Making Art

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The Making of Art and the Learning of Service as a Symbiotic Process of Becoming

Cration artistique et apprentissage du service en tant que pro-cd symbiotique du devenir

Lynn Sanders-BustleGreenhill Center for North Carolina Art

AbstractThis qualitative study explores four university art education students art making processes that evolved as part of service-learning at a local outreach center for the homeless. Data includes interview transcripts, artist statements, and journal entries. Overall, artmaking evolved through interactions with people, places and things, prompting the use of metaphors to construct relational bridges between the lives of students and clients. Research highlighted artmaking and service-learning as fluid and dynamic phenomena revealing a symbiotic relationship between the making of art and the learning of service as ever-evolving processes of becoming.

Keywords: community art education; service learning; becoming; artmaking

RsumCette tude traitre de lvolution des procds de cration artistique de quatre tudiants en enseignement des arts dans le cadre de lapprentissage du service dans un centre local pour sans-abris. Les donnes regroupent transcriptions dentrevues, rflexions dartistes et critures de journal. De faon gnrale, la cration artistique a volu en fonction de linteraction avec les gens, les lieux et les objets, favorisant lusage de mtaphores pour tablir des liens relationnels entre la vie des tudiants et celle des clients. La recherche peroit la cration artistique et lapprentissage du service comme un phnomne fluide et dynamique, tablissant par le fait mme une relation symbiotique entre la cration artistique et lapprentissage du service en tant que processus volutifs du devenir

Mots-cls: enseignement des arts communautaire; apprentissage du service; devenir; cration artistique

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Figure 1: Elaines artwork, Empathy

The intrusive, yet intriguing feeling associated with the discovery of someone elses space is the inspiration for this piece (see Figure 1). To be able to see the world as others see it, to be nonjudgmental, to understand another persons feelings, and to communicate your understanding of that persons feelings are all important attributes of empathy. (Elaine, written reflection, 4-21-2009)

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As a university art education student, Elaines artwork and artist statement were inspired by visits made to womens living spaces at a local outreach center for the underserved as part of a service-learning project in Louisiana. The result of a semester long inquiry, Elaines response suggests that art production might serve as one means for building bridges between ones world and the worlds of others. Yet the capacity to fully understand possibilities for artmaking as part of service-learning lies in better understanding the intricacies of processes in relation to experience. In this qualitative study, I, a university art educator at the time, describe, examine, and analyze the artmaking of Elaine, Dora, Karin, and Samantha (pseudonyms) created in response to their service-learning experiences.

Possibilities for Service-Learning and Artmaking

Helping art education students understand their roles as future educators requires pedagogies that encourage them to think critically about subject matter, doctrines, the learning process itself, and their society (Apple, 2006, p. 25). Many have inspired transformative research and practice across disciplines calling for educators to reimagine possibilities for democratic and socially just pedagogies (Banks, 2006; Freire, 1970; Greene, 2005; hooks, 1994, 2002; Shor, 1993; Rose, 2009). In the field of art education, many advocate for the role the arts play in cultivating pluralistic sites for creative and critical engagement (Anderson & Milbrandt, 2005; Campana, 2011; Gude, 2009) and for new ways of advocating for communities of practice (Anderson, Gussak, Hallmark & Paul, 2010; Berghoff, Borgmann & Parr, 2005; Darts, 2006). Enacted in community settings, artists and art educators employ the arts in a wide variety of ways to foster social interaction, opening up spaces to bridge difference, locate common ground, transform ideas and inspire imagination and possibility (Bastos, 2002; Campana, 2011; Congdon, Blandy & Bolin, 2001; Thomas, 2007; Sinner, Levesque, Vaughan, Szabad-Smyth, Garnet & Fitch, 2012; Stephens, 2006; Ulbricht, 2002, 2005; Villeneuve & Sheppard, 2009). Community settings then serve as valuable sites for service-learning whereby university students leave campuses to participate as teachers, artists, curators, and citizens in a variety of contexts and locations (Buffington, 2007; Hutzel, 2007; Innella, 2010; Jeffers, 2005; Krensky & Steffen, 2008; Lim, Chang & Song, 2013; Sanders-Bustle, 2012,


2010; Taylor, 2002). In 2002, Taylor described service-learning practice as that which deepens students civic responsibilities while providing opportunities for experiential knowledge in their academic study (p. 124), adding that like postmodern art, it has the potential to connect art and life through critical self-reflection and transformation (p. 126).

Thus far, research about service-learning has provided historical reviews, new conceptualizations, criteria for effective service-learning practice, and detailed descriptions of service-learning efforts. However, less research has looked at how specific processes help participants make sense of their experiences, in this case, as students prepare to be teachers. While reflection is noted as essential for service-learning practice, little work explores how specific processes, such as discussion, writing, or even artmaking, might foster reflection or contribute in particular ways to make sense of, represent, or transform actions.

Over the years I have engaged pre-service art education students and community members in a variety of service-learning activities in community settings utilizing a range of personal and collaborative artmaking processes (Sanders-Bustle, 2012, 2010). These efforts were informed by my belief that the making of art can function in a variety of ways to inform, express, prompt reflection, disrupt, intervene, inspire critique, or incite action across communities affecting lives in distinctive ways. As a reflective process artmaking helps students synthesize their own experience and think about that experience and the meaning it produces (Anderson & Milbrandt, 2005, p. 141). As an inquiry process, artmaking engages students in personal, authentic, and deeply meaningful explorations of topics, issues, and experiences (Walker, 2001). As a kind of research, Sullivan (2005) suggests that:

those engaged in artmaking are particularly well placed to interpret and represent new understandings. Interpretations and representations that arise as a consequence of purposeful, creative pursuits have the potential to produce new understandings because from a position of personal insight and awareness the artist-theorist is well placed to critically examine related research, texts, and theories. (p.190)

And finally, artmaking can inspire critical and creative responses that raise awareness and serve as agents of change. DAmbrosio (2013) proposes that creative response

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can shift how we see; it leads us to feel something different about our experience and the world. It advances the odd, the idiosyncratic, the impossible; its elusiveness is both anti-ideological and universal as it rallies us around our common humanity. (n.p.)

Potentialities for artmaking are boundless yet our understanding of the multiple ways that it might contribute to, inform, and challenge experience calls for focused inquiry. So I set out to better understand how personal artmaking contributes to students understanding of their service-learning experience. Specifically I asked: What happens when students create artwork based on their experiences at a local outreach center for the homeless?

Contextual Considerations

The service-learning activities represented in this article were integrated into an intermediate level art education course I taught at a mid-sized university in southeast United States. As part of coursework students were asked to create a personal work of art representing their service-learning experience, to work in pairs to teach lessons at the center, to create art alongside clients, to keep reflective journals, and to respond to relevant readings. At the beginning of the semester I explained the artmaking assignment purposefully leaving criteria for artwork broad. Criteria included: 1) representation of the outreach center experience; 2) creativity; 3) craftsmanship; 4) effort; and 5) completion. I refrained from providing particular concepts, suggesting that students use observations made at the center, conversations with clients, class discussions, and written reflections as inspiration. At midterm each student provided a sketch, research, and a written discussion of their ideas and participated in an in-process peer critique.

Service-learning activities took place every Thursday afternoon in a large warehouse at the back of the outreach center property. The center offered support to the underserved, providing food and clothing and a residential program for those in need of shelter and willing to commit to substance abuse rehabilitation, job training, and art therapy programs. Having collaborated with the center in various ways in the past, I had formed a relationship with administrators, knew the campus well, and understood scheduling challenges related to the clients heavy load of commitments (Sanders-Bustle, 2010). On average, an ever-changing constellation of 25


women and men attended the workshops, often coming in from a full day of work or on their way to other required classes. At the same time, the mandatory nature of our workshops, conflicts in scheduling, and the ongoing turnover of clients challenged our ability to build relationships.

In preparation for our visits, administrators explained to the student-teachers that many were struggling with substance abuse in addition to socio-economic hardships. With this in mind, we met with the clients to discuss possibilities for artmaking. Many shared what they had created in previous workshops and one gentleman enthusiastically suggested that we make masks. Simultaneously, the administration expressed a desire for us to use clay and a kiln previously purchased through a grant, an option that liberated and limited us at the same time. We returned to the university where students began working in groups to design lessons based on client feedback, resulting in lessons focused on personal petroglyphs, masks, clay rattles, and clay and fibre jewelry. Two weeks later we returned to the outreach center and the first group of students began their lessons. Those students who were not teaching participated in the lessons working alongside clients to create art or they were given time to record observations. As the semester progressed, students became comfortable with the clients and the clients became comfortable with the students, and the resulting artworks began to expand in terms of mediums, forms and contexts from the initial plans for clay and fibre. At the end of the semester, clients and students artworks were exhibited in a group show titled, Faces of Change a name submitted by a client. Students, clients, and the larger university and outreach center community attended the show.

Methodology

A qualitative case study methodology (Creswell, 2012; Stake, 2008; Yin, 2006) was utilized to generate in-depth understandings via artifacts and interview transcripts which contextualized and deepened interpretive analysis. This allowed for a focused examination of participants processes and a better understanding of their service-learning experience. All student-teachers were invited to participate in the research from which four agreed to talk further about their experiences. Participants include Elaine and Dora who received Bachelor of Fine Arts degrees and had returned for certification, and Karin and Samantha who were undergraduates working toward their

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Bachelor of Arts in Art Education. All were females in their late teens and early twenties.

Data included interview transcripts resulting from one interview with each student-teacher, their artist statements, and reflective journal entries based on observations at the center. Interview questions were semi-structured (Seidman, 2006) and the interviews were conversational (Hammersly & Atkinson, 1993) including visual elicitation strategies whereby student-teacher artworks served as a visual touchstone for the interviewee to reconstruct processes and recall experiences. The interview itself offered student-teachers another opportunity to re-present the making of their art through speech, adding another layer of understanding to the research.

As a recursive process, data analysis began with a general reading of all written data while jotting major ideas and concepts in the margins (Creswell, 2012; Huberman & Miles, 1994; Wolcott, 1994). Initial observations were noted and a list of concepts constructed; data was revisited and concepts were coded to identify relationships in data which evolved in the form of themes. Themes included details related to personal process, media selection, and idea formation. Finally, themes were examined in relation to the context of the service-learning experience.

Findings

Students began their artmaking inquiries and service-learning with varying expectations for what each would entail. Few criteria for artmaking existed and the semester-long nature of the project provided an extended period of time for inquiries to develop and ideas to be revisited. Artmaking was woven into students day-to-day experiences, at and away from the center, so much so that an examination of one element of art production or service-learning experience tugged at other elements, complicating understanding and representation. Overall, artmaking evolved through interactions with people, places, and things, prompting the use of metaphors to construct relational bridges between students lives and the lives of the clients. Research highlighted the fluid and dynamic phenomena associated with artmaking and service-learning, revealing a symbiotic relationship between the making of art and the learning of service as ever-evolving processes of becoming; the details of which are presented in the following sections.


Interactions with Visual Culture, the Outreach Center Campus, and Clients

Students tapped into a wide variety of resources such as artists, artworks, and popular culture, but most importantly they were inspired by unexpected revelations offered through interactions with artifacts, places, and other students and clients at the center. All functioned to push and extend ideas and redirect activity. Dora examined the work of Do-Ho Suh, a professional artist who explores the concept of home, prompting Dora to consider objects or places that represented home for her, which included handkerchiefs and tea bags. Inspired by pop artist Robert Rauschenbergs use of found materials and the complexity of his surfaces, she scanned personal representations of home and photographed elements of a meditation garden and a mosaic on the outside of a building at the Center created by the clients. She zoomed in on details of clients art created in a previous workshop (see Figure 2) in attempts to better understand their temporary homes. Much of this imagery found its way into her final print.

Figure 2: Photo of clients art by Dora

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Intrigued by a segment of Oprah Winfrey (Ling, 2009) portraying the contents of cramped tents housing Hurricane Katrina homeless, Elaine gained permission to visit some clients in their tiny cramped spaces at a small house. Accompanied by an administrator and a client she took photographs of what she saw:

Above their bed they have a collage of images. Some people have quilts behind it. It was just beautiful and a collection of things that they value. You know when you are homeless, what do you value? So, its interesting to see the things that they value, the pictures, the dried up flowers, the deflated helium balloons. I think with that it kind of made me want to have that kind of collage, to have a representation of the things that they valued. (Elaine, transcript, 5-11-09)

This experience prompted her to consider the meaning, purpose, and/or value of objects in the clients lives and informed her decision to create a collage-like representation that combined her personal objects with those of the clients in her final work.

Like Elaine, some of Samanthas ideas were initially informed by popular culture. Having watched many segments of Intervention (Portland & Mettler, 2009), she learned about the stages and challenges of recovery. During informal conversations at the center, clients confirmed the information Samantha gained from watching television, making an important link between what she was learning and what they could teach her. Samantha explained:

You may be in recovery, but its not over. You still have to go on everyday fighting, because when I talked to people [at the center] that was a point they brought up. Its not all peaches and cream at the end. (Samantha, transcript, 5-14-09)

For Karin, brainstorming as part of her teaching practice generated concepts such as growth and goals which she explored during a workshop session by asking clients and students to write down a life goal or goals on small slips of paper. By doing this, Karin stated:

I learned a lot about the clients tooOne of the goals that a client wanted to achieve was to have Thanksgiving dinner with their whole family and one was to open a restaurant in Alaska and one was to go back to nursing school. (Karin, transcript, 5-12-09)

She collected all of the slips of paper and combined student and client goals in her final artwork.


Media as mediator

Rather than selecting a medium at the onset of their inquiries, media choice was informed by random discoveries, outreach center experiences, and access to and timely interest in and/or comfort with media. Both Karin and Samantha happened to be taking a metalwork and jewelry course at the time and chose to create works using metal. Karin mined a recycled scrap metals bin in the studio where she found interesting shapes. She explained,

I went and took some irregular small piece and I would cut it. Like the background is where I would start off with first and then I would overlap it. The bean shape came from a shape that I drew and I cut it out from there and then added the roots from it and it kind of grew like a plant too. (Karin, transcript, 5-12-09)

Both access to the materials and chance discovery of interesting shapes supported her intent to represent growth. The bean-like shape became the focal point of her design.

Random discoveries such as those made while exploring garage sales and thrift stores presented unexpected possibilities extending ideas and shaping the design of artwork. Elaine describes a white cabinet she discovered at a local flea market:

On the inside it is manufactured and structured and perfect. So, I liked the idea of having something so conservative, not eye-catching what so ever. Its sort of like you could look past it, you know, if you arent really looking. And you will have the person who is really intrigued by the idea that maybe something interesting is inside. And be able to open it up to see I guess it is my exposed self. (Elaine, transcript, 5-11-09)

This discovery supported her intent to create an assemblage or collage using objects representing her life but also deepened the focus of her concept, as the cabinet would allow for the juxtaposition of ideas and viewer interaction.

Samantha also randomly and repeatedly stumbled upon retro metal wire breadbaskets at garage sales and a thrift store. Similar in size and linear design, yet varied in shape, she recognized that repetition provided through multiples would support her ideas. The baskets became central visual elements in her final artwork (see Figure 3).

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Figure 3: Detail of Samanthas artwork

Metaphors as visual conduits

The challenge of communicating ideas visually pressed students to consider how symbols or metaphors might be used to communicate their ideas, unintentionally making connections between their worlds and the clients worlds. Written on small slips of paper Karin encapsulated clients and student-teachers goals in a bud-like extension in her art (see Figure 4). She explained her intent:

I wanted to show the importance of having all the pieces with the different people [students and clients]. It wasnt just the clients, it was also the classes to show that we all have this common goal to actually achieve something. (Karin, transcript, 5-12-09)


Figure 4: Karins artwork

The finished artwork represented clients and students alike, and their aspirations to reach their goals, revealing a link between her life and the life of the clients. The choice to encapsulate both served as a metaphor for shared space or common ground.

While Samantha planned early on to use the repetitive elements of the wire baskets and the wooden steak plates to represent stages of recovery, it was her struggle to kink, curl, and bend wire that simultaneously contributed visual interest while more fully capturing the struggles of addiction and rehabilitation. She wanted to portray a feeling of being completely chaotic and having your world totally turned completely upside down by drugs and addiction. To sort of show the recovery process and becoming a new person

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(transcript, 5-14-09). Her struggle to manipulate metal helped her make a connection between the properties of metal and the strength required of the clients to overcome challenges.

I was trying to represent what the clients at the center were going through. A word that came up often was strength. Seeing the strength these people go throughtheir strength and their courage is what really influenced me and that is why I chose metal because of the properties that metal has. It is a strong material. (Samantha, transcript 5-14-09)

While the clients struggles to overcome addiction differ from her struggle to bend wire, this discovery became a connecting point re-shaping the meaning of her work, which evolved from being a representation of stages to a representation of struggle. She titled the final work, Inner Strength (see Figure 3). Her artist statement reads: Phase 1 Addiction. Chaos. Dependence. Danger. Pain; Phase 2 Rehabilitation. Communication. Experimentation. Change; Phase 3 Freedom. Independence. Metamorphosis. Possibilities (written reflection, 4-21-2009).

For Elaine, what began as an interactive structure containing the contents of her life slowly morphed into a metaphor for her own public exposure. At first, she left the outside of the cabinet white, filling the inside with a collection of objects. Much like the walls she saw at the outreach center, she described the cabinet as a hodgepodge of things that I value, that I feel like I continue to kind of carry with me throughout different areas of my lifephotographs of my wedding, a letter he wrote me, and my grandmother (transcript, 5-11-09).

Early attempts to neatly contain the contents of her life for all to visit changed during an in-process critique during which time students suggested that she go deeper and push it a little bit more or dirty it up a bit. They felt that all of the contents and media appeared highly controlled, sterile, and disassociated from the messiness of life. Elaine continued to develop the work adding mini-bottles and a partially covered photo of her father who she described as alcoholic. She explained that it is partially covered because, there still is kind of like a wall that is still kind of there because of the hurt (transcript, 5-11-09). She also splattered paint and attached handwritten notes throughout, representing questions she posed to herself.


Am I good enough? Or basically, words that describe things that I struggle with or things that I have been exposed to like shame, addiction. Obviously growing up in a household that has affected me today, you know I have perfection because you know its a good representation of my need to control and be perfect. (Elaine, transcript, 5-11-09)

Elaines decision to use a cabinet that could be opened and closed served as a metaphor for risks associated with making ones life public that includes not only the representation of imperfections but the vulnerability and powerlessness associated with the interactive quality.

The shaping of relational bridges

Artmaking became one means for student-teachers to begin building relational bridges between themselves and the clients at the center. The levels to which this happened are varied and perhaps linked to how deeply the student explored their own lives in relation to the lives of the clients. For Elaine, what began as a photographic glimpse into the contents of lives of the clients ironically became an introspective journey that provoked a closer look at her life raising concerns about the difficulty of having others look at ones imperfections. Elaine explained, I didnt realize how difficult it would be to allow others into my own personal space. I learned and identified characteristics about myself and others that I had never realized or truly addressed (written reflection, 4-21-09). This uncomfortable sharing served as a felt intersection with the clients. Unknowingly by sharing their spaces, the clients had become critical inspiration for a work of art and a life.

In contrast, Doras inquiry began with the question, What is home? And her continued visits to the center prompted her to ask, What does home mean to the clients? (written reflection, 4-21-09). The desire to create a work depicting imagery from her life expanded to include imagery from the lives of the clients, such as the white birds she photographed, which she interpreted to mean freedom. Conversations with the women at the center expanded Doras understanding of what home might mean for them. While talking with two women she learned that they were overjoyed about graduating and moving into their own home. While her image of home related to comfort, the clients described home as a place they are free to be themselves. Furthermore, while Dora did not see her art as collaborative, she was happy that it did

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incorporate a lot of things that were part of their experience. When asked how artmaking related to service-learning experiences, Dora explained:

It acted as a bridge! The artmaking forced me to continually reflect on the experience and the people and our interactions. It was always in the back of my mind and made me relate to it more personally. It made me reflect on the experience the group was having, not just my own. (Dora, written reflection, 4-21-09)

Figure 5: Doras artwork Doras ongoing interactions with people at the center coupled with her ever-present inquiry made her work more personal and at the same time prompted her to consider her ideas in relation to the group.

Karin remained focused on collecting written goals from the clients, challenging her to interact more closely with the clients:

At first it was hard for me to be open towards all of the clients. I am already a shy person. Throughout the course, I became more open-minded and started to talk more. My artwork allowed me to get to know the clients a bit more. I was able to hear about what goals they wanted to achieve and this relates to students as well. (Karin, written reflection, 4-21-09)


The act of collecting goals from the clients for her artwork became the relational bridge Karin needed to move beyond her shyness and to discover that the goals of clients were not unlike those of her own or her classmates:

At the center, all I met were more alike than you think. Some people classify them like drug addicts or whatever, but they are humans, and so are we. We have similarities and people make judgments. It really was like an eye opener. (Karin, transcript, 5-12-09)

Later when asked what she would change about the artwork she explained that she would use smaller boxes that represented each person individually. There would be a seed for each client with different roots. I would do this because this would represent individuality (transcript, 5-12-09). While early on she recognized that both students and clients shared similar goals, she also grew to see the clients as individuals with unique dreams and aspirations.

Toward a Pedagogy of Becoming

Artmaking and service-learning are highly complex processes that prompt participants to reflect, critique, create and act in personal, collective, intentional and unintentional ways in response to a wide range of interactions. Richardson and Walker (2011) propose that the process of artmaking can be understood as an event or movement through relationships between all things and people they come into contact with rather than as an end unto itself (p. 6). While this work focused on the individual artmaking of the students, significance went far beyond the individual making of an art object revealing how varying elements can spark events emerging in a swirl of personal and collective experiences which inform and recalibrate meaning. This suggests that the making of art and the learning of service are processes of becoming as understanding is constantly remade through the interplay of intentional and unintentional interactions with people, places, and things.

Just as service-learning seeks to foster relationships, artmaking and service-learning can be seen as relational whereby artmaking informs service-learning and service-learning informs art production, highlighting the symbiotic relationship between the two whereby each depends on one another (Merriam Webster, 2014). The symbiotic relationship between service-learning and artmaking supported student-teacher inquiries as they

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moved between and across people, places, and things that were also caught up in processes of becoming. Unexpected or stumbled upon events acted as new discoveries disrupting habits of thinking and working against the replication of what is expected or already known. Events revealed themselves through everyday wanderings, the interplay of intentional and the unintentional, and unexpected emergence of unimagined materials or relational events. Breadbaskets or manufactured cabinets are remade, recasting their material lives into art forms, revealing new connections between peoples lives. Objects became events for thinking about how lives intertwine, fostering ideas about relationships. Art practice then became events for thinking about objects and how lives intertwine in these contexts through exploration, as well as for rallying ideas about relationships. Unbound by physical limitations of particular places, student-teacher inquiries followed them through activities in their daily lives. Places acted as sites for becoming, unsettling functions, memories, structures, and expectations associated with particular places as students moved beyond the parameters of the university, the outreach center, the studio or the flea market.

Richardson and Walker (2012) propose that artmaking is best understood as an event that shifts attention from a focus primarily on things that affect making (artist, material, skill, prior knowledge) toward the things that making affects (time, place, artist, new knowledge) from what was learned to what is being learned (p. 18). This suggests that goals for the making of art or the learning of service might be best understood in relation to the things making affects. This idea supports postmodern theories of service-learning which seek to transform, or in essence, affect communities. While this work did provide a glimpse into how student-teachers were affected and revealed the relational and temporal dynamics of service-learning and artmaking, this study was also limited in that it does not represent how clients were affected by the experience.

Yet as an art educator and researcher I, too, was caught up in becoming, wrestling with the difficulty of entering inquiry through the lens of a particular process of artmaking, in relation to one set of student-teachers involved in the larger service-learning experience. While I designed activities jointly and intentionally created opportunities for clients and students to interact, represent their ideas, and make their work public, my inquiry did not take into account the perspectives and experiences of clients in this


instance, prompting new questions about pedagogic intent and service-learning. I wonder: What might have happened if student-teachers shared their artworks with the community members throughout the process? How might clients have responded? Because this kind of interactive sharing did not happen, we missed an opportunity for community members to benefit from becoming more fully affected by students and/or the artwork by seeing themselves as inspiration for an artwork, co-creators of meaning, and valued informants. I continue to question how this interaction might have affected the art, the students, and the clients given that artmaking served as a reflective process and critical questions could have enhanced ongoing considerations of practice. I re-imagine my pedagogy in the future to include dialogue journals to be shared with clients where carefully crafted critical questions are interjected throughout the semester.

Furthermore, while the semester-long inquiry gave students extended time and space for ideas to emerge, limited time spent with clients and the culmination of the program after four months fell short of fully establishing what Taylor (2002) refers to as the ritual of postmodern service-learning pedagogy which would involve experiences that take place over the course of several classes and semesters (p. 135). Instead, this experience served as an introduction for my student-teachers, without minimizing the significant role that time plays in service-learning and artmaking. Allowing for prolonged time periods to revisit ideas, for ideas to ferment, for the unknown and the unintentional to emerge, and relationships to evolve, is part of developing as a teacher, and this case study helps to initiate our thinking about making and learning.

Like the making of art, possibilities for the learning of service are vast. Both can be explored at different levels of participation and engagement using a milieu of processes, each prompting distinctive inquiries, engendering unique perspectives, unsettling events, and offering possibilities for future action. If visions for both inspire infinite imaginations for how art and teaching can be conceived, explored, and achieved, then new pedagogies will emerge through service-learning that celebrate the yet to be named goals of becoming, informed and engaged as critical art educators whose pedagogies are ever-evolving in the interest of affecting practice.

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