This paper offers a walk-through of the design and implementation of the physical exhibition Carver [ON] Record, housed in a historically African American school near Richmond, Virginia, the former capital of the American Confederacy. Over the course of a year, students utilized digital media to develop oral and written communication skills within the larger framework of exploring the relationship between intent and art making. In understanding their shared social responsibility to question the meaning of civil rights, students worked to ethically synthesize the oral histories of the community. This essay is an overview of the motivations, undertakings, and manifestations of a multifaceted and ongoing project. The artists and educators offer a blueprint for replication of the modular format used, describe how to effectively integrate the arts into core curriculums, and, most importantly, discuss the necessity for authentic, student-driven conversations in the creative and developmental processes.
In order to disrupt the masculine canon in fine art education, teaching staff could be encouraged to introduce greater parity in the provision of artist role models for the subject area’s majority-female student cohort. This article argues that the segregation of a masculine and feminine art history is problematic for both educators and learners, and that many female graduates are dropping out of practice due to few female role models and subsequent lack of confidence in career progression.
This article examines ways in which real issues in contemporary society can be addressed in art education classrooms, from upper elementary grades through higher education. Classroom projects incorporate zines, “artist pages,” and mixed-media three-dimensional works of art focused on information, advocacy, or protest, with a goal of transformative learning. Curricula utilize methods and outcomes based on critical and design thinking for communication of progressive socio-cultural and political ideas in visual and written form. In addition, the authors view a progressive perspective, also defined as “left” in traditional political polarity (Bienfait and Beeka 2014), as the most compatible with constitutional democracy in the United States. Themes, hands-on curriculum, and socially engaged fact-based research on issues such as environmental problems, healthcare, class warfare, or global warming, for example, are key to successful production of art that communicates and supports critical engagement. The tools, materials, and processes discussed in this article and the artworks produced by students represent new understandings as well as transferable and transdisciplinary skill sets that are imperative for the twenty-first-century global citizen.