Art and education are hands-on fields, so it's no wonder our program is designed to be the same way.
When you study to become an art educator, you benefit from a manageable series of art core and foundation courses followed by strong clinical and student teaching components. That means you put learning into action from the beginning.
Starting your first semester in the program, you will be in a K-12 art classroom to gain pre-professional clinical hours in the field. From start to finish, the goal of this model is surround you with support each and every semester. In your final semester, you will top off the concentration with a semester-long student teaching experience in a K-12 school.
When combined with your passion for art, this professional level education and training provides you with the path to launch your successful career as a licensed art teacher in the state of Wisconsin.
All that, plus an incredible faculty who are practicing professionals in their fields and in their mediums. With so much expertise to support you, there is no doubt you will inspire and support generations of learners when you become an art educator.
Concentration Competencies and Outcomes
The Art Education Concentration provides students with opportunities to develop competencies in the following areas:
- Know and reference the history and theories of art education.
- Develop curriculum and projects that align with larger district-state goals and standards.
- Develop a working understanding of appropriate educational approaches for developmental age.
- Support student growth using appropriate approaches.
- Effectively align and diversify approaches to curriculum for specific student needs.
- Use broad and varied instructional media ranging from analog to digital media.
- Understand and use group and individual motivations in creating leaning environments.
- Communicate effectively across developmental stages.
- Effectively plan and integrate instructional methods.
- Use formal and informal assessment strategies to measure student and programs outcomes.
- Use reflective practices for the purpose of professional advancement and advanced efficacy.
- Effectively engage with the community via professional organization, professional development, community arts group or art volunteer work to build a professional network.
Major and Concentration Requirements
The art licensure Bachelor’s degree program follows major and degree requirements of UW-Parkside. Candidates must complete general education, university skills, and foreign language requirements and the art major requirements:
47 credits in the art core curriculum
34 credits in art education concentration
Requirements for admission to the Art Education concentration follow the requirements established in the approved Educator Preparation Program. Candidates who already hold a Bachelor’s degree in Art must meet all requirements for admission to the Art Education concentration and must complete 34 credits in Art Education coursework.
Requirements for the Art Major (47 credits)
Art majors must maintain at least a 2.5 grade point average in the major to remain in the program.
Foundation Studio and Graphic Design Courses (12 credits)
Foundation Art History Courses (6 credits)
Developmental Drawing (3 credits)
Two-Dimensional Experience (6 credits)
Three-Dimensional Experience (6 credits)
Graphic Design Experience (3 credits)
Additional Art History or related coursework (6 credits)
Professional Practice (2 credits)
Upper Division Elective (3 credits)
Requirements for Art Education Concentration (34 credits)
A minimum 2.75 cumulative GPA is required to enter and exit the concentration. Students are dually accepted to the Art and Design Department and Institute for Professional Educator Development (IPED) Teacher Preparation program. Check with advisors to understand IPED’s prerequisites, minimum GPA, and benchmarks.
Art Education Methods Courses (6 credits)
ART 325 | Art Ed. Methods for Elementary-Middle School | 3 credits
ART 326 | Art Ed. Methods for High School | 3 credits
Professional Educator Development Courses (28 credits)
EDU 100 | Introduction to Teaching Profession | 1 credit
EDU 211 | Child and Adolescent Development | 3 credits
EDU 300 | Creating Effective Learning Environments | 1 credit
EDU 304 | Context and Culture in Learning Environments | 3 credits
EDU 310 | Family School and Community Partnerships | 1 credit
EDU 322 | Teaching Exceptional Learners | 3 cr
EDU 430 | Using Action Research to Improve Instruction | 2 credits
EDU 440 | Teacher Preparation Portfolio Design | 2 credits
EDU 420 | Residency Seminar | 2 credits
EDU 425 | Residency | 10 credits
The primary goal for this program is to provide professional level education and training for future art educators in the context of K-12 teaching in the state of Wisconsin.
This program can also be compeled as a post-baccalaureate program for candidates who already hold a degree in Art, leading to licensure only. This licensure requires a Bachelor’s degree.
See what our students have to say.
Lisa Marie Barber
Associate Professor, Cermaics & Foundations
"The majority of my ceramic work, often formatted as figures within dense environments, portrays how I wish to understand people in the world. I strive to create worlds composed of multiple, individualized parts, meant to be celebratory, shrine-like collections. Within them, the human is presented as a passive being, aware of life's weight, yet confident in its value. Often, the figures are children. Chosen for their purity of being, I use children as models of simplistic, unalienated living. To me, they represent a connection to the world that can be simultaneously awkward and full of possibility. In addition to these large-scale sculptures and installations, I also create series of paintings, drawings, and mixed-media works in the forms of quilts and assemblage sculpture. These works explore similar themes, as well as divergent subject matter."
Assistant Professor, Printmaking, Photography, & Foundations
"Originally from the Southern U.S., I currently live and work in Racine, Wisconsin. As an artist invested in contemporary print-media with a strong background in traditional printmaking, my practice remains firmly rooted in multiplicity and duplication- always seeking the most efficient methods in creating and broadcasting ideas. I combine traditional print techniques with drawing, video, photography and digital media as a means to conceptual ends. I am currently interested in the impact of our culture on the Western Landscape- looking at the large and small implications of the American Dream."
Associate Professor, Sculpture
"My work is inspired by both the young seedlings growing in the backyard and machinery that hums, rumbles, shifts, and glides. I developed a love of nature as a young boy while helping my mother in her garden, and I am certain that the many trips South in the passenger seat of my father's semi-truck account for my interest in machinery. It has been these experiences throughout the years that have shaped my aesthetic. As an aesthetic element, nature is alluded to in the surface coloration, forms, organic transitions, and natural materials. In contrast, the use of machine-made parts, polished surfaces, steel, aluminum, and hard edges connote the mechanical. In combination these two opposing visual elements contrast and complement each other in a way that requires a delicate balance."
Associate Professor, Art
MFA, University of Wisconsin - Madison, 2012
"My paintings are about my relationship to the world around me; cerebral and physical, intellectual and visceral. I use the disaster motif as a metaphor to discuss personal, sociopolitical, environmental and ideological issues. Through the motif of disaster, I explore the existential self and examine personal narratives, with some being more literal and others more enigmatic. Notions of loss, place, memory, space and time are central as I reexamine personal experiences from my past and present. The imagery is in constant flux, but always returns to a pile. A pile is everything and it is nothing. It is a mound that once was and now isn't; a mass of information, both physical and metaphysical, organized and chaotic. I am interested in blurring the lines between realism and abstraction, life and death, beauty and horror, devastation and sublime. Everything we live with as Americans is delicately balanced-the cars (magic carpets/ death traps), houses (castles/ prisons), and wilderness (paradise/oblivion)."
Assistant Professor-Art History
Ph.D., CUNY Graduate Center, 2013
"My research right now focuses primarily on the interaction between the avant-garde and popular culture. My dissertation, which was completed in 2013 and was entitled "An Alternative by Any Other Name: Alternative Comics between the 'Mainstream' and the Avant-Garde, 1976 to the Present," examined the history of "alternative comics," a category roughly comparable to alternative film or music, which combined influences from mainstream superhero, horror and crime comics, the countercultural underground comics of the late sixties and early seventies, and other avant-garde traditions. In 2014, a revised chapter from my dissertation was published in the Journal of Graphic Novels and Comics, and I have plans to publish other chapters from it in the future. My dissertation also raised broader questions about the history of interactions between the avant-garde and popular culture. I wanted to put alternative comics in a broader historical perspective but was confronted by the fact that there are very few studies of this area, and those that do exist are generally focused on one medium, time period, or society. I therefore began studying both the history of interactions between the avant-garde and popular culture and the theoretical models that have been applied to them, and I hope to begin publishing work on these topics in 2015."
Associate Professor - Art
Master of Fine Arts, University of Wisconsin, 2006
"A found object can be a mysterious thing. Inherent in every object is a narrative that describes the object itself or the life of the owner. The reality of an object's function is defined by the original owner. Every found object has a story to tell, a story I try to uncover. In my work, the found object is reinvented, and a new narrative is discovered through the manipulation of structure. By investigating sequential design and book structures I create a new way of engaging with an object. A new identity emerges. The users' interaction with the object creates a new history. The lines of function and design are blurred, and as the object is manipulated a new definition appears."