Art Education and the Possibility of Social Change

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Art Education and the Possibility of Social Change
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National Art Education Association
Art Education and the Possibility of Social Change 
Author(s): Peggy M. Albers 
Source: Art Education, Vol. 52, No. 4, Teaching Art as if the World Mattered (Jul., 1999), pp. 6-
 11
Published by: National Art Education Association
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 BY PEGGY M.
 Ed
 BY PEGGY M.
 ALBERS
 P1
 0f
 [The artwork] had more
 power to stop me than I had
 power to walk on.
 (Winterson, 1995, p. 3)
 ange
 W in sinterson's words are revealing because they invite us to look behind the
 canvas and into the world of the artist. These two worlds, that of the artist
 and the viewer of the artwork, offer us insight into art education and the
 worlds that students create through their artworks. Through students' art-
 works, educators are more able to identify how students see their world and how their
 visual constructions of meaning reveal their own beliefs about social locations such as gen-
 der, race, class, and sexual orientation. This view may offer teachers insights into what cur-
 ricular engagements they can provide to help students identify and rethink their beliefs
 about their role in the larger world.
 ART EDUCATION / JULY 1999
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 This article emerges from a 2-year
 ethnographic study in a sixth grade
 art classroom in which I explored both
 the processes through which students
 become literate in art and the under-
 pinning socio-political beliefs they
 bring to their artworks (Albers, 1996).
 Art plays two important roles in school
 curricula: to release students' imagi-
 nations (Greene, 1995), and to reveal
 visually students' beliefs about them-
 selves, their roles in society, and
 social locations. This paper addresses
 two particular issues: First, as stu-
 dents become literate in art, how does
 this literacy open yet another avenue
 through which they can express their
 ideological beliefs? Second, when stu-
 dents do express their meanings, how
 do art educators, and other teachers,
 use these visual images to initiate con-
 versations which help students trans-
 form their current beliefs?
 This article is aimed at both art
 educators and general educators who
 encourage students to use art as an
 expression of meaning. However, the
 issues presented in this paper are
 intended to offer art educators ways in
 which to initiate deeper conversations
 with their colleagues about how art
 can inform curriculum and practice.
 ART EDUCATION AND A FOCUS
 ON THE SOCIO-POLITICAL
 The visual arts are perceived as a
 powerful way for students to explore
 their worlds, to know themselves and
 their relationship with the world, and
 to become better human beings by
 working with the arts (Willis &
 Schubert, 1991). I agree with those
 who argue that the arts are underval-
 ued in schools and are important to
 every discipline (Amstine, 1990; 1995;
 Collins, 1995; Eisner, 1991; Greene,
 1995; Harste, 1994). Even though
 there is much literature focused on
 the importance of the arts to students'
 schooling, art educators have chosen
 to connect art with other disciplines
 and to justify the importance of art
 education in school curricula.
 Discipline-Based Art Education has
 provided art educators with a way to
 defend and promote the arts in school
 curricula by offering students a deep-
 er understanding of art criticism, art
 production, art history, and aesthetics
 (Eisner, 1990). However, as Collins
 (1995) argues, the pedagogy of art is
 far from democratic, and "tend[s] to
 enshrine the art, heroes, practices and
 values of the Western mainstream art
 tradition, an art tradition dominated
 by a White, European, heterosexual,
 middle or upper-class male world
 view" (p. 53).
 Critical theorists, feminists, and
 multiculturalists object to curricula
 that center on White and Western
 experience because the knowledge
 presented tends to disenfranchise cer-
 tain groups while embracing others
 (Collins, 1995). The work of Christian-
 Smith (1990), Gilbert (1989a, 1989b,
 1994), Gilbert and Taylor (1991), and
 Walkerdine (1990), specifically link
 the importance of writtenlanguage
 and ideology with gendered meaning
 making. These scholars suggest that
 meanings of females, males, and their
 lifeworlds are constructed through
 stories, music, literature, school texts,
 and popular culture predominantly
 presented in the perspectives of White
 Eurocentric males. These texts collec-
 tively organize and construct female
 and male experience in particular
 ways, often subordinating the experi-
 ence of females. Over time, these con-
 structions become regimes of truth
 (Walkerdine, 1990) or normal and
 accepted beliefs about masculinity
 and femininity, and are often recon-
 structed in the meanings that people
 make. It makes sense, then, that this
 argument would hold true for stu-
 dents and their visual constructions of
 meaning. In his overview of the histo-
 ry of art education, Efland (1990) sug-
 gests that art education has done little
 to "free [itself] from the control of the
 dominant groups" (p. 255). Feminists
 like Greene (1988, 1995) argue that
 without some dialogic exchange in
 which students are asked to interro-
 gate the normal, and reconstruct a dif-
 ferent vision of their social and
 physical life worlds, students will con-
 tinue to reproduce these "truths."
 That is, they will continue to under-
 stand their role as passive receivers of
 knowledge, that knowledge is static,
 and that meaning making is nonpoliti-
 cal.
 Students' visual construction of
 meaning, however, is not static and
 their construction of visual meaning is
 highly charged with ideology (Albers,
 1996). As students develop their skills
 and techniques in art, they also
 become more proficient at represent-
 ing their ideological beliefs. From
 these visual representations, educa-
 tors, both in art and other content
 areas, can learn a great deal about
 what goes on inside the students'
 minds as they construct these mean-
 ings. Students' thinking, as Greene
 (1995) suggests, is in constant flux,
 and students' visual constructions of
 meaning invite opportunities for edu-
 cators to engage students in cross-dis-
 cipline, socio-political conversations
 about their view of the world.
 According to Efland (1990), these con-
 versations in art education are long
 overdue.
 JULY 1999 / ART EDUCATION
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 LITERACY IN ART: ANOTHER
 AVENUE FOR EXPRESSION OF
 SOCIO-POLITICAL BELIEFS
 In the course of my work in Ms.
 Wolfs middle school art classroom, I
 found that many students, especially at
 the beginning of the term in sixth grade
 art, believed that art was of little impor-
 tance to their lives. Many resisted art as
 a school subject because their elemen-
 tary art teachers had reaffirmed their
 belief that art is only for the "talented
 few," is irrelevant to their lives, and is
 indecipherable. Nearly all students
 with whom I worked recalled stories in
 which art teachers tore up their work,
 erased it, or chose not to display certain
 artworks because they were perceived
 as being not as good as others.
 In large part, these students found
 art problematic and irrelevant because
 they were not given opportunities to
 become more literate in it, nor did their
 teachers seem to think that they could
 develop in their art literacy. As such,
 they developed a negative disposition
 toward art and art education, and
 entered middle school believing that
 these art classes would be the same.
 However, Ms. Wolf, their middle
 school artist educator with a strong
 feminist philosophy and pedagogy,
 offered them different experiences with
 art. She built upon their art skills,
 taught specific techniques and strate-
 gies which enabled students to become
 better artists, and offered them a great
 deal of choice within the art curricu-
 lum. For example, Crystal, a sixth grad-
 er, found that she "like[s] [art] better
 than last year. I can do more things bet-
 ter than last year .... I can imaginate
 [sic] better." In their final journal entry,
 students were asked to reflect upon
 themselves and their development as
 artists. Nearly all the students stated
 that they had become better, in essence
 they had become more literate in the
 use of the tools and in their expression
 of meaning, and that they liked art.
 They could, as one sixth grade student
 commented, "express my thoughts and
 beliefs better."
 As they evolved in their art literacy,
 students also improved in their ability
 to express their beliefs about gender,
 race, and sexual orientation. In a con-
 versation concerning the abilities of
 female and male artists, Kevin, Roberta,
 and Frances (as did many other stu-
 dents), indicated their biased assump-
 tions about what subject matter and
 emotions females and males draw:
 Ms. Wolf: What were some of the
 reasons for your predictions about
 women?
 Kevin: On the print with the flow-
 ers, I chose a woman because
 women like flowers.
 Roberta: Men can be naturalists,
 too.
 Frances: On the print with the
 monkey. You think, why would a
 man do this? Women like cute
 things and do cute things.
 Students in this classroom not only
 expressed orally their understanding
 about the abilities of males and females,
 they also reproduced them in their art-
 works. On the whole, nearly all of Ms.
 Wolfs students tended to migrate
 toward subject matter commonly asso-
 ciated with a particular gender. That is,
 females tended to construct subject
 matter such as flowers, children, rela-
 tionships with animals and humans,
 romance, religion, and family. Males
 tended to choose subject matter that
 depicted blood and violence, sports,
 weapons, cars, heavy metal music
 groups, and leisure activities. Although
 the majority of the females were drawn
 ART EDUCATION / JULY 1999
 Through students' artworks,
 educators are more able to identify
 how students see their world and how
 their visual constructions of meaning
 reveal their own beliefs about
 social locations such as gender, race,
 class, and sexual orientation.
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 to feminine-identified subject matter,
 there were several females who did
 construct artworks that centered
 around interests commonly associated
 with males, such as sports and cars.
 However, males in this class never
 strayed into the subject matter com-
 monly associated with females.
 Colors also played an important part
 in understanding how students identify
 themselves in terms of gender. Girls in
 Ms. Wolfs class most often chose soft-
 er hues, like pinks, yellows, light blues,
 while males used more aggressive
 hues, like blacks, browns, and purples.
 In this next conversation, students dis-
 cussed their biases when considering
 why males and females choose particu-
 lar colors:
 Ms. Wolf: What colors did you
 think women would use?
 Tony: Soft, soft colors, really.
 Patrick: Bright colors.
 Ms. Wolf: Why did you think
 that? Can you take this one step fur-
 ther into your brain and say why you
 thought that?
 Larry: The pictures that showed
 blood, the bloody stuff, is more
 rougher. And women are made of
 sugar and sweet stuff.
 As students became more literate in
 reading the colors and the images that
 are often associated with particular gen-
 ders, they tended to reproduce them in
 their own artworks and talked about
 them in conversations with each other.
 These ideological beliefs also surfaced
 in students' ideas about race and sexual
 orientation. Lane, a White sixth grade
 male constructed a large cone-shaped
 papier mache sculpture that resembled
 a Ku Klux Klan (KK) mask. Our con-versation was brief:
 Peggy: Hi Lane, what are you
 making?
 Lane: Amask.
 Peggy: How did you think of this?
 Lane: I saw it in a book and
 thought it was cool. I just wanted to
 make one.
 Lane's community has a history of
 racism and intolerance for nonwhites
 and gays, and Bruner (1996) argues
 that students' work indicate their col-
 lective and cultural thinking. Lane's
 work demonstrated not only his devel-
 oping literacy in art technique, but iden-
 tified him as a member of a group who
 believe that they are the more superior
 race. Similarly, students expressed
 homophobic beliefs in their commu-
 niques and conversations. For exam-
 ple, Lydia signed my yearbook
 "D-N-Q," which means "dearly not
 queerly."
 These examples highlight the
 importance that the visual arts play
 when identifying curricular and peda-
 gogical areas for educators to rethink.
 When images are visible and problem-
 atic beliefs are shared through conver-
 sations, educators can begin to
 introduce both print and nonprint texts
 that offer students different perspec-
 tives on the role of women and men,
 nonwhite groups, and gays. In this way,
 the visual arts have a much more sub-
 stantive role in the core curriculum
 than previously thought.
 CRITICAL CONVERSATIONS
 AND EXPERIENCES TO
 ENCOURAGE SOCIO-POLITICAL
 AWARENESS
 As a feminist artist educator, Ms.
 Wolf understands her responsibility to
 help students identify and reflect upon
 their beliefs about gender, race, sexual
 orientation, and class. This dialogic
 approach (Greene, 1995) opens up
 possibilities to help students reposi-
 tion their beliefs and think more
 democratically about such issues as
 homosexuality:
 Ms. Wolf: Why do you think the
 artist is a male?
 Carl: It's a picture of a girl naked
 and a girl wouldn't draw herself.
 Ms. Wolf: What if she was in an
 art class and the model was female?
 Frank: She's a pervert.
 Carl: Only males would draw
 naked ladies.
 Ms. Wolf: If a woman drew anoth-
 er woman, would you say she is gay?
 Several male voices blend: Only if
 she was naked.
 In this 40-minute discussion, Ms.
 Wolf did not reprimand her students
 for sharing their assumptions about
 sexual orientation. Rather, she careful-
 ly and thoughtfully asked questions
 that challenged students to think more
 deeply. Ms. Wolf has a heightened
 awareness of how deep stereotyped
 views of females, nonwhite groups,
 and gays run in this community, yet
 she also understands that she must
 offer experiences which help students
 interrogate their ideas about art and
 artists and, in some cases, dismantle
 entrenched and often stereotypical
 beliefs about certain groups. One such
 experience invited students to exam-
 ine a set of prints and predict the gen-
 der of the artist. The results revealed
 that many students held sexist views
 of what males and females artists are
 capable of creating. Ms. Wolf
 explained to her students, many of
 whom were surprised at their sexist
 ideas, why certain assumptions
 become accepted as "normal:" "When
 JULY 1999 / ART EDUCATION
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 we grow up in a sexist society that
 doesn't value women's experiences,
 we tend to incorporate those beliefs
 into our own belief systems .... [We
 need to] bring to light and interrogate
 such misconceptions expressed by
 students [in order to] create class-
 rooms as democratic spaces."
 Students learned about their beliefs
 from these discussions, which, in turn,
 enabled them to view and interact with
 their world differently. They are affect-
 ed by the conversation and are not the
 same people after these experiences.
 For example, Jane, a sixth grade stu-
 dent reflected upon these experiences
 and conversations in this way:
 I've learned that male and female
 artists think in almost the same way.
 Just because they are male or female
 doesn't mean that they should or do
 think in a particular way. I think that
 men and women seem much similar
 because I have found out that the
 only way they are different is basical-
 ly their physical appearance.
 Not all students transformed their
 beliefs, yet the experience of talking
 about issues of social location may have
 opened up and raised a consciousness
 that was not there before. Art makes
 visible beliefs that are often invisible in
 other content areas. It is this sense of
 awareness that helps students under-
 stand their role in a larger society; one
 in which they must be thoughtful par-
 ticipants. It is out of this thinking that
 students can become more critical dis-
 cussants about pluralistic issues, which
 then, I believe, can initiate social
 change.
 Art offers us something seldom seen in
 other content areas of the curricu-
 lum: an immediate emotional and
 intellectual response to other
 perspectives. Unlike the texts in many
 other content areas which take an
 abundance of time to read, with art, we
 stop, we respond, we reflect-
 often in a matter of a few moments.
 Art, then, takes on a powerful and
 pivotal position in the curriculum.
 ART EDUCATION AND THE
 POSSIBILITY OF SOCIAL
 CHANGE
 Greene (1995) reminds us that the
 role of imagination is not "to resolve,
 not to point the way, not to improve. It
 is to awaken, to disclose the ordinarily
 unseen, unheard, and unexpected" (p.
 28). In this paper, I attempted to awak-
 en two different and important roles
 that art education plays in schooling:
 (a) to recognize that at the same time
 students become more literate in art,
 they also make visible their ideologies
 in their visual texts, and (b) to acknowl-
 edge how art can initiate difficult, yet
 crucial, critical discussions to help stu-
 dents rethink and, perhaps, transform
 their present beliefs.
 These important issues suggest that
 educators, not just art educators, may
 wish to consider changes in classroom
 practice and knowledge construction.
 Many educators have written about the
 importance of including the literature,
 history, science, and art of females,
 nonwhites, and gays into school curric-
 ula. Yet, inclusion of these voices is
 ART EDUCATION / JULY 1999
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 only one step in bringing about social
 change. Educators must also engage
 students in lively, controversial, and
 important conversations about their
 role in the larger society. We must con-
 tinue to ask the larger questions in
 school: What does it mean to position
 one group as more powerful than
 another, as Lydia did when she signed
 "D-N-Q"? Why is it that even today
 when we have more images of women
 in powerful positions, do boys and girls
 continue to have stereotyped beliefs
 about the interests and abilities of
 females and males? How do the visual
 arts invite us to see multiple perspec-
 tives?
 Art offers us something seldom
 seen in other content areas of the cur-
 riculum: an immediate emotional and
 intellectual response to other perspec-
 tives. Unlike the texts in many other
 content areas which take an abun-
 dance of time to read, with art, we stop,
 we respond, we reflect-often in a mat-
 ter of a few moments. Art, then, takes
 on a powerful and pivotal position in
 the curriculum. Although Lane's KKK
 mask is a very disturbing artwork, and
 the other students' ideological state-
 ments about gender and gays are
 problematic, educators can begin to
 make more thoughtful decisions about
 which texts they might introduce in
 classes to help students like Lane
 rethink his present position on African
 Americans. Rather than censor these
 artworksand conversations, educators
 can offer experiences to help students
 understand the root of these biases,
 and present opportunities for them to
 talk about their stereotypes. Greene
 (1988, 1995) argues that without some
 dialogic exchange in which students
 are asked to interrogate the normal,
 and reconstruct a different vision of
 their social and physical life worlds,
 students will continue to perpetuate
 these representations in artworks and
 conversations. They will continue to
 believe that meaning making is nonpo-
 litical and reproduce images that are
 disturbing.
 Although I believe that the visual
 arts can "bring things to life" and offer
 "new dimensions and unanticipated
 meanings, and expand [our] own
 experiences" (Beyer, 1996, p. 257),
 educators must not ignore the propen-
 sity of the visual arts to make visible
 ideologies that position some groups
 as more privileged than others. By
 acknowledging that "difficult" art-
 works will arise, we can begin to open-
 ly discuss such issues that involve
 gender, race, and homosexuality and,
 with time and thoughtful engagements
 and questioning, we can forward art as
 a powerful way to instigate changes in
 students' beliefs about themselves and
 others.
 PeggyAlbers is an assistant professor of
 literacy at Georgia State University in
 Atlanta.
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 ecstasy and effrontery. London: J. Cape.
 JULY 1999 / ART EDUCATION
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	Contents
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	Issue Table of Contents
	Art Education, Vol. 52, No. 4, Jul., 1999
	Front Matter [pp.1-3]
	An Editorial
	Teaching Art as If the World Mattered [pp.4-5]
	Art Education and the Possibility of Social Change [pp.6-11]
	Listen to My Picture: Art as a Survival Tool for Immigrant and Refugee Students [pp.12-17]
	Art Class: What to Do When Students Can't Hold a Pencil [pp.18-22]
	Folk Art as Communal Culture and Art Proper [pp.23-35]
	Instructional Resources: Expressive Intent in Drawing [pp.25-32]
	Folk Art and Outsider Art: Acknowledging Social Justice Issues in Art Education [pp.36-41]
	It's Catch-Up Time for Aesthetics [pp.42-46]
	National Art Education Association Constitution and ByLaws [pp.48-52]
	Back Matter [pp.47-54]