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The virtual fellowship would take place over the summer and selected teachers would create three Smithsonian Learning Lab collections addressing Asian Pacific American or Latinx history, culture, or the arts, using Project Zero Global Thinking Routines as their main pedagogical framework. These collections will translate into classroom experiences, projects, or lessons published on the site for teachers across the country to use as models for adaptation in their own classrooms. Fellows will receive ongoing guidance by museum and education specialists. A stipend of $3,000 is available to teachers selected for this opportunity. Applications are due Friday, April 20.

What practices can make American art museums more inclusive? The Association of Art Museum Directors and Andrew W. Mellon Foundation recently published four case studies, the first group in a series of eight, highlighting the work of Studio Museum in Harlem, Brooklyn Museum, The Andy Warhol Museum, and Los Angeles County Museum of Art (LACMA).

“Everyday DC” is the culmination of a multi-week photojournalism unit designed by the visual arts department at DC Public Schools (DCPS), DCPS visual arts educators, and the Pulitzer Center. The unit was developed to align with the National Core Arts standards and the visual arts standards developed by DCPS. It was inspired by Everyday Africa to re-direct focus toward a more accurate understanding of what the majority of Africans experience on a day-to-day basis: normal life.

NAEA Interest Group

On Thursday, Nov. 17, VSA artists and their families, ED staff, representatives from VSA and the Kennedy Center, and arts educators and arts education advocates came together to celebrate the opening of ED’s 12th annual VSA Art Exhibit, titled Yo Soy…Je Suis…I Am…the World. The exhibit advances VSA’s mission to “provide arts and education opportunities for people with disabilities and increase access to the arts for all.”

A photography collection featuring the Baltimore uprising after Freddie Gray’s death was on display this past weekend. The collection is part of the “Baltimore Stories: Narratives and the Life of an American City” project and is meant to prompt a discussion on race and the impact of narratives.

The Power of Art conference, now in its 24th year, has two objectives: to share a highly successful approach to teaching students with learning differences through an arts-based curriculum that is transferable to all classrooms of diverse learners; and to empower arts educators and school leaders to be persuasive voices in the national conversation about the critical relevance of the arts in the education for all children in all subjects.

During Keiji Ishida’s vacation last year in Japan, the 17-year-old Los Angeles teen observed an overwhelming number of subway commuters tethered to their cell phones, texting and playing games. “People were quiet — muted,” he noted, “and that just isn’t right.” Not, he continued, in a country alive with so much beauty and expression.

The Alternative Art School Fair recognizes that the act of school building is an effort to create institutional structures that are more responsive to cultural evolution. With this in mind the Fair invites the public to engage with these schools at interactive booths alongside a weekend program of presentations and discussions that examine the role of such alternatives. Open Call: Interested schools are invited to submit information through their online form.

Across the country, communities are calling for justice in education. High stakes testing, disproportionate discipline by race, and the mass closing of public schools in certain regions profoundly impact the lives of young people. In an environment where education reform, vouchers, charter schools, and increased accountability dominate the landscape, what does it mean to impact the very heart and bureaucratic structure of public school districts and build trust, equity, and meaningful change?