Art Education

ISSN: 0004-3125 (Print) 2325-5161 (Online) Journal homepage: http://www.tandfonline.com/loi/uare20

Vulnerability in the Art Room: Explorations of

Visual Journals and Risks in the Creation of a
Psychologically Safe Environment

Libba Willcox

To cite this article: Libba Willcox (2017) Vulnerability in the Art Room: Explorations of Visual
Journals and Risks in the Creation of a Psychologically Safe Environment, Art Education, 70:5,
11-19

To link to this article: https://doi.org/10.1080/00043125.2017.1335528

Published online: 11 Aug 2017.

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 Vulnerability
in the Art Room:
Explorations of Visual Journals and Risks
in the Creation of a Psychologically Safe Environment
Libba Willcox

T
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hinking back to my first years of teaching high school, there are many things I would change.
During those years, I saw my students try new techniques that led to successful art pieces, but I
also remember vulnerable moments when my students’ attempts did not yield results they desired.
Some students embraced these so-called failures and started again, while others were paralyzed
by them; they feared what other students thought about their abilities. Many students in the art
classroom view making art, and creativity, as innate abilities rather than something to be learned.
When students take risks, and fail, many believe they are flawed and do not belong in an art class.
These vulnerable moments can become courageous risks or confirmation that they do not belong
in the art room. These moments of vulnerability need pedagogical and curricular attention from art
educators to create a psychologically safe environment where students can be creative.

Utilizing the word safe in an art room can reduce art to a subject
without substance, without innovation, and without creativity; this
interpretation would render art education as frivolous. Instead,
I advocate that psychological safety encourages courageous
vulnerability, enables creative risks, and minimizes shame. Brené
Brown (2006) defined shame as “An intensely painful feeling or
experience of believing we are flawed and therefore unworthy of
acceptance and belonging” (p. 45). While shame is universal, it
is often unspoken and can be detrimental to education. Different
from guilt (which emerges from behavior) and humiliation (which
is undeserved), shame is a feeling of rejection associated with the
social, emotional, and cultural self. Those who experience shame
often feel trapped, powerless, and isolated (Brown, 2006). Brown’s
(2006) research suggested embracing one’s personal vulnerability is
one way to develop resilience to shame. Students and teachers must
embrace their personal vulnerability in the art room to engage in
creative risk-taking that minimizes shame.
Vulnerability is being susceptible, accessible, sensitive, liable,
and tender; according to Brown’s (2012) TED Talk on listening
to shame, vulnerability is “emotional risk, exposure, [and]
uncertainty.” Making and sharing artwork can be a vulnerable
experience. Because vulnerability is a part of art and of education,
art teachers should scaffold the act of embracing personal
vulnerability when taking creative risks. Karinna Riddett-Moore
(2009) asserted “Students are more likely to be receptive of new
ideas when they feel it is safe to explore, question, and express
those ideas” (p. 9). While in my teaching statement I claimed
that I wanted my students to experiment and push boundaries,
in my classroom I did not know how to do it. How could I enable
students to embrace their vulnerability and feel safe in my art
room? Teachers can encourage vulnerability, support student risk-
taking, and create a safe environment of creative exploration by
designing a curriculum to scaffold learning, noticing details in the
classroom and in student work, developing trusting relationships,
and engaging in authentic dialogue.
Attention to the learning environment and the learning process
is now emphasized in the 2014 National Visual Art Standards and
has become the teacher’s responsibility, but little information exists
on how to create a safe environment. Previous literature on creating
a safe milieu can be divided into two differing perspectives.
On one hand, the literature suggests that the environment is
established with the setting of policies, such as creating routines,
establishing rules, and enforcing rules (Evertson & Emmer,
1982; Horsch, Jie-Qu Chen, & Nelson, 1999; Susi, 1996, 2002).

How could I enable students to embrace their vulnerability

and feel safe in my art room?

September 2017 11
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Figure 1. This visual journal entry by Kaitlynn Mockett illustrates experimentation with bleeding tissue paper,
newspaper, and ink.

The physical environment of the classroom is also important;
teachers must think about spatial arrangement (Susi, 1986, 1996,
2002), movement pathways (Susi, 1986), student art storage (Susi,
1986), and material location and organization (Broome, 2013;
Susi, 1986). On the other hand, some literature associates the
climate of a classroom with care (Noddings, 1992) and aesthetics
(Greene, 1995), or both (Heid, 2008; Riddett-Moore, 2009;
Siegesmund, 2010, 2012). Few articles articulated how to create
an environment where vulnerability would not hinder creativity,
and as Brown (2012) said in her TED Talk, “Vulnerability is the
birthplace of innovation, creativity, and change.” Classrooms that
engage students in the creative process of artmaking and promote
creativity require students to be vulnerable. How do we enable
students to embrace the vulnerability of artmaking to enhance
their creativity?
In the pursuit of understanding how to create a psychologically
safe art classroom for students, I conducted a descriptive case
study of a high school visual arts teacher. Emily Rose,1 lovingly
referred to as Rose by her students, is known for creating a “safe
haven” in her classroom. Through three months of observations,2
and six interviews, I explored how Rose created a psychologically
safe environment where students could create, discuss, explore,
experiment, “fail,” and succeed (Figure 1). I observed how Rose’s
curriculum and pedagogy fostered a safe environment. Searching
for goodness across the data, as promoted in Sara Lawrence-
Lightfoot’s portraiture methodology (Lawrence-Lightfoot &
Hoffmann Davis, 1997), I used the repeated themes, patterns,
and refrains found from coding the observation and interview
transcriptions to create a framework for my narrative. In this
article, I weave my perceptions with literature in education to
highlight Rose’s curricular decisions and pedagogical choices
that encouraged her students to take risks and embrace their
vulnerability.
Visual Journals as a Safe Curricular Choice
During my time in Rose’s classroom I observed students
flourish socially with acceptance and belonging, emotionally
without anxiety of rejection, and intellectually with nuanced
understandings of artistic processes in conception, creation, and
perception. By utilizing visual journals as a key feature in her
curriculum, Rose provided a safe space for creative risk-taking in
her classroom (Figure 2 and Figure 3).

This shift from high-stakes assignments, those that concern projects

and major grades, to low-stakes assignments contributed to an
environment where trying and failing were a part of learning.

12 Art Education
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Figure 2. Jamie Lane’s visual journal as a safe place to explore.

Figure 3. Jamie Lane’s visual journal entry depicts an artistic investigation of her lived experiences.

September 2017 13
 The visual journal is a reflective altered-book (or sketchbook)
that students used to document and express their lived experiences
(Figure 4 and Figure 5). Student visual journals were used not
only to make critical and aesthetic judgments about the world, but
also to focus on the process of artmaking rather than just the final
product. Visual journals gave freedom to explore ideas, experiment
with materials, and discover techniques; they also allowed multiple
opportunities for fresh starts. While visual journals are shared
with other students and teachers, in Rose’s classroom students
controlled which pages to share. Consequently, visual journals were
a low stakes assignment (Elbow, 1997a) that allowed students to
work out ideas visually and verbally, without the associated sense
of failure if a larger assignment did not meet their expectations
(Figure 6). Elbow (1997a) encouraged low stakes assignments,
informal and frequent assignments that have little impact on a
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final grade, to contribute to learning and understanding of course

material. This shift from high-stakes assignments, those that
concern projects and major grades, to low-stakes assignments
contributed to an environment where trying and failing were a part
of learning.
Rose encouraged students to embrace their vulnerabilities and
to take risks in their artwork doing three simple things. First, she
applied minimal grading (Elbow, 1997b; Gottschalk & Hjortshoj,
2004), a concept often used by Language Arts teachers, to alleviate
pressure of the learning experience. By not grading every entry,
Figure 4. Exploring the pressures of high school, Kaitlynn
but rather using the entries as a place for students to experiment
Mockett created a visual journal entry using magazines,
with a skill or concept, Rose placed emphasis on the process of
ink, and vinyl letter labels.
artmaking. Second, like the pedagogical philosophy of Writing
to Learn (Gottschalk & Hjortshoj, 2004; Pinkston, 1989), Rose

Figure 5. Kaitlynn Mockett’s visual journal entry illustrates creative risk taking by exploring the marriage
of images and words.

14 Art Education
 Figure 6. Rebecca Bower’s exploration of wasted materials
illustrates the potential of creative risks.

created a space and time for students to work on their journals

in her classroom (Figure 7). On these occasions, students could
make sense of an idea or medium before they were required to use
it in a major project. Finally, Rose gave individualized feedback to
scaffold progress and to help students grow. Using visual journals
in a few simple ways, Rose designed a safe space for students to
take risks (Table 1).

Viewing and Responding to the Visual Journal

I illustrate through a compilation of my research journal
and observational field notes how Rose’s response to a visual
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journal contributed to a socially, emotionally, and intellectually

safe environment that promoted risk-taking. While this specific
interaction took place in her advanced art classroom of 25
students, I witnessed many similar exchanges in her AP and visual
design classes ranging from 20 to 35 students.
Carefully, Rose opened a student’s visual journal upon request.
When a student presented her the gift of viewing, Rose was
excited, but words did not express this. The transaction was almost
completely silent, but meaningful. Rose spent a short amount of time
looking at entries she had already seen. Like visiting an old friend, in anticipation. Soft chatter surrounded us and students worked
she took a brief, but appropriate, amount of time to get reacquainted. on their projects without interruption, but several sets of eyes kept
Her facial expression changed several times from inquisitive to coming back to Rose and the journal. When Rose turned to the new
appreciative, to genuinely excited; all authentic, never posed. These pages, she spent at least half a minute on each. Not just looking at
few moments seemed like Rose was in her own world, as if time them, but feeling every part of the page softly with her fingers. This
stopped and the most important thing going on in the classroom was experience reminded me of how someone who is blind might interact
that journal. With every turn of the page, the student-artist watched with a piece, trying to remember everything through touch.

Figure 7. Jamie Lane’s in-class visual journal entry.

September 2017 15
 Table 1. Guiding questions for designing a curriculum to
create a psychologically safe classroom
Minimal grading ● Do you provide multiple
opportunities for graded and non-
graded feedback for in-progress
assignments?
● Do you allow students to select which
entries they will be graded on?
● Do you give non-graded feedback on
assignments to encourage students
to take creative risks?
Writing to learn ● Do you create opportunities for
artistic exploration of ideas, materials,
and techniques in your classroom?
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Rose created a learning opportunity by noticing the details in
her student’s journal and her student’s life. Rose demonstrated the
need to perceive work in her students’ journals. For John Dewey
(1934), recognition was the beginning of perception. Recognition
occurs when we see something and then stop thinking about it
because it fits into a previously formed schema (Dewey, 1934).
Perception, going further, requires heightened consciousness and
continued looking (Figure 8). Developing heightened awareness
and consciousness helps students experience, learn, and grow, and
according to Maxine Greene (1995) it is the teacher’s responsibility
to develop this skill. Rose used her ability to notice or perceive
details to build students’ confidence and develop relationships,
which helped to create a psychologically safe classroom
environment (Table 2).
Developing Relationships

● Do you require students to create

smaller artworks to formulate ideas
before they create larger projects?
● Do you promote risk-taking in
sketches and preliminary studies?
Low-stakes assignments ● Do you use visual journals as place
and space for formative assessments?
Watching the student observe Rose’s transaction with the journal
was also an important learning experience. The student appeared
to become more confident as each second passed. You could see the
bond between Rose and the girl become closer; every facial expression
seemed to strengthen their relationship. When she finished viewing
the new pages, Rose sat and talked to the student. Although the
feedback was in hushed tones, any observer could see that it was
not just about technique, but also about what was being expressed.
Rose would lightly touch a section of an entry and the girl listened,
smiled, and pointed to another part. While Rose’s feedback took
about one tenth of the time that she used to view the journal, each
word appeared carefully thought and expressed in response to the
new pages.
Viewing the visual journal together emphasized the importance
of building relationships in the classroom. Gert Biesta (2004)
stated “Education is basically a relationship between an educator
and the one being educated.… Education is located not in the
activities of the teacher, not in the activities of the learner, but in
the interaction between the two” (pp. 12-13). Rose’s use of verbal
and written feedback, and interest in her students’ experiences,
helped to develop trust and rapport needed in the art room. While
emphasis on the social and emotional elements in the art room has
been viewed as frivolous, Carolina Blatt-Gross (2010) used work
of cognitive psychologists and neuroscientists to argue that the
social and emotional aspects involved in artmaking contribute to
cognition. For this reason, building relationships in a classroom
enables students to use somatic knowledge, “the felt reaction of
rightness within an experience” (Siegesmund, 2004, p. 81). It also
encourages taking risks when they feel it is safe to do so (Table 3).
Engaging in Dialogue
Dialogue in the art room encompasses communication
between people, interactions between artists and their work,

Noticing Details
In this interaction, Rose modeled how important perceiving
details is for artists and for students. Rose believed that to develop
a positive class climate, attention to individuals, attention to parts
of their art, and attention to social interactions between students
were necessary (E. Rose, personal communication, December
10, 2010). When Rose viewed the visual journal, she celebrated
not only the product of art that her student provided, but also
celebrated the process of making and perceiving the new journal
entries.
Modeling the process of perception was important in Rose’s
development of a psychologically safe environment. Learning to
reason through perception is an essential outcome of art education
(Siegesmund, 1998, p. 209). Richard Siegesmund (1998) advocated
that students’ ability to perceive the surrounding world, and to
act with reason on those perceptions, is vital to success. He stated,
“The role of the artist and poet is to help us to see, to take note, to
notice” (Siegesmund, 1998, p. 209). Because reasoned perception is Figure 8. Visual journal entry about perception by Rebecca
needed in the arts, scaffolding this process is important. Bowers.

16 Art Education
 Table 2. Guiding questions for noticing details to create a
psychologically safe classroom
Attend to students as ● Do you ask students what kind of
individuals feedback they desire when working
on a piece? Can you evaluate this
topic in formative and summative
assessments?
● Do you use open-ended assignments
to learn about your students?
● How do your students receive
feedback? Do they prefer written
feedback or verbal conversations?
Figure 9. Visual journal entry about relationships by Emily Rose.
● How do you document your student’s
transformation in skills, ideas, and
engagement? which are important in establishing a safe environment (Carter,
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2007). Because these conversations can create a sense of trust

and transactions between work and perceivers. Dewey (1934) (McMahon & Wernsman, 2009), Rose encouraged dialogue during
explained when making or viewing a piece of art, a person must art production about the technique and the content to create a
be engaged and aware of what one is doing, as well as what he/ safer space where the vulnerability of students could be courageous
she perceives. Dewey believed that the relationship of actions rather than an instigator of shame (Table 4).
and perceptions results in thinking; for him, “to think efficiently
in terms of relations of qualities is as severe a demand upon
Table 4. Guiding questions for engaging in dialogue to
thought as to think in terms of symbols verbal and mathematical” create a psychologically safe classroom
(Dewey, 1934, p. 47). Rose’s response to the work celebrated her
student’s ability to dialogue with qualities in the visual journal, as Model how feedback affects ● Do you use your own artwork to
the artist start a dialogue about how to
observed in verbal and nonverbal feedback while making artwork.
respond to a work of art?
Translating this nonlinguistic form of communication into a verbal
conversation, Rose’s response also illustrated the cognitive process ● Do you articulate your vulnerability
when students are viewing and
of viewing art (Figure 9).
discussing your work?
The exchange between Rose, the journal, and the student-artist
Converse with students ● Do you give multiple forms of
can be viewed as verbal and nonverbal communication, both of
about their work feedback (e.g., oral, written, visual)
when responding to student work?
Table 3. Guiding questions for developing relationships to Create opportunities for ● Do you ask students to give each
create a psychologically safe classroom dialogue about their art other feedback in multiple forms
work (e.g., verbal, written, and visual)?
Celebrate the artistic process ● Do you make the artistic
process transparent for your Support social interactions ● Do you model authentic dialogue?
students using words and between students ○ Do you promote positive
actions? throughout the entire interactions by requiring warm,
● Do you show sketches, as process cool, and hard feedback during
well as finished work as in-process and final critiques?
exemplars (from your own ○ Do you make acceptable, and
work and work from art unacceptable, interactions
history) to your students? explicit for your students?
Scaffold and model the perception ● Do you ask the following ○ Do you discuss technique and
process questions when viewing art content in every critique?
with your students?
● Do you recognize your verbal
○ What visual evidence can and nonverbal communications
be found about how this with your students? What are you
work was made? saying with your actions (or lack of
○ What do the details action)?
contribute to this work? Model qualitative reasoning ● Do you explicate your own
○ Where do your eyes go thinking when perceiving and
first? Why do you think discussing a work of art with your
this? students?

September 2017 17
 These standards indicate that creative risk-taking is a life skill
that should be developed in visual arts classes.

The Vulnerable Risk of Creativity [E]ducation always involves a risk…. The risk is not that
students might fail because they are not working hard
I observed how Rose created a safe space for her students
enough or are lacking motivation…. The risk is there because
emotionally, socially, and intellectually using visual journals
education is not an interaction between robots, but an
(Figure 10). Seeing the importance of a teacher’s reaction, I
encounter between human beings…. [I]f we take the risk out
understood the vulnerability of a student differently than I did of education, there is a real chance that we take out education
in my own classroom. If perception is essential to art education, altogether. (p. 1)
as Siegesmund (1998) expressed, then the act of viewing and
Because the art classroom promotes risk-taking as a part of
responding to artwork with students becomes an essential part
education, art teachers have an opportunity to teach students how
of teaching. Teachers have multiple opportunities to model
to try new things and learn from these trials, no matter the result.
the process of qualitative reasoning with students beyond just
Creating a space in which learning is possible also enables our
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critiquing work of famous artists. The art teacher can create a safe
students to benefit from the beautiful risk of education in the art
space for students to engage in creative acts by modeling their own
room and in life. n
process of noticing details, viewing relationships, and articulating
the connections between viewing art and making art. Engaging in Author Note
dialogue about their work and the artistic process helps make the I thank Emily Rose for allowing me to observe months of teaching, Lara Lackey
social, emotional, and intellectual nature of the arts transparent for her encouragement and feedback, and my Critical Friends for suggestions to
for students. While much of Rose’s pedagogy created a safe space strengthen this article.
for students, her choice to view the journal with her students
demonstrated how vulnerability can be an act of courage and how Libba Willcox is Assistant Professor in Art Education, Valdosta State
risk-taking is necessary for both teachers and students. University, Valdosta, Georgia. E-mail: libba.willcox@gmail.com
In 2014, the National Coalition for Core Art Standards
released standards for the visual arts promoting a relational
understanding of the processes involved in art education. These References
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