Abstract Lillian Michiko Yano Blakey (b. 1945, Alberta, Canada) is a third-generation Japanese Canadian artist and a former art educator and education consultant. Her art works not only integrate critical multicultural perspectives but also provide educators with themes and types of art forms that challenge racism and promote a more equitable society. Co-written by Hyunji Kwon and Lillian Michiko Yano Blakey, this study first presents Yano Blakey's biography, intertwining her family story with the history of anti-Japanese racism in Canada. By employing deductive thematic analysis, this study analyzes her art works as embodiments of art education scholar Joni Acuff's critical multicultural art pedagogy. The study also outlines conceptual and practical implications for educators, encouraging them to guide their students in thinking critically and adopting similar approaches in appreciating and creating art.
Abstract We are four Taiwanese women artist-researcher-educators writing to you from the United States, the United Kingdom, and the Netherlands. Living among lands, languages, and cultures distinct from our shared mother tongue, we keep our “Public Art Diary-Dialogue” (PADD) (2022–2024) as self-expression and to nurture a transnational feminist community in patriarchal U.S.-European contexts. Inspired by Shigeko Kubota's Broken Diary video project and transnational feminism, we develop TAP art pedagogy in PADD: Transnational Linguistic Freedom, Art (Ex)pression, and Prompts for Self-Reflection. We ask: In exploring how the personal becomes political by playing with the private and the public within our transnational stories, how can we integrate our embodied transnational knowledge into our art pedagogy? Through our three transnational feminist narratives, we articulate personal experiences intertwined with challenging external worlds through art. “Public Art Diary-Dialogue” captures the nuances of private-public boundaries across three nations and two languages, presenting a transnational public art diary-dialogue pedagogy in art education.
Abstract This article presents findings from a preliminary exploration of preservice art teachers’ perspectives on incorporating generative artificial intelligence (GenAI) into art education. Through a GenAI workshop, participants engaged with GenAI technologies like ChatGPT, Midjourney, and Craiyon to explore text-to-text and text-to-image applications. The results from pre- and post-surveys shed light on how these future art educators perceive the benefits and challenges of human-AI interaction in art education. Instead of resisting AI influences, the authors discuss ethical concerns, pedagogical considerations, and recommendations for future research. By empowering preservice art teachers, the authors aim to foster a forward-thinking approach to art education in the digital era.
Abstract In this article, I delve into the challenges and contemplations encountered as an art educator in China using the visual autoethnography method as a tool within a setting where art education policies diverge from teaching practices. Through the narrative of thematic collage works, I aim to express my true inner voice, resonate with art educators or related groups who have similar experiences, and propose effective strategies to alleviate the pressure and powerlessness of art teaching. The study also emphasizes the critical role of children's creative expression in their development and advocates for a more inclusive and supportive educational environment. Key findings suggest that visual autoethnography offers a powerful method for art educators to reflect on their teaching practice, address the challenges of children's art education, and propose strategies for fostering a nurturing and creative learning environment. Additionally, this research contributes to the broader discourse on art education by calling for educational practices that genuinely align with the needs and rights of children.
