Guess Who's Coming to Dinner? Resetting the Table of Modernist Art

Ashton, Linda

doi:10.1111/1468-5949.00252

Cited by 3 publications

(1 citation statement)

References 2 publications

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“…Whether others would agree with the students' self assessment is another matter, and there is always the possibility that students are either harsh judges of their own capacities when it comes to the arts, or alternatively have a shallow understanding of artistry. Nevertheless, a reading of this data suggests that Unit 1 appears to reduce 'art anxiety' (Ashton 2001;NRVE 2009). The students' reported shift in their own knowledge of self and identity might well impact on the young children they will teach (see Fig.…”

Section: Findings and Discussionmentioning

confidence: 97%

New maps of learning for quality art education: what pre-service teachers should learn and be able to do

McArdle

2012

Aust. Educ. Res.

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It would be a rare thing to visit an early years setting or classroom in Australia that does not display examples of young children's artworks. This practice serves to give schools a particular 'look', but is no guarantee of quality art education. The Australian National Review of Visual Arts Education (http://www.australia council.gov.au/__data/assets/pdf_file/0003/36372/NRVE_Final_Report.pdf, 2009) has called for changes to visual art education in schools. The planned new National Curriculum includes the arts (music, dance, drama, media and visual arts) as 1 of the 5 learning areas. Research shows that it is the classroom teacher that makes the difference, and teacher education has a large part to play in reforms to art education. This paper provides an account of one foundation unit of study (Unit 1) for first year university students enrolled in a 4-year Bachelor degree program who are preparing to teach in the early years (0-8 years). To prepare pre-service teachers to meet the needs of children in the twenty-first century, Unit 1 blends old and new ways of seeing art, child and pedagogy. Claims for the effectiveness of this model are supported with evidence-based research, conducted over the 6 years of iterations and ongoing development of Unit 1.

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Section: Findings and Discussionmentioning

confidence: 97%

New maps of learning for quality art education: what pre-service teachers should learn and be able to do

McArdle

2012

Aust. Educ. Res.

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The Other side of the easel: questioning art education through a postcolonial frame

Ashton

2010

International Journal of Education Through Art

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The 'Other' side of the easel: questioning art education through a postcolonial frameThe familiar practice of sending young children to the painting easel (usually unassisted) to create artwork, a masterpiece, epitomizes resilient, modernist preconceptions about artistic ability. ABSTRACTIn this article I combine a researcher voice (reflective practitioner, Schon 1983) with the neo-narrative reporting strategy of Stewart (1996) to blend and blur a researchteaching nexus. I elaborate on a four-pronged strategy that encourages my preservice primary teachers to recognize and challenge some of the western art world's longstanding exclusive discourses. The teaching approaches are informed directly by my post-structuralist doctoral research and postmodern art education alignment (Ashton 1999a(Ashton , 2008.

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Dispelling Myths: A Decolonial Framework to Engage Marginalized Histories

Rodriguez

2023

Visual Arts Research

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This article examines how the work of Paulo Freire and Chela Sandoval can inform historical research in art education. Although a critical historical inquiry inspired by these thinkers does not entail a prescriptive set of guidelines, I identify the following five principles that can inform marginalized histories in art education: acknowledging and deconstructing myths; identifying those who count as historical agents; recognizing events in history as challenges for present actions; situating historical events within a larger fabric of social relations; and acknowledging forms of resistance developed by marginalized groups. I start by situating the work of Freire beyond critical pedagogy, by arguing that when Freire is considered a postcolonial and decolonial thinker, his work can incite critical historical inquiry and methodologies. I draw from the work of Chicana scholar Chela Sandoval to direct attention to the diverse ways in which the oppressed exercise practical and political agency. I seek to add to the array of theoretical resources at the disposal of those interested in identifying how particular histories and educational structures privilege or exclude certain groups, and those wanting to produce knowledge that is politically situated and useful for the transformation of society.

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Guess Who's Coming to Dinner? Resetting the Table of Modernist Art

Cited by 3 publications

References 2 publications

New maps of learning for quality art education: what pre-service teachers should learn and be able to do

New maps of learning for quality art education: what pre-service teachers should learn and be able to do

The Other side of the easel: questioning art education through a postcolonial frame

Dispelling Myths: A Decolonial Framework to Engage Marginalized Histories

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