Writing lesson plans is often considered busywork, but it can be a useful path for discovering what is important about artmaking and teaching. This book shows teachers how to slow down, breathe, and linger over the process of unit and lesson plan writing to uncover how much this process can support them professionally, creatively, and personally.…

Before high school students step outside of the classroom and bring their work into the world, educators can help them understand that art is not solely for self-expression and beauty. Art and design can enable a voice to be heard, address social issues, engage the public, and evoke critical thought. This instructional resource introduces four…

What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With "101 Things to Learn in Art School", artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both…

What is happening in arts teaching and learning in our classrooms? Recent NEMP reports tell us that Year 4 students are not performing well but that there is an increase in scores at Year 8. This new professional development resource builds on research into teacher practice in Years 0-6 classrooms in New Zealand primary schools. It offers new…

The National Art Education Association (NAEA) is committed to ensuring that all students have access to a high quality, certified visual arts educator in every K-12 public school across the United States, recognizing that effective arts instruction is a core component of 21st-century education. "Professional Standards for Visual Arts…

Outlines basic art therapy processes for the art teacher. (SJL)

Recommends that the essentials of a quality education in art include a wide variety of art experiences by students, including art criticism, aesthetics, and art history. Provides a model to be used in art instruction which outlines the hierarchy of art-response levels for children. (HB)

Many people believe that art education is important, but few can say exactly why. In this book, are the results of the first in-depth research on the "habits of mind" that are instilled by studying art--habits the authors argue that could have positive impacts on student learning across the curriculum. "Studio Thinking" provides art teachers with…

The author offers guidelines for implementing an elementary school gifted visual arts program. One strategy--a station learning experience--is described, the benefits of a yearly art exhibition or art celebration are pointed out, and characteristics of the successful art teacher are mentioned. (SB)

Suggests techniques for making the art period a creative rather than mundane experience for high school students. Included are hints on beginning the class, preparing materials, conducting the lesson, ending the class, assigning homework, and communicating with students. (SJL)

"Meeting the Needs of your Most Able Pupils in Art" provides specific guidance on: (1) Recognising High Ability and Multiple Intelligences Planning, (2) Differentiation and Extension; (3) Enrichment in Art Teacher Questioning Skills; (4) Support for More Able Pupils with Learning Difficulties (dyslexics, ADHD, sensory impairment); (5) Homework…

Examines how criticism of Discipline-Based Art Education (DBAE) compares with the larger critique in the visual arts of high-modernism by post-modern critics. Examines DBAE's philosophical position on Classical Idealism and its back-to-basics approach. Suggests that the diversity in today's world should be represented in the classroom. (KM)

How would you like to put some "Pow!" into your art instruction? A lesson in comic books--history, design, story, and production--can make your classes come alive. The authors present a new approach to using comics to build artistic skills and involve students in art appreciation. Why Comics? Many art teachers have students who say, "I hate art!"…

Describes how author collected scrap materials from manufacturers for use in her art class. Explains how any art teacher can build a similar collection. (KM)

Defines art history by examining visual and contextual information and distinguishes between the fine and applied arts. Discusses scientific neutrality and the personal and social uses of art. Concludes that it is impossible for art historians to be truly objective, but this should not be problematic because art historians interpret art works for…