In this paper, I combine an overview of Elisabeth Young-Bruehl’s (1996) socio-psychological examination of group prejudices with a critical examination of artwork by Juan Sánchez to illustrate how issues-based studies of works of art help teachers and students examine and resist biases and prejudices that contribute to oppressive or hegemonic actions
This paper presents two master graduation design projects that address unconscious biases (UB) in th...
Can a Tracey Emin bed or a Grayson Perry pot be a more productive object of study than a Raphael Mad...
Our lives are mediated through the visual (Mirzoeff, 1999; Freedman, 2002). This mediation informs, ...
In this paper, I combine an overview of Elisabeth Young-Bruehl’s (1996) socio-psychological examinat...
Culture has always had a substantial influence on how art is perceived and executed. Artists have, m...
This Chapter illuminates the challenges of studying art at university for students from poor and wor...
In this study I attempt to shed light on the experiences of the teacher researcher and university st...
Looking back at art education’s past, the authors find too little space for some of us to situate ou...
The Library of Congress Classification System (LCC) and its subject headings (LCSH) are not neutral;...
Factors of social class, race, gender, and sexuality are important to any understanding of the socia...
During the past two decades, art educators have been made more aware of the influence of ideologies ...
It is a conventional assumption in art education that all experience with art contributes to the stu...
The standards by which we assess the legitimacy of knowledge production are deeply biased: resting i...
Every form of communication, even every culture , is depending on the interaction betwee...
What we consider to be obvious, true, or commonsense depends on the various assumptions we hold. Bec...
This paper presents two master graduation design projects that address unconscious biases (UB) in th...
Can a Tracey Emin bed or a Grayson Perry pot be a more productive object of study than a Raphael Mad...
Our lives are mediated through the visual (Mirzoeff, 1999; Freedman, 2002). This mediation informs, ...
In this paper, I combine an overview of Elisabeth Young-Bruehl’s (1996) socio-psychological examinat...
Culture has always had a substantial influence on how art is perceived and executed. Artists have, m...
This Chapter illuminates the challenges of studying art at university for students from poor and wor...
In this study I attempt to shed light on the experiences of the teacher researcher and university st...
Looking back at art education’s past, the authors find too little space for some of us to situate ou...
The Library of Congress Classification System (LCC) and its subject headings (LCSH) are not neutral;...
Factors of social class, race, gender, and sexuality are important to any understanding of the socia...
During the past two decades, art educators have been made more aware of the influence of ideologies ...
It is a conventional assumption in art education that all experience with art contributes to the stu...
The standards by which we assess the legitimacy of knowledge production are deeply biased: resting i...
Every form of communication, even every culture , is depending on the interaction betwee...
What we consider to be obvious, true, or commonsense depends on the various assumptions we hold. Bec...
This paper presents two master graduation design projects that address unconscious biases (UB) in th...
Can a Tracey Emin bed or a Grayson Perry pot be a more productive object of study than a Raphael Mad...
Our lives are mediated through the visual (Mirzoeff, 1999; Freedman, 2002). This mediation informs, ...