Pedagogy of Art History

The “Celto-Germanic” tradition should be added to the discussion of “Western Culture,” which is often presented as being simply the union of the Judeo-Christian and Greco-Roman cultural traditions. Using only two neither adequately illuminates medieval Europe nor some of the conflicts that exist within modern Western civilization. While there are many popular books and websites devoted to the subject of the early Celts and Germans, American art history and humanities survey texts minimize this early material. A visual and art historical approach makes it possible to present a more inclusive, balanced, and integrated view of ancient Western civilization.

In this writing, I conceptualize the curricular explorations, experiments, and improvisations in a collaborative high school art and architecture history course as a curatorial riffing that activated a curricular architecture from which new and differential histories emerged. Homologous with curatorial experimentation, the curriculum consisted of historical and contemporary works of art and architecture positioned along side disparate, seemly-unrelated tasks, events, and students' memories and cultural histories to evoke from their interstices a plurality of discursive encounters, alliances, and emissions. The curatorial contingencies of that curriculum will be conceptualized in curatorial, cross-citational 1 alliance with the following theoretical constructs: the movement-image and time-image of Gilles Deleuze as they activate thinking standardized figurations of curricular scope and sequence differently; thinking historical discourse as a curatorial plurality according to Michel Foucault's notions of heterotopia and genealogy differently from hegemonic curricular constructs; and, the implications of Paul O'Neill's concept of the curator as artist in thinking curricular creation in terms of curatorial performance.

Art history offers a unique opportunity for students to encounter real, historical examples of the creative process in action. By showing examples of the complex process through which artwork is created, art history classes can provide emulative examples for the next generation of innovative designers, artists, historians, educators, and creative thinkers. Art history has a tradition of teaching Big-C creativity principles by highlighting creative products and individuals. Therefore, the art object is emphasized at the expense of unpacking the process and everyday, or mini-c, creativity of the work. At a time when the field of Art History is beginning to ask itself what it really wants students to gain from their classes, creativity should be one of those skills. The purpose of this paper is to present a pedagogical framework for reconsidering the way art history material is presented to students in a way that promotes personal creativity growth. The suggestions in this article take advantage of strengths that are already present in the field of art history, while also pointing out new means of bridging the gap between Big-C and mini-c creativity by incorporating principles of design thinking. This article includes a sample lesson of what Creativity-Integrated Art History (Cr-IAH) can look like.

Download here: https://works.bepress.com/marice_rose/17/ This article describes an approach to teaching ancient Roman art using historical empathy and current world events to foster students’ engagement with, and learning about, both ancient Roman art and, more broadly, the power of art. This pedagogical approach can inspire richer understanding and increased motivation to learn, while offering possibilities for civic engagement. The suggestions may be helpful for secondary or college-level teachers of Roman art, and for classics teachers who incorporate ancient visual culture.

How do we make Art History more accessible? How do we widen participation in a discipline that is often seen as elitist and Eurocentric? These were some of the problems I was grappling with when I decided to found Open Arts Objects, an open access platform that now has over 50 films that support the teaching of Art History in schools and beyond. But is open access enough? This talk will address some of the challenges and opportunities we have faced and still face in widening participation. Central to these concerns are also the questions around the relationship between decolonising the curriculum, democratising the discipline, and globalising Art History.