: Mayor’s Press Office 312.744.3334 [email protected] MAYOR LIGHTFOOT ANNOUNCES SHOWTIME® IS DONATING $500,000 FOR SOUTH AND WEST SIDE NEIGHBORHOOD BEAUTIFICATION AND ARTS PROJECTS Donation to Greencorps Chicago green job training program and Chicago Public Art Group focuses on Chicago neighborhoods where the network’s critically acclaimed drama series “The Chi” is filmed CHICAGO – Mayor Lori E. Lightfoot joined Puja Vohra, Executive Vice President of Marketing and Strategy for SHOWTIME, and cast members from its Chicago-based hit show “The Chi,” along with community leaders, today to announce a $500,000 donation from the network to the City’s Greencorps Chicago green job training program and the Chicago Public Art Group. The funding will support and invest in the City’s South and West sides, which have served as key locations for the SHOWTIME drama series “The Chi,” created by Lena Waithe, for four seasons. The grant will pay for the clean-up and beautification of 32 empty lots and six accompanying art installations in Bronzeville and North Lawndale, areas that are part of Mayor Lightfoot’s INVEST South/West initiative that is designed to revitalize community areas in Chicago that have suffered from a legacy of under-investment. "From vibrantly depicting our city's neighborhoods on 'The Chi' to now investing in our city's sustainability, employment and art initiatives, SHOWTIME has demonstrated its commitment to supporting and uplifting our residents," said Mayor Lightfoot. "This donation will make a real difference in our communities and strengthen two of our greatest community-based programs, which are doing incredible work to improve Chicago. -
Future Forward Seattle Waterfront Pier 62 Call for Artists
Future Forward Seattle Waterfront Pier 62 Call for Artists 08/13/2020 Introduction Seattle’s future Waterfront Park is more than a park — it is a once-in-a-generation opportunity where the community’s values, vision, and investments align to achieve lasting economic, social, and environmental value — now, and for the benefit of future generations. This monumental opportunity has led to development of an Artist-In-Residence program that brings new energy and vision to creating a “waterfront for all.” Takiyah Ward was recently named the Future Forward Virtual Artist In Residence by Friends. Leading the artistic vision, Takiyah designed the framework for engaging artists in a range of opportunities to activate the Seattle waterfront. This framework focuses on creative projects that invite exploration of stories and experiences focused on insights of the past, engagement with the present, and vision for the future — PAST, PRESENT AND FUTURE. In this context, three distinct projects will be implemented with activities, activations, and installations to illuminate each theme. The current call for artists is for Pier 62 and seeks an artist collective (a group of two or more artists) to explore the theme of PRESENT through the creation of a temporary light sculpture and up to 40 lanterns or luminaries. DETAILS OF THE ARTIST CALL Location: Pier 62 Theme: PRESENT - How do we honor our elders, determine our self, and protect our youth? Artist In Residence Vision Statement “Using varying scales and quantity, Pier 62 will be the canvas for embodying the ideas of artists speaking to present circumstances in relation to elders and youth. -
Unit Proposal: the Arts and Social Justice Theatre
Unit Proposal: The Arts and Social Justice Theatre Unit outline Unit plan I want to create a scaffolded unit that focuses on different art forms and how they can come together to create social justice theatre. Each lesson will begin with a historical component, their relevance in society, and finish with a hands on activity. Most of these projects will build off of one another and amount to a culminating final project.I want students to understand how big of a role the arts have and can continue to have on social change. ● Basic idea for lesson: Introduction to social justice theatre a. Purpose of lesson: Give students an introduction to social change, social justice theatre. During this lesson, students will learn what they will be completing during the unit and what the final project will be. ○ How can you incorporate UDL/UBD ■ UDL ● Including subtitles on videos played in class. ● Giving students the option to record, draw out, or journal their reflections. ● Giving students breaks between activities. ● Providing written directions with step by step picture representations. ■ UBD ● Desired Results a. Students will be able to identify relevant social justice issues. ● Evaluation a. Students will explain (in their own medium) a social justice issue of their choosing. ● Learning plan a. Students will learn about the history of social justice issues, social change, and social justice theatre. b. A class discussion will occur and students will talk about relevant social issues. c. Students will independently identify one social justice issue that is important to them and reflect on why it’s important. -
Integrating Social Justice Art Education Into the Middle School Curriculum
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 12-2017 Visual Literacy: Integrating Social Justice Art Education into the Middle School Curriculum Anna Kazmarski Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Art Education Commons Recommended Citation Kazmarski, Anna, "Visual Literacy: Integrating Social Justice Art Education into the Middle School Curriculum" (2017). Master's Theses. 1997. https://scholarworks.wmich.edu/masters_theses/1997 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. VISUAL LITERACY: INTEGRATING SOCIAL JUSTICE ART EDUCATION INTO THE MIDDLE SCHOOL CURRICULUM by Anna Kazmarski A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts Frostic School of Art Western Michigan University December 2017 Thesis Committee: William Charland, Ph. D., Chair Christina Chin, Ph.D. Karen Bondarchuk, M.F.A. VISUAL LITERACY: INTEGRATING SOCIAL JUSTICE ART EDUCATION INTO THE MIDDLE SCHOOL CURRICULUM Anna Kazmarski, M.A. Western Michigan University, 2017 The purpose of this paper is to explore how social justice art education and visual literacy can facilitate growth and compassion for the diverse other in society. Social justice art encourages exploration of art-making in a variety of settings in order to dispel anxiety or misunderstandings about those affected by injustice. An investigation of original lesson plans designed to meet national core art standards will be introduced to elaborate on how social issues can be incorporated into a comprehensive art education curriculum based on critical and analytical inquiry at the middle school level. -
Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS
We Wanted a Revolution: Black Radical Women, 1965-85 Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS Larry Neal (Born 1937 in Atlanta; died 1981 in Hamilton, New York) “Any Day Now: Black Art and Black Liberation,” Ebony, August 1969 Jet, January 28, 1971 Printed magazines Collection of David Lusenhop During the Civil Rights and Black Power Movements, publications marketed toward black audiences chronicled social, cultural, and political developments, covering issues of particular concern to their readership in depth. The activities and development of the Black Arts Movement can be traced through articles in Ebony, Black World, and Jet, among other publications; in them, artists documented the histories of their collectives and focused on the purposes and significance of art made by and for people of color. WWAR EPHEMERA LABELS 2 EXTENDED LABELS Weusi Group Portrait, early 1970s Photographic print Collection of Ronald Pyatt and Shelley Inniss This portrait of the Weusi collective was taken during the years in which Kay Brown was the sole female member. She is seated on the right in the middle row. WWAR EPHEMERA LABELS 3 EXTENDED LABELS First Group Showing: Works in Black and White, 1963 Printed book Collection of Emma Amos Jeanne Siegel (Born 1929 in United States; died 2013 in New York) “Why Spiral?,” Art News, September 1966 Facsimile of printed magazine Brooklyn Museum Library Spiral’s name, suggested by painter Hale Woodruff, referred to “a particular kind of spiral, the Archimedean one, because, from a starting point, it moves outward embracing all directions yet constantly upward.” Diverse in age, artistic styles, and interests, the artists in the group rarely agreed; they clashed on whether a black artist should be obliged to create political art. -
Socially Just Artmaking: a Practitioner's Inquiry of Passionate
Socially Just Artmaking: A Practitioner’s Inquiry of Passionate Teaching for Compassionate Action __________________________________________ A Dissertation Presented to the Faculty of the Education Doctorate in Transformational Teaching Learning Program of Kutztown University of Pennsylvania ____________________________________________ In Partial Fulfillment of the Requirements for the Degree Education Doctorate ______________________________________________ by Jaime Linn Brown May 2020 SOCIALLY JUST ARTMAKING © 2020 Jaime Linn Brown ALL RIGHTS RESERVED This work is licensed under the Creative Commons Attribution-Noncommercial-No Derivative works 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. ii SOCIALLY JUST ARTMAKING This Dissertation for the Education Doctorate in Transformational Teaching and Learning Degree By Jaime Linn Brown as been approved on behalf of the College of Education Dissertation Committee: Dr. Helen S. Hamlet, Committee Chair Dr. Amber Jean-Marie Pabon, Committee Member Brian Lehman, Committee Member April 13, 2020 iii SOCIALLY JUST ARTMAKING Abstract The arts serve as a vehicle to activate imagination of students in developing a broader understanding of injustice, its consequences, and the range of alternative possibilities (Bell & Desai, 2011). As more young artists engage in this dialogue, we must investigate how young people themselves make sense of and experience the transformative power of the arts (Dewhurst, 2014). Activist art can communicate ideas about individual and community experiences to a wider audience; it can make public that which has been ignored, silenced, or kept from public conscience (Dewhurst, 2014). Visual expression allows one to increase their understandings beyond the limitations of words and artmaking provides an often-overlooked means of knowing and infrequently used research avenue for exploring a phenomenon (Lee, 2013). -
Women As Law School Students Beth L
Kentucky Law Journal Volume 84 | Issue 4 Article 10 1996 Little rB own Spots on the Notebook Paper: Women as Law School Students Beth L. Goldstein University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/klj Part of the Legal Education Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Goldstein, Beth L. (1996) "Little rB own Spots on the Notebook Paper: Women as Law School Students," Kentucky Law Journal: Vol. 84 : Iss. 4 , Article 10. Available at: https://uknowledge.uky.edu/klj/vol84/iss4/10 This Article is brought to you for free and open access by the Law Journals at UKnowledge. It has been accepted for inclusion in Kentucky Law Journal by an authorized editor of UKnowledge. For more information, please contact [email protected]. Little Brown Spots on the Notebook Paper: Women as Law School Students BY BETH L. GOLDSTEIN* INTRODUCTION S ince the 1980s, law schools have acknowledged their responsi- bility to provide underrepresented groups access to legal education and the legal profession by increasing recruitment and academic support programs for students not traditionally enrolled in law school. Who constitute these underrepresented people varies across the country, often including racial and ethnic minorities, women, working class people. With their entry to law school, new challenges have emerged centered on these students' inclusion in the academic structures and social environments of law programs. The academic backgrounds and learning styles, personal and family responsibilities, economic constraints, values, and goals of these students frequently contrast with those assumed as normative in the traditional law school.