What I Know

Abstract

The topic of this journal issue is on out-of-school art education - a subject of great interest to me, as I have taught art in correctional settings, a residential treatment school, recreational organizations, retirement homes, nursing homes, homeless shelters, and in other community-based settings. What I have learned from these out-ofschool teaching experiences often has motivated my research, as have the numerous folk artists with whom I have worked over the years. While frequently overlooked as educators in community-based settings, folk artists provide communities with rich cultural expressions that help individuals and groups establish identity, purpose, and problem-solving skills (Congdon, 2005).This journal is also the last Studies issue published under my editorship. Just as I have attempted to pass on lessons from my communitybased work, I will pass on what I know about Studies to Laurie Hicks, the next senior editor. It is, after all, what Doug Blandy did for me when I took over the position. Passing on information is what we do as educators. We don't hold onto knowledge and wisdom; instead, we (attempt to) teach it to others.The knowledge I pass on to Laurie about Studies is mostly technical and has to do with forms, policies, deadlines, and ways of working with authors and board members. Whatever wisdom I have accumulated in my role as Studies editor, however, is different. This is a deeper kind of knowledge that is harder to putto put into words, as it is learned through experience. There is a rhythm to publishing Studies, and a teamwork that makes it function successfully. Having a good team to work with is truly a blessing. My assistant and associate editors, Amy Barnickel and Laurie, were ever-present, dependable, and professional. Their commitment and support was unwavering. Julie Voelker-Morris was excellent as a copyeditor. My good fortune extends to Karen Keifer-Boyd, the Commentary Editor, and Sara Wilson McKay, the Media Review Editor. Past Editor Doug Blandy guided me through a few sticky issues, and the Board provided stellar reviews with keen insights and helpful direction. And no senior editor could have a better publishing partner than Lynn Ezell, the National Art Education Association's Publications Manager. I am grateful to her and everyone at NAEA who supported and championed a redesign for Studies during difficult economic times. I was lucky; I had a strong community of editors and reviewers as I became part of Studies' publishing culture. The journal will now change as new editors and reviewers take over. Lessons I have learned from this experience will stay with me.I continue to learn from collaborative experiences, and I marvel at all the creative and successful partnerships that come from sharing knowledge, objects, ideas, stories, and spaces. Collaborations provide individuals with knowledge and the experience of being part of a group. Increasingly, as D.I.Y. communities expand, more people are joining artistic communities. One example is the 3rd Ward in Brooklyn, an art and design incubator for innovation where members gain access to media labs, wood working tools, and photographic studios (Ryzik, July 3, 2010). While the 3rd Ward facilitates the exchange of knowledge by providing studio space, teachers, and event planners, other kinds of learning are often facilitated through participatory artworks in museum settings. For example, in the summer of 2010, Rivane Neuenschwander engaged visitors in exchanging wishes at the New Museum in New York City. Approaching a wall of colored ribbons, museumgoers were invited to write a wish on a ribbon and re-place it on the wall for someone else's wish. By this action, the artist has turned private desire into collective responsibility (Rosenberg, 2010, C21). What often makes outof-school education so powerful is the opportunity to invent, play, and bring together ideas in new and different ways. The space doesn't have to be fancy or elaborate. …