How does creative practice using artistic inquiry, artist methodologies, and interdisciplinary collaborations inform pedagogical practices? We explores the essence of personal art practice as research and its link to pedagogical practices. How does theory, practice, research and artmaking blur boundaries with pedagogical practices? Drawing from narrative inquiry to understand one’s experience (Clandinin, 2013) our narrative stories interplay with art based practice using multiple forms of artistic inquiry. Collage pedagogy illuminates the range of disparate images individuals are bombarded with daily, reinscribing images in artmaking to provided multiple perspectives necessary for critical engagement (Garoian & Gaudelius, 2008). Our practice as artists blends our work as scholars and practitioners where we theorize about our subject while also experimenting with how to frame our work conceptually (Marshall, 2014; Sullivan, 2005). We provide tools to foster creative thinking and conceptual skills inherent in art-based inquiry. One such tool is the research workbook. In education, they are sites for learning through visual and verbal exploration, experimentation and reflection. In art, they are tools for arts-based research that are often considered works of art themselves.
9:00 AM –10:30 AM FRIDAY, FEB. 17
New York Hilton Midtown – 2nd Floor – Murray Hill East
Creative Practice as Pedagogical Practice IV
NATIONAL ART EDUCATION ASSOCIATION
Chair: Amy Pfeiler-Wunder, NAEA
A/r/tography: Artist-Teacher Research Methodology and Pedagogical Strategy for Artistic Inquiry & Engagement, Daniel T Barney, Maryland Institute College of Art
School as Material and Teacher as Conceptual Artist, Jorge Rafael Lucero
Binding, Stitching, and Layering: Books Arts as Pedagogical Practice-Reflecting Again, Amy Pfeiler-Wunder, NAEA
Situating Pedagogy and Praxis in Art and Curation, Elyse Longair, Queen's University, Department of Film and Media
CAA, as the preeminent international leadership organization in the visual arts, promotes these arts and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners.
I acknowledge the support of the Canada Council for the Arts. Specifically, The Arts Abroad Travel Grant that made it possible for me to participate in College Arts Association conference.
