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Outwitting squirrels : 101 cunning stratagems to reduce dramatically the egregious misappropriation of seed from your birdfeeder by squirrels

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References for AEO Lecture Presentation 2022

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References for AEO Lecture Presentation 2022

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Making it Work: A Doctoral Student's Struggle to Balance Her Passion for Art History while not Ignoring her Family at Home.

Ps- Daisy and Andrea, this is a very cool assignment!

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From Abstract 12:
"Consciously Creating: Studying thrifting habits of five  artist educators in the Southwest United States."

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1. Art History as a Western Construct: A search for new ways to teach art history through a non-European lens.

2. The problem of teaching non-western art authentically and equitably in western contexts.

3. How to restructure art education curriculum to empower art educators to teach Asian art.

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Applying a New Lens to Art History: Restructuring Art History to include Non-European Voices

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I was scanning the news a few moments ago and ended up clicking on this article: "Russia-Ukraine live updates: Russian forces stay in Belarus"

I think I chose to read the above article because of the phrase "Live Updates." This is a reminder to me to keep my research current and groundbreaking, a challenge complicated by the fact that I am researching art history.

https://www.washingtonpost.com/world/2022/02/20/russia-ukraine-update

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I read this article yesterday for my work in proseminar: Acuff, J. B., PhD. (2019). Editorial: Whiteness and Art Education. Journal of Cultural Research in Art Education (Online), 36(1), 8-12. http://ezproxy.cul.columbia.edu/login?url=https://www.proquest.com/scholarly-journals/editorial-whiteness-art-education/docview/2392447202/se-2?accountid=10226

Who Cares?
All art educators, administrators, museum educators, and policy makers. Or, at least they should.
Why does it matter?
Art educators are complicit in the maintenance and support of systems of white privilege unless we attack these systems actively.

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My point here, that decolonization of art history is necessary, should interest those who teach the Survey of Art History course at the college level because that course establishes an Eurocentric foundation for future learning. Beyond this limited audience, however, my point should speak to anyone who cares about the larger issue of challenging western narratives in education that uphold patriarchy and white privilege.

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Telling a story: An artist-teacher's life in narrative.

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Assembling our city: 120 collage interpretations of the Panorama of the City of New York by 2nd graders at the Queens Museum.

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1. How to guide student-teachers through edTPA while allowing for artistic freedom in the classroom.
2. The tensions between an artist-teacher's art practice and teaching practice.
3. How to bring artistic practice into the teaching of art education.

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This article in the NY Times drew me in:
The C.D.C. Isn't Publishing Large Portions of the Covid Data It Collects

In academic research and writing, it is important to pay attention to what isn't there—the omitted information can be just as or even more important than the information that is readily available. Viewing an issue and writing about it from the "shadow side" (Creswell & Creswell Bàez, 2021, p. 22) or from a different angle can reveal new understandings.

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Travis, S. (2021) “Artists, We Need You”: Artist identity, Creative agency, and the urgency of action. Studies in Art Education, (62)2. https://doi-org.tc.idm.oclc.org/10.1080/00393541.2021.1896250

The central question of this article is: “How young people navigate and negotiate identities as artists and consider the personal, social, and political implications of their work” (Travis, 2021, p. 144). Who cares? Art teachers, arts administrators, parents of teens in art classes, community members and any involved, active citizen of contemporary society.
Why does it matter? Art education can have a powerful and positive impact on helping young people to navigate the relationship of self to society and to consider actions and solutions to real world problems.

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My point here is that the issue of creative agency should interest those who teach art in high schools. Beyond this limited audience, however, my point should speak to anyone who cares about the larger issue of freedom of expression.

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My memoir title would be, "Doing the Walk: An Art Historian's Exploration of What It Means to Be an Art Educator in New York City"

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1. How do we ensure public art is maintained and prioritized in city planning?
2. How do we maintain aspects art education and art appreciation in everyday life (i.e. non traditional art spaces)?
3. What does being an art educator mean outside of the classroom and how do we elevate these types of educators?