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STEPHEN CARPENTER: I thought
these three questions could be

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part of our conversation later.

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I want us to get up and
actually create a public work.

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But I've been thinking
about how might

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contemporary art
and social practice

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enable conversations
about difficult subjects?

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And that's part of what
we're interested in.

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Couldn't that be the
focus of a curriculum?

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A multi-week, a
multi-session unit

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of instruction with
learners of a range of ages

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and in the range of spaces.

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Or why prepare
teachers as agents

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of positive social change?

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I mean, some people say, oh, we
have to prepare them for that,

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but why?

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What would come out of that?

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Or why not, right?

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What does it mean?

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Maybe the question
should be what

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does it mean for
teachers to be prepared

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as agents for social change?

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Some of you are studying in
departments or programs, where

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social change, social activism,
positive social responsibility

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is central to the mission.

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Why do that?

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Is that such a good thing?

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Or how can creative
responses to social injustice

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interrupt conditions
of inequality?

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We might not be
able to change them.

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Might not be able to stop them.

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But maybe it interrupts
it just long enough

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to reposition or find
other ways, other tactics,

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other approaches to engage.

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I think this is a
good time to stop.

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And let's get up, and let's
make some public trouble.

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I brought with me
some children's books.

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And I also brought
some children's toys.

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How many of you
brought cellphones?

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How many of those
cellphones take pictures?

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Oh, yeah.

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Now we can work as individuals.

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We can work in pairs
or trios, if we want.

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All right?

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I have some
children's books here.

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I'll share them--
show these to you.

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Not all of them deal with
uncomfortable stories.

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Some of them do.

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There's a whole range of
things, like Flat Stanley.

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I don't know if you know
of the Flat Stanley.

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To me, there's a Henry
Box Brown deal here,

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where you can mail individuals
to different places.

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Here, he's pretty happy about
going to visit his family.

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But Henry couldn't do that.

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Or The Big Orange Splot,
this is about one house

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being different.

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And then I won't ruin the
story for you at the end,

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but it's about
finding your own way.

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Little Blue and
Little Yellow, I don't

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know if you know this story.

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But when you mix blue and
yellow, you get green.

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And what does it mean
to be blue or yellow?

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And how does mixing happen?

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Tar Beach, about a
little girl who--

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she doesn't have something
or can't go somewhere.

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She just imagines that
she can fly there,

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and she can capture
that experience.

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Bell Hooks-- I don't know if you
know her children's book, Skin

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Again.

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There's a wonderful book about
learning disabilities, reading,

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in particular.

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And it's called The
Art of Miss Chew, where

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the art teacher,
her art teacher,

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essentially figured out she was
seeing the world differently.

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Her reading-- and
she was reading

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the spaces between the words,
not the words themselves.

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Just like an artist might try
to render the negative space,

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rather than the positive space.

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Or a Maya Angelou poem and a
Jean-Michel Basquiat poem put

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together--

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or Jean-Michel Basquiat images
and a Maya Angelou poem, Life

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Doesn't Frighten Me Anymore.

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These are children's books
that I found kids respond to

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in interesting ways.

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So you might choose
one of these books

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and find one of those
unexpected public spaces,

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where you don't think education
or art, making your art

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practice, is supposed to happen.

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You could take one
of these books,

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and go and read
it there out loud.

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And have somebody else or
yourself video tape you or--

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not video tape, you
can tell how old I am.

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What is it?

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Make a video, a
mobile video of you.

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And you can put one
of the hashtags.

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Where are our hashtags, Steve?

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Here it is.

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You can hashtag it, and
pop it up on social media,

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if you'd like.

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Or you can take still
photo of yourself

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or someone else
reading out loud.

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Or you can take several.

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Document that experience.

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What would be interesting
is to see what kind

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of social interaction happens.

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And think about the critique.

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Remember those little
tiny townspeople

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and the tiny presidents?

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The critiques of
then the stories

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of the little people and
the stories of those spaces.

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There's a conversation
that happens.

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Think about the story you
might read in that space

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in relationship to that space.

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Or I have these little toys,
just three firefighters,

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two of whom have razor stub
and one has a mustache.

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I wonder how gendered this is.

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I'm just asking
questions right now.

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Or little animals.

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Or I have little
Lego mini figures.

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These have to be put together.

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I mean, you're welcome to take
them, and put them together,

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and use them in the ways that
you saw in the photographs,

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critiquing, having a
conversation in a public space.

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That story-- where's
my-- oh, there it is,

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Henry's Freedom Box.

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I think I'm going to take
one of these pallets.

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I can't take both of them.

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I'm going to take one of
these, and I'm going outside.

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I'm going to read
this book outside.

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I'm going to perform
that story outside.

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Henry was lonely.

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One day, he met Nancy, who
was shopping for her mistress.

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They walked, and talked,
and agreed to meet again.

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Henry felt like singing.

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But slaves didn't dare
sing in the streets.

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Instead, he hummed
all the way home.

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Henry knew they were very lucky.

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They lived together, even though
they had different masters.

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STUDENT 1: "Life doesn't
frighten me at all, not at all.

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Life doesn't
frighten me at all."

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Thanks a lot.

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GIRL: Well, what's this for?

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STUDENT 1: Oh, it's a class
assignment I'm having.

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GIRL: Oh, OK.

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I noticed there are some
other people as well.

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STUDENT 1: There are
a couple other people

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doing the same thing.

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GIRL: [LAUGHS]

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STUDENT 2: "The house was
looking like it was green."

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STEPHEN CARPENTER:
Does anyone want

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to talk about-- you want to
talk about your own specific

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experience, either reading
a book out loud in public

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or reading a public space in
conversation with your figure?

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STUDENT 2: Mainly,
people ignored me.

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Some people, like you
said, made sort of a wide--

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somebody came, realized
they were sort of

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in the scope of the photograph.

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And oh, I'm so sorry.

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Oh.

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And you were taking
a photograph,

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and you said, no, no, it's OK.

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You can go in.

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No, no, no, I'm good.

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So that was interesting.

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I used to love to read
children's books to my kids.

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So I mean, it was
just so much fun

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to be out there and
showing everybody.

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And some people looked
at me, like oh, OK.

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[LAUGHTER]

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And some people smiled.

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And I saw people sort of taking
pictures as they walked by.

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STEPHEN CARPENTER: They looked
stealth at the time, right?

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STUDENT 2: [LAUGHS] Exactly.

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And then I was
watching you, and I

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saw somebody doing posing off
to the side in front of you,

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like wanting to have a picture.

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They figured this
was some thing.

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And they wanted to be in
it, but not really in it.

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So they were off on the
side, posing while you--

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[LAUGHTER]

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STUDENT 3: That
fascinates me, though.

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If you don't even
know what it is,

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why are you so desperate
to get a picture?

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STEPHEN CARPENTER: Nicholas
Mirzoeff, visual culture

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scholar, uses the
word "sublime" to talk

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about those visual moments,
or those moments that are so

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repulsive, you can't look away.

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And so seductive, you
can't bear to look at it.

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I mean, it's that tension.

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But he calls that the sublime.

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So maybe there is something
sublime about that

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that they wanted to
be part, but not.

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They knew something
was going on,

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but they weren't supposed
to be part of it.

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STUDENT 4: I don't know
if we were doing it right.

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But I just had a
little Lego guy, and--

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STEPHEN CARPENTER: Can we
see the little Lego guy?

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STUDENT 4: Yes.

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STEPHEN CARPENTER:
Can you describe--

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STUDENT 4: And we
were just playing--

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he is a ninja with a hatchet.

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STEPHEN CARPENTER: Of course.

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STUDENT 4: And so we
playing around with

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whether he had the hatchet
or not had the hatchet

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and giving him--

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he had different pictures from
magazines or the newspaper.

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And he was in
different contexts.

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And I put him on
the water bubbler

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and was playing with him
on the water bubbler.

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But it was
interesting, and I did

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think that my kids
would have a lot of fun.

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My students would have
a lot of fun with it.

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STEPHEN CARPENTER:
So, the hatchet--

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tell me about why with
and without the hatchet?

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Is this the accessorizing,
or why was--

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STUDENT 4: We had him in
front of the headlines.

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And according to the headline,
if he had the hatchet,

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the headline meant one thing.

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But if he didn't, then it
meant a different thing.

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So that context changed, once
that weapon was introduced.

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STEPHEN CARPENTER: OK, can
you give us an example of one

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of those headlines?

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STUDENT 4: Someone
won an reward.

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And we put him in front of that.

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STEPHEN CARPENTER:
With the hatchet?

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STUDENT 4: With the hatchet,
which made it a little bit more

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ominous.

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And then without the
hatchet, he was like, yay,

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I got this award.

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STEPHEN CARPENTER: [LAUGHS]
So you see in that example,

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you're playing with the
various symbolic meanings that

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are referenced with
not just the ninja,

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but with that
hatchet and the text.

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So there's the layered readings.

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And even that subtle
seemingly innocuous change

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of hatchet or not
hatchet shifts readings--

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shifts meaning there.

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It's very powerful.

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I hope some of what
we've talked about

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gives you beginning
points or places

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of departure for your own
work as educators or artists.

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Continue this work.

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See what else you can trouble,
what other kinds of questions

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you can ask, what other
stories might be told.

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Maybe take the little figures,
and go make some more imagery.

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Maybe find a fire hose, or
attempt other performances.

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Maybe this is an assignment that
would work with your students,

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and give it a shot.

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And if it does or if it
doesn't, maybe share it.

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Social media, drop me a line.

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We'd love to hear what you're
up to as a ripple from what

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we're doing here.

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I said yesterday, and last week,
as an artist, as an educator,

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as a researcher, I
have found that I'm

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more interested in
questioning the answers

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than I am in answering
the questions.

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And for me, the answers are
those social constructs,

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those practices, those systems
that people have put in place.

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Sometimes remaining
unquestioned or under analyzed.

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And maybe art making
through social engagement

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is one way to
provoke reflection,

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hoping to discover
something in the process

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about those constructs.

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I'll leave you with this.

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The National Art
Education Association

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is a professional
organization in North America.

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It's open internationally.

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Primarily made of
K-12 art teachers,

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but there are
other art educators

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in the group, higher education
professionals, museum

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educators.

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There are two
journals they publish.

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Studies in Art Education,
which is essentially

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the Journal of Issues and
Research in art education.

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And then Art Education, which
is essentially primarily

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for K-12 and museum educators.

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And each issue,
they typically have

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six articles in here and
then an instruction resource.

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But this particular
special issue

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that came out in July of
2017 is a special issue.

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And the call for the theme
was creative activity

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as a human right.

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And the editor said,
instead of getting six,

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I want to see how
many I can get.

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So he cut down the length
of the submissions.

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These are shorter pieces,
but they're really

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potent little pieces.

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There are so many in here.

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One of the articles in here is
called "Socially Engaged Art

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Education--

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Practices, Processes,
and Possibilities."

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And it's about ceramic water
filters, public performance,

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socially engaged art.

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And I co-authored this
with two colleagues,

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Ross Schlemmer, who is a
professor of art education

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in southern Connecticut,
and Erika Hitchcock,

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who is a high school art
teacher in Virginia Beach.

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And so the three of us
put our voices together

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to talk about our
experiences here.

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The other piece that I
wanted to share with you

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is one that was written
by three art educators

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at Maryland Institute
College of Art in Baltimore.

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I just want to read
the opening paragraph

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to you and then another
excerpt, and then we

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can have a final
set of comments.

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Their article is called
"Baltimore Uprising--

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Empowering Pedagogy for Change."

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And it was written by Vanessa
López, Adriane Pereira,

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and Shyla Rao.

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"The Baltimore uprising
was in response

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to the death of Freddie
Gray, who was fatally

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injured in April 2015 while
in police custody in Baltimore

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City.

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The first evening
of the uprising,

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we were home, glued
to the television,

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communicating with each other
and our pre-service teachers,

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worried about violent
protests that were

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erupting in parts of the city."

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That's one of those moments
within your own community

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that changes the community.

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Certainly now, Freddie
Gray's name is well-known.

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And so these three art
education professors,

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who were working with
pre-service teachers,

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were faced with this
real life situation.

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And what is our responsibility,
as art educators, as artists,

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as teachers, as citizens
within this community,

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to prepare our teachers to face
these issues, these situations?

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And how do we do so responsibly?

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Not only as community
members and related to them,

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to these teachers
as our students,

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but knowing that these
folks are going to become

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teachers who might face
similar situations.

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And they constructed a pedagogy.

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They called it a pedagogy
for change framework.

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I just want to read briefly what
they wrote and then open it up.

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Because I think this piece
goes to the heart of what

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this theme for
this week has been,

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dealing with
difficult situations

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00:14:48,610 --> 00:14:51,790
and challenging
social constructs,

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primarily in this
case, police brutality.

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00:14:55,030 --> 00:14:57,640
There's elements of white
supremacy and racism

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that flow throughout as well.

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00:15:00,140 --> 00:15:04,670
They said, "If we, alongside
our pre-service teachers

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engage with self."

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00:15:06,020 --> 00:15:07,080
That's the first piece.

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00:15:07,080 --> 00:15:08,960
So there's four
components here, self.

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00:15:08,960 --> 00:15:11,570
"To understand the
intersections of identities

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00:15:11,570 --> 00:15:14,240
from our lived
experiences, examined

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00:15:14,240 --> 00:15:16,370
through the lens of
the historical context

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00:15:16,370 --> 00:15:20,540
of established social injustices
in schools and communities."

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Context being the second.

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00:15:22,126 --> 00:15:23,750
"Then we have an
informed understanding

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of these complexities
that," three,

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00:15:25,490 --> 00:15:28,850
"students contribute
to the cultural assets

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00:15:28,850 --> 00:15:31,400
of every classroom,
with the goal

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00:15:31,400 --> 00:15:34,920
of developing a critical for
pedagogy for effecting change

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00:15:34,920 --> 00:15:36,140
were deemed necessary."

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00:15:36,140 --> 00:15:37,510
So the culmination of self--

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not only teachers, but also
the selves of the students--

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in understanding the context--

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00:15:42,410 --> 00:15:45,880
social, cultural,
political, locational--

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and bringing the students
in there as cultural assets

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within the conversation.

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00:15:52,190 --> 00:15:56,440
Perhaps the pedagogy
emerges from that formula.

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I think it's a brilliant piece.

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And they walk through each
of those components for you.

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