ED 400: HISTORY AND PHILOSOPHY OF EDUCATION



ED 400: HISTORY AND PHILOSOPHY OF ART EDUCATION

Pratt Institute

Fall 2016

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Cao Fei_RMB City-A Second Life City Planning 2005-11

I. History and Philosophy of Art Education

ED 400 Section 01

Pratt Art and Design Education

Wednesdays: 12:30-3:20 pm

South Hall Room 0004 Credits: 3.0

II. Borinquen Gallo Visiting Assistant Professor

Tel. 718-636-3637 ext. 5952

Office Hours: Room SH206 Wednesdays by appointment

bgallo@pratt.edu

Website:

PASSWORD: borinquen

BULLETIN COURSE DESCRIPTION:

An analysis of the major traditional and contemporary philosophers relating to education provides a context for an examination for our experiences as artists, teachers and learners. Students will use the reading to raise questions and develop issues for individual and group projects.

Detailed Course Description:

The course will identify a number of cases and questions around which students will develop their own conversations through a series of artistic, literary, critical and philosophical sources. These sources will range from reading theoretical and literary texts to engaging with works of art.

The readings and discussion explore the implications of philosophers’ ideas for current teaching and art practice, methods, curriculum design, and policy.

Rather than focusing on the historical aspect of Philosophy of Art Education, this course will respond to a number of themes around which students will be encouraged to arrive at their own conclusions. Students are also expected to contribute in terms of their own conceptual and artistic interests and formulate adequate research methods to articulate a number of philosophical, critical and practical cases for art and art in education.

Students will be asked to consider how the discussion of art in education could be expressed on the grounds of experimentation in the studio and/or the classroom. The object of this experimentation is related to the development of ideas within different forms of practice that could take place in either the studio, the classroom, in both, or in an environment that students deem as conducive to art and/or art in education.

Students will become acquainted with major philosophical texts addressing the following New York State Teaching standards:

II. Knowledge of Content and Instructional Planning

III. Instructional Practice

Students will deepen their understanding of the philosophies of art and design education and develop an original contribution to the field, according to the following New York State Teaching standards:

VI. Professional Responsibilities and Collaboration

VII. Professional Growth

Course Goals:

• To understand the foundations of the philosophy of education through an analysis of its central ideas and the writings of its key thinkers.

• To facilitate an environment that helps students identify and articulate their interest in art education on the grounds of the philosophies that emerge from the dynamic relationship between art and education

• To discuss relevant themes against the backdrop of students’ specializations

• To understand the artist teacher’s relationship to art, educational and philosophical discourse.

• To understand the relationship between schooling and society by looking at the roots of this relationship in historical discourse.

• To understand the importance of reflecting upon, testing and modifying one’s own practice in regards to an evolving personal philosophy.

• To develop the capacity to understand a diversity of philosophical points of view and develop independent thinking about current educational debates.

• To enhance critical thinking facility

• To develop critical reading, speaking, and expressive writing ability.

• To understand the value and importance of taking responsibility for one’s own intellectual growth.

Student Learning Objectives:

Upon completion of this course students will be able to:

• Engage critically with philosophical texts in order to understand how others have attempted to solve such central educational questions as; what is knowledge, how do we know what we know and what is education for?

• Demonstrate an ability to engage and communicate a relevant and effective philosophical argument for art in education.

• Identify specific areas within aesthetics and or art theory, by which they would be able to identify and problematize a number of issues they deem relevant to their interest in art education

• Develop a well informed analysis of visual practice in its relevant contexts

• Present a process of research and study in an appropriate format

• Demonstrate an understanding of how teachers’ practice expresses a philosophy that must be tested and modified.

• Use writing and discussion as complex tools to examine, test, and question ideas as well as to present tentative conclusions in interesting ways.

• Assume responsibility for the intellectual and emotional richness of the class through active participation (speaking and listening, challenging and supporting), deep reading, and engaged writing, discussing and art making.

• Create a series of art works inspired by course content while developing the ability to situate their art practice within an art and philosophical context.

Course Calendar/Schedule

Week1- Aug 24- Introductions

Week2-Aug 31-Class Session

Week3- Sept 7-Class Session-

Week4- Sept 14- Class Session /Art Commentary Part 1 Due

Week5- Sept 21- Class Session

Week6- Sept 28- Class Session/ Art Commentary Part 2 Due

Week7- Oct 5- Class Session

Week8- Oct 12- Class Session/Art Commentary Part 3 /Presentations

Week9- Oct 19- Mid Semester Conferences/Final Project and artwork Proposals Due

Week10- Oct 26-Class Session

Week11- Nov 2- First Draft Artist Statement Due

Week12- Nov 9-Class Session

Week13- Nov 16 -Final Draft of Artist Statement /exhibition map Due

Week14- Nov 23- Thanksgiving Recess

Week 15- Nov 30- Exhibition Installation

Week 16- Dec 7- Final Projects Due/Presentations/Exhibition Opening

Week 17- Dec 14-Final Projects/Presentations/Portfolios Due

IV.COURSE REQUIREMENTS

Textbook, Readings and Materials

Required Texts

Allen, F. (2009). Education: documents of contemporary art. Whitechapel Gallery, MIT Press

Noddings, N. (2012). Philosophy of education. (pp.14-18). Boulder, CO: Westview

Press

Required and suggested Readings on website

Projects, Papers, Assignments

As evidenced by the following assignments and projects with accompanying learning outcomes assessment:

Art Commentary 10%

The commentary will imply an analysis of a work of art that emerges from a minimum of three visits to a museum where the artwork is identified, visited and researched. The commentary is mainly text-based while other formats (if and when relevant) are welcome (upon prior discussion with tutor). Whatever the format, the Commentary should include full referencing and bibliography and it must follow APA format.

You will be asked to share your art commentary with the class.

Weekly Reading Responses 25%

Each week, students will submit a written response to the course readings. The response should be at least one or two pages and include citations from the texts in APA format. It should also pose two or three questions you might raise in the weekly seminar. You should bring in a printed copy of your reading response to contribute to the seminar and consider the reading responses as an important part of the group discussion: this is part of your obligation to your fellow students and their learning. You will submit a printed copy of the response to me at the end of each class.

As you read the materials and participate in the discussion, keep these questions in mind:

• What are the problems this author is concerned with?

• What kind of society/school does this author appear to favor?

• What new problems might arise if the author’s suggestions were enacted?

• What is the social, and political context to which the author is responding?

• How does the author think about the purposes of education? Do you agree?

Class Seminar - 25%

Each student will conduct two class seminars based on the week’s readings following the Socratic seminar method. The instructor will support student-leaders but the expectation is that the seminar be mostly student-led. The student-leaders should prepare at least five questions for the seminar. The student-leaders will e-mail the questions to the instructor no later than two days before the seminar. Each seminar will be accompanied by a presentation that will complement the readings and support the class in identifying, analyzing and expanding on philosophical debates in art and art education. Students will be responsible for leading the presentation about current debates in education related to the historical and philosophical texts we are reading. The presentations entail adequate research, preparation, presentation, and leadership of class discussion and should generate participation and debate.

In preparation for the assigned seminars, the student-leaders will annotate the text, looking for the author’s main theses and taking extensive notes. The students will be graded based on a self- and peer review system. All students will submit a written seminar report (1-2 pages) which is due the week after the seminar. The seminar leaders will be graded on the basis of the written reports, but also on the quality of the research, the depth of preparation for the presentation, and the engagement of the participants. The seminar grade will be based on the quality of the seminar review papers and the class discussion.

A sign-up sheet for seminar topics will be passed out in the first class.

Contemporary Artist Presentations (optional extra 5%)

All students will be responsible for leading one presentation on a contemporary artist whose work relates to the readings assigned for the week. The presentation should help the students make connections between the philosophies discussed and contemporary art practice. The presentations entail research, preparation, presentation, and leadership of class discussion. The presentation should last approximately 30 minutes and should include a survey of the artist work, videos materials, processes as well as its theoretical contextualization within a larger artistic philosophical and pedagogical framework.

Art Activity/Lesson Plan (optional extra 10%)

All students will be responsible for designing and implementing an art lesson inspired by the readings and or the work of the contemporary artist presented on their assigned week. Students will write a lesson plan and come in prepared to teach the lesson to the class bringing all visual resources and art materials pertinent to their planned activity. The lesson should help the class make connections between the philosophies studied and contemporary art practices and processes while developing and supporting their studio practice. The art activity should last approximately 45 minutes.

Final Portfolio- (optional extra 10%)

Students will collect and prepare a portfolio of all weekly art assignments along with the pertinent photo-documentation.

Final Project- 40%

(20%statement (long 15% and short 5%) and20%gallery project)

In the final project students are encouraged to identify and present a process of research and topic of study in an appropriate format. While students are strongly encouraged to experiment with the format, they will be held accountable to develop a well-informed analysis of visual practice in its relevant contexts. Some final projects formats that can be considered include but are not limited to:

1. An investigation of a teacher or institution’s educational philosophy. Your final paper will require an in depth interview with your subject, a site visit and research. You will discuss the topic of your final paper with me on an individual basis. The paper should be between 8-10 pages in length.

2. An investigation of a specific topic within aesthetics and/or art theory, by which you would be able to identify and problematize a number of issues you deem relevant to your research/artistic/pedagogical interests and/or

concerns relative to art in education. The paper should be between 8-10

pages in length.

3. A theme identified in the art commentary and or philosophies and theories discussed, to be developed into a series of 4-8 classroom or studio based lessons (k-college level). These can be reactionary or conceptually related but not merely illustrative of the works discussed.

4. A series of related artworks conceived and technically realized for exhibition purpose. These, while informed by the theories, art commentary and other artworks discussed in class, are not mere illustrations of these, but become entirely new creations that stand in and of themselves. They can involve a variety formats, including but not limited to painting drawing sculpture and printmaking as well as a variety of interventions, multimedia installations, videos, photo-documentation, performances, documentary films, participatory actions etc. The series of works must be accompanied by a 3-5 pages statement to contextualize the work.

Assessment and Grading

Refer to rubrics on website

Essays: the following criteria will be used to evaluate your critical essays:

������ A clear introduction of the issue for analysis

������ A clearly stated thesis

������ Careful and logical use of textual evidence to support your thesis

������ Careful organization of ideas and careful reasoning

������ Correct documentation of sources

������ A strong and clear conclusion

������ Effective and clear writing, including correct grammar, precise word choice, varied sentence patterns, etc.

Portfolio: The digital portfolio

������ is organized according to course/program guidelines.

������ reflects use of appropriate written communication skills.

������ contains appropriately selected artifacts in the designated sections.

������ reflects effective use of technology.

������ is appropriate for use in a professional setting.

V POLICIES:

APA Citation

• All papers will use the APA Citation format, according to the 5th edition of the APA manual

• See the following website for further details:

•

•

USEFUL LINKS



Written Work and Plagiarism:

According to Pratt’s policy, “plagiarism means presenting, as one’s own, the words, the work, information, or the opinions of someone else. It is dishonest, since the plagiarist offers, as his/her own, for credit, the language, or information, or thought for which he/she deserves no credit. Plagiarism occurs when one uses the exact language of someone else without putting the quoted material in quotation marks and giving its source.” Always cite your sources.

A Note on Classroom Technology: Please no cell phones in class. You are welcome to use your laptop assuming that you can stay off the Internet during class. We will have a 15 minute break halfway through each class period—please use this time for personal emails/texting.

Accommodations for Students with Disabilities

Pratt Institute is committed to assisting students with documented disabilities who are otherwise qualified for admission to the Institute. Students requesting accommodations must submit appropriate written documentation to the coordinator of Disability Services, Mai MacDonald on 718 636 3711 in the Office of the Vice President for Student Affairs.

PLEASE NOTE THAT THE SYLLABUS MAY CHANGE. You are responsible for keeping up with any changes.

REFERENCES

Allen, F. (2011). Education: documents of contemporary art.

Alinsky, S.D. (63-80) Rules for radicals (1989) Vintage books

Bourriaud, N. (2002). Relational aesthetics (7-48). Les Presses du réel

Dewey, J. (1916). Democracy and education: An introduction to the philosophy of

Education New York: The Free Press.

Foucaoult, M. (1964). The archeology of knowledge. Vintage Books

Greene, M. (1988). The dialectic of freedom. (87-116). New York: Teachers

College Press.

Greene, M. (1997). The passions of pluralism: multiculturalism and the expanding

community. In S. M. Cahn (Ed.), Classic and contemporary readings in the

philosophy of education. (pp. 510-521). New York: McGraw Hill.

Helguera, P. (2011). Education for socially engaged art. New York: Jorge Pinto Books

Hooks, B. (1994). Teaching to transgress: Education as the practice of freedom. (pp.1-

75). New York: Routledge.

Locke, J. Some thoughts concerning education

Marcuse, H. (1969). An essay on liberation. (pp.3-91). Boston: Beacon Press

Marcuse, H. (1991). One-dimensional man. (pp.1-18 pp.85-119) Boston:

Beacon Press

Noddings, N. (2012). Philosophy of education. (pp.14-18). Boulder, CO: Westview

Press.

COURSE SCHEDULE

WEEK 1: August 24th

INTRODUCTION

What is educational philosophy? How do we define education?

Introduction:

What is the primary purpose of education in a democracy? How should one acquire knowledge? Who should be educated and how? Who should the educators be? By what moral standards should one live and teach? What is the relationship between theory and practice? How do we legitimate and come to terms with multiple perspectives? How do we, as art practitioners, educators, students, and citizens, answer these questions and develop individual and collective philosophies of education?

Philosophy of education- Intellectual autobiography/Story Swap:

Outline your educational biography in bullet points on an index card to guide discussion-

What is your experience of education? Enumerate the philosophies that you think guided your educational path- which ones can you identify? Which did you adopt, reject or negotiate with? What kinds of approaches to learning do you admire/strive to include in your own teaching practice? How does your art practice intersect with your teaching/learning strategy?

Share stories about schooling and beyond

Exploring Philosophical Inquiry:

How do we approach philosophical inquiry? What methods of inquiry and interpretation can we draw from and imagine together as a group? How can we work together throughout the course to create something meaningful and useful for future career paths?

Syllabus Review + Assignment Scheduling

In Class Assignment- Imagining the Schools of the future

Sign up sheet for weekly SOCRATIC seminar presentations

Introduce/Assign ART COMMENTARY PROJECT

Assign first MoMa visit (Free every Fri 6-8)

WEEK 2: August 31st

IDEALISM

PLATO- ST. AGUSTINE -KANT -HEGEL

Themes: Idealism, “The Good”, Justice, Utopia, Order, Truth and Holism

Readings

• Noddings, N. (2012). Pilosophy of Education. (pp.1-10) Boulder, CO:

Westview Press.

• Plato. Republic Book II, Book VI., Book VII



• Plato. Five Dialogues. Meno.



Suggested Reading

• Gutek, G. (2011), Historical and philosophical foundations of education,

(pp. 30-47), Pearson Education Press, Upper Saddle River, New Jersey

Chapter 1: Idealism and Education. Philosophical Foundations of

Education by Howard Ozmon and Samuel Craver

(Focus on Plato, Agustine, Kant and Hegel)

• Kant, Emmanuel

Trascendental Idealism



• Absolute Idealism

Hegel – (2 readings on website)

Artists: William Kentridge, Joseph Buyes, Cao Fei, Paul McCarthy, Anthony Gormely, Thomas Hirschorn Francois Jacques Delannoy, Jean-Rene Billaudel, Le Corbusier, Christoph Leonhard Sturm, Superstudio, Whose Utopia (Cao Fei, 2006), The Land by Kamin Letchaiprasert and Rirkrit Tiravanija

Assignments:

Attend Cao Fei Lecture

Tuesday August 30th 2016 7:30-9:30

Location: Higgins Hall, 61. St. James Place, Brooklyn Campus



Reading Response

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings.

Class Activities:

SOCRATIC SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK

WEEK 3: September 7th

REALISM

ARISTOTELE -LOCKE -ROUSSEOU-

ST. THOMAS AQUINAS-SCHOLASTICISM

Themes: Realism/Logic /Systems/ Materiality /Objecthood, Senses/

Sensual, Experience/Environment,

Readings:

• Noddings, N. (2012). Pilosophy of Education. (pp.10-18) Boulder, CO:

Westview Press.

• Aristotle. The Nicomachean ethics Book 1, Book6

• Aristotle: On Education by Charles Hummel

• Realism in Education by Dr. V. K. Maheshwari

Suggested Readings:

• Rousseou, J. (1979). Emile: or on Education. Basic Books



• Locke, J. Essay on human understanding

• Locke, J. (1996). Some thoughts concerning education and of the conduct of

the understanding. Hacket Publishing company

Artists: Julie Mehretu, John Baldessari, Kimsooja, and Allan McCollum.

Learning Site, Mark Dion, Duane Hanson, Robert Bechtle, Denis Peterson (Hyperrealism), Chuck Close

Assignments:

Reading Response

Alongside your written reflection, create a series of 6-12 drawings/sculptures/prints/photos/video projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings.

Class Activities:

SOCRATIC SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK

WEEK 4: September 14

UTALITARIANISM : Jeremy Bentham, John Stuart Mills

Themes: Structures/Experiential learning

Readings:

UTILITARIANISM

• Noddings, N. (2012). Pilosophy of Education. (pp.159-168) Boulder, CO:

Westview Press.

• Bentham, J. (2008). The Panopticon (pp.1-73). Dodo Press

• West, H.R. (2007) Mill’s Utilitarinaism (pp.9-22). London: Conrinuum

Suggested Readings:

• Davis, A.Y. (2003). Are Prisons obsolete? (pp. 40-59, 84-104). New York: Seven Stories Press

Assignments:

Reading Response

Art Commentary Part 1 due

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings.

Class Activities:

SEMINAR PRESENTATION:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK

WEEK 5: September 21

PRAGMATISM/ PROGRESSIVE EDUCATION

John Dewey, Alice Chipman Dewey, Pestalozzi,

SCIENTIFIC PEDAGOGY/Maria Montessori

Readings:

• Noddings, N. (2012). Pilosophy of Education. (pp.18-42) Boulder, CO:

Westview Press.

• Kohn, A. (2008). Progressive Education why its hard to beat, but also hard to find, pp. 1-10

• Dewey, J. (1916) Democracy and education in Allen, F. (2011). Education: documents in contemporary art. (pp.30-1). MIT Press/Whitechapel Gallery

My Pedagogic Creed by John Dewey

• Gutek, G.L. (2011). Historical and Philosophical Foundations of Education (pp.389-390, pp.394-98, pp.400-405.





Suggested Readings:

• Dewey, J. (1997). Experience and Education (pp.5-91). New York: Touchstone

• Dewey, J. Democracy and Education

• Dewey, John. (1916). Democracy and Education: An Introduction to the Philosophy of Education. (pp.81-99) New York: The Free Press

Artists: Roni Horn, Matthew Ritchie, Fred Wilson, and Richard Tuttle, and Teresa Hubbard / Alexander Birchler.

Assignments:

Reading Response

Class Activities:

SEMINAR PRESENTATION:

ARTIST PRESENTATION:

WEEK 6: September 28

MODERNISM

BAUHAUS PEDAGOGY

BLACK MOUNTAIN COLLEGE

Themes:

Design for function, confronting capitalism, conceptual art, abstraction and minimalism/art school/foundations curriculum

Readings:





• Allen, F. (2011). Education:documents in contemporary art.

Prospectus (pp. 36-38), Black Mountain College Experiment in art (36-41) in

• Walter Gropius – Bauhaus Manifesto and Organization

• Black Mountain College and Its Legacy by Robert S. Mattison and

Loretta Howard



Suggested Readings:

• For Democracy: Lessons from Black Mountain College by Emile Bojesen

• Bauhaus Learning Resource

• Greenberg, C. Avant-Guard and Kitsch

Artists:

Fluxus (George Maciunas, Nam June Paik, John Cage etc.), Josef Albers, Ray Johnson, Buckminster Fuller, Robert Rauschenberg,

Assignemnts:

Reading Response

Art Commentary Part 2 due

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings

Class Activities:

SEMINAR PRESENTATION:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK

WEEK 7: October 5th

CRITICAL THEORY/LANGUAGE/KWOWLEDGE/POWER

Themes: LANGUAGE/IDEOLOGY/PROTEST/

Readings:

• Marcuse, H. (1969). An essay on liberation. (pp.3-91). Boston: Beacon Press

• Marcuse, H. (1991). One-dimensional man. (pp.1-18 pp.85-119) Boston:

Beacon Press

• Sekula, A. (1978-80) School is a factory in Allen, F. (2011)

Education:documents in contemporary art. (pp.30-1). MIT Press/Whitechapel

Gallery

Suggested:

• Alinsky, S.D. (63-80) Rules for radicals (1989) Vintage books

Artists: Jenny Holzer, Alfredo Jaar, An-My Lê, and Nancy Spero,

Barbara Kruger



Assignments:

Reading response

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings

Class Activities:

. SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK:

WEEK8: Oct 12th

CRITICAL THEORY/CRITICAL PEDAGOGY

How do we educate for freedom?

The work of Bell Hooks, Maxine Greene, Paolo Freire and Nel Noddings

Themes: Power, privilege, social class, politics of knowledge, social critique

Readings:

• Hooks, B. (1994). Teaching to Transgress: Education as the Practice of Freedom. (pp.13-22) and (pp. 45-75). New York: Routledge.

• Noddings, N. (2012). Pilosophy of Education. (pp.61-76) Boulder, CO:

Westview Press

• Freire P. (1968), Pedagogy of the Oppressed in Allen, F. (2011) Education:documents in contemporary art. (pp.83). MIT Press/Whitechapel Gallery

• Freire Paulo (2009), Pedagogy of the Oppressed (pp. 43-86) New York: Continuum

• Freedom School Curriculum, Kathy Emery, Sylvia Braselmann, and Linda

Reid Gold

• A pedagogy of transgression: the educational work of Loris Malaguzzi





Vecchi, V. (2010) Art and Creativity in Reggio Emilia, Chapter 7 (pp.

Suggested Readings:

• Noddings, N. (). Educating for Intelligent belief and unbelief

• Greene, M. (1988). The Dialectic of Freedom. (87-116). New York: Teachers College Press.

•

Artists: Cai Guo-Qiang, Hubbard/Birchler, Ida Applebroog,

Krzysztof Wodiczko, Laylah Ali, Yinka Shonibare, etc.



Assignments:

Reading response

Art Commentary Part 3 due

Class Activities:

. SEMINAR PRESENTATIONS:

ART COMMENTARY PRESENTATIONS

WEEK 9: October 19th MIDSEMESTER CONFERENCES

POST-MODERNISM-UNSCHOOLING/INDISCIPLINE

Themes: Art School/Culture Industry/Institutional Critique

Readings:

• Ranciére, J. (1991). The Ignorant School Master. (pp.45-73).

• Deschooling Society by Ivan Illich

• When Students Build Their Own Schools by Adam Wight

• Art Education in a Post-Modern World. Chapter 1: A Manifesto for Art in

Schools by John Swift & John Steers (pp.17-25)



Suggested Readings:

• Possessive Subject, Radical: Whose School is This? by Sasha Moniker

• Chris Mercogliano, History. Making It Up as We Go Along: The Story of the

Albany Free School

• Podcast – This American Life - Minor Authorities (Episode: 424, Part 3)

• Foucaoult, M. (2010). The archeology of knowledge. (pp.166-189 pp.215-237)

• Holt, J. (1982) How children fail. Perseus books

Artists: Michael Asher, Marce Broodthaers, Daniel Buren,

Andrea Fraser, Fred Wilson, Hans Haacke etc.

Assignments

Reading Response

Prepare for mid semester conferences

(BY APPOINTMENT before and after class):

Written proposal of final projects and artworks

(write a paragraph describing your

topic and format/artwork proposal +sketches: bring two copies

to conference)

Class Activities

SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

WEEK 10: Oct 26th

IDENTITY POLITICS

MULTICULTURAL EDUCATION

Multiculturalism

NON-WESTERN WAYS OF KNOWING

Holism, Communal, Metaphysical, Global, collective knowledge, communities of practice

Themes: Inclusion/Exclusion/Identity Politics

Readings:

Multiculturalism

• Hooks, B. Art on my mind: Visual politics

• Cahan, S. and Kocur, Zoya. (2003). Contemporary art and multicultural education (pp.3-43). The New Museum New York: Routledge

• Noddings, N. (2012). Pilosophy of Education. (pp.213-222) Boulder, CO:

Westview Press

Artists: Kara Walker, Mikeline Thomas, Kehindy Wiley, William Wegman,

Bruce Nauman, Kerry James Marshall, Maya Lin, and Louise Bourgeois.



Non Western Ways of Knowing

• Non-Western Perspectives on Learning and Knowing by Sharan B. Merriam and Young Sek Kim

• Tlön, Uqbar, Orbis Tertius by Jorge Luis Borges in Ficciones

Artists: Lygia Clark, Valie Export, Tania Bruguera, Pushpamala N., Pablo Helguera, Romuald Hazoume, Liu Ding, Chen Qiulin, Wang Jinsong

Suggested Readings:

• Greene, M. (1997). The Passions of Pluralism: Multiculturalism and the Expanding Community. In S. M. Cahn (Ed.), Classic and Contemporary Readings in the Philosophy of Education (pp. 510-521). New York: McGraw Hill.

Assignments:

Reading Response

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings

Class Activities:

In-Class Group Project: Collaborative Fictions - Imagining new ways of organizing and understanding knowledge -

. SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK:

WEEK11: Nov 2nd

VISUAL CULTURE&THE COMMUNICATION SOCIETY

Themes: Consumerism, spectacle, consumption, media literacy, the gaze,

Readings:

• Three Approaches to Teaching Visual Culture in K-12 School Contexts

Author(s): Karen Keifer-Boyd, Patricia M. Amburgy, Wanda B. Knight

• Visual Culture Jam: Art, Pedagogy, and Creative Resistance by David Darts

• Garoian, C.R and Gaudelius, Y.M (2008) Spectacle Pedagogy: art, politics and

visual culture. (pp.23-39 pp.89-97 pp. 119-40). Albany: State University of

New York Press

• Giroux, H.A. (2009) Youth in a suspect society in Allen, F. (2011)

Education:documents in contemporary art. (pp. 122-124),

Recommend Readings:

• Brian Holmes, The Communication Society

• Guy Debord, Situationist Internationale Manifesto

• Roland Barthes, Myth Today

Artists: Andrea Zittel, Barbara Kruger, Matthew Barney, Mel Chin, Michael Ray Charles





Assignments:

Reading Response

First Draft of Artist Statements Due

Alongside your written reflection, create a series of 6-12 drawings/sculptures/videos projections inspired by the concepts of the readings and or processes of a selected artist whose work relates to the readings

Class Activities:

. SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK:

WEEK 12:Nov9th

PEDAGOGY AS ART, RELATIONAL AESTHETICS and SOCIALLY ENGAGED ART

Themes: Situated learning, community-based education, informal learning,

post- studio, Education aesthetics, post-formalism, education as art

Readings:

• Helguera, P. (2011). Education for socially engaged art. New York:

Jorge Pinto Book



• Expanding the Center: Looking to the Center for Urban Pedagogy for a

successful model of participatory pedagogy by Paul Sargent

• Outside Curricula and Public Pedagogy by William Schubert

• A Pedagogical Turn: Brief Notes on Education as Art by Kristina Lee Podesva

Suggested Readings:

• Encountering Pedagogy through Relational Art Practices by Rita Irwin and

Donal O’Donoghue

• Bourriaud, N. (2002). Relational aesthetics (7-48). Les Presses du réel

• Gibb, C. (2010) Room 13 art studio in Allen, F. (2011) Education: documents in

contemporary art. (pp.113-115), Whitechapel Gallery MIT Press.

• Turning by Irit Rogoff



Artists: Oliver Herring, Pablo Helguera, Augusto Boal, Allan Kaprow, Rirkrit

Tiravanija, Carsten Holler,



Future Farmers, Caroline Woolard, Temporary Services, Mierele Ukeles, Jim Duignan (Stockyard Institute), Anne Frederick (Hester Street Collaborative), Cassie Thornton, Anne Elizabeth Moore, Oda Projesi, Marjetica Potrc, Bruce High Quality University, University of Trash, Nils Norman, 16 Beaver, Pablo Helguera, Hito Steyerl

Assignments:

Reading response

Class Activities:

. SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

WEEK 13: Nov16 h

PHILOSOPHY/EDUCATION /LEARNING FRAMEWORKS/CURRICULUM

Studio based research

Constructivist learning theory

Themes: Studio practice, arts-based research, curriculum design

Readings:

• Madoff, H. (2009). Art school (propositions for the 21st century). (pp.3-32)

MIT Press

• Hein, G.E. (1991). Constructivist Learning Theory in Allen, F. (2011)

Education:documents in contemporary art. (pp. 44-46), Press/Whitechapel

Gallery

• Sullivan, G. (2006) Research art in art practice. Studies in Art Education

A Journal of Issues and Research 2006, 48(1), 19-35

Whitechapel Gallery, MIT Press



Suggested Reading:

• Becker, C. (2011) Thinking in Place: art, action and cultural production.

• Becker, C. (1999) The art of crossing the street in Allen, F. (2011)

Education:documents in contemporary art. (pp. 68-72),

pp.104-5 pp.113-115). Whitechapel Gallery MIT Press

• Sinker, R. (1999) On the evolution of peer-led programme in Allen, F. (2011)

Education:documents in contemporary art. (pp.104-5). Whitechapel Gallery\

MIT Press

Assignment:

Reading Response

Artist Statement Final Draft/ Artwork installation map/ Draft of final presentation/

Class Activities:

. SEMINAR PRESENTATIONS:

ARTIST PRESENTATION:

CRITIQUE OF ASSIGNED ARTWORK:

WEEK14: Nov 23th THANKSGIVING RECESS

WEEK 15: Nov 30th /Exhibition Installation Work Session

WEEK 16: Dec7th

FINAL PRESENTATIONS

EXHIBITION OPENING

Class Activities:

Final Projects Due/Presentations

EXHIBITING EDUCATION: - OPENING RECEPTION

WEEK 17: Dec14th

FINAL PRESENTATIONS

Course Evaluations

CLOSING THOUGHTS

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