Why Research in Art Education?

Abstract

With this issue, a new senior editor starts a 2-year term. As that editor, I thank all those responsible for the past 56 volumes of the journal, especially Sydney Walker, whose wise and scholarly leadership maintained the dedication of 30 Studies editors since fall 1959 Fifteen men have served as senior editor; I am the fifteenth woman-a rare example of gender balance in academic research Thanks as well Amy Barnickel, Assistant Editor, whose firm support has steadied my transition; Associate Editor B Stephen Carpenter, II; and the editorial advisory board whose thorough, thoughtful responses submissions help authors strengthen their articlesThe first editorial written by the first Editor of Studies in Art Education stated that the journal's primary function would be to identify and debate issues about the teaching of (Hausman, 1959, p 3) That issue was devoted essays examining the nature of research in art education Over half a century later, what constitutes research in the field is an even more open question Each article accepted for Studies offers its author's answers two big questions: (1) What is research? and (2) Why should art educators engage in research as a necessary element of professional practice? In his initial editorial, Hausman wrote about distrust of research among mid-century art educators (wariness he attributed confusion about roles and responsibilities of artists and teachers of art); he lamented the assumption that the more one theorized about art education, the less one was able teach with sensitivity and understanding; and, last but not least, he acknowledged the academic pressures that distort images of research, of artists, and of teachersOver 50 years later, research remains an unsettled issue in art education During the 2012 National Convention, the National Art Education Association launched a Research Commission after several years of planning and advocacy, especially from higher education division members 1 The Commission's work, which includes meeting research needs for the field and its stakeholders, is not limited art educators in higher education One might consider the Commission's work as attempting embed research (broadly defined) into the professional identities and practices of all art educators-from those working with preschool children art supervisors and administrators-and into all levels of formal education and sites for informal education In its research agenda, the Commission describes conceptions of research in and for visual arts education through a matrix of four research factors and an equal number of research topics and questions The Commission members clearly explain that their matrix is neither exhaustive nor exclusive, but it does represent a pragmatic attempt frame needed research at this moment in time (NAEA Research Commission, 2014)As I read the articles in this issue, I identified several reasons for conducting art education research Two are, like the Commission's agenda, pragmatic: rites of passage and professional pathways Another reason is concerned with the applied nature of the field: research undertaken with the intent persuade Two more reasons relate research as critical inquiry: probe and problematize The final reason-passion- resonates with romantic ideals of autonomous artists, but may be challenged by complex institutional cultures Although I am making distinctions for this essay, I know that-in my own experience-these reasons intertwine like the grapevines on my backyard arborMany authors who submit manuscripts Studies in Art Education are writing their first articles for a research journal, often based on a thesis or dissertation Sustained, formal research projects-developed with guidance from a mentor or committee-function as rites of passage toward professional goals: a graduate degree or qualification for a new step on a career ladder Having completed this rite of passage, many turn research as a pathway on the route Tenureland, a process Shari L. …