Art Education

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A Place for Art and Design Education in the STEM

Conversation

James W. Bequette & Marjorie Bullitt Bequette

To cite this article: James W. Bequette & Marjorie Bullitt Bequette (2012) A Place for
Art and Design Education in the STEM Conversation, Art Education, 65:2, 40-47, DOI:
10.1080/00043125.2012.11519167

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 A Place for
Art and Design Education
in the STEM Conversation
T
he recent push for STEM (Science, Technology, Engineering, and
Mathematics) education introduces (through the emphasis on engineering)
a design process to science classrooms; some educators have also pushed for
the artistic or creative process becoming a part of STEM education. In certain
cases, this might be an opportunity for greater prominence for art education, better
art and STEM learning, and heightened student engagement; in others it might
weaken each discipline and confuse the boundaries between different approaches.
In what follows we describe the possibilities and pitfalls of an approach that infuses
both the creative process and design thinking into a new iteration of STEM educa-
tion that adds arts (with a capital “A”) to the acronym to make STEAM.

The authors of this article are respectively a university-based in art curricula, and communicating this inclusion to non-art
art teacher educator/researcher and a museum-based informal educators can open up enormous possibilities for cross-curric-
education researcher/STEM educator. Our response to ular collaboration, and student involvement and engagement
crossing boundaries between arts and science is predicated on with art.
the perception that these areas can meld fluidly together, and “Design education is the study of aesthetics and utility of
that a synergistic relationship may result. That said, we items in our daily lives (Vande Zande, 2010, p. 249). Both the
examine possibilities inherent in such an approach, and also design process and the creative process engender a certain
unpack some important caveats. This work should interest kind of thinking and intended outcomes. “Artists represent an
teacher educators and researchers in both science and arts idea, concept or object through a medium…. The outcome
disciplines and, we hope, recruit new educators to involve may be sculpted, painted, photographed, and so on” (Vande
themselves with STEAM or incorporate STEAM philosophies Zande, 2011, p. 17). Designers use steps in the design process
into their practice. We argue the “cultural, pedagogical, and to solve problems, and “[a] level of skill is needed to design an
economic aims” of art education (Vande Zande, 2010, p. 248) outcome, such as products, software, events, advertisements,
will be best served when art educators communicate both and so on” (p. 17). Design industry leaders describe what
within their field, and to a broader audience of educators designers do as design thinking. Visual arts educators describe
working in the STEM disciplines, that design education as the way artists’ think and work as artist habits of mind
taught in art classrooms can be far more than compositional (President & Fellows Harvard College, 2003).
(i.e., the formalist arrangement of design principles and art
Savvy art educators, who are tuned in to the national
elements). When visual arts teachers also approach functional
conversation about the connectedness of the arts and
design as part of the curriculum, the aesthetic nature of the
American economic competitiveness, understand the
design process is revealed in the products, environments,
importance of promoting art as a way of knowing in today’s
graphic design, information architecture, and interactive
educational climate. Savvy art educators can also alert STEM
situations contemporary designers create. Teaching design in
colleagues, school administrators, parents, and other stake-
art classrooms is as much the business of art education as
holders that teaching an engineering design process that
teaching the artistic/creative process. Both should be included
ignores the aesthetic thinking inherent in almost every form

40 Art Education / March 2012

B y J a M E S W. B E q u E T T E A n d M a R J o R i E B u l l i T T B E q u E T T E

Figure 1. nathalie Miebach, “Antarctic Explorer.” 2007. Reed, wood, plastic, data, 4.5’ x 3’ x 2’. This portable data device, worn by
the artist/researcher, explores the transition from complete Antarctic darkness in June to 24-hour sunlight in October. data
translated include weather patterns, temperature variations, barometric pressure, wind velocity, azimuth of the sun, tides,
moon phases, moonrise, sunrise, and more.

March 2012 / ART EdUCATIOn 41

 Arts teachers (and others) in STEM-focused schools have scrambled
to make their disciplines relevant with little assistance from packaged
curriculum! that tout STEAM learning.

Steps of the Engineering Design Process

Step 1
Identify the Need
or Problem

Step 8 Step 2
Redesign Research the
Need or Problem

Step 7 Step 3
Communicate the Develop Possible
Solution(s) Solution(s)

Step 6 Step 4
Test and Evaluate Select the Best
the Solution(s) Possible Solution(s)

Step 5
Construct a
Prototype

!
!
"# $%&'()*+!(,&!'&&%!-.!/.-01&2!! G# H-'5(.:7(!6!/.-(-(+/&!!
3# 4&5&6.7,!(,&!'&&%!-.!/.-01&2! ! I-%&1!(,&!5&1&7(&%!5-1:()-'@5A!)'!
! 8962)'&!(,&!7:..&'(!5(6(&!-*!(,&! (=-!6'%!(,.&&!%)2&'5)-'5!
)55:&!6'%!7:..&'(!5-1:()-'5! J# K&5(!6'%!&;61:6(&!(,&!5-1:()-'@5A!
! 89/1-.&!-(,&.!-/()-'5!;)6!(,&! ! ?-&5!)(!=-.LM!
$'(&.'&(<!1)0.6.+<!)'(&.;)&=5<!&(7#! ! ?-&5!)(!2&&(!(,&!-.)F)'61!%&5)F'!
># ?&;&1-/!/-55)01&!5-1:()-'@5A! 7-'5(.6)'(5M!
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5-1;&@5A!(,&!-.)F)'61!/.-01&2! (&5(5!6'%!/.&5&'(6()-'!

 
Figure 2: “Steps of the engineering design process” (MA department of Education, 2006, p. 84). now a part of science academic standards in
many states, 1:  “Stepsdesign
the Engineering
Figure   of theProcess
engineering design
shares many featuresprocessÓ
with a more(MA Department
aesthetically grounded of Education,
design 2006,
process taught in K-12 art/
design classrooms.
p.84).  
84 Massachusetts Science and Technology/Engineering Curriculum Framework<!October 2006!

42 Art EducAtion / March 2012

of functional design might shortchange students and compro- includes engineering in a central position (NRC, 2011).
mise the theoretical arguments that underpin current national Numerous federal (i.e., NSF, USDE) and corporate (i.e.,
academic standards espousing the interdisciplinary nature of Exxon-Mobil, Boeing, IBM) funded initiatives also support
STEM learning (NRC, 2011; AAAS, 1993; ITEA, 2000). efforts at the district and school level, where integrating
There are of course other compelling models for engaging the engineering into existing science and mathematics coursework
arts to strengthen STEM skills in interdisciplinary contexts. One is very much en vogue. And for schools looking for a quick fix,
is to look at artists who include science in their artworks; we new prepackaged curricula with names like Project Lead the
offer three examples of contemporary media and performance Way (www.pltw.org) and Engineering is Elementary (www.mos.
artists/designers who have come to treat science (and other org/eie) were quickly developed. Arts teachers (and others) in
STEM disciplines) as topics in their practice. Introducing STEM-focused schools have scrambled to make their disciplines
students to hybrid works of art can help young people under- relevant with little assistance from packaged curriculum that
stand more about the artistic/creative process, design thinking, tout STEAM learning.
and the value of aesthetic inquiry. Examining how artists mix It seems “acronyms [like STEM] encourage rampant
art, science, technology, and math in imaginative artworks that me-tooism,” (Angier, 2010), as other fields now lobby for
blur boundaries between art, design, and STEM disciplines can inclusion under the STEM umbrella—adding a second “M” for
develop “thinking dispositions that are valued both within and “Medicine” to make STEMM or an “A” for “Arts” to make
beyond the arts” (Hetland, Winner, Veenema, & Sheridan, “STEAM,” for example. This article explores the latter notion of
2007). STEM becoming STEAM, and how the arts might bring a
In the sections that follow we trace the advent of STEM and relevant disciplinary focus for STEM education. We argue that
why moving toward STEAM (Science, Technology, Engineering, interdisciplinary work in the arts and sciences can lead to
Arts, Math) education is gaining converts. The design process, curricular components that combine aesthetic and analytical
creative process, and the arts-based nature of design thinking modes of thinking (Fitzsimmons, 2011) to the betterment of
are also discussed. The article closes with a call for embracing both science and art.
teaching that explores both functional design and interdisci- As terms go, STEAM, like STEM, may seem didactic and
plinary artists. We urge art educators to join the conversation jargony (Angier, 2010), yet clearly there is national interest in
about how the arts connect to STEM because art and design are integrating the arts into science learning (Piro, 2010; White,
core constituents of 21st-century art education. 2011; www.exploratorium.edu; www.moundsviewschools.org).
“Hands-on, imaginative approaches to science education, using
From STEM to STEAM? many of the methods used in the creative arts, have been shown
Since the end of the 20th century the National Science to attract and retain young people in the fields of Science,
Foundation (NSF) and others have advocated for adding an Technology, Engineering and Mathematics,” opined organizers
engineering component to a new breed of comprehensive of an NSF-sponsored conference of scientists, artists, educators,
science education that interfaces with technology and math. business leaders, researchers, and policymakers in 2011 (www.
Identifying what’s central about Science and how that overlaps artofsciencelearning.org). Attendees explored how the arts can
with Technology, Engineering, and Math led to the acronym be engaged to strengthen STEM skills and spark creativity in the
STEM. Advancing the STEM brand has become a well- 21st-century American workforce.
supported campaign to better link K-12 science teaching to Some STEAM efforts (e.g., Piro, 2010) present the arts as the
today’s industry while preparing tomorrow’s high tech work entryway to STEM learning. However, Eisner (2002), Hetland,
force. Critics of the siloed disciplines prefer focusing on what and colleagues (2007), and other art education researchers reject
the fields of science, technology, engineering, and math have in instrumental justification for study in the arts as a way to
common—problem solving, arguing from evidence, and improve student performance in other disciplines. “The two
reconciling conflicting views (Angier, 2010). Interestingly, fields can be of assistance to one another. [A]rt education need
problem solving and reconciling multiple solutions by not be teleological in order to be of value.… Creativity, aesthetic
conducting aesthetic inquiry are common undertakings of sensibilities and appreciation, higher spatial reasoning skills,
designers and artists too. sensory awareness, and many other benefits of art have cultural
The buzz surrounding STEM, and confusion over how to value that are not easily measured” (Bruce, 2010).
teach it, inspired many states to ponder how engineering should Understanding how the thinking strategies teachers help
be addressed in elementary and middle school classrooms. students develop in visual arts classes inculcate Studio Habits of
Common responses include development of websites with Mind—dispositions used in many academic arenas and in daily
resources for STEM teaching and adding engineering content to life (Hetland et al., 2007)—is a more appropriate rationale for
revised academic standards for science (e.g., MA Dept. of art education advocacy. In other words, when the arts are seen
Education, 2006; MN Dept. of Education, 2008. Whole schools as an end goal, not just an entryway to presumably more
are now marketing themselves as STEM institutes, magnets, important STEM topics, thoughtfully developed STEAM
charters, and academies to attract students (where school choice curricula can truly engage sustained cross-disciplinary student
is an option) and cash in on grant funding that comes with the learning in PK-12 settings and informal education.
brand. The new national framework for science education

March 2012 / Art EducAtion 43

 Art, like engineering, is concerned with finding answers to problems
and seeking visual solutions using the design process.
Similar Design Processes and Dispositions, Project Zero’s Studio Thinking Framework from which their
Varying Aesthetic Intentions Studio Habits of Mind are derived, identify dispositions like the
An important strand of engineering education is the design ability to attend to relationships, engage and persist, remain
process or cycle—the steps designers go through in the process flexible, shift direction, imagine possibilities, and express ideas,
of engineering. Although defined somewhat differently by feelings, or personal meaning. Design is commonly considered
design educators (e.g., Stanford’s School of Education and Hasso to be the distinguishing activity of engineering (Dym, et al.,
Plattner Institute of Design; David Edwards’ ArtScience lab at 2005), and engineers are said to embrace the design process by
Harvard; Todd Siler’s Metaphorming design process), the design “highlighting the creation… assessment… selection… and the
cycle generally includes steps like considering the problem and making or bringing to life… of ideas (Sheppard, 2003).
challenges that need to be solved, the benefits and drawbacks of Pedagogically, both art and engineering education lend
different ideas and material choices, coming up with one or themselves to problem-based learning (PBL), a way to motivate
several design options, conveying raw ideas as prototypes, and and integrate authentic learning in a discipline. PBL “develops
then testing and evaluating their usefulness. Not surprisingly, students’ higher order thinking skills as they investigate
this process shares many features with functional design as ill-defined problems drawn from real life situations,” including
taught in art classrooms: “defining a problem, researching, aesthetic inquiry that is explicitly included in art curriculum
brainstorming, creating prototypes, presenting to an audience… (Costantino, 2002, p. 219). In STEM classrooms, learning the
and refining to the final solution” (Vande Zande, 2011, p. 17). basic elements of the design process often correlates with doing
What differs in art classes? “Functional design is a practical and real design projects. And although such projects are enjoyable in
visual art that includes four broad areas: objects, environments, and of themselves, students can also be exposed to “some flavor
communication, and experience” (Vande Zande, 2007, p. 1). The of what engineers actually do” (Dym, et al., 2005). In visual arts
design of products, buildings, computer graphics, interactive classrooms, PBL often is the crux of art and design education.
video games, and the like is thus more aesthetically grounded Understanding that art is and has always been a form of mass
and artistically motivated than is apparent in an engineering communication, and that designers, architects, city planners,
design cycle (See Figure 2, MA Dept. of Education, 2006). illustrators, sculptors, and the like tackle problems with very
By definition, to design is to plan, and in the arts to design is specific options and real limitations, affords a similar flavor of
to fashion artistically or skillfully within a medium (Eisner, what artists actually do. Students learn that manipulation of
2002). “People in all occupations plan, but the artist or designer “how things work and /or how things look” often leads to the
is someone who plans the arrangement of elements to form creation of purposeful items of a commercial nature that “have a
[something] visual. Depending on the field these ‘elements’ will balance of function and aesthetics and reflect the prevailing
vary—all the way from painted symbols to written words to attitudes, customs, and/or beliefs of a group of people at a
scenic flats to bowls to furniture to windows and doors” (Lauer particular time in history” (Findeli as cited in Vande Zande,
& Pentak, 1990, p. 2). Art, like engineering, is concerned with 2010, p. 249). PBL thus provides entry points for considering
finding answers to problems and seeking visual solutions using the aesthetic qualities of product design and the boundary-free
the design process. Art, like engineering, subscribes to the idea nature of the design process.
that design thinking is a complex cognitive process and that Highlighting the differences with students between an
successful designers possess certain dispositions. unaesthetic engineering approach to design and one that is
In engineering, key dispositions of design thinking can be more artistically grounded can help them understand unique
characterized as the ability to: “tolerate ambiguity…in viewing disciplinary goals, but should not create artificial distinctions
design as inquiry…maintain sight of the big picture…handle that don’t reflect the considerations of real world endeavors.
uncertainty…make decisions…think as part of a team in a Perhaps because professionals in science museums blur the
social process; and think and communicate in the several boundaries between STEM and the arts regularly in their own
languages of design” (Dym et al., 2005, p. 104). Interestingly, one work (for instance, graphic designers and science educators
of the several languages used to communicate in engineering is work together to design exhibits that best communicate
graphical, “representations [are] used to provide pictorial complex ideas to the public), STEM and the arts are often
descriptions of designed artifacts such as sketches, renderings, integrated in these settings. Middle and high school youth who
and engineering drawings” (p. 108) from which 3-D models are work at one museum, supporting the museum’s programming
created. and outreach to the community, regularly use design (seamlessly
In visual arts education, when the curriculum extends beyond integrating an engineering and an aesthetic focus) to address
techniques, tool use, and mimetic production, teaching about local issues (www.smm.org/kaysc). These youth, who generally
art as a way of knowing affords opportunities for subtler identify with groups underrepresented in the sciences (girls,
learning that includes development of serious thinking youth of color, immigrants, and/or low income families) develop
dispositions not unlike those engendered in engineering projects that use art and design not only as a way to engage
education. Hetland and colleagues’ (2007) embrace of Harvard students, but also as content and as essential to the process of
conveying information.

44 Art EducAtion / March 2012

 Artmaking in Interdisciplinary Contexts and science and the visual articulation of scientific observa-
Next we consider three examples of contemporary artists tions… [u]sing the methodologies and processes of both
and designers who treat science (and other STEM disciplines) disciplines” (Miebach, 2011). Named one of 20 fellows who
as topics in their practice, and how those works of art can help presented their work at the 2011 TEDGlobal conference that
students understand more about the role of aesthetic thinking advances the convergence of design, entertainment, and
in our society. These are individuals who explore concepts of technology, Miebach says her piece “addresses broader
contemporary art like hybridity, appropriation, and time questions than the [data] I’m translating. It forces the viewer to
(http://schools.walkerart.org/arttoday/), while blurring think about the visual vocabulary they associate with science
boundaries between art, science, technology, math, and other versus art” (Wallace, 2011).
disciplines. Investigating imaginative artworks created by Mark Dion’s art (see Figure 3) “examines the ways in which
Nathalie Miebach (http://nathaliemiebach.com), Cory dominant ideologies and public institutions shape our
Arcangel (www.coryarcangel.com), and Mark Dion (www.pbs. understanding of history, knowledge, and the natural world….
org/art21/artists/dion/) can engage students through the Appropriating archeological and other scientific methods of
processes of looking, reflecting on what these artists’ are collecting, ordering, and exhibiting objects, Dion creates
communicating, and linking those ideas to their own lives. artworks that question the distinctions between objective
Students in turn understand more about the artistic /creative (rational) scientific methods and subjective (irrational)
process, design thinking, and the value of aesthetic inquiry in influences” (Art:21, 2007). And lastly Cory Arcangel (see
interdisciplinary contexts, while refining higher spatial Figure 4) creates art that “imports a sense of humanity into the
reasoning skills, aesthetic sensibilities, and analytical acumen. technological realm” (Spears, 2011). Arcangel’s art appropri-
Nathalie Miebach (see Figure 1, page 41), a sculptor by ates old computer games, turntables, and obsolete electronic
trade, creates basket sculptures that plot astronomical data gadgets and “through a bit of ingenious meddling… reboots
(Wallace, 2011). Her “work focuses on the intersection of art this detritus to produce witty, and touchingly homemade,
video and art installations” (Spears, 2011).

Figure 3. “neukom Vivarium,” 2006, Seattle Art Museum. (Photograph courtesy Art21, http://art21.org.) Mark dion’s hybrid work of sculpture, architecture,
environmental education, and horticulture connects art and science. Removed from the forest ecosystem, this downed 60' Western Hemlock “nurse log”
now inhabits “an art system,” or 80’ custom-designed greenhouse in the Olympic Sculpture Park.

March 2012 / Art EducAtion 45

 Figure 4. Installation view of Cory Arcangel: Pro Tools (Whitney Museum of American Art, new York, May 26-September 11, 2011). 
Photograph by Sheldan C. Collins.

Pitfalls, Advice for Art Teachers, lip service, counted as being covered, but in fact not honored.
and a Call for Research Teachers need to actually discuss and examine the aesthetic
Teaching about functional design in art classrooms forefronts decisions or scientific evidence or whatever is being considered.
outcomes of the creative process and design thinking as But the risk is that students might just be asked to color the
“transmission of a personal vision in art and in design, [and bridge they build in a STEM lesson without talking about the
why] a designer needs to consider the users’ and/or clients’ choices they made, or might talk about Leonardo da Vinci in an
needs” (Vande Zande, 2011, p. 17). Educators should not allow art lesson without actually considering his scientific work. (Both
similar surface features of the design cycle to mask deeper are teaching episodes we witnessed in schools.) Neither would
differences between the disciplines when implementing STEAM count as actual STEAM education. And in the worst-case
activities to improve student learning. Any time subject areas scenario, each of those examples might make a teacher with
are integrated, there is a serious risk that one area will be paid limited time decide not to pursue additional art or science
integration.
We advise art teachers to investigate the STEM approach in
Understanding where your fellow teachers their schools. Is it focused on career preparation, setting the
disciplines in a more real-world context, or some other
are positioning themselves will help format? Understanding where your fellow teachers are posi-
tioning themselves will help determine where the arts fit into the
determine where the arts fit into the picture. picture. When reaching out to STEM teachers, use the language
When reaching out to STEM teachers, use of functional design, offer examples of problem-based lessons,
and extend an invitation to collaborate around engineering
the language of functional design, offer topics. In a job-prep setting, frame the creative work of artists
and designers around 21st century skills and recent calls for
examples of problem-based lessons, and innovation in the workplace. Deploy pedagogy that encourages
students to be curious, experiment, and take risks—key
extend an invitation to collaborate around dispositions artist habits of mind engender. People like the idea
engineering topics. of STEAM but are easily put off when it comes down to doing it
because of the lack of specificity.

46 Art EducAtion / March 2012

 Whether it’s labeled as STEAM or something else, we argue that design thinking in both art and engineering disciplines and isolate
the business of art education must include advocating for elevating overlapping cognitive and procedural dispositions? How does design
the prominence of the arts in STEM learning. By highlighting the pedagogy and problem-based learning intersect in both engineering
essential aims of art as a discipline and how the principles that inform and art education, and how can student engagement, learning, and
art and design can be adopted to present science to the public in an interest be fostered by more integrated art and engineering teaching?
engaging manner, educators can stress why quality art programs And lastly, can STEM be engaged to strengthen the arts?
warrant ongoing local and national support. But the artistic process is
not one that science, math, or technology teachers have been
James Bequette is an Assistant Professor of Curriculum and
prepared to address. Art educators need to be at the table and
Instruction as well as an Art Education Program Coordinator at the
advocating for their expertise in any discussion of STEM curriculum.
University of Minnesota in Minneapolis. E-mail: bequette@umn.edu.
Further research that questions the merits of STEAM and whether
this approach improves education or serves the public good is Marjorie Bullitt Bequette is the Director of Evaluation and Research
needed. Research should explore when disciplinary differences and in Learning at the Science Museum of Minnesota in Saint Paul.
similarities are highlighted and when they are ignored, and how E-mail: mbequette@smm.org.
students engage these ideas. Can we conceptualize key components of

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