How might art educators work with the Judy Chicago Art Education Collection?

Judy Chicago’s teaching methodology, similar to the way she approaches artmaking, begins with self-presentation, which leads to content-searches as arts-based research to situate individual experience within a larger context. Her methodology guides how to transform personal experience into a tangible content-based visual expression that is accessible to and engaging for a larger community.

When you look at the artworks produced within Judy Chicago’s 11 different teaching projects, they stimulate discussion. The images are incredibly powerful. The teaching materials from the Feminist Art Program, founded in 1970 by Judy Chicago in Fresno, California, along with Chicago’s other teaching projects between 1970 and 2005 are historically significant in the development of feminist art pedagogy as processes that can contribute to socially responsible participatory democracy.

See http://judychicago.arted.psu.edu/ for information about the Judy Chicago Art Education Collection and to see digitized materials from the Collection.

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About naeawcvoices

The official blog of the National Art Education Association Women's Caucus Voices Project. Speak up, be heard, redefine.
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2 Responses to How might art educators work with the Judy Chicago Art Education Collection?

  1. naeawcvoices says:

    Research & Discussion Questions:

    1. Judy Chicago’s collection of materials about her feminist art pedagogy situates the personal as political. From an introspective inquiry into Judy Chicago’s archive how can we better understand our own art education as learners and teachers?

    2. What is feminist archival sensibility? Is there feminist archival sensibility in the process and stewardship of the Judy Chicago Art Education Collection?

    3. What are beginnings of feminist art and its relationship to feminist art education? How has it changed during the span of the years of the Collection, 1970-2005.

    4. If feminist art programs over the years have demonstrated their importance and effectiveness, why are there no feminist art institutions today?

    5. What are the themes in the student artwork that emerge in the 11 teaching projects? How are the theories, principles, practices, and philosophies manifested in student work from the projects, which concern masculinity, or intersectionality of gender, class, and race? What are the areas of contention, and why is there contention toward feminist art pedagogy?

    6. Studies about the learning in the teaching projects, might ask: Does consciousness gets raised in the process of learning how to find one’s own voice and express self efficiently, effectively, and aesthetically? In what ways have the students involved in Judy Chicago’s teaching projects changed their way of thinking about themselves, others, issues in the world in the process of creating content-based art?

    7. In what ways have others applied Judy Chicago’s pedagogical methods? What is the shape and space of the learning and teaching when men apply Chicago’s teaching methodology?

    8. What is absent, what is missing, what is erased in the histories of Judy Chicago’s teaching? There are different forms of censorship. What happened in Congress concerning The Dinner Party was overt, but erasure, silence, exclusion are much more subtle and way more pernicious. There is censorship by omission.

  2. naeawcvoices says:

    How does Judy Chicago’s teaching develop cross curricular connections and how can K-12 teachers address the controversial topics that may arise from an art pedagogy that is content-based?

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