Museums have a history of being elitist institutions for educated, upper-class, White audiences. However, in recent decades, many museums have worked to overcome this idea by providing visitor-centered approaches to refocus their efforts and concentrate on the needs and interests of all visitors, rather than the objects on display. One population…

The COVID-19 pandemic has forced museum educators to draw on new resources, which has led to the increased use of social media as an educational tool. This qualitative study explores museum education through social media using an adapted museum education theoretical model. The more specific aim is to address the approaches, experiences, and…

The inflecting intensity of artworks will be characterized as an affirmative critique of the archival objectives of the museum in the article that follows. It will be argued that the nuanced, vibrant materiality of art, the pedagogy that constitutes its aesthetic experience, enables ways of working out of the limits of the museum's archival…

Amid the imperative call for using digital artwork images and e-learning activities in planning and delivering the art curriculum heightened by rapid technological development and COVID-19, we propose a visual arts teacher-curator pedagogy and investigate its effectiveness in Hong Kong's primary and secondary schools. The pedagogy is set out to…

This article examines how community art centers of the Federal Art Project (FAP) of the Works Progress Administration served as a third space, one that was explicitly designed to be different from art museums at that time. Created to employ artists during the Great Depression under President Franklin D. Roosevelt, goals of FAP programs included…

Ralph Pearson's Design Workshop was a center of progressive art education in New York. However, based on the correspondence courses that he developed, he was able to reach artists and art educators across the United States. Women artists and art educators dominated his courses and went on to play an important role in spreading progressive art…

The authors conducted a workshop on video creation using artworks from a museum collection as materials. The aim of the study was to examine how video creation can involve a variety of people, organizations, concepts, themes, and politics and sustain interest in art. The project was developed in collaboration with a university, an art museum, a…

Place has long been noticed, made, developed, and narrativized in favor of settler majorities' economies and hegemonies. Disregarding Indigenous presence and land, the terror on the land continues in the form of dislocation and dispossession of Indigenous, Black, and other minoritized communities of color, along with racial segregation and…

Historically, minority women artists and scholars of color have been ignored by the White patriarchal canon of art education and the arts. I uncrate Josefina Aguilar's 14-piece clay "muñecas," which have been stored away in the Palmer Museum of Art for more than two decades, to demonstrate this lack of exposure. I position my own Latina…

Art museum educators have drawn on contemporary learning theories emphasizing viewers' meaning-making as individual, constructed, contextual, and subject to interpretation. This learner-centered turn toward meaning-making and away from the object and the discipline of art applies especially to young children's learning, which needs to be…

Art classrooms and museums are places where teachers and students talk about artworks. However, there is a lack of empirical research into dialogue--the most basic component of classroom teaching and the most used education strategy in museums. I investigated the development and experimentation of a dialogue-and-questioning framework for art…

In the 1950s and 1960s, the Department of Education of the Museum of Modern Art (MoMA) in New York reached the pinnacle of success. Within a span of a few months, however, programs were canceled, the staff of 40 was given notice, and their office and gallery spaces were reassigned. The evidence suggests that MoMA's staff fractured along class…

In this article, I examine the intersecting ideologies and practices of community engagement, social practice art, and community-based art education through social interaction and cooperation. Using a case study of art education courses I have taught, I make connections between these three practices, focusing on the democratic concepts of civic…

From the 1920s through the 1940s, a number of artist-teachers developed methods of creative self-expression in their teaching. The life and teachings of artist and art educator Mabel D'Amico (1909-1998), wife of Museum of Modern Art museum educator Victor D'Amico, are considered within this context. This article attempts to construct an…

In alignment with the National Art Education Association's (NAEA) 2015-2020 Strategic Vision, Enid Zimmerman conducted an evaluation of Summer Vision DC (SVDC), an NAEA-sponsored, museum-based art education professional learning community program. The purpose was twofold: to provide feedback to the leaders of the program (including Renee Sandell,…