Academic Manuscripts
Analyzing Banksy's NapalmBanksy (2005) states:
People are taking the piss out of you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you're not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you. (p. 31)
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Examining a Plastic SocietyIn the post-modern, Western world the feminine standards of beauty are undergoing a dramatic shift in the socially constructed perception of the idealized embodiment of feminine perfection. With the technological advances in the field of cosmetic plastic surgery, the Western standards for feminine beauty are being nipped and tucked away from the eighteenth century canons of femininity, as practiced in the fine arts, to reveal a post-modern plastic façade of cosmetically altered female beauty. The field of elective cosmetic surgery is a significant cultural site because of its rapidly growing popularity among Western women...
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Visual Culture Art EducationWithin the last few decades, the social culture within the United States of America has been engulfed by advancements in the ever-evolving field of technology. The birth of this technological age has reshaped the manner in which we, as a society, understand and inform our daily routines. The informational surge begins during childhood with exposure to the limitless images displayed on television, computers, video games, and most notably the Internet. Put into perspective, technology once a rare commodity, has now become a staple motivator in the visual assault of many North Americans who unknowingly subject themselves to the influence of socially produced and mediated imagery. However, this influence of visual imagery is not simply contained within personal routine, but rather also permeates the public space of the classroom resulting in the expansion of curricular opportunities within the discourse of visual art education.
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Multicultural Art EducationWithin the larger discourse of art education, the individual pedagogical preferences for teaching art are continually evolving. As new educational philosophies and theories are further developed, our pedagogical approaches and curricular structures are altered to better realign with the broad, universal goals for the teaching of the visual arts. Throughout the history of the field, these curricular structures have ranged from the modernist discipline-based approach (DBAE) toward more contemporary, post-modern structures that, for example, include the multicultural approach. A literature review on the discourse reveals that as theorists moved from visual arts curricula dominated by modernist ideologies toward the acceptance of post-modern values, the pedagogical practice of multicultural art education followed suit. Multicultural art education has continued to evolve, expand, and reaffirm its place within the greater context of the field...
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Opposing Views on Children's Art
As with all discourses, the field of art education has experienced several ideological shifts concerning the topic of child art. Throughout the discipline’s history, educators have continually advocated opposing beliefs about children’s artwork, which not only reflected their individual attitudes but also resonated with the social contexts from which they were postulated. Moreover, within the field such ideological exchange has significantly shaped the preferred pedagogical practices. The following offers an exploration into two assemblies of art educators whose views on children’s artwork are significantly different, and consequently advocate opposing curricular models. The first assembly of art educators whom this paper will discuss concern themselves with a view of child art fostered through what Eisner (1967) deems a “process-oriented expressive” model (p. 21). Whereas the opposing group of educators, specifically Elliot Eisner and Arthur Efland, view children’s artwork through the lens of cognition and claimed that the learning of art is a cognitive endeavor rooted in epistemological arguments of philosophy and psychology.
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