Julia S. Fanney

Annotated Bibliography

04/13/2014

 

1. TED. (2011). JR's TED Prize wish: Use art to turn the world inside out. Retrieved from http://www.ted.com/talks/jr_s_ted_prize_wish_use_art_to_turn_the_world_inside_out.html

 

JR is an artist born in 1983 and is French. He grew up on the streets of Paris performing graffiti art. By his own admission JR is “not interested in changing the world, but in making his mark on public space and society”. He call himself an “urban artivist” and also a “photograffeur” that takes large copies of photographs and flyposts to the walls of the city such as graffiti artists do. The commercialism and New York factory of art production has been alluded to as being similar to Andy Warhol.

JR’s TED talks have two videos that have JR talking about his Inside Out Project. The first video is recorded March 2011, “My wish: Use art to turn the world inside out” (24 minutes). The second video is one year later, recorded May 2012, “One year of turning the world inside out”(Expand JRs Bio to find second video, 6.30 minutes). JR gives an account before enacting his project and another, one year later, of the results of seeing his project enacted upon.

I really like being able to hear and see JR express his views about his project and his premise behind the project. To personally listen to his viewpoint lets you feel that you are getting into his skin in understanding his Inside Out Project which I believe is necessary to connecting to the artist. Both videos are very good and let me connect with the artist personally and on a humanitarian level.

 

2. Retrieved from Inside Out Project www.insideoutproject.net/

 

This is JR’s website of all his humanitarian projects connected to his artworks. It shows how he uses photography, wheat paste, and printing poster size (36”x53”) images how he is able to create artworks that connect to social issues within a community that echo worldwide. JR explains that this is a “Group Action” plan with the goal to “raise awareness, draw attention to a cause, advocate change, start a conversation, create global impact, strengthen your community, and stand up for what you believe”.

This site is an invaluable resource to me in that it has all his past projects, his personal interjections and countless videos that focus on each cause as they were undertaken in the pursuit of his artwork and social interjection, using the self-portrait.

 

3. Gude, O. (2010). Playing, creativity, possibility. Art Education, 63(2), 31-7.

 

Professor Gude is the Coordinator of Art Education and an Associate Professor in the School of Art and Design at the University of Illinois at Chicago. She has written countless articles on community art and art education. In 1999-2000, she was appointed a Great Cities Scholar at the University of Illinois where she developed the Contemporary Community Curriculum Initiative, a collaborative project that art teachers developed curricula around postmodern art and community causes.

This article on creativity goes into the “Principles of Possibility” that expounds on the components for a complete art education. These components are “Playing, Forming Self, Investigating Community Themes, Encountering Difference, Attentive Living, Empowered Experiencing, Empowered Making, Deconstructing Culture, Reconstructing Social Spaces, Not Knowing”. Olivia Gude says that all of these components are necessary for the student to attain a complete art education. This exploration supports my findings in relating art education to community art and the relevance for it.

 

4. Arnold, A. (1994). Building Community through Art Experiences, Art Education, 47(3), 47-51.

 

Alice Arnold is an Associate Professor of Art Education, at East Carolina University, from 1998 to present. Her interests include interdisciplinary arts and literacy education; creativity, children, and communities of learning; constructivist educational methods in the creation of optimal learning; interdisciplinary arts and literacy education; environments; and cross-cultural learning in the arts. She has been published in a wide array of books, journals and conference proceedings. Alice Arnold received her M.A. in 1981 and her Ed.D. in 1987 from the University of Illinois (Urbana-Champaign), both in Art Education.

In her article she explores that businesses and educational groups need to forge bonds in creating “community building”. Alice Arnold says that this idea of “community building” while new is based on former art education ideals of integrating art into the community. She says that today’s American society is creating “lifestyle enclaves” where people are feeling “separation, isolation, and a deep sense of loss”. Ultimately we are losing out on the community that we once had and need to restore our societal connections that have been dissolving in contemporary society. The concepts are inline with what I am exploring with the artwork of JR and applying this to my own artwork in a societal context.

 

5. Murphy, J. and M.K. (1975). Community Arts and Community Survival, Studies in Art Education, 16(2), 30-31.

 

The only information on Judith Murphy that I was able to find was this book, “Research in arts education: A Federal chapter”, that she wrote in 1978. There was little on the Internet other than a variety of articles she participated in through the years.

It is interesting to note that this article was written in 1975; thirty-nine years ago attention was being given to the arts and its ability to sustain communities. The report quotes from the panel, “how and why and what relationships need to be established between community arts and the schools”. The report looks at all the issues pertaining to a social/art bonding and the survival of communities. Ironically, the study into this cites community arts as a “grass roots movement”. The dilemma with the art education system and relating of community art was in its infancy and it is interesting to delve into these perceptions as how it was in the past and how community art has evolved. This is pertinent for my research to show how the viewpoint of community art was in the ‘70s and the challenges that faced art education at this time.

 

6. Marché, T. (2000). Toward A Community Model of Art Education History, Studies in Art Education, 42(1), 51-66.

 

Theresa Marché works at the School of Education, University of Wisconsin-Madison in the Art Department in Art Education. She has a B.S. in Art Education and an M. Ed., in Art Education both from Millersville University, Millersville PA. Her Master’s thesis was on Right Brain Drawing: The Science Behind a Popular Myth. She received her Ph. D., in Art Education from Indiana University, Bloomington, IN. her dissertation was on A History of Change in the Art Program of a Suburban Pennsylvania School District. She has published innumerable articles and has participated in many presentations.

Dr. Marché looks at the school as both an organization and as a place of community. She looks at the educational system as both collaborative and communal in nature. The purpose of her paper is to understand how to facilitate change and the complexities involved in understanding “educational change movements”. She specifically looks at “operational constructs, such as shared vision and mental models” to differentiate between “theoretical developments and personal action”. Interesting in precept on how to formulate change within a community.

 

7. Marché, T. (1998). Looking Outward, Looking In: Community in Art Education, Art Education, 51(3), 6-13.

 

Theresa Marché works at the School of Education, University of Wisconsin-Madison in the Art Department in Art Education. She has a B.S. in Art Education and an M. Ed., in Art Education both from Millersville University, Millersville PA. Her Master’s thesis was on Right Brain Drawing: The Science Behind a Popular Myth. She received her Ph. D., in Art Education from Indiana University, Bloomington, IN. her dissertation was on A History of Change in the Art Program of a Suburban Pennsylvania School District. She has published innumerable articles and has participated in many presentations.

This particular article focuses on the three roles that community-based art education takes, the hunter/gather role, the detective role, and the social activist role. Theresa Marché looks at how using these particular actions enrich art education. She further expands the relationships in communities of the “looking inward” or that of school communities and relationships where the initiation of the community art would begin. Next by “looking outward” or into the community brings richer connections for students by identifying with the community in which they live. “Outward and inward-looking approaches” is relevant to my research to social/community art.

 

8. Ulbricht, J. (2002). Learning about Community Art Behaviors, Art Education, 55(5), 33-38.

 

I was unable to find biographical information on J. Ulbricht.

Interesting article about having student’s research artists within the community, community-based artists, and how they are part of the landscape of the community/social landscape. The article sums up the experiences of the students as a “cooperative and interdisciplinary behavior endeavor” that gave a deeper meaning to the many art worlds within their community. Conclusively the students developed a better understanding of possible careers in art in their local community. The outcome of their research was a to make “personal and intellectual artistic connections, and meaningful learning experiences”. This article connects to my research in that the connection between individual to community is explored.

 

9. Stankiewicz, M. A. (1998). Community, Art and Culture, Art Education, 51(3), 4-5.

 

Mary Ann Stankiewicz is a professor of art education at Pennsylvania State University. She has also been the past president of the NAEA, National Arts Education Association. Her research on art education history and policy has been published in major professional journals. M.A. Stankiewicz also published a book called Roots of Art Education Practice, a history of art education for K–12 art teachers, published in 2001.

A short article on the “real world” connection to community in which we live, or “the arts are the heart of our community”. Dr. Stankiewicz says in the past the City Beautiful movement that art educator Henry Turner Bailey advocated eventually declined when urban planners said this would naturally occur. It didn’t and society dealt with the consequences until renewed interests in the arts were used to revitalize parts of the community in need. Communities that were severely depressed have taken on new life due to such community involvement. Relates to my own research on the voice of the community using art to make a statement.

 

10. Albers, P. (1999). Art Education and the Possibility of Social Change, Art Education, 52(4), 6-11.

 

Peggy Albers earned her doctorate at Indiana University in language education. She currently is a professor in the College of Education at Georgia State University, Atlanta, GA. She teaches literacy and English education courses at the master’s, specialist, and doctoral levels. Dr. Albers has written or edited three books, the latest one with National Council of Teachers of English entitled, Literacies, the Arts and Multimodality.

This article talks of how viewing student artwork can allow the viewer to construct the world that the student lives in. By viewing their “visual constructions” their beliefs about gender, race, class, and sexual orientation can become apparent. The teacher can then evaluate and determine curricular projects that can help students rethink what they believe and how they fit into the world in which they live. By understanding what stereotypes are being projected in their artworks they can “reconstruct a different of their social and physical life worlds”. This is relevant to my research on linking community art to social change.

 

I have selected all of these sources to support my research on JR and his social/community art that champion’s diverse causes as dictated by the society that he visits. By creating photos of individuals (self identity) he is able to give a voice to a variety of causes within the community. I have applied his format but on a local level with my own cause, the “Adopt Out Project”. I will use the poster size photos, but instead of my subjects being humans, I will use the faces of dogs and cats that need adoption. This is a concepted project, which hasn’t actually been implemented. However, the actual implementation would be a possibility. All the writings support my research on art in the community and how it is becoming integrated into our sociocultural fabric on local and global levels.