Art History Pedagogy & Practice

Building a Pedagogy of Idea Generation and Embodied Inquiry

Kate Joranson — 2023-06-12

What futures become possible when we center questions, inquiry, and affective responses in research processes? What does it mean to support encounters with new ideas? In this article, I explore non-extractive models of teaching and learning, sharing ways of making space for idea generation, an under-described part of research and creative practice. The coming-up-with-ideas part of creative and scholarly work can be challenging to articulate, share, and teach. What if we paused and stretched this part out, making it more visible? By browsing physical collections of books in community with one another, during "curated browsing" experiences, we give ourselves - both faculty and students alike - space and time to meander, wonder, share observations, and disrupt transactional models of learning and scholarship. We build an awareness of how ideas are informed by power structures, and co-create humanizing spaces where knowledge is relational and embodied. By centering inquiry and idea generation, we activate the intersection of research, pedagogy, and lived experience.

Portals to Learning: Threshold Concepts in Art History Teaching and Learning

Rhonda L. Reymond — 2022-03-08

Threshold concepts are conceived of as portals to learning that open previously inaccessible ways of thinking. They encompass specific ideas within a discipline that must be mastered before the learner can progress. The process of identifying threshold concepts can reveal hidden or unacknowledged fundamental disciplinary beliefs and epistemology. Integrating a threshold concepts framework into the scholarship of teaching and learning in art history (SoTL-AH) can help faculty diagnose and anticipate when students are likely to encounter troublesome knowledge within an art history course. Distinguishing these thresholds can aid instructors in designing courses that prepare for specific stages that present conceptual or affective difficulty and turn those into transformative experiences that promote reconstituted and integrated knowledge. Threshold concepts can also be applied more broadly to benefit curriculum design, assessment, and the profession. This paper explains threshold concepts and bottlenecks, describes the benefits of using threshold concepts, identifies potential limitations in utilizing them in the design of teaching strategies, and proposes some preliminary threshold concepts in art history.

Ungrading in Art History: Grade inflation, student engagement, and social equity

Nancy Ross — 2022-03-08

Traditional academic pedagogies require that professors assign students grades in a system that creates hierarchies of power of professor over student. This system assumes that grades serve as an intrinsic motivator for students to improve in an academic setting. Many studies suggest that professor-assigned grades do not function as assumed. This article explores one alternative to the traditional system, known as ungrading, a practice whereby students assign themselves grades after a semester of frequent feedback and reflective assignments. This study offers a thematic literature review of ungrading in many disciplines and a small study of ungrading in upper-division art history courses using both quantitative and qualitative data to determine effectiveness. We posit that in ungrading, students do not inflate their grades and they do take responsibility for their learning in a way that returns agency to students.

Visual Diaries: Towards Art History as Storytelling

Alpesh Kantilal Patel — 2022-03-08

This essay examines variants of what I refer to as "visual diaries" or thinking through images and written or oral language as important "worldmaking" exercises, essential for students of color, women, sexual minorities, or other marginalized subjects. I provide my reflections on assigning this dynamic and student-centered, practice-based assignment in my contemporary art courses at a Hispanic-serving institution (HSI) of higher education and a summer art residency program unaffiliated with a university. Besides my reflections on my pedagogy, I also share student feedback from unsolicited testimonials and answers to questionnaires. I argue that visual diaries transform students into veritable storytellers of art history. Thinking of art history as storytelling empowers students to create the histories they deserve and may not see in the classroom. There can always be another story, another way of looking at seemingly the same set of assumptions (or "facts").

Art History, Open Educational Resources (OERs), and Social Justice-Oriented Pedagogy: Adaptations to Introductory World Art History Survey Courses

Sara Ishii — 2022-03-08

This essay considers the social justice benefits of adopting OERs in an introductory art history survey course. Following the events of the COVID-19 pandemic, instructors have needed to reevaluate pedagogical approaches and teaching materials. Coupled with this present need to foster accessible and flexible courses, for decades art historians have observed the overrepresentation of white Western art and subsequent marginalization of global art in survey textbooks. Centering the need for a social justice-oriented pedagogy that recognizes global contributions to art history, I first reflect on the potential to adapt open educational resources (OERs) to disrupt status quo narratives that privilege Western art. Second, I discuss my adaptation of the open access textbook Boundless Art History by Lumen Learning in which I reformat the material to examine artwork across the globe in timeframe units. Finally, I conclude by reviewing student responses to a Google Forms survey about their experiences with OERs and positing additional benefits and further developments for open access course materials within introductory art history survey courses.