Teachers describe how to correlate experiences in art with other areas of learning. (GB)

After 15 lessons on clay modeling skills, modeled and drawn human figures by 41 nursery school children were compared to those by control children on formal elements, structure, and detail. The instructional experience significantly improved subjects' clay figure work. No significant sex effect or skill transfer to drawing was found. (SJL)

Focuses on the exhibit, "The Artful Teapot: Twentieth Century Expressions from the Kamm Collection," that features artwork of teapots from the collection of Gloria and Sonny Kamm. Includes examples of the artwork and an itinerary for the exhibit. (CMK)

Describes an art project where students create strange creatures using scraps of wood. Discusses how the students use the wood and other materials. Explains that the students also write about the habitat characteristics of their creatures. Includes learning objectives. (CMK)

Describes a project where eighth-grade girls create self-portrait sculptures made out of papier-mache and other materials. Explains that the sculptures serve as an outlet for the students to express something about their own personal identities. Discusses in detail the process of creating the sculptures. (CMK)

Describes an art lesson where fifth-grade students created Oaxaca style papier mache sculptures of either their favorite pet or animal. Discusses how to create the sculptures and includes a list of materials. States that the book, "Oaxacan Woodcarving: The Magic in the Trees," was used to introduce students to the project. (CMK)

Provides a lesson for grades four-six that develops students' ability to analyze a piece of furniture as a work of art which reflects the historical, social, and artistic values of the society that produced it. Students design their own chair based on the user's lifestyle, the chair's precise use and location, and the materials used. (LS)

Describes how a sixth grade class constructs wooden sculptures of people from scrap materials after viewing similar work by Pablo Picasso. Maintains that a limited budget does not limit childrens' imaginations. (KM)

This article describes a cooperative project between a teacher and sculptor to link sculpture with academic subjects within a self-contained class for 13-year-old students with learning disabilities. The nine-week project focused on biological habitats and included the construction of three-dimensional habitats on pieces of wood. (DB)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

Discusses a fifth-grade sculpture project that uses a subtractive, rather than additive, technique. Students carve an animal sculpture from a block of simulated stone compound. Explains the process and how to make the simulated stone compound. (CMK)

Provides background information on Zimbabwean art and sculpture and Harry Chingono, a Zimbabwean sculptor. Includes reproductions of Chingono's sculpture "The King's Secret" and describes it in detail. Offers four ideas for learning activities. (CMK)

Describes an art unit in which students sculpt a signature seal out of clay and use Chinese brush painting techniques to paint a scroll. Discusses the seal and its historical use in China. Lists materials needed and explains the procedure. (CMK)

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)