Youth benefit from involvement in the arts. At the same time, youth from families with low incomes are about half as likely to have access to arts instruction as youth from families with more resources, due to cuts in arts education which disproportionally affect schools in under-resourced communities that have been economically and socially…

In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether…

The practices of artists and the field of artistic production is an iterative space--a rapidly evolving network of ideas and dialogic strategies, as well as collaborative and interdisciplinary practices. Artists function at the intersection of many disciplines as researchers, activists, and problem solvers. These practices provide an imperative to…

The term "knolling" was first used in 1987 by Andrew Kromelow, then a janitor at Frank Gehry's Santa Monica studio (Heathcote, n.d.). At the time, Gehry, an architect, was designing furniture for Knoll. While cleaning the studio, Kromelow would arrange displaced tools at 90° angles to create an organized surface. Perhaps done out of…

This article explores how new materialism can help conceive of art education practice as research. The discussion is organized in three parts. First, the authors examine how a practicing artist talks about materials as an aspect of creative artmaking experiences. The second section introducees new materialist concepts for thinking about the power…

With its ambient, interesting and dynamic use of materials, alternative views of materials and objects, with its playfulness and affecting different senses contemporary fine art can be very interesting for art-educational work. Due to its complexity, however, it suffers from misunderstanding, retreat, and last but not least also fears both among…

This Instructional Resource relates the experiences of Native American artist Neal Ambrose-Smith, who views himself not only as an artist with a studio practice, but also as an "Arts Worker" who pursues learning new knowledge with his arts-related jobs. Painting, sculpting, and printmaking are only three areas of his studio practice. He…

This paper explores community artists' pedagogies in relation to time and material. Thirteen unstructured interviews were conducted with eight artists under the auspices of an organisation that facilitated community-based workshops in Cambridgeshire, UK throughout 2011 and 2012. Concepts salient to the artists emerged, and six of the eight artists…

Targeting students in grades K-8, Art in Action's program consists of 12 age-appropriate lessons per year led by parent and teacher volunteers. The curriculum is based on historically significant artists and their works of art. Through semi-structured discussions, students examine a variety of masterpieces, learning about the artist as well as…

Collecting and placing images/objects of inspiration and personal significance is not an uncommon practice for studio artists. Washington based mixed-media/installation artist Renee Stout draws from the collections she displays in her studio and in her home. She is an avid collector of various objects, including vintage perfumes, West African…

For centuries people from around the world have celebrated storytelling and puppetry for their educational and social functions. In the comprehensive curriculum, storytelling combined with puppet performances enriches the classroom experience by providing students with opportunities to engage in open dialogue, creativity, and structured play.…

Dada, an art movement that became well known in the late 1910s and early 1920s, challenged traditional notions of art and aesthetics. Dada artists, for example, tossed colored scraps of paper into the air to compose chance-based collages, performed sound poems devoid of semantic value, and modeled a headpiece fashioned of sardine cans. To most art…

The last two sections (EJ1039315 and EJ1039319) presented stories about specific moments or lessons. Also, situations infused with complexity where the writers had to toggle back and forth between providing the larger context and the details that support readers' understanding of that big picture were presented. In this section each story is…

Targeting students in grades K-8, Art in Action's program consists of 12 age-appropriate lessons per year led by parent and teacher volunteers. The curriculum is based on historically significant artists and their works of art. Through semi-structured discussions, students examine a variety of masterpieces, learning about the artist as well as…

This paper focuses on how the arts heighten cognitive experiences through the use of natural materials and sites and the engagement with the natural world. The arts expose viewers to new ways of seeing, feeling, and thinking about nature; this can lead to greater awareness of and motivation to act on behalf of nature. The author examines the…