penn state art education phd

Table of Contents

• Introduction
• Interpreting a Seminar for Research and Curriculum Development in Art Education: Context and Significance 
• Exploring Arts Based Research and Productive Ambiguity
• Emerging Art Education through Intra-Action within STEAM
• Searching for Openings: Institutional Politics and Feminist Pedagogy
• Living the Vision: A Seminar in Art Education for Research and Curriculum Development, 1965 to 2016
• The Art Education Archive: “Living Moments” in Practice with the Interdisciplinary Laboratory of Art, Nature and Dance (iLAND)
• Revealing Researcher’s Positionality and Perception
• Modernism of Art Education Theory
• Jane Addams, Hull-House, and the “Danger” of Women’s Work
• The Politics of Teacher Licensure in Art Education: How Should We (re)Act?
• Alan Kaprow and Manuel Barkan: 21st Century Incarnations for the Neoliberal Era of Art Education
• Critical Digital Making: 21st Century Art Education (in)Formation
• The Immaterialization of Art Education’s Labor: Disciplined-Based Knowledge Production and the 1965 Penn State Seminar
• Art Education after DBAE: A K-12 Postmodern Curriculum in Practice
• Connecting with the Past and Considering the Future: Reengaging the Big Red Book
• Exploring Transdisciplines: Middle School Students Explore Art & Ecology in Virtual Worlds

Three Doctoral Programs in Art Education and the 1965 Penn State Seminar

Eunjung Chang Francis Marion University, USA

Borim Song East Carolina University, USA

Jaehan Bae University of Wisconsin – Oshkosh, USA

Citation: Chang, E., Song, B., & Bae, J. (2019). Three Doctoral Programs in Art Education and the 1965 Penn State Seminar. Transdisciplinary Inquiry, Practice, and Possibilities in Art Education. University Park, PA: The Pennsylvania State University Libraries Open Publishing. DOI:  10.26209/arted50-17

This paper will study the history of Art Education doctoral programs of our own universities — Indiana University Bloomington, Teachers College Columbia University, and Florida State University — to analyze their program studies, pedagogies, curricula, and other instructions. It will discuss an overview of the graduate programs at the time of the 1965 Penn State Seminar and in what way the seminar has influenced the doctoral programs in three universities. Wygant (1993) claimed that the Seminar in Art Education for Research and Curriculum Development held at the Pennsylvania State University in 1965 was one of the most significant conferences to bring together artists, critics, historians, philosophers, and art educators in the field of art education. This seminar re-evaluated and re-defined the nature of art education curricula from psychologically grounded, child-centered practices, which dominated art education for several decades to teaching and learning to more systematic and theoretical inquiry as a part of the humanities and discipline-oriented art education (Clark, 1984; Efland, 1990). According to Manuel Barkan’s proposals for curriculum reform, art education should exist in the structures of three domains — the productive, historical, and critical — and the teaching should employ both problem-centered and discipline-centered strategies. Furthermore, activities and learning objectives of art education should be developed on the focus of life problems (Wygant, 1993). The influence of this seminar seemed clear on both the program studies and curriculum development of these particular doctoral programs since Guy Hubbard and Mary Rouse from Indiana University, Arthur Foshay from Teachers College, and Ivan Johnson from Florida State University had participated in the Seminar (Mattil, 1966).

Indiana University Bloomington and the 1965 Penn State Seminar

I was a student of Zimmerman at IU. As my mentor, advisor, and role model, she has greatly influenced my current teaching, research, mentorship, and leadership, as well as my philosophy of teaching and life. Significantly, doctoral student interests, dissertation topics, research methodologies, teaching pedagogies, mentorship, and leadership depend on their faculty interest, expertise, and style (Clark, Hubbard, & Zimmerman, 2001). Indiana University’s doctoral program in Art Education was established in 1963. During the early 1960s, a Doctoral of Education (Ed.D.) only offered in Elementary and Secondary Education were the only doctoral degrees available in Indiana University. Art education students could only receive a doctoral degree in Elementary or Secondary Education that placed some disadvantages. Not only did larger school districts want to hire subject matter specialists as supervisors, but also many studio art faculties or art historians had to prepare art teachers for public school teaching. Moreover, Indiana state government mandated that all Indiana teachers should eventually hold master’s degrees, and some students wanted to continue their studies seeking their doctoral degrees (Clark, et al, 2001).

Accordingly, Guy Hubbard from Stanford University with John King McFee as his mentor was appointed in the fall of 1962 to undertake the establishment of the Art Education program. By the late fall of 1963, IU Art Education program that was separated from existing elementary and secondary graduate programs was approved. A new graduate from Stanford University, Mary Rouse who also studied with McFee, joined to IU Art Education program. They brought with them the philosophy of June King McFee from their graduate studies (Clark, et al., 2001). Like that established by McFee at Stanford University, IU Art Education program focused on “applications of the social science to art education, including psychology of perception, creativity, and the significance of sociology and anthropology of the study of art” (Clark, et al., 2001, p. 146). “June King McFee’s cultural studies approach to research based on psychology and anthology, Asahel Woodruff’s focus on learning objectives, also were theoretical framework” that influenced IU doctoral study during the early years (Clark, et al., 2001, p. 146).

At that time, many doctoral programs focused on the philosophical model of Viktor Lowenfeld (1903–1960), based on his own scheme of human development and creative self-expression. Lowenfeld’s philosophy was dominant in the field of art education; his Creative and Mental Growth (1947) reissued through many editions (1952, 1957, 1964, 1970, 1975) and remained a popular art education textbook for several decades (Marche, 2002). In the 1963 NAEA convention in Kansas City, Rouse critiqued and challenged Victor Lowenfeld’s Haptic/Visual Theory. Neal (1990) wrote, “no one had dared to publically question the principles and philosophy of Lownfeld” (p.16).

Hubbard and Rouse attended the Penn State Seminar and were profoundly affected by their participation in this event. At Indiana University, they had begun developing a series of graded textbooks as early as 1963 that were systematic, content-based, and articulated between grades. They gained new realization of the series’ importance by their participation at the Penn State Seminar and intensified their development and field-testing of materials. (Clark, 1984, p. 227)

Hubbard and Rouse published the first Art: Meaning, Methods, and Media series of art education textbooks in 1973 for classroom teachers in grades 1-6. Linked to the commercial publishing house and supported by strong sales, these textbooks were extensively and successfully used (Marche, 2002) and considered as the first commercially available elementary art curriculum (Hurwitz & Day, 2001). The Art: Meaning, Methods, and Media series include “objective-defined learning activities and is based upon sequenced, articulated presentation of content across the grades” (Clark, 1984, p. 227). Each graded textbook includes 60 lessons for each grade, and the subject matter of art is organized into six categories of learning: (1) perceiving; (2) the language of art; (3) artists and their art; (4) criticizing and judging; (5) tool and materials; and (6) art production. Lampela (1994) signified that this textbook provided students of art with sequential art lessons with the historical, critical, and inter-disciplinary content designed to build a discipline-based art learning experience.

Hubbard and Rouse were strongly influenced by that of Manual Barkan with his emphasis on art disciplines as the core of the art education program (Clark, 1984). Mannal Barken outlined a curriculum structure that would be both problem-centered and discipline-centered with content and inquiry drawn from studio production, history, and criticism (Marche, 2002, Mattil, 1966). In other words, “criticism/production and criticism/history were to function through inquiry-based activities, organized around life problems and framed by behavioral objectives” (Marche, 2002, p. 26). He criticized, “what is done in college studies, where criticism rarely stand alone and is most often incorporated with production and history” (Barken, 1966, p. 246). Hubbard also authored Art in Action, a series of junior high art textbooks which resisted simplistic “how to do it” lesson plans and encouraged students to explore four basic disciplines: (1) creative expression; (2) aesthetic perception; (3) art heritage, and (4) aesthetic criticism. Efland (1987) stated that his Art in Action was an adopted text in 20 states. Consequently, Hubbard and Rouse’s attendance at the 1965 Penn State significantly influenced the nature of IU doctoral program and research. They emphasized the structure and sequence of art curricula and modeled for students’ comprehensive thinking that was required for responsible curriculum planning.

In addition, Gilbert Clark from Stanford University with Eliot Eisner as his mentor, joined the faculty after the sudden death of Mary Rouse in 1976, and Enid Zimmerman had been a faculty member since 1979. At that time, Gene Mittler and Lovano-Kerr were also IU faculty and doctoral advisors in Art Education until the 1980s (Clark, et al., 2001). Clark was one of the leading members of discipline based art education’s (DBAE) contributions. Clark and Zimmerman soon have been recognized for their record of research and publication in art talent development, community-based art education, and curriculum studies. They co-authored the textbook Art Design: Communicating Visually (1978) that was influenced by the Penn State Seminar’s art as a discipline, and they added aesthetician to the roles of art historian, artist, and art critic (personal communication, 2015). In 1982, Hubbard and Zimmerman co-authored the textbook Artstrands: A Program of Individualized Art Instruction and included “art lesson grouped in strands through hypertext organization” (Sable & Manifold, 2009, p.14). All of the textbooks mentioned here published by IU faculty members certainly foreshadowed DBAE initiatives understanding an approach to art education as different disciplines — art production, art history, art criticism, and aesthetics.

In the 1970s, IU School of Education established doctoral programs in several curricular areas that were obligated to have special requirements in common for all doctoral programs, and it did persuade the University to recognize Ph.D. degrees in curricular areas including art education (Clark, et al., 2001). At IU, the Ed.D. is an internal degree in the School of Education as a practitioner degree, whereas the Ph.D. is a university degree administered by the Graduate School to serve both future teaching faculty and future researchers. This change made doctoral students to complete several required courses both in research methodologies and general education. Neil (1991) mentioned, “the IU School of Education acknowledged that the research course in art education was comparable to the standard research course required for all education doctoral students in various departments” (p. 19). Hubbard and Rouse showed tremendous enthusiasm for her students and their research. This was evident in a statement by Rouse’s faculty report in 1971.

Students in my doctoral-level curriculum courses expressed a desire to continue working on ideas evolved in that course and so we set up a process where this could occur. They worked together throughout the year, culminating in a multimedia project presented twice at our National Convention in Dallas, in the spring. Dr. Hubbard and I drove station wagons full of these students down to the convention so they could make these presentations which were extremely well received (Neil, 1991, p.19).

Rouse said, “art educators were building a significant collection of research based on a grounded-well of psychological and education research” (p.19). As one of the top research universities in the field, all of the IU faculty have emphasized the importance of research in art education as a discipline, actively engaged in their own research, and helped their students to develop their interests in research.

Teachers College, Columbia University and the 1965 Penn State Seminar

This section introduces the history of the Program in Art and Art Education at Teachers College, Columbia University, New York City, and investigates how the 1965 Penn State Seminar in particular influenced the graduate program. I studied in the art education program, pursuing the EdD degree in 2000 through 2007. While I learned a lot from the current director of the program, Dr. Judith Burton, and other great faculty members at the graduate school, my advisor was Dr. Graeme Sullivan; my learning experiences with Dr. Sullivan influenced my current research and teaching to a great extent. I now realize that his influence is evident in my strategies to prepare my students for their own future teaching practices and career.

Teachers College, which has a long history and strong tradition, began with the great hope of becoming a place for democratic public education. At its origin in 1880, the college began as a neighborhood school for the children of laborers. Entitled the Kitchen Garden Association (and then renamed the Industrial Education Association later), the school was founded with an educational vision based on philanthropy and social work (Burton, 2001). Furthermore, its founders believed that “handwork and practical arts — the development of skill and taste — could equip unprivileged children to build a better life” (Burton, 2001, p. 10). Based on the success of the Kitchen Garden Association, the school became the New York College for the Training of Teachers in 1887, and was formally affiliated with Columbia University in 1897, when the university moved to the neighborhood of Morning Heights (Wygant, 1959).

Teachers College became a focal point for innovation in education. John Dewey (1859-1952), who is well known for developing the theory of instrumentalism, strongly influenced not only educational practices at Teachers College, but also educational philosophy in America; he taught at Columbia from 1904 to 1930. At Teachers College, Dewey offered courses on philosophy of education and, together with his wife, Alice, founded laboratory schools. Two influential figures who played important roles in creating the foundation for the Art and Art Education program were Arthur Wesley Dow and Edwin Ziegfeld. Working at Teachers College in 1904–1922, Dow established “the groundwork for a recognition of the intimate connection between art education and its role in shaping personal experience, and as preparation for professional careers” (Burton, 2001, p. 13). Teachers College focused on two areas of art education, providing courses in manual training and industrial arts as well as the fine arts tradition. The first doctorate gained at Teachers College involving the visual arts was a Ph.D. in Industrial Arts Education, awarded in 1914 and conferred by Columbia University. The first three Ph.D.s were awarded in Fine Arts and Fine Arts Education in 1935. Ziegfeld developed “a curriculum of studies which then, as now, intermingled and integrated studio work with courses concerned with child development and curriculum and method” (Burton, 2001, p. 18). He played an important role in developing a new doctoral degree and emphasized the importance of design in the education of artists and teachers.

The Program in Art and Art Education started offering two kinds of doctoral degrees: Ed.D. in Art Education and Ed.D. in College Teaching of Art (Ed.D.C.T.). Studio art played a critical role in the doctoral education program. A unique aspect of the Ed.D.C.T. degree was the role of studio art in the fulfillment of the degree’s requirements. Both degrees required a professional exhibition of artwork at the time of certification. Interestingly, Ed.D.C.T. students continued to work in studio art and were required to have a second exhibition near the completion of their doctoral programs.

When the Penn State Seminar in Art Education for Research and Curriculum Development took place in 1965, Arthur W. Foshay, Associate Dean for Research and Field Service at Teachers College, attended this event. We can see the outcomes of this historically important seminar in the practices adopted by the Program in Art and Art Education at Teachers College as follows. First, the Program in Art and Art Education strongly emphasized a humanistic approach to art education. Faculty within this program rigorously collaborated with members of other programs in the department of Arts and Humanities at Teachers College. In 1986–87, the Department of Art Education became the Department of the Arts in Education, to bring together programs in visual arts, performing arts, and literary arts. And, in 1995, the new Department of the Arts and Humanities incorporated the programs in Art and Art Education, Music and Music Education, Dance Education (discontinued in 2001), and Arts Administration. Since the time of Dow, the Program in Art and Art Education has been rooted in humanities education. In consequence, faculty members in other Arts and Humanities programs such as Maxine Greene (aesthetic education), Philip Phenix (philosophy), Jonas Soltis (philosophy), and Harry Passow (urban and gifted education) have greatly influenced the learning and research of art education doctoral students. Dr. Judith Burton came from Harvard University to be a director of the Program in Art and Art Education in the early 1990s, and her research is also strongly based on a humanistic approach to art education and children’s artistic development.

A second outcome of the Penn State Seminar that has been utilized at Teachers College is problem-centered learning. This approach has been well examined and practiced in the Teachers College doctoral program in art education. In addition to various courses about art and education, the Program in Art and Art Education has been offering a course in the form of a weekend conference that explores diverse cultures with the filter of critical theory.

Lastly, the Teachers College’s Art Education program has successfully served as a regional center for research and curriculum development, based on the suggestions for regional centers by Elliott Eisner (Wygant, 1993) with the support of Manuel Barkan (Henry, 2002). Dr. Burton co-founded the Center for Research in Arts Education at Teachers College in 1995 and, in 1996, founded the Heritage School, a comprehensive high school featuring the arts that is located in Harlem, New York City. In addition, the program has partnered with several mainstream museums in New York City, such as the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art.

Florida State University and the 1965 Penn State Seminar

How does the Penn State Seminar impact the establishment and development of the art education program foundations at Florida State University (FSU)? Looking at journal articles, I found that art education faculty at FSU made an effort to establish new courses as a response to the Seminar. The art education program at FSU is one of the oldest programs in the United States. “On July 1, 1965, the Board of Regents of the Florida State University system established a doctoral program in Art Education in the Department of Art Education, Florida State University” (“Art Education Doctoral Student Handbook,” n.d., p. 7). In keeping with the Penn State Seminar, an art or art education is a discipline in which students need to have models to learn from, i.e., professionals of the art world, such as artists, art critics, and art historians (Efland, 1984, 1987, 1990). Thus the main paradigms in the field of art education should be shifted from child-centered to discipline-oriented.

Marylou Kuhn (1923-1999) was a professor of art education at FSU from 1950 to 1989 and helped establish its doctoral program (Johnson, 1999). She earned her master’s degree from Teachers’ College at Columbia University in New York and received her doctoral degree from Ohio State University (OSU). Kuhn also was an editor of Studies in Art Education from 1973 to 1975. The Penn State Seminar in Art Education for Research and Curriculum Development took place from August 30-September 9, 1965. It is not very clear how much the Seminar influenced the FSU doctoral program because the FSU program was established on July 1, 1965, about three months earlier than the Seminar took place. However, Barkan, through his critical discourses (1955, 1966), had previously criticized the child-centered approach to teaching in art and the romantic side of teaching art. Therefore, assumptions can be made that Kuhn was influenced by Barkan’s discipline-centered notion of art teaching and his theoretical speculations on curriculum (Barkan, 1966), which are similar to information presented at the Seminar. This assumption can be also supported by Kuhn’s offering an introductory-level art criticism course in the 1970s at FSU called Communication through Art Content (Sevigny, 1987), which was a case for offering the course for pre-service art teachers.

Three compulsory doctoral seminar courses in the Art Education Department have been offered at FSU: “ARE 6937 Structure in Art Education: Philosophical Foundations, ARE 6937 Social Foundations, and ARE 6380 Teaching and Learning: Psychological Foundations” (“Art Education Doctoral Student Handbook,” n.d., p. 11). Kuhn (1980) introduced her conceptual framework of the advanced graduate course called Structure . Through her critical discourse on theory development in art education through research, Kuhn illustrates a “structure of art education” that shows “art education is multi-disciplinary and subject to divergent philosophical orientations” (Kuhn, 1980, p. 21). I think that the “comprehensive philosophical framework” that Kuhn developed and elaborated (Kuhn, 1980, p. 22) serve as foundations of the art education doctoral seminar courses at FSU. Therefore, the Penn State Seminar was greatly influential in establishing and developing the undergraduate and graduate program at FSU.

Sevigny (1987) states that “Florida State University can be identified as having one of the earliest carefully sequenced, knowledge-based curricula that also incorporates critical and aesthetic dimensions in the academic preparation of art teachers” (p. 104). In addition, the department of art education at FSU offers art methods course for elementary majors, “A. Ed. 303, Art in the Education of Children” that consists of “teaching in children in art criticism, art production, and art history” (quoted in Sevigny, 1987, p. 105). Clearly, the content of the art methods course mainly was influenced by the seminar.

My advisor was Tom Anderson, who was a director of Florida Institute for Arts Education at Florida State University from the late 1990s to the early 2000s. This institution was supported by the John Paul Getty Trust and advocates discipline-based art education (DBAE) and provides DBAE resources and teaching and learning workshops to local art teachers and classroom teachers. DBAE considers, as an extension of the Penn State Seminar model, that art or art education is a discipline in its own right (Lovano-Kerr, 1985). Jessie Lovano-Kerr was also a professor of art education at FSU; she received her Ph.D. from the University of Oregon. Before coming to FSU, Lovano-Kerr was a professor at Indiana University and she advocates the notions of the Seminar as art or art education as a discipline. A comprehensive view of visual art education has been advocated by both Lovano-Kerr and Dr. Anderson through a book (Anderson & Milbrandt, 2005). The authors define comprehensive art education (CAE) as the following:

An outgrowth and maturation of discipline-based art education. DBAE focuses on making art, art criticism, aesthetics and aesthetics inquiry and art history. CAE incorporates additional strategies and understanding. There are various forms of CAE, but all are discipline-centered. Art for life is one model of CAE. (Anderson & Milbrandt, 2005, p. 235)

Anderson and Milbrandt add visual culture, individual and social creativity, and new technologies to the four disciplines such as aesthetics, art criticism, art history, and art making. Anderson also developed his art criticism model (Anderson, 1988, 1993, 1995) that modified Feldman’s model (1970). I think that Anderson adopted a basic structure from Feldman’s model (1970), which is the gold standard of modernist methodology in art criticism and mainly deals with the elements and principles of design to interpret works of art. Feldman was Anderson’s graduate advisor at the University of Georgia. It is not surprising that art criticism is one of Anderson’s research interests. Anderson’s analytic model includes a contextual examination stage which deals with historical and cultural context of artworks and artists. In addition to aesthetics and art criticism, his areas of expertise include, among others, the social foundations of art and education; anthropology of art and multicultural concerns; and philosophy and contemporary theory related to art and education.

In conclusion, FSU’s art education undergraduate and graduate program was greatly influenced by the Penn State Seminar, which is common at other research universities in the United States. However, individual faculty brought the Penn State Seminar’s ideas and new goals of art education into the art education program at FSU. These individuals, such as Kuhn, Lovano-Kerr, and Anderson, made efforts to transplant new and innovative ideas and theories that they learned from their graduate schools, advisors, and former professors at Ohio State University, University of Oregon, and the University of Georgia. They influenced and learned from one another at FSU as their working periods overlapped.

Anderson, T. (1995). Toward a cross-cultural approach to art criticism. Studies in Art Education, 36 (4), 198-209.

Anderson, T. (1993). Defining and structuring art criticism for education. Studies in Art Education, 34 (4), 199-208.

Anderson, T. (1988). A structure for pedagogical criticism. Studies in Art Education, 30 (1), 28-38.

Anderson, T., & Milbrandt, M. K. (2005). Art for life: Authentic instruction in art . New York, NY: McGraw-Hill.

Art Education Doctoral Student Handbook. (n.d.). Department of Art Education College of Fine Arts. Tallahassee, FL: The Florida State University. Retrieved http://arted.fsu.edu/programs/art-education/

Bain, C., & Ulbricht, J. (2004). Navigating graduate study in art education. Art Education, 57 (1), 48-52.

Burton, J. M. (2001). Doctoral programs at Teachers College. In J. Hutchens (Ed.), In their own words: The development of doctoral study in art education (pp. 10-27). Reston, VA: National Art Education Association.

Barkan, M. (1966). Curriculum problems in art education. In E. L. Mattil (Ed.), A seminar in art education for research and curriculum development (USOE Cooperative Research Project No. V-002) (pp. 240-255). University Park: The Pennsylvania State University.

Barkan, M. (1962). Transition in art education: Changing conceptions of curriculum and theory . Art Education, 15 (7), 12-15.

Barkan, M. (1955). A foundation for art education . New York: Ronald Press.

Carpenter, B.S., Sullivan, G., & Zimmerman, E., (2009). Mentoring graduate research: A conversation with B.S. Carpenter II, G. Sullivan, and E. Zimmerman. Visual Art Research , 35(2), 127-136.

Clark, G. (1984). Beyond the Penn State Seminar: A critique of curricula. Studies in Art Education, 25 (4), 226-231.

Clark, G., Hubbard, G., & Zimmerman, E. (2001). The doctoral program in art education at Indiana University. In J. Hutchens (Ed.), In their own words: The development of doctoral study in art education (pp. 141-150). Reston, VA: National Art Education Association.

Efland, A. (1990). A history of art education: Intellectual and social currents in teaching the visual arts . New York, NY: Teachers College Press.

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Henry, C. (2002). Reflections on Manuel Barkan’s contributions to art education. Art Education, 55 (6), 6-11.

Hurwitz, A., & Day, M. (2001). Children and their Art: Methods for the elementary School (7 th edition). Belmont, CA: Wadsworth/Thomson Learning.

Lampela, L. (1994). A description of art textbooks use in Ohio. Studies in Art Education, 35 (4), 228-236.

Logan, F. (2001). Graduate study in art education: Notes on its development and present day objectives. In J. Hutchens (Ed.), In their own words: The development of doctoral study in art education (pp. 1-9). Reston, VA: National Art Education Association.

Marchel, T. (2002). Discipline before discipline-based art education: Federal support, curricular models and the 1965 Penn State Seminar in art education. Arts Education Policy Review, 103 (6), 25-33.

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Neal, E. (1991). Mary Jane Rouse: Portrait of a dynamic art educator. In Stankiewicz, M. A., & Zimmerman, E (Eds.), Women Art Educator II (pp. 14-26). Bloomington, IN: Indiana University.

Sable, B., & Manifold, M. (2009). Through the prism: Looking into the spectrum of writings by Enid Zimmerman. Reston, VA: National Art Education Association.

Stankiewicz, M. A. (2001). Status and opportunity: Reflecting on doctoral studies in art education. In J. Hutchens (Ed.), In their own words: The development of doctoral study in art education (pp. 181-191). Reston, VA: National Art Education Association.

Wygant, F. (1959). A history of the Department of Fine and Industrial Arts of Teachers College, Columbia University . Unpublished doctoral project, Teachers College, Columbia University, New York.

Wygant, F. (1993). School art in American culture 1820–1970 . Cincinnati, OH: Interwood Press.

Eunjung Chang, Borim Song, and Jaehan Bae

Dr. EunJung Chang is Associate Professor of Art Education at Francis Marion University — Florence, SC. She holds her Ph.D. in Curriculum and Instruction from Indiana University, Bloomington. Her scholarly interests include museum education, service learning, teacher education, cross-cultural education, and integrated curriculum. Chang’s writings have been included in many peer-reviewed journals and published books in the U.S., Germany, England, and South Korea. She received NAEA’s South Carolina Higher Education Division: Educator of the Year (2014).

Borim Song is Associate Professor of Art Education at the School of Art and Design of East Carolina University, Greenville, NC. She holds her Ed.D. and Ed.M. from Teachers College, Columbia University in New York City. Her scholarly interests include digital art instruction, contemporary art in K-12 curriculum, cross-cultural movements, and engagement scholarship. Song’s writings on art, art education, and cultural studies appear in publications in both the U.S. and Korea.

Dr. Jaehan Bae is Associate Professor of Art Education at the University of Wisconsin Oshkosh. He has taught art methods courses for elementary and art education majors and supervised pre-service art teachers since 2007. Jaehan earned his Ph.D. in art education at the Florida State University and was an elementary school teacher in Daegu, South Korea. Jaehan’s research interests include socially engaged art pedagogy and issues on art teacher education.

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• Curiosity & Creativity , a project of AED 590 Colloquium, Fall 2021
• Augmented Encounters: Community-building, Inclusivity, Sustainability , a project of AED 525: Including Difference, Fall 2022
• Participatory Arts-Informing Critical Encounters in Public Spaces , a project of AED 522: Visual Inquiry in the Public Sphere, Fall 2022
• Wo/Manhouse 2022 

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No matter how you learn and work, in whatever discipline you choose, you’ll emerge with the same Penn State degree. With twenty-four campus locations across Pennsylvania (including a graduate school, two law schools, and a medical school), as well as an online World Campus (ranked in the top ten nationally for online learning), Penn State’s doors and resources are open to you no matter where you are.

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A Penn State Nittany Lion statue is seen in the courtyard of Penn State College of Medicine in Summer 2016. The statue is in focus toward the right side of the image. Out of focus in the background, green plants and trees are visible in the courtyard.

Professional Development Programs

A variety of professional development programs and recognitions are offered to faculty in all career stages at Penn State College of Medicine.

Latest News from Faculty and Professional Development

Jump to topic, professional development opportunities.

A variety of professional development events and workshops are offered at Penn State Health/Penn State College of Medicine.

Upcoming events are listed here; click any event for details or to add it to your Outlook calendar.

A variety of accredited continuing education programs for medical professionals are offered.

See Continuing Education website for full list of upcoming programs

“Demystifying Promotion,” a panel discussion by fixed-term faculty, is held twice a year – once in the spring and once in the fall. When scheduled, dates appear on the Office of Faculty Affairs page .

The process of promotion can feel like a daunting task. Common questions include: How do you know when you are ready to be promoted? Who should be considered for external reviewers? How do you best create a personal statement?

By bringing together a group of recently promoted associate and full professor faculty from multiple departments, this workshop is designed to aid faculty beginning or considering the promotion process.

Any faculty member who is considering promotion in the future – not just in the coming year – is encouraged to attend.

Learn more about faculty affairs workshops

The Woodward Center is designed to assist learners and educators in the development and use of effective learning and teaching methods.

A variety of educator development opportunities are offered through the Woodward Center, including EdVenture , the annual celebration of education at Penn State College of Medicine.

The center serves as a collaborative partner with learners, faculty and staff to develop the tools needed to support successful learning in a variety of learning environments.

Learn more about the Woodward Center’s educator development opportunities

The annual Grants Academy program is for postdocs and faculty who plan to submit a grant application.

Grants Academy is a structured, non-credit workshop intended to assist participants with preparation and submission of an independent investigator-initiated grant application.

Applications include submissions to the NIH (such as R01, R21, K01, K08, K23), the American Cancer Society, the Juvenile Diabetes Research Foundation, the American Heart Association and the American Diabetes Association (among others). Participants will be asked to commit to submit a grant application, with support of their chair, in the summer/fall of each year.

Program directors are:

• Dr. Sarah Bronson , Associate Dean for Interdisciplinary Research, Director of Research Development, Co-Director of the Junior Faculty Development Program and Associate Professor of Cellular & Molecular Physiology
• Dr. Kent Vrana , Elliot S. Vesell Professor and Chair of the Department of Pharmacology, former Chair of the NIH Molecular NeuroPharmacology and Signaling (MNPS) Study Section
• Dr. Sheila Vrana , Associate Dean for Research, Associate Professor of Pharmacology and Director of the Office of Research Affairs

The Health Systems Science Academy (HSSA) was launched in September 2016 and is designed to develop teachers and role models in Health Systems Science within each department who will guide the new learning and practice models that are evolving for increasingly complex population-focused health care systems.

Health Systems Science includes core concepts related to health care delivery, clinical informatics, public and population health, value-based care, health system improvement, and healthcare policy. This Academy is specifically designed to develop a core group of Health Systems Science scholars, broadly representative across our departments, who will educate and guide learners from undergraduate medical students, graduate medical trainees, and faculty in learning, practicing, and teaching the core principles of Health Systems Science.

The program runs from September through May, and applications are accepted beginning in February for the coming academic year.

Learn more about HSSA

What: An educational program to discuss best practices in delivery of the annual review Who: All administrator officers who perform annual reviews of faculty members Why: To improve the process for annual reviews for the benefit of faculty members, Penn State Health Milton S. Hershey Medical Center and Penn State College of Medicine

Program Details

Improving the AC-40: An Interactive Peer-to-Peer Program is designed to discuss best practices in the delivery of annual reviews to faculty and is intended for all administrative officers who conduct annual reviews of faculty members ( e.g. , department chairs, division chiefs, section chiefs and others).

The goal of this session is to reduce variability and improve the delivery of AC-40s for the benefit of faculty members and those who deliver AC-40s at Penn State Health Milton S. Hershey Medical Center and Penn State College of Medicine. Special focus is given to how to account for COVID-19 pandemic-related disruptions in academic, educational and clinical productivity, as well as how to use Activity Insight to improve the AC-40 process.

This program relies on the expertise of existing AC-40 officers, with the goal of sharing meaningful, actionable strategies. This program is designed to seed future workshops designed to further improve the AC-40 process.

A recording of this session is available on Mediasite (Penn State Health ePass login required).

The Office of Interprofessional Collaborative Education and Teamwork (ICE-T) at Penn State College of Medicine offers a variety of programs to support faculty and staff facilitators involved in interprofessional education.

Explore interprofessional education resources

The Junior Faculty Development Program (JFDP) provides a foundation for the success of junior faculty at Penn State College of Medicine and Penn State Health Milton S. Hershey Medical Center.

Since the program was introduced in 2003, it has served as an important steppingstone for faculty interested in taking their academic careers to the next level. We welcome applicants with diverse backgrounds and interests who share a passion for inquiry, improvement and collaboration.

The program runs from September to May each year and consists of two components:

• A comprehensive curriculum delivered through a series of weekly lessons
• An individual project completed under the guidance of a senior faculty mentor (assigned by the JFDP leadership)

The goals of the Junior Faculty Development Program are to:

• Promote the development and advancement of faculty of Penn State College of Medicine through a program targeted to and tailored to the specific needs of junior faculty.
• Nurture and cultivate junior faculty to become the next generation of academic leaders.
• Support the retention of native faculty talent through opportunities and support to continuously build and expand professional skills.

Learn more about JFDP and apply here

Penn State Leadership Academy is an interdisciplinary leadership development program for academic health center and regional health systems professionals.

Developed in partnership with the Penn State Smeal College of Business and Penn State Executive Programs, the Leadership Academy of Penn State Health Milton S. Hershey Medical Center and Penn State College of Medicine provides attendees (physicians, scientists, advanced practice clinicians, nurses and administrators) with the skills required to excel in strategic leadership and management roles in academic health centers and associated health care systems.

Classes run a full week in the fall at Penn State University Park.

Participants are expected to “leave pagers at the door” and remain free of other responsibilities so that full attention can be devoted to coursework and the educational experience.

Learn more about Leadership Academy and apply here

Penn State College of Medicine offers an Onboarding Mentor Program to ensure that newly hired faculty members recognize the requirements for a successful academic career at our institution and the resources available to achieve that goal. A checklist is provided as a tool to help the onboarding mentor and the faculty member identify these resources.

Complete the onboarding checklist

See more new faculty orientation resources

Events for New Faculty

Upcoming events of interest to new and/or junior faculty are listed here.

The Office of Faculty Affairs holds regular workshops on promotion and tenure topics, including the popular “Demystifying Promotion and Tenure,” which brings together a group of recently promoted associate and full professor faculty from multiple departments to provide advice and aid faculty beginning or considering the promotion process.

See upcoming promotion and tenure workshops

At Penn State Health Milton S. Hershey Medical Center/Penn State College of Medicine, two types of sabbatical leave are available for academic faculty to refresh their career goals, to gain new experiences, to learn new approaches or to embark on new ventures.

Sabbatical leave is a privilege that may be granted to an individual who has demonstrated by publication, teaching or performance an above-average ability in scholarship, research or other creative accomplishment.

Applicants must follow the sabbatical application process based on their organization of employment.

Milton S. Hershey Medical Center-employed faculty

Hershey Medical Center-employed academic faculty should contact the Office of Faculty and Professional Development about sabbatical leave.

Penn State College of Medicine-employed faculty

College of Medicine-employed faculty follow University Policy AC-17, Sabbatical Leave .

College of Medicine-employed faculty should contact the Office of Faculty and Professional Development about sabbatical leave .

Five-day Simulation Instruction Courses are conducted through the Penn State College of Medicine Simulation Center.

The highly interactive certificate course features a multi-disciplinary faculty who teach how to combine simulation with traditional methodologies, apply assessment tools, and choose among various simulation modalities for specific applications.

The course provides a practical framework in learning theory, group dynamics, and psychology of the learner, focusing on debriefing skills. Each participant assumes the role of student, instructor, and assessor in various simulation activities throughout the week.

Learn more and register for the Teaching With Simulation Course

In additional to internal training and development programs, a variety of professional development programs are available through the larger Penn State system.

• Faculty Pathway and Senior Faculty Mentors – A primary point of contact for new and established tenure-track and tenured faculty members who identify as historically underrepresented racial/ethnic minorities at Penn State, offered by the Office of the Vice Provost for Educational Equity
• Graduate Certificate in Adult Education in the Health and Medical Professions – A 12-credit graduate certificate offered at Penn State Harrisburg.
• Penn State Administrative Fellows Program – Provides professional development opportunities for faculty and staff. By serving under the mentorship of a senior level administrator, fellows receive opportunities to broaden their perspectives and experiences in higher education administration.
• Schreyer Institute for Teaching Excellence – Offers a variety of educational programs, including workshops and seminars as well as online resources.

In additional to internal training and development programs, a variety of professional development programs are available externally.

The American Association of Medical Colleges offers a variety of resources and trainings, including many focused on female and minority faculty.

See AAMC opportunities here .

Executive Leadership in Academic Medicine is a year-long Drexel University program that provides a part-time fellowship for female faculty in schools of medicine, dentistry and public health.

For details or if interested in applying to an ELAM program, contact the Office of Faculty and Professional Development .

Research Opportunities

Howard Hughes Medical Institute offers several resources for research faculty and staff, including training for lab managers.

Science Careers is a career-development resource for scientists sponsored by the journal Science .

For information on researcher development opportunities, contact the Research Development office .

Awards and Recognitions

This award was established in 2008 to recognize faculty members who make outstanding contributions to medical, graduate and physician assistant education at the College of Medicine.

Learn more about the Dean’s Award for Excellence in Teaching

The Distinguished Educator Award recognizes exemplary educators among the faculty of Penn State College of Medicine. Award recipients become members of the Society of Distinguished Educators .

To be eligible for a Distinguished Educator Award, faculty members must have held an appointment at Penn State College of Medicine or Penn State Health Milton S. Hershey Medical Center for a minimum of three years and hold the rank of at least associate professor or equivalent.

In addition to demonstrated excellence as a teacher, nominees will have made exceptional contributions in medical (which could include undergraduate or graduate) education and/or graduate student (which could include postdoctoral) education in one or more of the following ways:

• Research in education (e.g., publications or grants)
• Innovations in teaching methods or curriculum (e.g., new ways to teach subject matter)
• Development of new assessment methods
• Mentoring and development of faculty
• Leadership in education (e.g., course director, program director, involvement at national level)

Distinguished Educator awardees receive:

• The Distinguished Educator title
• Membership in the Society of Distinguished Educators
• A medallion signifying the wearer as a Distinguished Educator
• Recognition on the Distinguished Educator plaque
• A $1,500 financial award to be used at the discretion of the Distinguished Educator
• Free rental of academic regalia for Commencement

See all Distinguished Educators

Penn State College of Medicine values the contributions mentors make to enhance and develop the careers of faculty, students and trainees. Generosity of time and spirit; objectivity and honest feedback; and commitment to the personal, professional and career development of mentees are some of the components of superb mentoring.

In order to recognize the contributions of outstanding mentors in the College of Medicine, the Office of Faculty and Professional Development presents four annual Excellence in Career Mentoring Awards.

The awards acknowledge the exceptional effort of faculty who enable and empower students, residents and trainees, junior faculty and peers on their path to achieve their full potential in one or more of the organization’s missions: clinical care, scholarship and research, teaching and/or service.

Learn more about the Excellence in Career Mentoring Awards

The Excellence in Education and Mentorship Award (formerly the Student-Nominated Excellence in Teaching Award) was established in 2019 to recognize exemplary educators who fourth-year medical students recognize as consistently demonstrating exceptional teaching. The educators may teach in any area of the medical school throughout any of the four years of training. These educators promote excellence within one (or more) of Penn State’s four educational domains: basic and clinical sciences, humanitarian patient-centered care and health systems sciences.

Learn more about the Excellence in Education and Mentorship Award

The Office of the Vice Dean for Research and Graduate Studies and the Center for Medical Innovation annually present Innovation Awards open to those from Penn State College of Medicine and Penn State Health Milton S. Hershey Medical Center.

Awards presented are:

• Innovator of the Year
• Investigator to Watch
• Student Award for Excellence in Innovation

Learn more about the Innovation Awards

Interprofessional Education Incentive Awards support Penn State faculty and staff in launching new interprofessional education/practice activities of relevance to learners at Penn State Health Milton S. Hershey Medical Center and Penn State College of Medicine.

To be considered interprofessional, an activity must include learners from two or more professions with the ultimate goal of improving patient care. The term “learners” can include learners/professionals in disciplines such as medicine, nursing, pharmacy, occupational therapy, physical therapy, social work, chaplaincy and more.

This award is sponsored by the College of Medicine, therefore the proposed project should include College of Medicine students in some fashion.

The proposed interprofessional initiative should address one of more of the following:

• Improving teamwork
• Improving communication
• Recognizing shared values and ethics
• Understanding different roles and responsibilities across disciplines

Learn more about the Interprofessional Education Incentive Awards

The Junior Faculty Teaching Award recipients are selected by the Society of Distinguished Educators as a means of recognizing the accomplishments of some of the outstanding junior faculty who are already making an impact on the educational mission. Recipients of this award are program leaders, instructional designers, education scholars and, above all, great teachers.

This award is arguably the most competitive educational award available through the College of Medicine.

Learn more about the Junior Faculty Teaching Award

The Mark J. Young International Health Policy Scholarship award was established in memory of Mark Young, MD, the first chair of the Department of Public Health Sciences at Penn State College of Medicine. 

Dr. Young was a champion for education and his community, both next door and around the world. Following this legacy, this scholarship provides support for faculty, fellows, residents, or medical students at Penn State Health Milton S. Hershey Medical Center and Penn State College of Medicine to undertake study programs outside the United States.

The scholarship may be used for study in two broad categories:

• Attendance at international conferences, short courses, or workshops focused on international health care or international health policy.
• Participation in innovative, ongoing international health care or health policy projects.

The recipient is required to make a presentation about the experience to the campus community within three months of return.

Email Public Health Sciences for details

Started in 2014, the Faculty and Staff Research Recognition Awards , presented each spring, honor the outstanding research achievements of Penn State College of Medicine and Penn State Health Milton S. Hershey Medical Center investigators and their teams.

The event highlights investigators who have distinguished themselves in several areas:

• Outstanding Research Publication
• Outstanding Early-Stage Investigator
• Outstanding Collaborative Research Team
• Outstanding Education Researcher
• Outstanding Community-Engaged Researcher
• Outstanding Champion of Diversity in Research
• Outstanding Research Staff Member
• Career Citation Milestone
• Career Research Excellence

Learn more about the Research Recognition Awards

About the committee

The Office of Faculty and Professional Development oversees the Liaison Committee on Well-Being. This group consists of representatives from departments and well-being stakeholders around Penn State Health Milton S. Hershey Medical Center. Its purpose is to facilitate communication between leadership and faculty and between departments regarding efforts to enhance well-being for faculty throughout the institution.

For details on the committee, contact the Office of Faculty and Professional Development .

About the grants

Wellness Mini-Grants are awarded by the Office of Faculty and Professional Development to support institutional wellness projects. Anyone can apply, but teams must include at least one faculty member. Application information will be posted when submissions for the grants are being accepted.

Previous recipients

See a full guide to College of Medicine wellness resources

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Art Education, B.S.

B.S. in Art Education

TODO FIXME : DRAFT : WORK IN PROGRESS

Participatory. creative. socially relevant.invent the future of arts learning..

Penn State Art Education prepares knowledgeable, skilled, and creative leaders to teach social and environmental justice in educational contexts such as schools, community settings, and cultural institutions.

Earn a Bachelor of Science in Art Education at Penn State

Educate. engage. inspire. be an agent of change..

As an art teacher, you will use creativity to communicate critical responses to social and cultural matters helping artists of all ages learn about themselves and the world through art. You will use imagination to develop effective practices and policies that can lead to educational improvement and transformation. You will use passion to collaborate across disciplines and constituencies to promote social change.

Our alumni are leaders in the field working in diverse contexts from schools to museums. Our faculty receive international awards, lead professional organizations, and contribute research guiding the field. As a student at Penn State you are a part of a proud tradition of inventing the future of art education.

Fulfill your potential as a creative artist and a dynamic teacher to impact positively the lives of learners though visual art. The Art Education Program at Penn State will introduce you to a range of ideas and experiences and enable you to grow your passion into a creative career.

Is the B.S. in Art Education right for you?

You believe creativity is a human resource that can be developed. You feel you have the capacity to make a difference in the lives of children and youth. You believe that learning through the arts can bring new perspectives about complex concepts and issues

Becoming a visual art teacher means using your creative capabilities to help others explore and discover new ways of seeing and thinking about the changing world in which they live.

With this degree, you will have what it takes to achieve Pennsylvania Instructional I Art teacher certification. Students who earn this degree become educators in PK-12 schools, museums, and community organizations.

Our degree program includes field experiences in PK-12 schools and community programs, and culminates in a semester-long student teaching experience in elementary and secondary schools.

• Complete place-based observations and participatory teaching experiences.
• Many art education majors also earn BFA degrees in studio art or a related degree simultaneously.
• Related career pathways in museums, arts administration, art therapy, and advanced degrees.

Many US states and territories require professional licensure/certification to be employed. If you plan to pursue employment in a licensed profession after completing this program, please visit the Professional Licensure/Certification Disclosures by State interactive map. ( Available July 2020. )

Considering the B.S. in Art Education? Consider this.

Graduates earn Pennsylvania Instructional I art teacher PK-12 certification.

For more information, please visit the University Bulletin .

• Career paths include art museums, galleries, cultural agencies, and community programs.
• Prepare for graduate studies by working closely with faculty and graduate student mentors.
• Internship opportunities and hands-on experiences at sites such as the Palmer Museum of Art.
• Develop innovative, engaging, and transformative approaches to teaching and learning art.

Alumni Spotlight

alumni spotlight

Caleb Yoder

“Penn State gave me the opportunity to explore the many career paths available in the film industry.”

A student internship with DreamWorks Animation led Caleb Yoder to a full-time videographer position with the company following his graduation. Caleb spent eight months as a videographer before moving to the DreamWorks TV division, where he worked as a production assistant and production coordinator on Harvey Street Kids. As a Schreyer Scholar, Caleb graduated with highest distinction, serving as college marshal for the College of Arts and Architecture. Caleb now is assistant animatic editor at DreamWorks.

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Art, B.A. (Arts and Architecture)

Program Code: ARTBA_BA

At which campus can I study this program?

Begin Campus

University Park

Degree Information At Additional Campuses

Program Description

The B.A. degree in art provides a comprehensive liberal education coupled with professional resident instruction in art. Depending on each student's objectives and course choices, this degree provides preparation for a professional career, a foundation for graduate studies, or a liberal arts education in art. Each student must elect an area of concentration from one of the following: ceramics, drawing and painting, new media, photography, printmaking, or sculpture.

What is Art?

Art is an individual and social practice that makes an impact. When people create or respond to art, they make connections between themselves and the experiences of others. In some cases, art provides a private encounter whereby individual thoughts and feelings are expressed through art, or recognized in the art of someone else. In other cases, art gives form to ideas and issues that concern entire communities. It is because art extends personal and public awareness that it is highly valued as a cultural activity. Those who make art and write about art offer imaginative insights that challenge us to see things differently. By creating artworks yourself, and enhancing your capacity to interpret artworks made by other individuals, communities, and cultures, you contribute to one of the most important purposes of art, which is to celebrate this unique human form of social communication that shapes the way we see ourselves.

You Might Like this Program If...

You are excited and challenged by the diverse and profound impact art and culture can have in the everyday life of individuals and communities. Art and culture ‘workers’ take on many creative roles in everyday life and respond imaginatively to the continuous rush of social and cultural change around them by exploring issues, and expressing and communicating ideas using all forms of image, text, and social media.

Entrance Procedures

Incoming first year students.

Incoming first year students must apply to Penn State. Students who are accepted to Art through the undergraduate admissions application will be admitted to the school of visual arts pre-major (AAART). Students will submit a portfolio for entrance to Art at the end of their second semester. Portfolios are reviewed on a rolling basis and should include 10-12 images of the applicant’s work and a statement (500-word max) to describe one of the artworks.

Change of Major/Change of Campus Students

Change of major/Change of Campus students must have a cumulative GPA of 2.00 or above and are required to submit a portfolio to enter the AAART pre-major. Portfolios to enter pre-major are submitted through Slideroom and are reviewed on a rolling basis. Portfolios should include 10-12 images of the applicant’s work and a statement (500-word max) to describe one of the artworks. Students will typically submit a portfolio for entrance to Art (B.A) at the end of their 2 nd semester in AAART.

Transfer Students

Transfer students must apply for undergraduate admissions to Penn State. Undergraduate applications for admission to Penn State must be complete and submitted before uploading the required portfolio for entry to AAART pre-major. Portfolios are submitted through Slideroom and are reviewed on a rolling basis and should include 10-12 images of the applicant’s work and a statement (500-word max) to describe one of the artworks. Students will typically submit a portfolio for entrance to Art (B.A) at the end of their 2 nd semester in AAART.

Degree Requirements

For the Bachelor of Arts degree in Art, a minimum of 120 credits is required:

6 of the 45 credits for General Education are included in the Requirements for the Major. This includes 6 credits of General Education GA courses.

3 of the 24 credits for Bachelor of Arts Degree Requirements are included in the Requirements for the Major, General Education, or Electives and 0-12 credits are included in Electives if foreign language proficiency is demonstrated by examination.

Requirements for the Major

To graduate, a student enrolled in the major must earn a grade of C or better in each course designated by the major as a C-required course, as specified by Senate Policy 82-44 .

These credits may also be counted toward the General Education Arts requirement.

Include at least 15 credits at the 300 or 400 level.

General Education

Connecting career and curiosity, the General Education curriculum provides the opportunity for students to acquire transferable skills necessary to be successful in the future and to thrive while living in interconnected contexts. General Education aids students in developing intellectual curiosity, a strengthened ability to think, and a deeper sense of aesthetic appreciation. These are requirements for all baccalaureate students and are often partially incorporated into the requirements of a program. For additional information, see the General Education Requirements section of the Bulletin and consult your academic adviser.

Foundations (grade of C or better is required and Inter-Domain courses do not meet this requirement.)

• Quantification (GQ): 6 credits
• Writing and Speaking (GWS): 9 credits

Breadth in the Knowledge Domains (Inter-Domain courses do not meet this requirement.)

• Arts (GA): 3 credits
• Health and Wellness (GHW): 3 credits
• Humanities (GH): 3 credits
• Social and Behavioral Sciences (GS): 3 credits
• Natural Sciences (GN): 3 credits

Integrative Studies

• Inter-Domain Courses (Inter-Domain): 6 credits

Exploration

• GN, may be completed with Inter-Domain courses: 3 credits
• GA, GH, GN, GS, Inter-Domain courses. This may include 3 credits of World Language course work beyond the 12th credit level or the requirements for the student’s degree program, whichever is higher : 6 credits

University Degree Requirements

First year engagement.

All students enrolled in a college or the Division of Undergraduate Studies at University Park, and the World Campus are required to take 1 to 3 credits of the First-Year Seminar, as specified by their college First-Year Engagement Plan.

Other Penn State colleges and campuses may require the First-Year Seminar; colleges and campuses that do not require a First-Year Seminar provide students with a first-year engagement experience.

First-year baccalaureate students entering Penn State should consult their academic adviser for these requirements.

Cultures Requirement

6 credits are required and may satisfy other requirements

• United States Cultures: 3 credits
• International Cultures: 3 credits

Writing Across the Curriculum

3 credits required from the college of graduation and likely prescribed as part of major requirements.

Total Minimum Credits

A minimum of 120 degree credits must be earned for a baccalaureate degree. The requirements for some programs may exceed 120 credits. Students should consult with their college or department adviser for information on specific credit requirements.

Quality of Work

Candidates must complete the degree requirements for their major and earn at least a 2.00 grade-point average for all courses completed within their degree program.

Limitations on Source and Time for Credit Acquisition

The college dean or campus chancellor and program faculty may require up to 24 credits of course work in the major to be taken at the location or in the college or program where the degree is earned. Credit used toward degree programs may need to be earned from a particular source or within time constraints (see Senate Policy 83-80 ). For more information, check the Suggested Academic Plan for your intended program.

B.A. Degree Requirements

Foreign Language (0-12 credits): Student must attain 12th credit level of proficiency in one foreign language. See the Placement Policy for Penn State Foreign Language Courses .

B.A. Fields (9 credits): Humanities, Social and Behavioral Sciences, Arts, Foreign Languages, Natural Sciences, Quantification (may not be taken in the area of the student's primary major; foreign language credits in this category must be in a second foreign language or beyond the 12th credit level of proficiency in the first language)

Other Cultures (0-3 credits): Select 3 credits from approved list. Students may count courses in this category in order to meet other major, minor, elective, or General Education requirements, except for the General Education US/IL requirement.​

Learning Outcomes

• Receive a comprehensive liberal arts education that provides multiple learning options to support individual learning programs;  
• Complete a series of resident studio art courses that provide a foundation visual language;   
• Select an area of studio concentration that complements personal learning passions and proclivities;  
• Develop core art skills, artistic knowledge and material thinking processes able to be applied to learning situations across disciplines.

Academic Advising

The objectives of the university's academic advising program are to help advisees identify and achieve their academic goals, to promote their intellectual discovery, and to encourage students to take advantage of both in-and out-of class educational opportunities in order that they become self-directed learners and decision makers.

Both advisers and advisees share responsibility for making the advising relationship succeed. By encouraging their advisees to become engaged in their education, to meet their educational goals, and to develop the habit of learning, advisers assume a significant educational role. The advisee's unit of enrollment will provide each advisee with a primary academic adviser, the information needed to plan the chosen program of study, and referrals to other specialized resources.

READ SENATE POLICY 32-00: ADVISING POLICY

Liz Agler Academic Adviser 104 Borland Building University Park, PA 16802 814-865-9523 [email protected]

Yvonne Love Program Chair, Art 1600 Woodland Road Abington, PA 19001 215-881-7867 [email protected]

Suggested Academic Plan

The suggested academic plan(s) listed on this page are the plan(s) that are in effect during the 2023-24 academic year. To access previous years' suggested academic plans, please visit the archive to view the appropriate Undergraduate Bulletin edition ( Note: the archive only contains suggested academic plans beginning with the 2018-19 edition of the Undergraduate Bulletin ).

Art, B.A. at University Park Campus

The course series listed below provides only one of the many possible ways to move through this curriculum. The University may make changes in policies, procedures, educational offerings, and requirements at any time. This plan should be used in conjunction with your degree audit (accessible in LionPATH as either an Academic Requirements or What If report). Please consult with a Penn State academic adviser on a regular basis to develop and refine an academic plan that is appropriate for you.

Course requires a grade of C or better for the major

Course requires a grade of C or better for General Education

Course is an Entrance to Major requirement

Course satisfies General Education and degree requirement

ADDITIONAL COURSES (15 credits) Select 15 credits from ART 201(3), ART 203(3), ART 211 US(3), ART 217(3), ART 220(3), ART 223(3), ART 230(3), ART 240(3), ART 250(3), ART 251(3), ART 260(3), ART 280(3), ART 296(3), ART 297(3), ART 299 IL(3), PHOTO 100 GA(3), or PHOTO 201(3) (Sem: 3-8)

SUPPORTING COURSES AND RELATED AREAS (21 credits) (Include at least 15 credits at the 300 or 400 level.) -Select 15 credits from one of the following areas of concentration: ceramics, drawing and painting, new media, photography, printmaking, and sculpture (Sem: 3-8) -Select 6 credits in art history (Sem: 1-8)

University Requirements and General Education Notes:

US and IL are abbreviations used to designate courses that satisfy Cultural Diversity Requirements (United States and International Cultures).

W, M, X, and Y are the suffixes at the end of a course number used to designate courses that satisfy University Writing Across the Curriculum requirement.

General Education includes Foundations (GWS and GQ), Knowledge Domains (GHW, GN, GA, GH, GS) and Integrative Studies (Inter-domain) requirements. N or Q (Honors) is the suffix at the end of a course number used to help identify an Inter-domain course, but the inter-domain attribute is used to fill audit requirements. Foundations courses (GWS and GQ) require a grade of 'C' or better.

All incoming Schreyer Honors College first-year students at University Park will take ENGL 137H / CAS 137H in the fall semester and ENGL 138T / CAS 138T in the spring semester. These courses carry the GWS designation and satisfy a portion of that General Education requirement. If the student’s program prescribes GWS these courses will replace both ENGL 15 / ENGL 30H and CAS 100A / CAS 100B / CAS 100C . Each course is 3 credits.

Bachelor of Arts Requirements:

Bachelor of Arts students must take 9 credits in Bachelor of Arts (B.A.) Fields (Humanities; Social and Behavioral Sciences; Arts; World Languages [2nd language or beyond the 12th credit level of proficiency in the 1st]; Natural Sciences; Quantification). The B.A. Fields courses may not be taken in the area of the student’s primary major. See your adviser and the Degree Requirements section of this Bulletin.

Bachelor of Arts students must take 3 credits in Other Cultures. See your adviser and the full list of courses approved as Other Cultures courses .

Career Paths

As a B.A. graduate with a broad interest in the individual and collective power of the arts to enrich human understanding, you have artistic skills and critical sensibilities that can become life-long assets. Just as art can awaken us to new experience, exploring new ways to integrate knowledge from diverse sources helps make these experiences concrete and alerts us to noticing things not otherwise obvious. Broadening learning to embrace studio-based practices of making and critical reflection opens up options for linking personal and professional career interests, and these can have an enduring impact on what and how one learns.

The B.A. experience collects and collates many different modalities of thinking and knowing, re-positions them around what we know, and helps us see gaps and what we don’t know. The B.A. art experience takes these familiar and new understandings and provides an environment for helping you to discover your personal voice in the work you create. Contemporary studio art practice embraces any conceptually appropriate material and method that best articulates your artistic intention. In addition, professional practice opportunities are embedded into the program that can lead to future accomplishments after school.

Opportunities for Graduate Studies

Due to the emphasis put on developing your personal vision and distinctive artistic voice, a B.A. art graduate will have a heightened sense of individual perspective and an understanding of multiple ways of engaging with ideas, and these dispositions become foundational skills in assessing future educational and professional directions.

MORE INFORMATION ABOUT OPPORTUNITIES FOR GRADUATE STUDIES

Professional Resources

• College Art Association
• National Art Education Association
• National Council of Art Administration
• Pennsylvania Art Education Association

SCHOOL OF VISUAL ARTS 210 Patterson Building University Park, PA 16802 814-865-0444 [email protected]

https://arts.psu.edu/academics/school-of-visual-arts/

DIVISION OF ARTS AND HUMANITIES 1600 Woodland Road Abington, PA 19001 215-881-7300 [email protected]

https://www.abington.psu.edu/academics/majors-at-abington/art

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