Shifting the Curriculum: Decentralization in the Art Education Experience, by Heidi May, Art Education, Volume 64, No. 3 (pp. 33-41) copyright National Art Education Association (NAEA) 2011. www.arteducators.org

1. Shifting the Curriculu2:
. ~
o
When it is told, it is, to the one to whom it is told, another given fact, not an idea.
The communication may stimulate the other person to realize the question for
himself and to think out a like idea, or it may smother his intellectual interest
and suppress his dawning effort at thought. But what he directly gets cannot be
an idea. Only by wrestling with the conditions of the problem at first hand,
seeking and finding his own way out, does he think. In such shared activity, the
teacher is a learner, and the learner is, without knowing it, a teacher-and upon
the whole, the less consciousness there is, on either side, of either giving or
receiving instruction, the better."
- John Dewey, Democracy and Education (1916 )
"In a decentralized classroom, the teacher becomes a partner who initiates
learning and provides support as needed, but does not inhibit intuitive
knowledge and innovative thinking in the process of performing these duties."
-Christopher Adej ul110 (2002)
BY t-t
. May 2011 / ART EDUCATION 33

2. -e --______________
~ ~-----­ -
he act of learning is facilitated through an open communication process (centralized network) and that of a
T that encourages one to discover meaning within certain ideas, objects,
and experiences. The traditional classroom environment, often consisting
of a hierarchical relationship between teacher and student, does not always
allow for this kind of open communication to occur. In a decentralized approach to
teaching and learning the subject matter can be placed at the center of the process,
teaching and learning experience that
encompasses a complex approach
(decentralized network).
Learning is about discovering what
motivates us to a set of ideas; a traditional
classroom environment, often based on a
power relationship between teacher and
rather than the teacher or student, while participants are inspired and empowered student, does not always facilitate an open
through the experience. When a collaborative approach is embraced, decentraliza- communication process for discovering
tion in the art classroom can consist of a non-linear exchange of ideas between these motivations (Burnett, 1999). A
decentralized approach to teaching and
teacher and students, allowing for necessary dialogue and conversation, ultimately
learning does not necessarily mean that
leading to innovative exploration of materials and concepts. In this situation, the teacher neglects to create a lesson
students can become active learners as opposed to passive participants, and plan; instead it requires the teacher to
teachers learn to strategically listen and watch for teachable moments. create a structure that allows for certain
ideas to trigger other ideas and for
knowledge to be discovered within this
This article examines the decentralized A Circular Process: circular process. Complex and decentral-
approach to art curriculum from a Decentralization, Complexity, ized approaches to teaching are most
pedagogical point of view, acknowledging appropriate for learning situations in
advantages and disadvantages for art
and Interpretation in Art
Complexity theory in education which there exists more than one response
educators, and its contribution to a to a topic. There must be more than one
curriculum that captures the current embraces a collaborative and non-linear
experience of learning, rejecting the use of interpretive possibility to begin with and
cultural aesthetic experience. By referring structures need to be in place for ideas to
to research in art education and writings of linear, machine-based metaphors (Davis,
Sumara, & Luce-Kapler, 2008). Teaching stumble across one another-this being
curriculum theorists, I argue for an more important than the way the physical
application of decentralized approaches to and learning is described as moving away
from the concept of one individual passing system is organized (Davis, et a!., p. 199).
teaching visual art in contemporary The group discussions surrounding the
learning environments, with emphasis on established knowledge on to another, to the
concept of collectives elaborating emergent creation and/or interpretation of
instigating critical thinking within artworks-the studio critique-provides
classroom critiques of student artwork. The knowledge (Davis, et aI., 2008). In this
view, learning is not a cause-and-effect an appropriate context for a complex
following topicS are addressed: the approach that includes hermeneutic
connection between decentralized relationship between a teacher and student
but rather one part of a complex system inquiry.
curriculum and complexity thinking, the
significance of dialogical exchange between that is dependent on many other parts. Hermeneutic inquiry, tracing back to the
teacher and students, the concept of Figures 1 and 2 illustrate the difference philosophical thinking of Schleiermacher
emergent knowledge, and the noted desire between the traditional classroom and Heidegger, is a type of understanding
for flexible curricular models in art experience with the teacher at the center that constantly moves back and forth
education. I conclude by providing
accounts of collaborative learning within
university studio art courses that occur in
online environments, with the intent of
provoking thought for art education at all
levels. Throughout, I describe a theoretical
framework for understanding decentral-
ized curriculum as I argue for a contempo-
rary art pedagogy that is reflective of
contemporary life.
Figure 1. A Centralized Network
(illustration by the author).
34 ART EDUCATION I May 2011

3. Figure 2. A Decentralized Network. (illustration by the author). [Note: Although Figures 1 and 2 reference illustrations from Davis, Sumara, and Luce-Kapler (2008),
these are generic representations that can be easily found by an online search.]
between the 'parts' and the 'whole' that we meaning of experience for each individual" and abstract experience as the dialogical
seek to understand; it is the process of (Slattery, 2006, p. 282). I can attest to a type process between innovative thoughts or acts
understanding. Within hermeneutic inquiry, of "self-forgetfulness" (Smith, 1999) in the (associative) and the more methodical
there is the act of 'working through' which critique experience, in which the meaning of requirements of the task at hand (analytic).
one might describe as a rhythmic, dialogical the artwork is one that is constructed In the teaching of visual art, one might
movement between thoughts. Within my through the participatory relations within consider assigning projects in which students
own curriculum theorizing, I am especially the group-a learning process that I choose continually revisit the same form/concept
drawn to the concept of the hermeneutic to moderate, and perhaps guide, as opposed with multiple methods, each time pushing
circle, as influenced by the philosophers to plan in advance. By allowing fellow the form/concept in a new direction. The key
named above. In the teaching and learning of students to continually voice their interpreta- would be to place very little emphasis on the
art, my understanding of the hermeneutic tions, I have witnessed the artist's under- quality of the end result, highlighting instead
circle is one of a dialogical process of standing of the work deepen and, later on, in the significance of the process itself by
meaning that occurs in the making of art future projects, expand and build upon this allowing the student to retrace transforma-
and/or the linguistic interpretation of art in understanding. tive moments-an understanding of how
studio critiques. A pedagogical approach to The rhythmic movement within the different methods inform one another. This
the studio critique can be one that is hermeneutical circle could be considered could also be revealed through collaborative
decentralized, with participants placed in similar to the back and forth nature of the projects in which students contribute to each
simultaneous view of both the artwork and creative process itself-a cognitive process other's work, in a back and forth manner, a
each other. The artwork in between the that oscillates between associative and technique influenced by the Surrealist
participants becomes the subject of inquiry, analytic modes of thought (Gabora, 2002; exquisite corpse game. These exercises would
allowing for interpretation to move back and Gabora, in press). Psychology professor be followed by a larger conceptual project in
forth from the art object (the part) to the Liane Gabora describes the creative process which students are asked to choose and
idea being expressed (the whole). A as neither random nor causal, but more like combine methods with the intention of
non-linear and circular exchange of the continual focusing in and out of inSights conveying a specific meaning.
interpretations between all participants is through association and analysis (Gabora,
supported with the intention of "... each new 2002, p. 8). I refer to this almost indefinable
experience addling) to the accumulated
May 2011 I ART EDUCATION 35

4. Mapping the Experience and in which the visual work becomes the object
Relinquishing Control of attention and produces emergent
knowledge. In referring to Figure 3 or "the
A decentralized network can produce a
rhizome form/model;' one can imagine the
'We are shaped by our own rhizomatic experience, almost like a mapping
flow of knowledge that trickles through the
of creative possibilities and connections.
educational space, from one node, or
educational experiences, When art educators allow for open dialogue
participant, to another.
and collaborative discourse between students
which are often defined by a and themselves in studio critiques, a Disadvantages to a decentralized peda-
rhizomatic experience may evolve as gogical approach include a major shift in
traditional lecture style of participants each build upon each other's curriculum planning that requires the
comments, one response leading to another teacher to adjust instructional strategies
teacher-student interaction. response and so on. Patrick Slattery (2006) according to individual groups, and that the
describes the act of interpretation as teacher be willing to feel uncomfortable
Accepting a decentralized "something that should emphasize possibility during an unpredictable teaching and
and becoming, for human consciousness can learning experience (Milbrandt, Felts,
approach to curriculum and never be static" (p. 282). The idea of human Richards, & Abghari, 2004). Complexity
consciousness never being static is similar to thinking highlights the importance of
teaching can allow us to the view of knowledge being a complex neighboring interactions of ideas, but the
means to accomplish this must be "consid-
explore the possibilities of system of evolving rhizomatic forms. The
rhizome form (Figure 3) is divergent, ered on a case-by-case basis, depending on
the topic, the context, and the personalities
dialogue as a pedagogical extending in all directions, and rather than
involved" (Davis et ai., 2008, p. 199). In other
being comprised of a set of points and
tool for emergent knowledge. positions, it consists oflines in metamorphis words, decentralized approaches to teaching
and learning can be complicated and
(Deleuze & Guittari, 1987). In describing the
rhizomatic form, Deleuze and Guittari state, time-consuming, yet can produce an
"A rhizome may be broken, shattered at a aesthetic experience that deepens meaningful
given spot, but it will start up again on one of understanding related to cultural issues.
its old lines, or on new lines ... these lines When writing curriculum for speCific
always tie back to one another" (p. 9). The courses, I have found the process of devel-
studio critique has the potential to become a oping learning objectives to be almost more
rhizomatic experience, one that occurs valuable than the list itself. The objectives
within a dialogical space of critical thinking allow for focus and a sense of direction, but
36 ART EDUCATION / May 2011

5. Figure 4. Rhizomean Curricular Landscape (illustration by the author in reference to original diagram in Aoki. 2005).
the teaching and learning experience is often disrupted, perhaps the studio critique can Critical theorist Paulo Freire is well known
more enriching when the list is pushed aside. function as a place for shaping inSights, for his research on democratic communica-
Teachers sometimes find it difficult to which then become personalized through tion within the teacher-student relationship
relinquish control in order to allow students conversation and dialogue. Conversation and the role that dialogue plays in forming
a greater sense of agen.cy, however, this can within studio art courses is key to the knowledge. Freire discusses the dialogical
sometimes lead to teachable moments as learning process, and there is value in the act process stating, "the object to be known in
students are individually engaged with the of talking to work out interpretations and one place links the two cognitive subjects,
content. Decentralized instruction precondi- differences (Kent, 2005). Decentralized forms leading them to reflect together on the
tions students to access their inner feelings of curriculum allow for importance to be object" (Shor & Freire, 1987, p. 14). Shor and
and intuitions in the learning process, often placed on the flow of conversation and Freire describe dialogue as a "joint act of
expressing non-linear ideas with less fear of dialogue between participants. The dialogical knowing and re-knowing the object of study"
rejection (Adejumo, 2002, p. 8). Some groups relationships that are produced in this (p. 14). In writing about curriculum
of students may be more difficult than others educational experience are, in my opinion, pertaining to art teachers, Erickson (2004)
to engage in constructivist processes, but extremely Significant. It is not just about a referred to a study by Short (1998) that
teachers who embrace these methods have dialogue between teacher and student, it is concluded that the understanding of art, and
found it to be worth the effort (Milbrandt et also about the conversations between student the ability to transfer this understanding
aI., 2004). With this understanding of the and student, between student and the from one context to another, should include
relationship between complexity thinking content, and between the teacher and the the critical activities of talking and writing
and decentralized forms of teaching, the content. The interpersonal is as important as about works of art (p. 62). For visual art
power that belonged to the teacher within a any other part of the learning experience; the educators who place importance on the act
behaviorist model oflearning can now be difficulty is that the structure of the tradi- of critical thinking, as opposed to solely
thought of as shifting within social activity. tional educational experience, both from the developing technical skills, I claim that these
teacher's and the student's perspective, activities of talking and writing extend into
Dialogical Possibilities within the mitigates the value of invention and the act of hermeneutic inquiry, ultimately
Teaching and Learning of Art exploration (Burnett, 1999). We are shaped leading to self-reflection. This can be
by our own educational experiences, which described as an aesthetic, sometimes even
As described here, decentralized or
are often defined by a traditional lecture style existential, experience that rarely exists in a
constructivist approaches to art education
of teacher-student interaction. Accepting a centralized and hierarchical approach to
can often allow for a rhizomatic flow of
decentralized approach to curriculum and teaching and learning.
emerging knowledge that moves in a
teaching can allow us to explore the
multilinear manner within what I refer to as
possibilities of dialogue as a pedagogical tool
a dialogical space of teaching and learning.
for emergent knowledge.
When traditional hierarchical roles are
May 2011 / ART EDUCATION 37

6. happen "between" the forms that represent
the teacher and students-the exchanges of
communication. He draws attention to the
term "multiplicity" not being a noun,
because within multiplicity it is not the
elements that matter but what is in between
them. I understand this to mean that the
curriculum is about the experience, the
process, and the relationship between the
teacher and students. It seems only fitting
that Aoki's "live(d) curriculum" be taken up
by art educators, as it not only leads to
self-reflection and critical inquiry but also
acknowledges the affective aspects of the
teaching and learning experience.
Perhaps the most challenging aspect of a
decentralized approacb to teaching art is
the prevention of planned enculturation.
Osberg and Biesta (2008) write about the
'space of emergence' in which meaning and
knowledge is formed in the classroom,
however, they argue that the concept of
emergence be not only applied to knowl-
edge but to human subjectivity as well.
Their concern is that even though the
teacher structures the curriculum to allow
for emergent knowledge to occur in this
space, the problem of planned encultura-
Figure S. Author's Representation of Efland's Spiral Lattice Model.
tion still exists. Influenced by complexity
thinking and research that has examined
how educators can encourage the emer-
One might consider assigning In the Space of Emergence gence of meaning in the classroom (Davis,
et al., 2000), the authors are less interested
and Inquiry
projects in which students This kind of aesthetic classroom
in pedagogical methods and more
interested in the kinds of meaning that are
experience, or dialogical space, has been
continually revisit the same form/ written about by various curriculum
allowed to emerge in the classroom:
theorists, albeit each defining the phenom- "This question is important because,
concept with multiple methods, enon with different language to describe its if meaning is understood as
each time pushing the form/ intangible qualities. Ted Aoki wrote about
the "live(d) curriculum" as something in
emergent, and if educators wish to
encourage the emergence of
concept in a new direction. The key opposition to planned curriculum and meaning in the classroom, then the
explained his concepts by using a visual meanings that emerge in the
would be to place very little illustration (Figure 4) of what he terms the classrooms cannot and should not be
"rhizomean curricular landscape" (Aoki,
pre-determined before the 'event' of
emphasis on the quality of the end 1996/2005, p. 419). There are similarities
their emergence:' (Osberg & Biesta,
between Aoki's curricular landscape and
result, highlighting instead the the decentralized network. Aoki suggests p. 314; italics in original)
that the rhizomean landscape signifies the Osberg and Biesta argue that emergence
significance of the process itself. multiplicity of curricula that occur in the must be used on two levels-for knowl-
learning space and the relationships that edge/meaning and for human subjectivity.
38 ART EDUCATION / May 2011

7. There is potential for the art teacher to become afacilitator
of critical inquiry among active participants, encouraging
multiple viewpoints, within a curricular model that invites
self-reflective practices.
They suggest that we need to abandon education that occurs today through the use more research needs to be done to properly
pre-conceived notions of what constitutes a of the Internet (Sweeny, 2008). With the evaluate how the technologies impact the
human subject in order to understand who Internet becoming more of an accessible tool content being taught and how 'students are
we are in relation to each other, and that if for interconnectivity and interactivity, some learning to think and express ideas within
this process occurs as knowledge emerges in art educators like Sweeny are suggesting that these new environments.
the educational space than it is possible to teachers take advantage of the flexible
have curriculum that is free of enculturation. technology and use it to inform pedagogical Teaching Art Online:
Osberg and Biesta conclude that the 'space practices. Sweeny argues that the open Collaborative Discourse
of emergence' for knowledge and subjectivity classroom movement did not survive because As I reflect upon my own experiences of
requires that differences amongst partici- the general culture was not ready for the teaching first-year university studio art
pants be maintained in the classroom. This change, stating that these methods may be courses online (spanning close to 6 years
suggests the responsibility of the teacher is to better accepted today: "It is relevant for art now), I can see instances in which an
enable students to become more unique and educators teaching in a networked age at all increased emphasis on collaborative learning
not to ensure a desired end but rather to levels to return to the philosophies of the has led to critical dialogue and creative
"complicate the scene" (p. 325). If this theory open classrooms, as many of these structures insight that might not have occurred in the
is applied to the studio critique, it would resemble aspects of complexity theory. traditional face-to-face classroom. This is not
require the teacher to initiate debate and Perhaps the theories were developed too to say that all art education should move to
contrasting opinions regarding students' soon and can only now be implemented in the space/place of the Internet (that would be
interpretations and understandings of the an age of networks" (Sweeny, 2008, p. 56). absurd); however, the experience has alloweo d
works they produce, without promoting one If we are to consider contemporary life me to examine art pedagogy in a more
particular point of view-a difficult task. I outside of schools as we develop curriculum objective manner, by being forced to exist
conclude with an account of such an for our art students, we will find a steady within a different space. One can challenge
experience. increase of user-friendly digital technologies the hierarchical nature of a traditional studio
designed to enhance collaborative methods critique, but the online studio group critique
Flexible Curricular Models for of communication (e.g. wiki websites). demands active participation from all
Art Education Digital technologies like social networking students and, in some cases, provides
Since the beginning of the postmodern sites and online learning systems enable opportunity for usually silent students to
era, educators have been calling for curric- interactive and participatory collaborations, speak. The Internet allows for more
ulum and pedagogy that responds to the and allow for "multidirectional conversations peer-to-peer learning than can physically
challenges of contemporary society. Efland that can occur in multidimensional spaces" occur in the traditional classroom; students
(1995) argued for a flexible curricular model (Davis et aI., 2008). Social networking learn from seeing what other students are
that prepares teachers and students to websites (e.g. Facebook, Twitter) are being doing and from reading/listening to
approach the world of art in all its said to allow for a new kind of intimacy that constructive critique.
complexity-a spiral lattice type model is being described as an acute form of One example comes to mind in which
(Figure 5) represents learning within art self-reflection (Thompson, 2008). Art students were asked to create a piece about a
curriculum, allowing for multiple forms of educators are capable of seeing new social issue needing more attention. A
interpretation, implementation and pedagogical possibilities when working with student created a piece that addressed
individualization of experience. Robert digital technology in curriculum (Wang, bulimia, suggesting the role media plays in
Sweeny (2004) proposes a decentralized 2002; Wood, 2004), which suggests that the perception of female bodies. The
approach to art education, which I consider networked approaches to curriculum would two-dimensional photographic work
to be a more complex version of Efland's- benefit from the work of art education depicted a female subject in front of a wall of
more expansive and multilinear, similar to researchers. For instance, recent research in magazine covers, while simultaneously
that of a decentralized network. post-secondary art education has shown that presenting a parody to the popular "got
digital technologies, such as social milk?" advertising campaign. Instead of the
Sweeny writes about the inherent
networking websites, are being implemented female's mouth being surrounded with milk,
connection between the pedagogical
into post-secondary foundation level art the milk was replaced by vomit, yet the entire
philosophies associated with the open
curriculum resulting in better peer-to-peer work was produced in a very sophisticated
classroom movement of the 1960s (emphasis
interaction and creating active learners as manner. A contentious debate was initiated
on learning in small groups, variety of
opposed to passive participants (Collins, et by the students, none of which had met each
activities, and the teacher being less of an
ai, 2007). As online technologies are being other in person. Did the artist go too far?
authority figure) and that of networked
incorporated into visual art curriculum,
May 2011 / AR T ED UCATI ON 39

8. Would the image distract from the message the piece and how well it met its objective. Obviously, this article does not provide
the artist intended to convey? How might Knowledge and subjectivity hopefully clearly defined 'how-to' teaching methods for
this challenge media portrayals of the female emerged in this circular process of critical collaborative and emergent learning, but
figure? Arguments were articulated clearly, inquiry. The networked learning space of the rather appeals for art educators to embrace a
exceeding personal opinion and taste. The Internet provides appropriate time for sense of openness that is ironically aided by
quality of the feedback provided by students self-reflection and critical response, while current digital technologies. There is
became stronger as the dialogue progressed decentering the role of the teacher to a 'guide potential for the art teacher to become a
and commentary oscillated between the on the side' who moderates the rhizomatic facilitator of critical inquiry among active
formal and conceptual considerations of the flow of thought. participants, encouraging multiple view-
larger image. Towards the end of the critique, In conclusion, we are all learners-and as points, within a curricular model that invites
it became apparent (through the voice of art educators we need to be open to engage self-reflective practices.
another student) that the female subject in the learning process with our students.
depicted in the piece was in fact the artist There needs to be an attempt for an equality Heidi May is an instructor in the Emily
herself. Would this student have been willing of exchange between all participants in the Carr University of Art and Design and a
to make such a provocative artwork in a classroom. Conversation can lead to PhD candidate in Art Education at the
face -to-face class? Would fellow students be significant understandings of visual art and University of British Columbia, Vancouver,
as willing to discuss the work honestly? can be used to make students more socially Canada. E-mail: mayh@ecuad.ca
Whether the students, or myself, agreed or and culturally aware of their personal
not with the student's approach, the focus of experiences in contemporary SOciety.
the critique remained on the effectiveness of http://heidimay.ca
REFERENCES
Adejumo, C. (2002). Five ways to Deleuze, G .• & Guattari. F. (1987) . A Gabora. L. (2002). Cognitive Smith. D. G. ( 1999) . The hermeneutic
improve the teaching and thousand plateaus: Capitalism and mechanisms underlying the imagination and the pedagogic text.
understanding of art in the schools. schizophrenia. Minneapolis: creative process. In (T. Hewett & T. Pedagon( Interdisciplinary Essays in
Art Education, 55(5) , 6- 11 . University of Minnesota Press. Kavanagh. Eds.) Proceedings of the the Human Sciences. Pedagogy and
Aoki. T. (1996 /2005). Spinning Dewey. j. (1916). Democracy and Fourth International Conference on Culture. (pp. 27-44). New York. NY:
inspirited images in the midst of Education. New York. NY: The Creativity and Cognition. October Peter Lang.
planned and live(d) curricula. In MacMillan Company. 13- 16. Loughborough University. Sweeny. R. (2004). Lines of sight in the
W. Pinar & R. L. Irwin (Eds.). Efland. A. (1995). The spiral and the UK, pp. 126-133. Retrieved from ' netwo rk SOCiety': Sim ulation. art
Curriculum ill a new key: The lattice: Changes in cognitive www.vub.ac.be/CLEA/liane/papers/ education. and digital visual
collected words of Ted T. Aoki (pp. learning theory with implications CandC/cm.htm culture. Studies i'l Art Educatioll.
414-423). Mahwah. NJ: Lawrence fo r art education. Studies in Art Kent. L. (2005) . Studio conversation: 46(1) .74-87.
Erlbaum. Education. 36(3). 134- 153. Approaches for post modern Sweeny. R. (2008) . Unt hinkable
Burnett. R. (1999). 71le radical Erickson. M. (2004). Interaction of context. Journal of Art and Design Complexity: Art Education in the
impossibility of teaching. A revised teachers and curriculum. In E. W. Education, 24(2). 2005. Network Society. In M. Alexenberg
version of a presentation given to Eisner & M. Day (Eds.). Handbook Milbrandt. M .• Felts. J.• Richards. B.. & (Ed .). Edu cating Artists for the
the Federation Internationale des of Research and Policy in Art Abghari, N. (2004). Teaching-to- Fu ture: Leamillg at the Intersections
Sciences Sociales. in Milan. Italy. in Education. (pp. 467-486) . Mahwah. learn : A constructivist approach to of Art. Science. Technology and
1999. NJ: Lawrence Erlbaum. shared responsibility. Art Culture. (pp. 85- 10 I). Chicago. 1L:
Collins. D.• Schwarte. A.• Alkire. K.• Freedman. K.• & Stuh r. P. (2004). Education. 57(5). 19-33. Intellect Books.
Adkinson. P.. Rosichelli. M.• & Curriculum change for th e 21st Osberg. D.• & Biesta. G. (2008). The Thompson. C. (2008). Brave new world
Kallish. A. (2007). Social century: Visua l culture in art emergent curriculum: Navigating a of digital int imacy. New York Times.
networking for learni ng education. In E. W. Eisner & M. complex course between unguided September 7. 2008.
communities: Usi ng e-portfolios. Day (Eds.). Handbook of Research learni ng and planned encultura- Wang. L. (2002) . How teachers use
blogs. wikis. pod casts. and other and Policy in Art Education. (pp. tion. Journal of Curriculum Studies. computers in instructional
internet -based tools in the 815-828). Mahwah. Nj: Lawrence 40(3). 313-328 . practice-Four examples in
foundation art studio. FATE in Erlbaum. Shor.i.. & Freire. P. (1987). What is the American schools. 1ntemational
Review (Foundations in Art: Gabora. L. (in press). Revenge of the "dialogical method" of teaching? Journal of Art & Design Education .
Theory & Education). 29. Retrieved 'neurds': Characterizing creative Journal of Education. 169(3). 11 -3 1. 18(6).687-699.
from www.asu.edu/cfa/art /people/ thought in terms of the structure Short. G. (1998). The high school Wood. J. (2004). O pen minds and a
faculty/collins/Collinswriting. html and dynamics of memory. studio curriculum and art sense of adventure: How teachers of
Davis. B.. Sumara. D.• & Luce-Kapler. Creativity Research Journal. understanding: An examination . art and design approach
R. (2008). Engaging mi'lds: Retrieved from www.vub.ac.be/ Studies in Art Education. 40(1). technology. IIlternational Journal of
Challging teachillg in complex times CLEAlliane/ papers/neurds.htm 46-65. Art & Design Education. 23(2).
(2nd Ed .). New York. NY: Slattery. P. (2006). Curriculum 179-1991.
Routledge. development in the post modern era
(2nd Ed.) . New York. NY:
Routledge.
40 ART EDUCATION / M ay 20 11