Faculty and doctoral student contribute to tapestry of Canadian Art Education Research
Faculty of Education
Dec 17, 2017
By Moira Baird
The latest edition of the Canadian Review of Art Education: Research and Issues (CRAE), a refereed, electronic, open-access, bilingual journal, features writing by three Faculty of Education members and one doctoral student.
Additionally, Dr. Heather McLeod, CRAE’s editor-in-chief thanked the six Faculty of Education colleagues who provided peer-reviews. “Scholarly publication relies on this vital yet sometimes unrecognized labour,” said Dr. McLeod.
CRAE is published annually by the Canadian Society for Education through Art, which represents art educators, students and artists in schools, universities, and art galleries. The Faculty of Education supports the journal by providing funding for a research assistant.
Published this month, the edition’s cover features Tapestry, an image which includes material from 14 early childhood centres digitally remixed by Veronica Garcia Lazo and a derivative work of Richard Laschon. The articles by Dr. Sarah Pickett; Drs. Jennifer Anderson and Heather McLeod; and the book review by Haley Toll, a Faculty of Education doctoral student, contribute to the tapestry theme.
In an article entitled “Fierce Love: Fashioning Becoming a Researcher,” Dr. Pickett explores researcher identity development and reflects on her own journey towards becoming a researcher.
Drs. Anderson and McLeod teamed up to write “Creativity and Standardization: The Ability of Museum-Based Programming to Inform 21st-Century Education.” In their examination of an educational program offered in a provincial art museum complex, they focused their research on teachers and the impact on student achievement.
Ms. Toll reviewed the book Printopolis. Based on a 2010 international symposium hosted by Open Studio, Toronto’s artist-run printmaking centre, the book was edited by Tara Cooper and Jenn Law. Ms. Toll described the breadth of topics covered in Printopolis as inspiring and illuminating as it “defines and critiques how printmaking lives in Canadian society.”