Remembering Others: Making Invisible Histories of Art Education Visible
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
Remembering Others: Making Invisible Histories of Art Education Visible Bolin, P., Blandy, D., & Congdon, K. C. (Eds.). (2000). Reston, VA: National Art Education Association.In recent years, the National Art Education Association created task forces to examine a variety of research themes for the field of art education. One was the Research Task Force on Contexts that has been committed to advancing the need for considering contexts for every decision undertaken, including curriculum development, instruction, or theoiy building. Yet to pursue such a commitment, the field would need to embark upon much more research into the historically diverse contexts of art education. This volume has made a significant contribution to this commitment.Over the last few decades, a number of historical accounts of art education have contributed to our understanding of past events. Yet many of these accounts reinforced the belief that was for the dominant culture, groups, or individuals within society. This book goes well beyond the assumption that everyone needs to know about the achievements of a few great individuals and challenges readers to embrace the invisible histories of those in our communities who have contributed to art education in very real and enduring ways. The editors of this book position this challenge around the work of Peter Burke (1991) who wrote of four shifts in historical writing. They are: Enlarging what is considered to be worthy of historical study... Moving beyond the study of written documents... Questions about generate multiple responses... There is no such thing as an objective history (Bolin, Blandy, & Congdon, 2000, pp. 3-4). Embracing this challenge, the editors invited contributors to reveal the invisible histories of art educators who have previously been ignored, to move beyond the hegemony of published documents by including oral histories and other forms of evidence, to search for new questions while recognizing that is complex and multidimensional, and to appreciate that is not an objective account but rather a fluid and subjective account that can be investigated from a variety of viewpoints. They also embrace Burke's position that historical excavations can be likened to emotional excavations and as such, life must be felt in the telling of history. As I will attempt to describe later, the editors and authors of this book are very successful at achieving this deeply felt portrayal of history.But first, let me describe the book. This anthology is a collection of 15 research chapters and six testimonials clustered under three section topics: Education Community Arts/Museums, and Folk Groups. Allow me to address each section in turn. The first section, entitled Formal Education Settings, highlights the work of art educators who carried out their work within formal art education structures yet who were not recognized for their contributions. People highlighted include Marguerite Wildenhain who created Pond Farm where she pursued art as a way of life and held workshops in ceramics. Her contributions profoundly influenced ceramics education in America. Audrey Dear Hesson was the first Black graduate in the first art education program in Nova Scotia, Canada, who in turn deeply influenced her community by integrating her understanding of art education into her work in an occupational therapy unit of a hospital. Eight women from the Moore College of Art and Design graduating class of 1942 went on to become public school teachers and college instructors. Their friendships bonded them for life, and over the 60 years since their graduation, they have encouraged and supported one another through whatever means they could. Finally, the work of two women, Helen Merritt and Irene Senecal whose art education practices had enormous impact on well known art education theorists of today was described. This section not only tells stories of individuals; it also tells of institutional structures that made a difference, such as the Educational Alliance Art School founded in 1889 in Manhattan. …
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it