Figure 1 - uploaded by Dustin Garnet
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Alice Saltiel-Marshall in Dawson Kennedy's design class (Kennedy in the background), 1966. Photograph courtesy of Alice Saltiel-Marshall.
Source publication
Art education history takes many forms and serves many purposes. I argue that it is useful to think of art education history as a collection of stories that we can call on, identify with, and integrate to help us know our field and ourselves as artists and educators. Utilizing the theoretical lens of new histories, I present one student narrative f...
Context in source publication
Context 1
... constructing a narrative of the history of the CTS Art Department, I have collected and analyzed archival documents, images, objects, and the individual stories of its past and present community members. The following article focuses on the perspective of former CTS art student Alice Saltiel-Marshall (see Figure 1) as a way to illuminate the social networks (Latour, 2005), artistic community, and school culture that defined CTS's institutional identity in the 1960s. ...
Citations
... My research contributes to the literature on the nature of the personal and professional knowledge (Bachar & Glaubman, 2006;Page, 2012) that accumulates as a result of recording the "local detail and everyday life of teaching" (Ayers & Schubert, 1992, p. v) and the storied lives of students, teachers, and administrators (Corcoran, 2007;Daichendt, 2011;Garnet, 2016b). Taking as its starting point a description of the classroom as "an arena of things ignored, things obscured, and things suppressed" (Siegesmund, 2014, p. 9), my new history is crafted in the spaces between stories. ...
Evolutions within the field of historiography have been followed closely by historians of art education, and in recent years, a shift to arts-based constructions of history has radically redefined art education history. The question of how to do this new kind of history, both methodologically and theoretically, has been addressed periodically in art education literature. In the following article, I will first provide a review of key literature from the past 30 years, chronicling a shift toward more artful histories, and then introduce recent historiographic theory as a way to articulate the practice of historying the past, taking as an example the art department at Central Technical School in Toronto, Canada. Bringing theory and practice together creates a synergistic link between the concept of new histories and the unique positioning of an art education historian.
