Texas Trends in Art Education, 2010 Page: 20

                                
their curricular choices and instructional strategies to adminis-
trators, parents and students.
CONCLUSION
The process I engaged in with preservice teachers
asked them to look closer into their narratives and
beliefs and how these would inform their future prac-
tice as art teachers. The nexus of this process was the invalu-
able feedback and collaboration with a practicing art teacher,
which moved the developing theory of the preservice teacher
directly into the realm of practice. Through repeated experi-
ences of this kind, the preservice teacher gains a greater sense
of self and hopefully, fulfillment in their future profession of
art education.
REFERENCES
Allison, A. (2008). Critical theory and preservice art education:
One art teacher educator's journey of equipping art teach
ers for inclusion. Published doctoral dissertation, The Uni-
versity of North Texas, Denton.
Avramidis, E., & Norwich, B. (2002). Teachers' attitudes to
wards integration/inclusion: A review of the literature.
European Journal of Special Needs Education, 17(2), 129-
147.
Barrett, T. (1994). Culture Wars. [Editorial]. Studies in Art Educ-
ation, 36(1), 3-6.
Danielewicz, J. (2001). Teaching selves: Identity, pedagogy,
and teacher education. Albany, NY: State University of
New York Press.
Freire, P. (1993). Pedagogy of the oppressed. New York: Con-
inuum.
Giroux, H. A. (1988). Teachers as intellectuals: Toward a critical
pedagogy of learning. Granby, MA: Bergin & Garvey Pub-
lishers.
Greene, Maxine (1970). For the record: Teacher education
and commitment: The tolling bell. Teachers College Re-
cord, 71(3), pp. 469-478.
Gude, O. (2000). Investigating the culture of curriculum. In D. E.
Fehr, K. Fehr, and K. Keifer-Boyd (Eds.), Real world readings
in art education: Things your professors never told you.
(pp.75-81). New York: Falmer Press.
hooks, b. (1994). Teaching to transgress: Education as the prac-
tice of freedom. New York: Routledge.
National Education Association (NEA). (2010). Research spotlight
on recruitment and retention. Retrieved January 4, 2010,
from: http://www.nea.org/tools/16977.htm
Leshnoff, S.K. (2003). Teaching art, moral conduct, and John
Dewey for today. Art Education, 56(6), 33-39.
Stout, C.J. (1999). The art of empathy. Teaching students to care.
Art Education, 52(2), 21-34.
Walker, K. (1998). Cut. Cut paper on wall. 88 x 54 in. Courtesy of
Sikkema Jenkins & Co., New York.

ii  ,tI,-  r     r !l    T    r  y  t  o  P r  (  tr  r'
Walker, K. (1993-4). You do. Cut paper on canvas. 55 x 49 in.
Courtesy of Sikkema Jenkins & Co., New York.
Walker, K. (2002). Excavated from the black heart of a negress.
Cut paper on wall. 13 x 99 ft. Courtesy of Sikkema Jenkins &
Co., New York.
FOOTNOTES
The Dallas Morning News reported in its Dallas Independent School District Blog
that secondary art teachers were given the PBS ART 21 series for use in their
classrooms. Inclusion of works by artists Sally Mann and Kara Walker were
strongly protested by many art teachers and parents. The story and public com-
mentary can be found online at: http://dallasisdblog.dallasnews.comi
aichives/200SIO8Is disds new art curriculum to html
Kara Walker studied at the Atlanta College of Art and received her MFA from
the Rhode Island School of Design in 1997. She was part of the Whitney Mu-
seum's 1997 Biennial show and received the John D. and Catherine T. MacArthur
Foundation's Genius Grant that same year. In 2004, she received the Smith-
sonian American Art Museum's Lucelia Artist Award, which is given to a standout
contemporary American artist under 50 year s of age She currently is a Professor
of Art at Colombia University
More information on Walker's work and accompanying curricular materials can
be located on the Walker Art Center's website. They organized the exhibit and
created an online resource to accompany the show. This resource is available
at: http://learn.walkerart.org/karawalker?n=Main.HomePage
'The seven principles of Kwanza are unity, self determination, collective work
and responsibility, cooperative economics, purpose, creativity, and faith.
Picture Credits
On page 15- Walker, Kara. You do. 1993-4. Courtesy of Sikkema Jenkins &
Co., New York.
On page 21-Walker, Kara. Cut. 1998. Courtesy of Sikkema Jenkins & Co.,
New York.
On pages 17 and 18-Walker, Kara. Excavated from the black heart of a ne-
gress. 2002. Courtesy of Sikkema Jenkins & Co., New York.

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