Art educators and administrators allowed a project to evolve based on the "street life" experiences of ordinarily invisible people. The goal was to create a space or number of spaces for celebrating the human spirit through art, music, dance, poetry, theater, and story while also providing a forum for exploring some of the social issues affecting…

This essay focuses on a 4th year course, titled "Search/Research/Resolution," that the author has developed at the Ontario College of Art and Design (OCAD), Toronto. First taught in 2002, the course is held over a fourteen week semester each fall, with one three hour class per week. It is offered within the photography area at OCAD in…

Presents an interview with Rebecca Zimmerman, an artist who works with polymer clay. Focuses on topics, such as her interest in art during her life, her use of polymer clay as a medium, and using this medium with students. Includes directions for a project where students make flowers from polymer clay. (CMK)

Recognition of student talent without competition, exposure of teachers and students to new ideas, artist reinforcement of classroom teaching, and exposure to the artist as a real person are listed as tangible educational assets of the New Jersey State Teen Arts Festival described in this article. (KC)

Presents an interview with ceramic artist, Betty Spindler, who overcame a learning disability and earned associate and bachelor degrees in art. Explains that she creates ceramic sculptures of fruits, vegetables, sandwiches, and other everyday items. Presents a project where children create their own fruit. (CMK)

Southeastern Center for Contemporary Art (SECCA) is an art center in Winston-Salem, North Carolina where Creative Learning Out of Doors (CLOD) takes place. The program involves 6 to 14 year olds with artists from the region, art ideas, and techniques in using materials with which artists teach in their studios. (KC)

Describes two studies of art instruction offered to secondary school students which integrated art production with critical and historical learning and provided some comparisons with non-integrated approaches. Provides observations of high school art programs that included art history and criticism as part of the integrated art curriculum. (AEM)