Most of the research on visual art education has been centered on teaching methods or learning theories rather than on how these learning contexts engage with one another and may be explored potentially in an integrated form (Eisner, 2002; Rolling, 2006). In terms of lifelong learning, inclusive learning spaces (or studios) and blended learning approaches have been largely overlooked in visual art education literature, particularly at the secondary and tertiary levels. These literature gaps present enormous potential for the ways in which an expansive, contextualized model of art education pedagogy may be actualized (UNESCO, 2015).
Improved pedagogical models for teaching art in blended and heterogeneous classroom environments.
More integrated curricula for visual art education supporting lifelong learning, student engagement and creativity on leaving formal visual art study.
Strategic policy suggestions for the development of inclusive and flexible teaching methods across institutions for teaching visual
In much of visual art education, there is a wide gap between theoretical teaching and studio practice that can prevent students from critically showing creative practice, as well as creatively showing critical theory (Barrett & Bolt, 2010; Sullivan, 2010). In order to become successfully critically aware visual art practitioners, we must create improved synthesis (Biggs & Karlsson, 2011).
What are the obstacles to theorising practice and practice in visual art pedagogy?
How do students observe intersections between theory and their studio practice?
What are the types of pedagogies that connect critical thinking with making?
Prospects for cross-disciplinary curricula design in visual arts education.
Increased student interest and activity through situated learning experiences.
Increased balance between conceptualisation and technical skill-building
Sullivan, G. (2010). Art Practice as Research.
Biggs, M., & Karlsson, H. (2011).
The Routledge Companion to Research in the Arts.
Barrett, E., & Bolt, B. (2010). Practice as Research: Approaches to Creative Arts Enquiry.
Digital learning environments have precipitated a shift in visual arts pedagogy and learning. There are some institutions that have an effective strategy to better incorporate digital tools as well as digital platforms in studio subjects, while this is not equally so for most institutions (Peppler, 2010; McWilliam & Haukka, 2008).
Enhanced integration of digital tools into studio art class.
Guidelines for successfully defining how to effectively integrate physical instruction and virtual models.
Greater inclusion in art education for students who are learning in remote or marginalised areas.
Peppler, K. (2010). New Horizons for Learning in the Digital Age.
McWilliam, E., & Haukka, S. (2008). Educating the Creative Workforce.
McKnight, K. (2016). Educating for Creativity in the Digital Age.
Visual arts education keeps relying on Eurocentric content and practices that at best exhibit insensitivity towards students with diverse cultural backgrounds or at worst, straight-up alienate, marginalise or deny people (Gay, 2018; Sleeter, 2012).
How well do existing visual arts curriculums engage a variety of cultural views?
What are the implications for practice of effective culturally responsive teaching in the disciplines of art education?
What types of professional preparation should be accessible to educators for addressing cultural plurality in practice?
Utilisation of more inclusive visual art education programmes.
Greater cultural competency by students and educators.
More substantial student engagement and identity through relevant contexts.
Gay, G. (2018). Culturally Responsive Teaching: Theory, Research, and Practice.
Sleeter, C. E. (2012). Keepers of the American Dream: A Study of Staff Development and Multicultural Education.
Dewhurst, M. (2014). Social Justice Art: A Framework for Activist Art Pedagogy.
Visual art is usually approached creatively, but there is tremendous scope to work on critical thinking. Art programs at the secondary level are much concerned with (technical) abilities employed for creating art and do not focus on the interpretive and analytical abilities.
A more expansive, academic justification for applying art in general education.
Students’ route to transdisciplinary thinking.
The creation of new assessable paradigms that honour interpretation and critique.
Eisner, E. (2002). The Arts and the Creation of Mind.
Winner, E., Goldstein, T. R., & Vincent-Lancrin, S. (2013). Art for Art’s Sake? The Impact of Arts Education.
Brookhart, S. M. (2010). How to Assess Higher-Order Thinking Skills in Your Classroom.
Although emotional intelligence (EI) is seldom an explicit aim of visual art courses, artmaking is an emotional process. If EI is worth cultivating and worth valuing, both personal agency and artistic practice will gain.
New learning processes for social-emotional learning through the arts
Students’ emotional engagement and well-being through expressive activity
Enhanced social skills as an integral element of arts-based education in schools
Goleman, D. (1995). Emotional Intelligence.
Winner, E., & Hetland, L. (2000). The Arts and Academic Achievement: What the Evidence Shows.
Eisner, E. (2004). What Can Education Learn from the Arts About the Practice of Education?