Visual Inquiry - Volume 1, Issue 3, 2012

In this article we examine the racialized silence by whites, locating its emergence in history, examining whiteness and pointing to ways that we can begin to address the social context of colour in art education in both K-12 and teacher preparation programmes. Drawing on our experiences teaching in both high school and university classrooms, we argue that this silence by white people is an important component of race talk and that we need to focus on developing racial literacy among our students as one important pedagogical model in art classrooms.

British art education in the early 1960s was a shifting landscape. Father of Pop-Art Richard Hamilton was a forerunner of this change at Durham University. Mark Lancaster was a student of Hamilton who went on to experience success beyond the art school in both England and America. His works are characterized by the use of geometric patterns, the provenance of which can be seen to emanate from Lancaster's studies under Hamilton. Independently Lancaster developed his personal art style and expanded his overt to encompass stage design.

This article argues that drawing may be used to retrieve prospective teachers' meta cognition and allow them to be constructive teachers. Participants in this enquiry are 57 teacher candidates from a Master of Arts in Teaching programme in Southern California. This pedagogical process required teacher candidates to apply cognitive concepts in creative and reflective drawings. Through these drawings the participants retrieved their previous experiences and knowledge by filling spaces to express their experience and thinking. Cognitive development U-shaped curve and Aesthetic development theories were applied to discuss participants' artistic development. This enquiry shows that pedagogical practice allows those teacher candidates to use cognitive theories in drawing. It also provides participants creative ways to understand themselves and their future students.

Distance education has become a preferred method of learning by many educators wishing to gain professional degrees. While the reasons for this phenomenon are understandable, there is still a perception among some that online degrees are diluted in scope, content and rigour. That perception drove the Art Education Department at Boston University to maintain the level of integrity in all areas that exists in our campus programme when designing an online degree.

WHY OUR HIGH SCHOOLS NEED THE ARTS, JESSICA HOFFMANN DAVIS (2012) New York: Teachers College Press/Reston, VA: National Art Education Association, 118 pp., ISBN 978-0-8077-5286-9, $23.95

MATTER MATTERS: ART EDUCATION AND MATERIAL CULTURE STUDIES, PAUL E. BOLIN AND DOUG BLANDY (EDS) (2011) National Art Education Association, 157 pp., 62 mono illustrations, ISBN: 978-1-890160-51-7, $42.00. Reston, VA. Paperback.

ART'S WAY OUT - EXIT PEDAGOGY AND THE CULTURAL CONDITION, JOHN BALDACCHINO (2012) Rotterdam; Boston, Sense Publishers, 204 pp., ISBN: 978-94-6091-792-6, Hardback: $99.00, Paperback: $39.00

NATIONAL ART EDUCATION ASSOCIATION: ANNUAL CONVENTION, NEW YORK, 2012