Can a building's ornamentation grow and change? Can it inspire artists, educators, and other scholars to be creative in new ways? In this article, the authors, an instructional faculty team of two studio art professors and the fine arts librarian at Southern Illinois University Edwardsville (SIUE), describe how its collection of Louis H. Sullivan…

"Letras y Arte: Literacy and Art" is a 3-week summer course at Regis University in Denver, Colorado, offering a social justice approach to art education. In this article, the authors outline the background of "Letras y Arte," contextualize the program in art education, and explain three strategies for engaging students: (1)…

For many North Americans, tattoos reflect hopes, values, or beliefs and act as vehicles to communicate those beliefs to others. For some, tattoos offer a means to reclaim a sense of ownership and control over their body. Tattoos are particularly popular with teenagers who explore their identity through experimentation with their outward…

This Instructional Resources continues our 2004 series on forms of "public art" that included Susan Goetz Zwirn's contribution on images of work in the 1930s (March 2004), Carol Argiro's exploration of public sculpture (July 2004), and Mary Jane Zander's work on WPA post office murals (September 2004). This Instructional Resources explores an art…

This article provides an overview of a secondary art education methods course developed in response to a variety of educational directives and movements in the fields of art, education, art education, and design. Within each unit of study in this course, students engage in four learning environments--studio, information design, planning, and…

Relates the story of the creation of an exploratory art technology class at Hadley Junior High School (Illinois) and its development over the past decade. Describes the equipment required to conduct the course, resources available for teachers creating similar courses, and student projects. Suggests ways to make the course multidisciplinary. (DSK)

Examines the nature and future of computer graphics as an art form. Characterizes four basic beliefs about art and considers their relevance to computer graphics. Discusses the special qualities of computer graphics and how they can enrich art instruction. (MJP)

Discusses three issues pertaining to the use of interactive graphic hardware and software in schools: (1) computer graphic production processes; (2) the social dynamics of computer graphics production in school; and (3) the qualities of imagery. Concludes that art educators must consider what particular art concepts could and should be taught…

Observes that the need for art education to include discussions of popular visual culture that influences student knowledge grows more pressing as mass communication increasingly becomes a major source of information about art. Discusses representations of culture in art in advertising and art in film. Specifically looks at art in the film…

Recommends asking a basic question "What am I trying to teach?" when considering the use and adaptation of computers in art classes. Suggests testing a system to ascertain possibilities, limitations, and particular characteristics. Maintains that computer art is often simply a starting point for other projects. (MJP)

Asks how art should be taught in a culture in which television and electronic media constitute the primary media with which young people interact. Suggests that art educators should focus on how students use technology, the production and viewing of technological images, and the ways that such images have meaning. (DSK)

Summarizes negative aspects of computer technology and problems inherent in the field of digital imaging. Considers the postmodernist response that borrowing and alteration are essential characteristics of the technology. Discusses the implications of this for education and research. (MJP)