This week, I am presenting an artwork in an international exhibit called #exstrange. #exstrange is a curatorial project transforming eBay into a site of artistic production. This live exhibition project showcases artworks conceived by contemporary artists to be encountered as auctions by passersby on eBay. Auctions happen daily. View. Bid. Comment. Join the exhibition. www.exstrange.com
My auction, Urban Frontier Bench (The Limited Youth Edition), begins February 1, 2017 and will last 7 days. Happy bidding!
Winkler, H., & Denmead, T. (2016). The future of homegrown teaching artists? Negotiating contradictions of professionalization in the youth arts and humanities field. International Journal of Education & the Arts, 17(10). Retrieved from http://www.ijea.org/v17n10/.
Abstract: Youth arts and humanities programs are providing invaluable learning opportunities for youth participants to become what we term “homegrown teaching artists.” After several years of artistic and pedagogic development, these alumni teach youth in the same programs where they were once participants. This phenomenon has emerged at the same time that the teaching artist field has become professionalized with new credentialed pathways through higher education. This simultaneity presents a paradox. Professionalization introduces formal standards and barriers to entry into the teaching artist field at the same time that teaching artists train youth who are racialized and low-income to become teaching artists through informal pathways in youth arts and humanities programs. In other words, the professionalization of the field is at odds with its aspiration to expand and sustain youth’s right to cultural self-determination. We address this contradiction by investigating the pathways and practices of three homegrown teaching artists before turning to implications for policy and practice.
The article I wrote with Ruth Nicole Brown for Art Education is now available for downloading without a subscription!
Put on your snorkel and safety goggles, hang a pine-scented air freshener around your neck, and roll up your capri pants, because we are headed into the valley of darkness. If you want a hopey-changey-kinda politic, if you want to give young people a “voice,” if you think hip-hop is some mainstream practice, then you have come to the wrong post post-racial place. No: Here in the valley, the Barack bubble has burst. Here in the valley, we re-turn to terror because, Lord knows, we are about to be terrorized. Some of us know this terror well. For those who do not, they will come to know this terror as witnesses; their discomfort will reveal itself as beauty and/or privilege…
Moral Ambivalents, Mucks, and Mad Hatters!!! Welcome to Kara Walker’s Ruﬀneck Constructivists!!! The Greatest Show on Earth!!! If you have been down, be down!!!
If you haven’t, bring a shovel.
Before entering this Instructional Resource, teleport your crew. IM your homegirls. Mail the letter he is waiting on because you are about to leave yoursel behind… Or… Change your gait and exit this Instructional Resource at this time. We cool like that
Click here to download.
I have a new paper in Visual Inquiry: Learning & Teaching Art (Volume 4, Number 3) that seeks to provide the beginnings of a conceptual framework for capturing movement that may be useful in and beyond traditional art education classrooms. My thinking for this paper began when I struggled as a novice ethnographer to capture the movement of participants in the field, particularly when movement was identified by participants, in this case, artist-teachers, as significant to their pedagogy. Drawing on various disciplinary traditions, I investigated different languages and technologies that we might use to capture movement, as well as how we might theorize movement, as well as capture in relation to the idea and practice of mobility. This paper is the first in this thinking on the topic. There is still more work to be done here. Thank you G. James Daichendt for publishing!
Youth is often conceptualized as a transitional period from the dependence of childhood to the independence of adulthood, which corresponds to the age of 15-24. The United Nations, for example, frames youth within this age range.
The positive youth development movement, now so strong throughout the world, is preoccupied with providing the conditions and resources that youth need to transition successfully from childhood to adulthood during this period.
A critical youth studies perspective offers a different point of view, and argues that youth itself, and the temporality of youth, is actively constructed and managed given social, political, and economic needs.