The Identity of the Artist/Art Professor in Higher Education and its Effect on Teaching Practices: An Exploratory Case Study

Presenter Information

Liliam Dominguez, Barry UniversityFollow

Location

3033

Format Type

Paper

Format Type

Paper

Start Date

January 2016

End Date

January 2016

Abstract

The identities of the artist and the art professor are apparently diametrically opposed due to the domains of knowledge to which they belong. It has been a hegemonic, universal belief that teaching implies a function of the transmission of knowledge that is quasi-scientific and rational, and therefore it must exist in the “well-structured” domain, whereas the nature of art as a means of visual communication contributes to the “ill-structured” domain of knowledge. Thus, when making the shift from creating art to teaching art, artists might feel as if they are switching paradigms. This study investigates the pedagogical knowledge of artists as art professors and the implication on identity issues as they strive to be both. This qualitative study uses an exploratory, case study approach. Five higher education art professors in the South East Florida region were interviewed to determine how pedagogical content knowledge is developed from the point of view of artist/professor of art.

Comments

Findings and Discussion

Findings

The results of this investigation lead to explain the construction of pedagogical knowledge of teachers of Visual Arts in higher education, giving a holistic view of the arts in close relationship with the previous artistic experience of these professors. To understand the phenomenon, it was necessary to acknowledge as highly relevant the formation of a dual identity, the artist - teacher, as a producer, processor and transmitter of knowledge. Also, under the assumption that there are serious pedagogical gaps regarding teaching and learning of the arts in higher education, as well as a lack of research on issues related to the training of these professors in the United States, the following themes emerged:

Pedagogical Content Knowledge

1- The meanings that art professors have developed about teaching and about artistic learning: Art professors have had to examine -without proper understanding of terminology- their conceptual framework and their epistemological and ontological stances to be able to transfer knowledge and to elicit critical thinking in students. One of the participants described an ideal art professor as “someone with no fear, changing lessons and assignments in order to fit and accommodate every learners’ needs.”

2- The relationships established between the knowledge of the subject and the practice of teaching: Many of the participants coincided with the view that they knew how to “do a class assignment properly,” they knew whether the assignment was appropriate for the level of the class but it was essentially impossible to make the students understand why they needed to do certain things in order to “learn how to be an artist.” Somehow the components that take part in being an artist were “non-transferable” or it was almost impossible to theorize about them.

3- The concepts and principles which make up the content of art teaching in higher education: Basically, the participants agreed at unison that curriculum development and curriculum reconcepttualization were left out of their range of possible activities within their practice. Art curriculum was prescribed and had little room for improvisation. On the occasions that it did provide with some space for changes at the classroom level, participants wished they had the proper tools to “make something out of it.” Ideally, pedagogical training and inmerssion in curricular activities related to art and art education were regarded as “priceless,” and “much needed.” Pedagogical content knowledge was drawn from insight on their own practice as artists and from an understanting of their cultural selves in their institutional context.

Identity

1- Balancing of multiple identities: A balancing of multiple identities developed in some instances as some participants wore many hats, sometimes as “artist/art professor/administrator.” Mishler (2000) and Feldman (1982) tell us that artists in particular struggle with an identity conflict from the nebulous status of their role in society. Artists can be marginalized as frivolous romantics, egotistic modernists, or edgy social critics. However, they can also be worshipped as gallery idols.

2- Self-denomination: Naming is a term used by Lippard (2000) to refer to the art created by artists who do not belong to a particular group or generation. This theme appeared to be a necessary step in balancing and hierarchizing the simultaneous professional identities of artist and art professor. The process of naming themselves was visibly empowering for the majority of the participants. Celina, a graphic designer and art historian, sat up straighter and spoke more assertively as she noted in the interview, "I always sign my name, artist/art educator ... and I always put artist first." The act of "naming "evidently emphasized her dual identity. In short, the descriptors the participants chose to wrap around their professional identities had developed over time and were indicators of identity synthesis and professional confidence.

3- Integrating multiple identities into one: The participants, with the help of a support system that was solely constructed of a personal role model, usually negotiated a management system in which multiple identities are integrated. For example, Brian, who consciously modeled his professional identity after the Renaissance master-apprentice relationship, sometimes succeeded in this strategy. He revealed at one point, “I am both an artist and a teacher of art. They are both who I am and what I do.” Professionals in the fields of both, psychology and art education, describe integration of identities as beneficial to the individual (Erikson as cited in Zwirn, 2002 ; Mishler, 1995; Stankiewicz, 2001).

Discussion

Does experience alone make for a better teacher? This study has revealed that substitution of pedagogical knowledge for content knowledge and certain insights on content knowledge transfer had occurred among participants. Certainly more research is needed to assess the impact of advanced degrees of higher education faculty on the building of pedagogical knowledge for the betterment of teaching practices. Nonetheless, evidence is lacking that experience on the subject being taught or simply, the highest degree on the content area being taught have any positive impact. More is needed as part of the solution. Art professors still struggle with the identity crisis and part of that crisis seems to come from insecurity as a teaching professional. Conversely, higher education faculty should re-evaluate their teaching methodologies, hold themselves accountable for student learning, and re-dedicate their efforts to improve the profession of teaching (Carey, 2010).