In this article, I reflect on how my positioning along axes of disability, race, and class shapes my interaction with dominant discourses of motherhood and on how these tensions are explored in "The Mother," a public installation of my artwork shown in 2023. Situating myself in the liminal space between participation in and resistance to…

The Moth is a nonprofit performing arts organization dedicated to true stories told live, and its education programs make space for students and educators to tell their stories. In this edited transcript of a panel discussion given by student alumni of Moth storytelling programs, participants discuss the impact of personal narrative performance on…

The Waterhouse Natural Science Art Prize is organised by the Museum of South Australia each year, with the winning works typically touring to other states. Named after the founder of the museum, it features art inspired by science. A recent visit to the finalist's exhibition of the Waterhouse prize had the author thinking about the narrowing of…

The consideration of color/lighting in time-based media resurfaced for the author in the cinematic creation of "Moonlight" (Romanski & Jenkins, 2016), and subsequently in the creation of "If Beale Street Could Talk" (Barnard et al., 2018). She was moved by the thoughtful consideration of color/lighting/editing, which would…

Augé defined non-place as space lacking meaningful relations with other spaces, historical presence, or concern with identity-space divorced from anthropological place. Rather than space as historically-centered, marked and fashioned by social bonds, Augé's non-place represents a de-centering of space, a movement away from cities, dwelling places…

This paper reveals the journey of two settler-researcher-educators supporting learning in preparation for Carey Newman's Witness Blanket Art Exhibit. Invited to create curriculum for students and educators of K-12 who would visit the exhibit, the authors describe co-curricular making as a living, re-generative, re-cursive experience. The learning…

Olivia Gude has a long and distinguished career as both a public artist and an art educator. She is currently the Angela Gregory Paterakis Professor and Chair of Art Education at the School of the Art Institute of Chicago (SAIC), where she works with graduate and undergraduate students to prepare for working as artist educators in school and…

In this commentary, educator and author Katherine Boydell reflects on her journey to incorporate art genres in the research process as a knowledge translation strategy for producing and disseminating research-informed knowledge. She highlights the need to move beyond descriptions of form and content to grapple with the unique methodological,…

As a public artist and designer, I construct spaces that connect people and ideas. The social spaces I create challenge our traditional ways of thinking, knowing, and experiencing one another and our cities. This piece presents a resistance to preset disciplinary values and a recognition that exponential rather than incremental change in an…

Recent changes in art teacher certification requirements in New York, the state in which I teach, have prompted me to reconsider relationships between language, contemporary art, and art education. New York is participating in the educational Teacher Performance Assessment (edTPA), a national version of the Performance Assessment for California…

This article questions the use of the term 'siloed' to describe certain degrees or subjects in the Australian university curriculum. Education Minister Dan Tehan used the term as part of a justification of a re-set of funding priorities for university education from 2021 which he announced in June 2020. The Minister partly turned his argument on…

Today there is a lot of discussion about creative economies and how cities are the engines driving growth in a variety of industries. But cities are not merely rows of buildings, or sets of laws, such as zoning ordinances or parking regulations. A city is, rather, a set of dynamic experiences that we all participate in as co(labor)ators. As a way…

In this interview, biologist, artist, and shiatsu healer Artemis Papert describes how computational thinking can help people organize their thoughts in a more formal way. She discusses TurtleArt, a software that allows both children and adults to create two-dimensional static art images using geometry and coding as a medium. TurtleArt not only…

Ellen Winner is a psychologist and a professor at Boston College. She specializes in psychology of art. In this interview, she answers the following questions including: (1) What are you currently working on, researching? (2) Could you elaborate on the intrinsic value of art education? (3) How might you compare your work today to earlier advocates…

Stacy Boldrick is a Lecturer in Art Museum and Gallery Studies at the University of Leicester, where she conducts research in iconoclasm and its significance for social groups and institutions. She is the author of "Iconoclasm and the Museum" (Routledge, 2020). In 2013, she collaborated with Tabitha Barber to curate Art Under Attack:…