Original documents, artist's riders, technical riders, and sponsor's riders all go into a contract for a performance and they are all negotiable. Common practices used in negotiating contracts and riders with performing artists for a campus activities program are discussed. (MLW)

Ten suggestions are made for college publications editors to enhance their relationships with illustrators, including focusing on style as well as subject matter, researching pricing, understanding editor and artist rights and responsibilities, not trying to say too much with one illustration, altering only with permission, giving illustrators…

Describes Maine's new initiative to make art education a part of each student's school day through the Arts in Schools Basic Education Grants. Indicates a change in emphasis from artists in school to the development of curriculum. Urges acceptance of this program as a broadening of focus, not a replacement for artists' residencies. (KO)

College and university student recruitment offices are encouraged to use graphic illustrations and other artwork, in addition to photographs, to enhance the individuality of their viewbooks, and are offered suggestions for selecting, combining, and commissioning such artwork. (MSE)

As educators become increasingly subject to accountability pressures, maximizing the worth of evaluation is a prudent and realistic stance. This paper suggests useful and valid art program evaluation models: (1) Stufflebeam's (1971) CIPP (context, input, process, and product) model; (2) Stake's Countenance Model (responsive evaluation); (3)…

The Arts Partners program in New York City enriches the quality of education for public school children by bringing local artists into their classrooms. Gifted and special education classes are brought together in mixed groups, led by artists, to work on puppetry and participatory dramatics. (TE)

A 20-year study of 31 artists as students and as professionals reveals that skills in finding and formulating problems are significantly related to creative achievement. Accordingly, educators should turn their attention to teaching such skills. (MCG)

Describes the New York City Board of Education's Arts Partners program which brings artists into the schools to provide learning experiences to students. Points out ways in which the artists are provided the opportunity to improve their instructional skills. Concludes that everybody benefits from the effort. Provides Board's address for requesting…

Noting that many broadcasting personnel value creative processes more than final products, this paper suggests a modified-process definition of creativity in which artistic concerns of production personnel and goal-oriented business requirements of management combine to form a structured system for creative endeavors. Characteristics of creative…

Provides a photographic essay describing the Los Angeles (California) Museum of Contemporary Art outreach education program. Describes three components of the program: (1) community outreach; (2) museum/artist studio visits; and (3) return visits. Outlines how participants engage in interactive discussions and art-making during the eight sessions…

This handbook for organizing performance presentations, designed for professional organizations and volunteer or not-profit organizations, focuses on how to manage a presenting organization. The volume features 40 specific rules to guide groups presenting performances. The rules include: (1) get organized, (2) know the law, (3) remember performers…

This handbook demonstrates a practical approach for establishing and presenting quality in-school programs that bring students, teachers, and professional artists together. The first of five chapters presents a rationale for arts education, emphasizing that art can "turn on" children to the pleasure and excitement of aesthetic experience,…

The Kentucky Education Reform Act of 1990, which champions arts education as an integral component of a holistic curriculum and assessment process, encourages schools to make use of resources from the community, including arts and cultural organizations, artists, folklorists, and craftspeople. This broadened approach to education provides…

Asserts that art history and art criticism have not met the needs and aspirations of female students. Maintains that teaching embroidery can help teach about a history of female oppression. Describes how this approach is used in the classroom. (CFR)

This book describes the process and results of a 5 year arts initiative, Artists in Minnesota Schools and Communities (AMSC). Based on the premise that rural communities hold an undervalued wealth of artistic and cultural resources rarely tapped by schools, the project piloted a variety of models for integrating art in the educational experiences…