Call for Submissions


Call for Articles, Commentaries, and Media Reviews A special theme issue of Studies in Art Education - Social Engagement

The Senior Editor of Studies in Art Education invites manuscripts that address this topic: Social Engagement. This issue will focus on relationships among social practice, social justice, and social engagement. All submissions for this special issue should follow the established submission guidelines for the journal.

In the last 20 years, universities have allocated resources and established new initiatives to promote civic responsibility and positive change as forms of scholarship and community collaboration. Framed as engaged scholarship, these initiatives seek to position academic educational experiences in collaboration with local and global communities to foster democratic forms of research, teaching, and service. As an educational project, engaged scholarship seeks to promote civic responsibility. Social engagement in art education might include programming and initiatives known as outreach, service learning, or community-based education. These and other approaches might engage learners in responding to social issues through contemporary art practice.

Art theorists, art museum educators, and artists such as Claire Bishop, Grant Kester, Pablo Helguera, and Nicolas Lampert, have drawn attention to a range of contemporary art practices such as socially engaged art, social practice, and art at the pedagogical turn, which do not uniformly embrace the same ideologies or methodologies. These modes of contemporary art practice blur boundaries among conceptual art, performance art, social action, and education. These approaches to art practice and art education afford possibilities for interdisciplinary and collaborative responses as explorations of contemporary social issues through research, pedagogy, and practice. While social engagement is often theorized within a framework of social justice, its relationship to social practice is emergent, complex, and dependent on the particulars of specific issues, communities, and participants.

Authors may want to consider some of the following questions as they draft submissions:

  • What does social engagement mean for art education? What does art education mean for social engagement? What new initiatives in arts education emerge in response to increased attention to social engagement?
  • Where and how does social engagement overlap with other social discourses like social justice, humanitarian entrepreneurship, social media, social practice, or socially engaged art?
  • How does social practice move art making beyond advocacy and awareness of civic responsibility in favor of activism and action?
  • What does social engagement mean for community-based or art museum education?
  • How do art-based approaches to social engagement inform research methodologies in art education? How have social engagement initiatives informed art education practice?
  • What is the role of social engagement within preservice art education and professional development? What is the role of the social art practice within K12 and college programs?
  • How are art education curricula, policies, and practices reimagined in response to social engagement initiatives? How are research methodologies in art education taught, learned, practiced, or reimagined in response to social engagement?
  • In what ways does social engagement through art overlap and inform other educational spaces such as arts entrepreneurship, design education, STEAM, and online learning?
  • How is social change theorized, valued, or reimagined through arts-based social engagement?

Submissions due September 4, 2018

Questions? Contact B. Stephen Carpenter, II, Senior Editor of Studies in Art Education:

Call for Papers - Entrepreneurship and Creative Destruction

A Special Issue of Art Education, the Journal of the National Art Education Association Coming May 2019

We now live in an entrepreneurial age. With it comes the rise of the artpreneur and edupreneur, two new identities that suggest a redefinition—if not the end—of what it once meant to be an artist and an educator.

This special issue of Art Education focuses on the theme of “Entrepreneurship and Creative Destruction.” According to economists, creative destruction of older models is fundamental to entrepreneurship (Schumpeter, 1942). Often precipitated by technological breakthroughs, creative destruction is the dismantling and restructuring of established institutions, ideas, processes, products, and spaces through innovation. The artist, for instance, once was attached to the image of a hard-working artisan. This model later was dismantled in the remaking of the artist as a solitary genius, only to give way to the credentialed professional, and now the creative entrepreneur (Deresiewicz, 2015). In addition to making works of art, artists who fashion themselves as creative entrepreneurs are self-employed and, thus, also must build a recognizable brand, cultivate an audience, and design and execute a business plan.

Entrepreneurism has influenced education as well. Increasingly, educators (are forced to) seek novel opportunities to make a positive difference in society while also making a living. Art teachers use online crowdfunding platforms to raise enough capital to support under-resourced art programs. Some artists launch their own pay-as-you-go art classes in storefronts and shopping malls. Others start online art education enterprises, such as blogs, YouTube channels, podcasts, and webinars, as a way to share original content with large networks of followers and bypass traditional institutions and processes of knowledge production.

This special issue of Art Education seeks submissions that explore the relationship between entrepreneurship and art, design, and art museum education. How is entrepreneurship—in definition, theory, and practice—being shaped by the creative disruption of artists, designers, and art museum educators? What alternatives are made possible when art education is conceptualized as an entrepreneurial enterprise, and what are the advantages and disadvantages of these alternatives? What entrepreneurial strategies do artists, designers, and art museum educators employ to sustain programs and seed new initiatives? How do art, design, and art museum educators encourage, model, and teach entrepreneurial habits of mind? How might a discourse of entrepreneurship influence participation in art, design, and art museum education, particularly by members of groups that are currently underrepresented in these fields?

Authors may wish to respond to one of the questions listed above or to one of the topics listed below:

  • Art educators as entrepreneurs
  • Artpreneurial literacy
  • Maker movement and creative destruction
  • Creative collaboration and partnerships
  • STEAM and entrepreneurship
  • Ethics of creative destruction

Deadline for submission: October 15, 2018

Dr. Amelia M. Kraehe, Senior Editor of Art Education, the official journal of the National Art Education Association, invites manuscripts that address the theme of “Entrepreneurship and Creative Destruction.” All submissions for this special issue should follow the established submission guidelines for the journal. Send questions to:

Deresiewicz, W. (2015, January/February). The death of the artist—and the birth of the creative entrepreneur. The Atlantic Monthly. Retrieved from

Schumpeter, J. (1942). Capitalism, socialism, and democracy. New York, NY: Harper & Bros.

Call for Papers - Journal of Cultural Research in Art Education

For: 2019 Issue of jCRAE (Vol. 36)

DEADLINE: December 31, 2018

Manuscript Types: Written manuscripts, graphic novels, photo essays, videos, or interactive art pieces in keeping with the focus of jCRAE are welcome.

Mini-Theme: Whiteness and Art Education

Contact: Senior Editors: Joni Boyd Acuff, PhD
Editorial Assistant: Sharbreon Plummer Submissions:

Journal Information The Journal of Cultural Research in Art Education (jCRAE), first published in 1983, is an annual publication of the United States Society for Education through Art. jCRAE focuses on social/cultural research relevant for art education, including cultural foundations of art education, cross-cultural and multicultural research in art education, and cultural aspects of art in education. These areas should be interpreted in a broad sense and can include arts administration, art therapy, community arts, and other disciplinary and interdisciplinary approaches that are relevant to art education. Theoretical research and studies in which qualitative and/or quantitative methods as well as other strategies used will be considered for publication.

Mini-Theme Information: Whiteness and Art Education
Over 80% of members in the National Art Education Association (NAEA) are White. With such overwhelmingly White representation in the art education field, it is critical that we more intently examine the ways in which Whiteness has and continues to construct certain epistemologies and methodologies in art education. In November 2017, the 2nd annual Art Education Research Institute (AERI) conference offered a panel titled, “Race and Racism in 21 Century Art Education” on the campus of Northern Illinois University, Naperville. The panelists, Joni Boyd Acuff, Michelle Bae-Dimitriadis, Stephen B Carpenter, ii, Amelia “Amy” Kraehe, and Vanessa Lopez, offered an honest, yet starkly frank assessment of the art education field in regards to advancing racially just and racially conscious practices in art education classrooms and research. Some of the conclusions the panelists made included: Race has never been perceived as a central structure within the field of art education, thus, the field’s lack of advancement in the problem of White supremacy; art educators of color are mentally and emotionally exhausted from doing race work, and White art educators need to more critically and intentionally engage in race work; the White supremacist structures in art education are a White problem best solved by White people. Freire’s (1970) seminal work, Pedagogy of the Oppressed, asserts a similar claim–the weight and responsibility to resolve oppression should rest on the back of the oppressor. This call for papers considers these assertions and beckons a close look at Whiteness as it relates to racial inequity in art education.

Whiteness Studies (WS) feminist scholar, Ruth Frankenberg (1996) writes, “I have been performing whiteness, and having whiteness performed on me, since—or actually before—the moment I was born. But the question is, what does that mean?” (p.4). Whiteness Studies peaked in the 20th century as a standalone discourse that rigorously examines Whiteness as a cultural concept and exposes systems that teach us how we think about race. The WS field argues that White privilege still exists because of structural and institutional racism. Furthermore, WS scholars cite empirical research to affirm that the playing field (educational, judicial, economic, etc) still isn’t level, and Whites continue to benefit from this imbalance. Whiteness is learned and deployed via a variety of social forces, including schools, media, and even cyberspace. Whiteness is pervasive as it permeates every aspect of our society (including art education) and plays a role in almost every social issue imaginable (Kincheloe, Steinberg, Rodriguez, & Chennault, 2000). However, while this is so, Whiteness is rarely explicitly explored in critical ways in art education research. Knight (2006) asserts, “Whiteness is perhaps the foremost unmarked and thus unexamined category in art education” (p. 323). Researchers aren’t considering the ways in which the art education field contributes to the construction of White identity, as well as the ways White identity contributes to the field of art education. How does Whiteness influence power relations in art education research, participants socio-historical location in research, and the analysis and interpretation of data, etc? This mini theme aims to explicitly examine, critique and historicize Whiteness.

The Journal of Cultural Research in Art Education calls for written manuscripts (empirical research, narratives, and/or field studies) and digital submissions (visual that:

  1. Advance critical understandings of the construction and deployment of Whiteness in art educational contexts. This includes, but is not limited to, critical discussions of racism, White identity, White privilege, White supremacy and power as it relates to or is seen in art education practices, research and/or discourse;
  2. Present empirical research of Whiteness in art education and/or advance theoretical and conceptual understanding of Whiteness in art education;
  3. Challenge conventional methodologies of discussing race in the art education discourse Some probing questions this volume might address include:
  4. Looking at art education from a macrolevel, what has the “curriculum” of the art education field taught us about race and racism? In what ways has Whiteness dominated the art education discipline and discourse?
  5. In what ways has Whiteness constructed and/or naturalized exclusionary practices in art education?
  6. What does it mean to be White in the art education field?
  7. What does it mean to be non-White in the art education field?
  8. What are the conversations that help White people examine the power and privilege of Whiteness in art education?
  9. In what ways is “diversity” codified in art education practices and research? How do some diversity conversations re-center Whiteness?
  10. What are the visible and invisible structures that reproduce White supremacy and privilege in art education? What practices, methodologies, or epistemologies can counter such reproductions?
  11. What practices in art education research create and perpetuate notions of Whiteness?
  12. How does existing art education research and/or practice communicate White art educators’ resistance to knowing (ie. epistemologies of ignorance, See Yancy, 2015)

Frankenberg, R. (1996). When we are capable of stopping we begin to see: Being White, Seeing Whiteness. In B. Thompson & S. Tyagi (Eds.). Names we call home: Autobiography on racial identity (pp. 4-17). New York, NY: Rutledge.

Freire, P. (1970). Pedagogy of the oppressed. (M. B. Ramos, Trans.). New York, NY: Continuum.

Kincheloe, J., Steinberg, S.R., Rodriquez, N.M., Chennault, R. (Eds.) (2000). White reign: Deploying Whiteness in America. New York, NY: St. Martin’s Griffin.

Knight, W. (2006). E(raced) bodies in and out of sight/cite/site. The Journal of Social Theory in Art Education, 26, 323-347.

Yancy, G. (2015). White self-criticality beyond anti-racism: How does it feel to be a White problem? Lanham. MD: Lexington Books.

Submission Information
Written submissions should be in Word (.doc) format; include a title page containing the author’s name(s) and affiliation(s); a short abstract and key words; and figures, graphs, and images appropriately at the end of the manuscript. The word count for the complete manuscript, not including references and footnotes, should not exceed 6,000 words. A variety of formats are welcome—including traditional academic essays, visual essays, or alternative formats—that fit the purposes of the journal to address issues of art, education, and cultural research. Imagebased submissions should be accompanied by explanatory text. For submission of alternative/digital formats, please consult with the Senior Editor for submission preference. For information visit

Written papers should be in APA style (6th edition) and submitted by email to: Joni Acuff, Senior Editor

Deadline for submission of manuscripts for the 2019 (Vol. 36) issue of the Journal of Cultural Research in Art Education is December 31, 2018.

Review and Publication Information
All manuscripts will undergo a blind review by 2 reviewers from the Review Board of jCRAE. Upon review, authors will receive a recommendation from the Senior Editor for either Acceptance; Minor Revisions; Major Revisions; or Rejection. Revisions are common and expected upon primary review of a manuscript submission. jCRAE is accessible as an online journal at

Canadian Review of Art Education Revue Canadienne D'Education Artistique - Call for Submissions

The Canadian Review of Art Education (CRAE) is a refereed journal published by the Canadian Society for Education through Art. We invite theoretical and research-based submissions that address issues relating to art education. We welcome submissions from all disciplines and fields of study. CRAE defines art education broadly given that it takes place in many different contexts informed by a range of perspectives in addition to K-12, higher education and community education. We encourage submissions from researchers, scholars, policymakers, educators, and students.

Manuscripts must be prepared using Microsoft Word (.doc, .docx format), Times Roman 12 point font, be double-spaced and have one inch margins on all sides. Manuscripts must include an abstract of no more than 100 words and should be a maximum of 6000 words long, including references. Manuscripts must include a separate title page, a running head, and a list of three to five keywords. The title page will also include the full name(s), the institutional affiliations of author(s), and the contact information, including email(s) and mailing address(es). All submissions must be masked for the review process. Successive pages should include page numbers and the running head but should not include authors’ names, affiliations, and identification notes. Authors must use endnotes, not footnotes. Black & white photographs (300 dpi required, JPEG or TIFF), drawings, and diagrams must be clear, fully labelled, with appropriate credits for copyright clearance, and appear at the end of the manuscript. Authors should prepare manuscripts using only the Publication Manual of the American Psychological Association (APA), 5th edition (2001). Authors may submit papers, book reviews, and commentaries written in English or French.

How to Submit: Please submit by email with attachment (s) to the editor Anita Sinner, Concordia University, Art Education, Faculty of Fine Arts: For more information visit

International Journal of Education Through Art - Call for Articles

The International Journal of Education through Art is seeking submissions. The journal is interdisciplinary in its reflection of teaching and learning contexts and also in its representation of artistic approaches and practices. It provides a platform for those who wish to question and evaluate the ways in which art education is practiced, disseminated and interpreted across a diverse range of educational contexts. Each issue consists of peer-reviewed articles and image-text features. Particular emphasis is placed on articles that:

  • Critically reflect on the relationship between education and art
  • Propose original ways of rethinking the status of education and art education
  • Address the role of teaching and learning in either formal or informal educational contexts and along side issues of age, gender and social background
  • Adopt an open and inventive interpretation of research-based analysis
  • Promote and experiment with visual/textual forms of representing art education activities, issues and research Potential topics include:
  • Art, craft and design education
  • Formal and informal education contexts
  • Meaning making, image and identity in art education
  • Public, community and environmental art
  • Pedagogy and emerging technologies
  • Policy and practice
  • Trans-cultural issues
  • Visual communication and culture

Submissions can be made at any time online by registering at:

Journal of Cultural Research in Art Education - Call for Submissions

Sponsoring/Host Institution: USSEA

Deadline or End Date (month, day, year): Rolling
Description of the Opportunity (1,000 character max, including spaces): The Journal of Cultural Research in Art Education will consider for publication manuscripts on all aspects of social and cultural research relevant for art and visual culture education, including cultural foundations of art education, cross-cultural and multicultural research in art education, and cultural aspects of art in education. These areas should be interpreted in a broad sense and can include community arts, schools, arts administration, art museum education, art therapy, and other disciplinary and interdisciplinary approaches that are relevant to art and visual culture education. Theoretical research, research in which qualitative and/or quantitative methods are used, and visual formats will be considered.

Please visit for more information.

Journal of Curriculum and Pedagogy - Call for Arts-Based Research

The Journal of Curriculum and Pedagogy is positioned at the intersection of curriculum theory, teaching studies, and arts-based research. Each issue of the journal features an abbreviated essay on arts based educational research (ABER). These short “essays” might include, but are not limited to visual artworks, documentations of performance artwork, ethno-drama, musical performances, poetry, narratives, or stills from videos complemented by a brief text that theorizes the art from the perspective of curriculum and pedagogy. The ABER section of the journal is separate from the published articles in each issue. Authors wishing to submit full-length manuscripts that are arts-based in nature should do so through the general call for manuscripts (please see above website). The submission process is comprised of three strands:

  1. Arts based research accompanied by image(s). Please submit a short critical essay (up to 12 pages including references) that illuminates the intersection between the image(s) and curriculum and pedagogy or arts- based research. This essay should not be a mere description of the work, but rather it should engage a critical analysis among the arts, teaching and learning, and research methodologies.
  2. Text based forms of arts-based research. Authors who work in literary arts or text-based forms of arts-based research may submit their work in this strand. Such work might include poetry, play scripts or fiction as such works pertain to themes within the ABER strand.
  3. Student artwork (K through 12). Arts educators may submit images of work created by their students, or as documentation of performances of their students, for consideration. These images need not be accompanied by an essay but should include a brief 250-word “critical description” of the work and a 50-word biographical sketch of the student artist.

Authors who submit work for each of the three above mentioned submission strands must consider the following:

  • 1-2 images (jpegs; minimum 300dpi for a 4”x6” image) with a signed release form or statement from the artist. (If the artist is a minor, the release form/statement must be signed by a parent or guardian. Contact the ABER editor for a release form.)
  • a short 50 word biographical sketch (MSWord.doc or RichTextFormat.rtf) of the artist/researcher
  • all text-based submissions must be a MSWord.doc or RichTextFormat.rtf, double-spaced, 10 or 12pt font. ABER submissions should be submitted as follows: Please see the general submission guideline. Please mark your file ABER essay.

For questions please contact the ABER Assistant Editor Morna McDermott at

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Studies in Art Education

Studies is a quarterly journal that reports quantitative, qualitative, historical, and philosophical research in art education, including explorations of theory and practice in the areas of art production, art criticism, aesthetics, art history, human development, curriculum and instruction, and assessment.

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