M-Art Education – Building and Integrating a Virtual Studio Practice
Introduction – Taking the Art Room Around the World and Back Again
When most people think of art education, they imagine a messy room full of paper and paint, brushes and markers, and students interested in learning how to draw their favorite movie star or paint a portrait of their cat. And then, hanging the finished art in the hallways of their school. The truth is that art can open doors to deeper, more creative thought, open eyes to new cultures, and so expose students to a wide range of diversity issues. Many schools, especially outside of urban areas, suffer from a lack of diversity. In order to expand the scope of the power of art to unite, art educators must be looking to Mobile education (M-education) initiatives that offer global reach. With M-education it is possible to go from a formal setting in that messy room and those art filled hallways, to an informal setting anywhere the student is and then return to that formal setting to expand on and discuss what was created and learned in the informal setting. Introducing M-education initiatives to the art curriculum is still in its infancy, but there are a few examples both inside and outside of art education to reference that can inform and support a push towards an integrated mobile art education experience.
Part 1 – Microblogging with Twitter – A Sketchbook of Possibilities
A 2012 research study conducted at Boise State University by Yu-Chang Hsu and Yu-Hui Ching utilized Twitter as a conduit for mobile microblogging activities in an online graphic design course. Microblogging “allows for personal publication and conversation between writers and readers’ but, because of the character constraints built into the Twitter application, “prevents long-winded entries and forces microbloggers to post concise messages” (Ching & Hsu, 2012). The students were asked to utilize knowledge gained in the formal “classroom” setting in an informal way by posting pictures of examples of graphic design they observed in their daily lives to Twitter, along with some text, a hashtag and keyword. Then, other students in the course would comment, creating a dialogue about the coursework that is culled from outside the classroom. Thus, promoting “learning in authentic contexts” (Ching & Hsu, 2012). This type of activity endorses social learning that aligns with Vygotsky’s theory, “which holds that learners construct knowledge through intellectual exchanges during their social interactions” (Ching & Hsu, 2012). Social learning can also encourage diversity because students are interacting beyond their identity groups. The study recognized some advantages of utilizing Twitter in this context. First, it “does not impose time-pressure on the conversant on either end for responding or turn-taking because it does not require synchronous presence” (Ching & Hsu, 2012). And, students only get involved when they choose. Both of these are examples of affordances that support the integration of informal learning choices like M-education. Overall, the participant’s feedback was positive but the study did uncover some challenges. One, “the instructor had to ensure that everyone in class had access to a mobile device with a camera feature so they could participate in the required tasks” (Ching & Hsu, 2012). Also, it was noted by one student that remembering to include a hashtag and keyword was annoying. Ultimately, the integration of microblogging through Twitter into this particular graphic design course was a success. Interestingly, this study does include an art-based element (graphic design). Beyond that comparison, it is useful as a “sketch”, if you will, of how M-education initiatives can be integrated into the art classroom. While examining a few more examples, I’ll return to these “sketches” to paint a larger picture of how M-Education can be integrated into the art classroom.
Part 2 – M-Art Education – Painting with a Broader Brush
The focus of my final project is intended for a wide range of learners including 3-5, middle school, high school, higher education and community based organizations across the world. The next two research projects represent that broad age and geographic range. A 2015 research study conducted by Usal and Sirin was conducted with 4th grade art students in Turkey at Karadeniz Technical Firat and Inontl Universities. They note, “New art and artistic activities connected to the computer and technology is remarkable. In fact; art education, which prioritize imagination, creativity and visuality, is very responsive to the possibilities of reaching art works and their knowledge via the internet, transmitting and sharing visual art objects” (Sirin & Usal, 2015. pg. 129). The important takeaway is the infinite possibilities mobile devices afford to create and share digital artefacts. In Looi et al.(2010), Stahl (2000) is quoted, “In these learning spaces, learners may create digital artefacts with mobile devices which they share, modify, build upon existing artefacts, and integrate them together that may result in building new knowledge. Artefacts facilitate knowledge construction and social discourse, and mediate interaction among a community of learners”. Turning back the page to “sketches” from Ching & Hsu’s microblogging study validates this idea. The students in the 2015 Usal & Sirin study, “are of the opinion that the Internet cannot replace teaching staff in art education” and the “teachers are of the opinion that mobile (or smart) phones and the Internet in art education improve creativity” (pg.132). Taken together, these findings support a case, not for replacement of hands-on formal learning, but for an integration of informal learning with mobile devices into the formal art classroom. This revelation leads me to the next research study that presents an example of how utilizing mobile technologies outside the classroom can affect student outcomes in the classroom and beyond.
In 2015, an Australian study of one professional artist’s Instagram account revealed how social media can be applied effectively in art education. Kylie Budge, PhD of the Museum of Applied Arts and Sciences in New South Wales, followed artist, Lily Mae’s Instagram account over a one-month period. “Lily Mae posted images that depicted her work-in-progress and creative process; images of her finished work such as painting and drawings; images of other artists’ work; images of her engaging with other creative people and projects in various capacities; of herself working in the capacity of an artist” (Budge, 2015. pg. 172). These observations have many implications for integrating Instagram, or a new M-education application similar to it, into an art curriculum. Like Ching & Hsu’s Twitter microblogging example, Lily Mae was able to share images that could be commented on by her peers. “The connections made possible through social media are unlike anything known to humanity prior their invention, and some have argued even promote network diversity and access to social capital” (Hampton et al. 2011 in Budge, 2015. pg. 170). This aligns with Gee’s (2000) definition of affinity identities, ““What people in the group share, and must share to constitute an affinity group, is Allegience to, access to and participation in specific practices that provide each of the group’s members the requisite experiences” (p. 105). In tandem, these ideas represent ways a social media application like Instagram can influence learners. Expanding on how microblogging on Twitter did for Ching & Hsu’s small study group, it coalesces affinity groups around the world through the use of hashtags as a curatorial device. “A hashtag as defined by Bruns and Burgess is a short keyword, prefixed with the hash symbol “#” – as a means of coordinating a distributed discussion between more or less large groups of users, who do not need to be connected through existing “follower” networks’ (2011: 1 in Budge, 2015. pg. 172). By extension, social media apps like Instagram do offer “follower” networks that can be joined after discovery through hashtags. It is here, where affinity groups form and so can offer, what I describe as “virtual studio visits”. In art education and professional practice, teachers and colleagues will visit the studios of students/artists to critique and discuss finished work and works in progress. This is a vital component in the growth and development of students and professionally practicing artists alike. In relation to Budge’s 2015 study, “ Instagram provides a digital space for her to document her work in various stages. It also suggests that Lily Mae wishes to show others how her work is progressing, perhaps to seek feedback, and perhaps also to share insight into her process”(pg. 172) and “(t)he image and textual exchanges with other artists (as evidenced by conversations she has on Instagram in the comment section attached to each image), and the professional community of practice that is developed and grown through such exchanges provides fertile ground for artists (and students) such as Lily Mae to extend their learning”(pg. 175). And I would argue, the reach of mobile applications extend beyond learning to be better artists but also better humans by exposing students and users to different cultures. From an aesthetic design perspective, Budge’s study reveals another key to success of any M-education initiative in art education lies in the “look and feel” of the application. She notes, “The learning is occurring in a virtual space, that is, Instagram, but one inherently connected to the work space of the artist – the studio – as the viewer is presented with visuals illustrating artwork developing or developed in that space” (2015, pg. 175). This notion aligns with Kearny et al. (2012, pg. 9), “Factual authenticity refers to how details of a task (such as characters, instruments etc.) are similar to the real world, while a process level of authenticity refers to how learner practices are similar to those practices carried out in the community or ‘real world’ of practice”. “The process of use and engagement with virtual studio practices constitutes an important performative space for artists and enables participants to construct and reconstruct their identities as artists with the online public as witness to this twenty-first-century act of creative practice” Budge, 2015. pg. 176). My final project seeks to further the Instagram example to represent a more comprehensive virtual studio practice and exhibition experience. It will include the community creation, curation and critique embedded in the hashtags, followers and comment capabilities and will enhance the “look and feel” of a real artists studio by offering digital art-making tools and mimic the exhibition experience of both artist and viewer with seamless integration into the formal art classroom by way of “virtual galleries”.
Part 3 – The Finished Piece – A Mixed Media Collage of Applications
Due to the fast moving pace of technology and the infancy of ideas, there are very few available examples of mobile integration in art education. Of course, the use of tablets in art classrooms has become more common as more and more art-making applications such as Art-Set or art history applications such as MOMA Audio. One educator who has been recognized internationally for her work with integrating iPad into the art classroom is Cathy Hunt. Many great examples of how she utilizes this type of mobile tech in her classroom in particular are available at http://www.ipadartroom.com . Although I do appreciate her work, my final project is taking a more expansive view of how mobile can be integrated into art curriculums. In Part 2, I laid out a basic framework of how by creating a new application that mimics the social media functionality of Instagram coupled with digital art-making tools like those available in an app like Art-Set can be integrated into the art classroom through a virtual gallery. While I believe that designing and beta testing this type of app is possible, does it really need to be done?
From early April to late May 2015, I acted as an Artist-in-Residence at a medium-sized high school in rural east-central Pennsylvania. The class was made up of 11 high-level high school art students. The project we worked on together integrated Instagram into the classroom. The project can still be found by searching #dayinthelifebmhs. . Full details and a layered analysis of the project are available at:
As evidenced by my example and the work of Cathy Hunt, all the applications an art educator needs to implement a mobile integration in the art classroom are already available. It just requires some creative thinking, which artists and art educators have in abundance. Despite this, I plan to continue my design and beta testing of the expansive art making and education application outlined above because after all I’m an artist and creating is what I do.
References
Budge, K. (2015), Social media as conduit in art: Understanding connec- tions to communities of practice through professional learning theory, Visual Inquiry: Learning & Teaching Art, 4: 3, pp. 169–179, doi: 10.1386/ vi.4.3.169_1
Gee, J. P. (2000). Identity as an analytic lens for research in education. Review of Research in Education, 25(2000-2001), 99–125.
Hsu, Y.-C., & Ching, Y.-H. (2012). Mobile microblogging: Using Twitter and mobile devices in an online course to promote learning in authentic contexts. The International Review of Research in Open and Distributed Learning, 13(4), 211–227.**
Kearney, M., Schuck, S., Burden, K., & Aubusson, P. (2012). Viewing mobile learning from a pedagogical perspective. Research in Learning Technology, 20(1), 1–17.
Looi, C.-K., Seow, P., Zhang, B., So, H.-J., Chen, W., & Wong, L.-H. (2010). Leveraging mobile technology for sustainable seamless learning: A research agenda. British Journal of Educational Technology, 41(2), 154–169.
Sirin, A., Usal, Y. (2015) M-Learning in Art Education. International Journal of Learning and Teaching Vol. 1, No. 2, Available online: http://www.irrodl.org/index.php/irrodl/article/view/1222/2313
Hi Lance, Thanks for your detailed summary of the readings and the example you chose. You align the ideas in those articles to your project well. In particular, you mentioned Gee’s (2000) idea of affinity identity and Kearney et al.’s (2012) factual and process authenticity, which I think are concepts that fit your project well.
I like your project that values the power of art to unite and to expose people to diversity issues. That makes art a more proactive tool which could link to changing people’s behavior and beliefs within a community. You surely thought about making the best use of technologies to achieve this. You stated, “the reach of mobile applications extend beyond learning to be better artists but also better humans by exposing students and users to different cultures.” This really struck me as I thought about how the way in which we integrate technologies into our setting could make a great difference in students’ learning experiences in terms of the content and the development of attitudes and beliefs. I look forward to seeing how you develop your project! Thanks for sharing.
Hi Lance,
I always enjoy reading your posts. Thanks for your in depth analysis!
I appreciate the idea of microblogging as the blogging future continues to flourish as the time goes by. Traditional long blogs post are easy to locate by search engines; however, we cannot deny the convenience of microblogging. As it pertains to student learning this can only strengthen students’ communication and educational experience. However, I am wondering about the one limitation of microblogging that resides in the fact that the depth of its content is extremely limited. How will this enhance students understanding of a topic like Art?
Thanks for your response. The immediacy and mobility is what I’m most interested in. Swap Twitter for Instagram and that’s what I’m getting at. Art is learned through ways of seeing an responding to those ways, sometimes in text, sometimes with other images. And an application such as Instagram offers a portable way of seeing and responding.