Pedagogical Models and Interpretive Frameworks: Articulating Art History in the Praxis of Teaching African American Art

In an untitled and undated manuscript, art historian and artist James A. Porter proposed a book on aesthetics and the constructive process of art. The book was intended “to note observations”, “break down materials into these acts that illustrate the influence of tradition”, “of the teacher”, “of instinct”, “fear (negative)”, “ambition”, “obligation or duty”, “love of the subject or of difficulty (a problem)”, “interest in painting or in some future reward.” To shape the scope of his preliminary thoughts, Porter used his teaching methodology “to throw light on the psychological processes of the artist and present a number of case histories of actual art students.” Consideration of Porter’s unpublished manuscript on aesthetics offers a reexamination of taxonomies of interpretive paradigms that frame African American art. Porter’s unconventional resource to investigate and explore the impetus for creativity was the art student. Porter asserted in his essay “Can the College as the Arbiter of Taste”, “the university today is indeed a center for the training of artist[s] and critics alike”.

In this context, this paper reexamines the taxonomies of interpretive paradigms that frame African American Art, discuss critical interventions that liberate artists, and discuss key axioms that are central to pedagogical practice. This analysis will also consider Historically Black Colleges and Universities (HBCU) as critical touch points where ideas of progressive pedagogy are implemented. As African American art history, criticism, and discourse continues to expand and intuitional priorities change, art history pedagogy can contribute to the disciplinary conversation.