Art Speaks out Inside This Issue President’S Message
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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. -
Reply to Fred Seddon: What Does Ayn Rand Have to Do with Who Says That’S Art? Author(S): Michelle Marder Kamhi Source: the Journal of Ayn Rand Studies , Vol
Reply to Fred Seddon: What Does Ayn Rand Have to Do with Who Says That’s Art? Author(s): Michelle Marder Kamhi Source: The Journal of Ayn Rand Studies , Vol. 15, No. 2 (December 2015), pp. 280-286 Published by: Penn State University Press Stable URL: https://www.jstor.org/stable/10.5325/jaynrandstud.15.2.0280 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Penn State University Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Ayn Rand Studies This content downloaded from 86.59.13.237 on Mon, 07 Jun 2021 09:32:48 UTC All use subject to https://about.jstor.org/terms Discussion Reply to Fred Seddon What Does Ayn Rand Have to Do with Who Says That’s Art? Michelle Marder Kamhi ABSTRACT: This commentary is in response to Fred Seddon’s review of Who Says That’s Art? A Commonsense View of the Visual Arts in The Journal of Ayn Rand Studies (December 2014). In addition to answering objections raised in the review about such matters as whether “abstract art” and photography should qualify as “fine art,” it aims to show in what respects the book was influenced by Rand’s thought. -
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 .............................................................................. -
What “Rand's Aesthetics” Is, and Why It Matters1 Michelle Marder Kamhi
Discussion Reply to The Aesthetics Symposium (Spring 2001) What “Rand’s Aesthetics” Is, and Why It Matters1 Michelle Marder Kamhi This is the first of a two-part reply to our Spring 2001 symposium on Ayn Rand’s philosophy of art. In our Fall 2003 issue, we will publish part two, written by Louis Torres. — The Editors The Aesthetics Symposium is described in the journal’s table of contents as “[a] discussion of Ayn Rand’s philosophy of art inspired by Louis Torres and Michelle Marder Kamhi’s What Art Is: The Esthetic Theory of Ayn Rand.” The ten contributors vary widely in the extent to which they deal with either Rand’s theory of art or our book, however. While Lester Hunt and Jeff Riggenbach offer on the whole thoughtful, though not necessarily approving, responses to our analysis and application of Rand’s theory, two of the longest essays —those by John Hospers2 and Barry Vacker—scarcely touch on Rand’s philoso- phy of art, much less on our book. David Kelley focuses on two points we raised in “Critical Neglect of Ayn Rand’s Theory of Art” (Kamhi & Torres 2000)—a chapter omitted from the book and subsequently published in this journal.3 Like Kelley, Roger Bissell deals only with points related to that article, not with the main thesis of our book.4 Michael Newberry deals exclusively with the application of Rand’s concept of metaphysical value-judgments to the interpretation of paintings. Gene Bell-Villada appears to deal with the substance of our book—in particular, with our application of Rand’s theory in Part II—but he so often ignores or misconstrues our point that it is The Journal of Ayn Rand Studies 4, no. -
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. -
The Future of Education in the Visual Arts
The Future of Education in the Visual Arts Comments for the January 20, 2010, ESEA Reauthorization Meeting submitted by Michelle Marder Kamhi, Co-Editor Aristos (An Online Review of the Arts) Member, National Art Education Association Member, University Council for Art Education Contact: [email protected] [Note: To save space, some of the links cited below have been condensed to “Tiny URLs.” See http://tiny.com.] The traditional visual arts of painting, drawing, and sculpture have played a significant role in human culture since prehistory. Yet they are receiving ever-shorter shrift in our nation’s schools. Critics of the Elementary and Secondary Education Act, or “No Child Left Behind” (NCLB), attribute the neglect of arts education largely to the pressures imposed on schools by mandatory testing in math and reading. They seek to remedy the situation with new proposals for the section of the Act dealing with the arts in education. As I have indicated in numerous articles published in Arts Education Policy Review and elsewhere, however, the real problem with visual art education goes much deeper than the impact of NCLB. Moreover, the changes to NCLB proposed by the National Education Taskforce (NET) will, I argue, only make matters worse. The NET proposal recommends defining the arts as “creative activities and products of the theater, the visual arts, dance, music, and multimedia combinations of the above” and requiring that “all children [be] taught the arts by arts specialists.” With respect to the visual arts in particular, however, standards have so declined that virtually anything can qualify as contemporary visual art—from purely verbal expressions such as Jenny Holzer’s Truisms < http://mfx.dasburo.com/art/truisms.html > to “sound installations” < http://tiny.cc/FnIuN >. -
THE ART of FLOCKING CURRICULUM the Art of Flocking Curriculum
THE ART OF FLOCKING CURRICULUM The Art of Flocking Curriculum “There is an art to flocking: staying close enough not to crowd each other, aligned enough to maintain a shared direction, and cohesive enough to always move towards each other.” - adrienne maree brown The Art of Flocking: Cultural Stewardship in the Parks is a celebration of Chicago’s community-based art practices co-facilitated by the Chicago Park District and the Terra Foundation for American Art. A proud member of Art Design Chicago, this initiative aims to uplift Chicago artists with deep commitments to social justice, cultural preservation, community solidarity, and structural transformation. Throughout the summer of 2018, The Art of Flocking engaged 2,500 youth and families through 215 public programs and community exhibitions exploring the histories and legacies of Mexican-American public artist Hector Duarte and Sapphire and Crystals, Chicago's first and longest-standing Black women's artist collective.The Art of Flocking featured two beloved Chicago Park District programs: ArtSeed, designed to engage children ages 3 and up as well as their families and caretakers in 18 parks and playgrounds; and Young Cultural Stewards a multimedia youth fellowship centering young people ages 12–14 with regional hubs across the North, West, and South sides of Chicago. ArtSeed: Mobile Creative Play ArtSeed engages over 2,000 youth (ages 3-12) across 18 parks through storytelling, music, movement, and nature play rooted in neighborhood stories. Children explore the histories and legacies of Chicago's community-based artists and imagine creative solutions to challenges in their own neighborhoods. Teaching artists engage practice of social emotional learning, foundations in social justice, and trauma-informed pedagogy to cultivate children and families invested in fostering the cultural practices and creative capital of their parks and communities. -
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). -
Art & Education for Social Justice Symposium 2020
ART & EDUCATION FOR SOCIAL JUSTICE SYMPOSIUM 2020 Friday, 21 Feb 2020 Time Place Presentations 4:30-7:00pm Ciné Opening Session: Community Presentations and Conversation Deborah Gonzalez: Politician/Attorney/Community activist Broderick Flanigan: Artist and Community Activist Celest Ngeve: SheSpeaks/ Director of Rutland Academy Ruth Harman. Kevin Burke and Jason Mizell: UGA Language and Literacy Education Parkview Arts-based and Experiential Literacy After-school Programs Lemuel LaRoche (Life): Chess and Community, Inc Athens Queer Collective Saturday, 22 Feb 2020 Time Room Presentations 8:00-8:30 am TBA Coffee, Muffins, and Bagels 8:30-9:30 am Mapping Social Practice: Perspectives in a Global Context Education BJ Bryson Room Justice Art from Streets and Galleries: Exploring International Perspectives of @Georgia Migration Museum of Ephrat Huss Art (GMoA) Using Embodied Socially Embedded Aesthetics as a Theoretical Base for Social Justice Arts Chair: Kihyun Nam Amber (Im)possibility of Emancipatory Education: Crossing Boundaries of Dissensus and Pitt Consensus in Socially Engaged Art with Refugee Youth K-12 Projects: Contributions from the Field N 315 Amanda Price Shaping the Self: Incorporating Social Justice in a Sculpture Curriculum Chair: Sahar Aghasafari, Kelli Bivins, and Brendan Nordgren Sage Culturally Sustaining Pedagogy and Art Integration to Support Emergent Kincaid Bilingual Ninth Graders in a Biology Classroom Issues of Race and Art Education N 100 Timothy Smith Reckoning with the Whiteness and Western-centrism of Posthumanism -
Arts-Based Education for Social Justice
Arts-Based Education for Social Justice Samantha Stevens Educational Studies and Sociology/Anthropology Special Major Advisors Elaine Allard and Christopher Fraga Swarthmore College May, 2015 1 Abstract This thesis explores the arts as a potential framework for achieving social justice through the system of education. The author uses her experience as a student-teacher in a charter school with an arts-based social justice framework as a springboard for discussion, identifying points of tension that arise as educators translate social justice theory into practice in today's schools. Faced with the challenges of oppression and systemic inequality, educators work to transform schools into vehicles for social justice. Some teachers turn to the charter school model in an effort to sculpt environments fit to meet the needs of students form marginalized populations. The author explores theoretical differences in conceptualizing what it means to work for social justice, claiming that the arts is particularly well-suited as a framework for social justice work. Keywords: social justice, arts education, critical pedagogy, charter schools 2 Acknowledgements lowe so much: to all the education professors I have had at Swarthmore; to the students I met in Chile fighting for their right to education; to all those who have inspired me to become a radical educator; to my advisors who have put up with me not meeting any deadlines; to my friends and others how have helped me maintain the mental stability to survive this. Thank you 3 Table of Contents Abstract -
A VETERAN RECONNOITERS AYN RAND's PHILOSOPHY Robert L
A VETERAN RECONNOITERS AYN RAND’S PHILOSOPHY Robert L. Campbell Ayn Rand Tibor R. Machan New York: Peter Lang, 1999 xii + 163 pp., index Tibor Machan’s new book is the latest sign of accelerated growth in the academic coverage of Ayn Rand’s philosophy. Feminist Interpretations of Ayn Rand, edited by Mimi Reisel Gladstein and Chris Matthew Sciabarra, has joined a series of volumes on Plato, Hegel, and Sartre, among others. Douglas Den Uyl’s monograph, The Fountainhead: An American Novel, in the Twayne’s Masterworks series, sits alongside critical essays on Daisy Miller and War and Peace. Now Machan’s volume takes position number 5 in a series titled “Masterworks in the Western Tradition.” It is intended as an overview and introduction to Rand’s philosophical system. Machan was eminently prepared to write this book. He has been actively promoting Randian ideas since the late 1960’s. Because he was excommunicated during the days of the Nathaniel Branden Institute for asking the wrong questions, he never got close to Rand’s inner circle and has never had to shoulder the weight of Objectivist orthodoxy. Along with Robert Poole and Manuel Klausner, he took over a new, obscure magazine called Reason in 1969 and nurtured it into a cultural force. He has published in every outlet from the academic philosophy journals to the dittoed page allotments of Libertarian Connection to the editorial columns of the daily newspapers; his output of books has grown especially prodigious over the past decade. Readers who know a little of Machan’s previous work will recognize this presentation of Rand as his most recent contribution to a continuing conversation.