2007/01/01 by Karen Keifer‐Boyd · 16 citations
Arts and Humanities · Psychology · #Art Education and Development #Art, Politics, and Modernism #Artistic and Creative Research #Ideology #Studio #Pedagogy #Sociology #Value (mathematics) #Interpretation (philosophy) #Representation (politics) #Politics #Content analysis #Psychology #Visual arts #Art #Social science #Computer science #Political science
paper · doi:10.1080/00393541.2007.11650096
published in Studies in Art Education 48(2), 134-154 (Taylor & Francis)
openalex publication_date 2007/01/01 · openalex created_date 2025/10/10 · openalex updated_date 2025/11/06
In this article, internationally renowned artist and educator Judy Chicago reflects on her teaching and on my own interpretation of her pedagogy in three projects: Womanhouse (1971–1972), At Home (2001–2002), and Envisioning the Future (2003–2004). From a comparison of pre- and post-open-ended questionnaire responses given by 62 participants in the Envisioning the Future (ETF) project, I identified aspects of Chicago's methodology that make it unique from other studio teaching approaches. Gender, status, and ideology emerge as significant themes in the analysis of eight artist-educators' experiences who learn Chicago's teaching methodology in a 10-day workshop and subsequently are guided by Chicago in their semester-long facilitation of artmaking groups of the 62 participants in the ETF project. I distinguish Chicago's teaching methodology from common threads of feminist pedagogy. These threads include the following goals: effecting social change; envisioning teaching as a political act; viewing knowledge as value-laden; valuing personal experience and self-representation; providing avenues for multivocality, and sharing leadership in student-centered environments. The focus is on Chicago's primary teaching goal, which is to facilitate the creation of “content-based art of high quality.”