1. UNIT 1
Meaning
Making
&
Big Ideas
Identity

2. UNIT 1
UNIT 2
Meaning
Making
&
Big Ideas
Visual
Culture &
Social Justice
Conservation &
Ecology
Identity

3. 21st Century Art Education Approaches UNIT 1 UNIT 2 Meaning Making &
Big Ideas
Visual
Culture &
Social Justice
Conservation &
Ecology
Identity

4. 21st Century Art Education Approaches UNIT 1 UNIT 2 UNIT 3 UNIT 4
Meaning
Making
&
Big Ideas
Visual
Culture &
Social Justice
VTS &
Holistic
Integration
Choice-
Based &
Learner-
Directed
Standards-
Based
Conservation &
Ecology
Structures &
Systems
Identity
Vulnerability
Play

5. Meaning
Making
&
Big Ideas
Conservation &
Ecology
Structures &
Systems
Identity
Vulnerability
Play

6. 21st Century Art Education Approaches: VISUAL CULTURE and SOCIAL JUSTICE

7. Chris Jordan: on TED “Turning Powerful Stats into Art”
Retrieved from:

8. For your consideration . . .
With Jordan’s talk and Hurwitz and Day’s reading in mind, answer the following two questions on a piece of paper:
What is VISUAL CULTURE?
What is SOCIAL JUSTICE?

9. pair-share and report-out

10. What is Visual Culture?
Visual culture includes VARIOUS TYPES OF VISUAL ARTIFACTS (Duncum, 2001). According to Freedman (2003), these visual artifacts consist of “the fine arts, tribal arts, advertising, popular film and video, folk art, television, and other performance, housing and apparel design, computer game and toy design, and other forms of visual production and communication” (p. 1). Visual culture art education aims to UNDERSTAND these visual artifacts within their GIVEN CONTEXTS in order to CONSTRUCT MEANING and CREATE NEW KNOWLEDGE.

11. What is Social Justice (in the field of art education)?
SOCIAL JUSTICE in art education is often known as SOCIAL RECONSTRUCTION. According to Hurwitz and Day (2007), “The primary purpose of this approach is to educate children and young people according to a SOCIAL and POLITICAL AGENDA based on concepts such as DEMOCRACY, POWER, OPPRESSION, GLOBAL CAPITALISM, LIBERATION, and JUSTICE” (p. 285).

12. Using Paul Duncum’s Visual Culture in the Classroom to Inspire Meaningful Visual Art Instruction
Ask interns to design nametag with colored pencils and Sharpies
Ask interns to go around the room and introduce themselves
In addition, briefly talk about student teaching experience and/or if you hope to teach elementary or secondary art
Introduce what and where I teach a few slides later…
Feel free to ask questions during the demonstration
Duncum, P. (2003). Instructional resources: Visual culture in the classroom. Art Education, 56(2),

13. Who is Paul Duncum? Selected Positions Held
present PROFESSOR OF ART EDUCATION School of Art and Design, University of Illinois at Urbana-Champaign
Lecturer in Visual Arts Curriculum Faculty of Education, University of Tasmania, Launceston
Senior Lecturer in Visual Arts Curriculum Faculty of Education, Central Queensland University
Lecturer in Visual Arts Curriculum Brisbane College of Advanced Education
HIGH SCHOOL ART AND DESIGN TEACHER
GRAPHIC DESIGNER
Research
POPULAR VISUAL CULTURE
VISUAL CULTURE IN ART EDUCATION
CRITICAL THEORY AND ART EDUCATION
Images of Children
Children’s Unsolicited Drawing
Article: Instructional resources: Visual culture in the classroom
Although interest in visual culture began in the 60’s and 70’s, Paul Duncum is one of the forefathers of VCAE, which has gained notoriety especially during this last decade.
Selected Positions Held:
Graphic Designer: 1 year
High School Art Teacher: 3 years
Lecturer in Australia: 11 years off and on
Professor of Art Education at The University of Illinois at Urbana-Champaign: 7 years
Research Interests:
Recent Publications include:
One book (others ?) – SHOW
Numerous book chapters and NAEA Presentations
Articles
Journal of Research in Art and Education
International Journal of Education Through Art
Journal of Aesthetic Education
Australian Art Education
The International Journal of Art & Design
Art Education – SHOW January 2010 article: “Seven principles for visual culture education”

14. Family Photographs Consumer Goods Tourist Souvenirs
Teenagers’ Bedrooms
Patterned after Duncum’s “Instructional resources: Visual culture in the classroom”, I divide the PPT into four sections:
Family Photographs
Consumer Goods
Tourist Souvenirs
Teenagers’ Bedrooms
“Through the presentation, I hope to show you all how to take a scholar's suggestions and adapt them in order to accommodate a particular population.  In addition, I hope to make VCAE more accessible and user-friendly.”

15. Tourist Souvenirs
Third section from Duncum’s article and PPT (p. 30)

16. Tourist Souvenirs: Duncum’s Suggested Activities
Interview a souvenir shop proprietor and the shop’s tourists.
Create a tourist souvenir reflective of where students live.
Develop a tourist poster including stereotypical interpretations of national, state, or local character.
Investigate historical European tourism.

17. Artwork by Jeff Carter & Susan Giles
Security 2007
Viewfinder 1999
Corrected Postcard 2003
Wayang Kulit Turis
(Tourist Puppets) 1999
JEFF CARTER:
Jeff Carter lives and works in Chicago. He is Associate Professor in the Department of Art, Media and Design at DePaul University. Jeff earned his BFA at the University of Colorado, Boulder (1992) and his MFA at The School of the Art Institute of Chicago (1998).
“What is authenticity?”
“Travel vs. memory vs. object”
“Residue from travel”
SUSAN GILES:
Fulbright Grant to Indonesia, sponsored by the Museum Nasional in Jakarta and Sekolah Tinggi Seni Indonesia in Denpasar, U.S. Student Program, New York
The works of Jeff Carter and Susan Giles explore the troubled vantage point of the contemporary tourist. Having traveled extensively in India, Sri Lanka, China and Indonesia since 1995, both artists bring this experience to bear in a body of witty, yet complex, sculptural and video works that make their own dislocated position as travelers central to their representations.
Security 2007
carved mask, paint, plywood, aluminum, motor, custom
19" x 11" x 7”
Jeff Carter
Corrected Postcard 2003
Postcard, aluminum, hardware
7.5” H x 4.5” W x 3” D
The Sydney Opera House and The Taj Mahal 2008
paper and glue
Susan Giles
Viewfinder 1999
Chipboard
Each platform 20" W x 30" L x 2" H. Installation dimensions variable
Jeff Carter and Susan Giles
Wayang Kulit Turis (Tourist Puppets) 1999
Leather, paint
Each approximately 20” H x 16” W
The Sydney Opera House and The Taj Mahal 2008

18. Students will sculpt a souvenir inspired by a tourist destination within their hometown. After introducing and discussing artwork by Jeff Carter and Susan Giles, groups of three or four list local tourist sites. Following the brainstorm activity, students work independently by creating rough drafts and gathering materials. As Duncum (2003) suggests, students may want to “focus on the material used and what is typical versus what is unique to [the] area” (p. 30).
Inspired by Duncum’s Tourist Souvenirs, I created a similar activity called Kansas City Souvenirs.
Again, I modified this activity very little.
Unique to KC: steak, Hallmark Cards, Roasterie Coffee, Christopher Elbow chocolates, Plaza lights, natural resources

19. By arranging their Evidence installations, I asked students to consider formalist principles, such as:
Rhythm
Movement
Balance
Emphasis
Unity
Contrast
The SMSD is not unlike many school districts in the nation, and especially in the mid-West, in that they/we really value and embrace formalist ideals.

20. Wonderings . . .
Did I recognize my own interests or personality when selecting materials for or constructing the Tourist Souvenir? If so, how?
In what ways do the selected materials complement my souvenir?
Are any of the souvenirs ironic? If so, how?

21. Teenagers’ Bedrooms
Dispense NAEA Advisory article: “Teaching photography in the K-12 classroom setting”.
Applicable to Family Photography (1st *) and Teenagers’ Bedrooms (2nd *) sections.

22. Teenagers’ Bedrooms: Duncum’s Suggested Activities
Take photographs of bedroom. Discuss “cool” and “uncool” consumer items.
Discuss technical photography. Then, retake bedroom photographs while emphasizing identity through consumer items.
Develop a class collage using magazines that depict teenage culture.
Create a two-sided bulletin board: “The Media Says” versus “I believe”.
Compare and contrast paintings that portray identity through visual artifacts.

23. Modified Activity: Evidence Olivia Gude and Laura Hall Tesdah
Gude (n.d.) encourages students to examine their visual culture through discarded daily evidence. She states:
Cultures reveal much of WHAT THEY ARE and WHAT THEY VALUE through what is consumed and discarded each day. In this project, students COLLECT EVIDENCE OF THEIR LIVES each day for the duration of the unit. The things that are collected are used to create a series of small installations that PORTRAY A SINGLE MOMENT OF A LIFE OR MANY MOMENTS IN A LIFE. The installations change each day as students incorporate new evidence and learn new formal strategies of composition. (¶ 2)
Inspired by Duncum’s Teenagers’ Bedrooms, I borrowed an activity from Art Education scholar, Olivia Gude, called Evidence.
The students build a collage, but use actual and discarded items that “depict teenage culture”.

24. Evidence
By arranging their Evidence installations, I asked students to consider formalist principles, such as:
Rhythm
Movement
Balance
Emphasis
Unity
Contrast
The SMSD is not unlike many school districts in the nation, and especially in the mid-West, in that they/we really value and embrace formalist ideals.

25. Wonderings . . . How does my evidence reflect my culture?
Why and how did I choose to include certain pieces of evidence and exclude others?
What is the meaning or importance behind my evidence?
How did I direct the viewer’s eye through the installation?
How did I attempt to unify the installation?

26. Supplemental Video The Story of Stuff with Annie Leonard
by Funders Workgroup for
Sustainable Production and Consumption
Retrieved from:
(21:18)

27. Visual culture art education aims to UNDERSTAND visual artifacts within their GIVEN CONTEXTS in order to CONSTRUCT MEANING and CREATE NEW KNOWLEDGE.

28. Dove

29. Axe

30. Dove + Axe = parent company, Unilever

31. Origins of visual culture

32. Published in 1972
Chapter 2 (pp )
Chapter 6 (pp )

38. What is going on in Chapter 2?
pair-share and report-out
What is going on in Chapter 2?

46. What is going on in Chapter 6?
pair-share and report-out
What is going on in Chapter 6?

47. exploring CONSERVATION or ECOLOGY through VISUAL CULTURE and/or SOCIAL JUSTICE . . .
With your table, create a VISUAL CHAPTER using the big idea of CONSERVATION or ECOLOGY—remember that you all are working within the contemporary approach of VISUAL CULTURE and/or SOCIAL JUSTICE. Consider the ways in which the chapter will address disciplines outside of visual art.

48. Materials Needed White construction paper (11”x17”) Scissors Magazines
Glue sticks

49. How-to
Send one student to the back of the room with paper and scissors for the construction demo: (1:10)
Agree on a big idea (CONSERVATION or ECOLOGY) and subject matter
One student collects several magazines
Three students cut out applicable images
All students arrange the images in order before gluing
What new messages emerge when juxtaposing images?
Glue images into place
Clean up

50. Gallery Walk