In this article, the author writes about her early years as an elementary school art teacher. In her early years, students received a formalist, discipline based art education. Every lesson began with students, pK-3, viewing a thoughtfully selected collection of paintings created by a famous artist. After viewing this carefully curated selection…

This article will present the autoethnographic animations and processes from three select preservice art educators that enrolled in the Applications of Technology in Art Education course. These students created stop motion animations using small objects, toys, and their bodies; accessing culturally constructed fears, investigating impactful…

The arts embody "one of the oldest forms of knowledge and knowing" and "action research provides opportunities to experiment with art as an integral part of the creation and dissemination of knowledge." From his 16 years' experience as an elementary classroom teacher, the author has found that young children are drawn to an arts-based approach of…

After 8 years of teaching more traditional, media-specific classes, the author became frustrated with a few students in each class who were not as enthusiastic about their art projects as she was. She wanted to reach these students and turn their apathy into excitement. She wanted motivated learners. To accomplish this goal, she developed a…

This article draws attention to the power of shared responsibility in the secondary art classroom. While the conceptual framework the author used is grounded in constructivism, readers may also find intersections with other instructional approaches, especially those that value student-centered learning over academic or quantitative political…

The structure and functioning mechanics of a student-driven art course, "Arts and Ideas" [described in the September 2001 issue of "Art Education" in "Art and Ideas: Reaching Nontraditional Art Students" (Andrews, 2001)] were designed to create a classroom environment that would promote greater student input into learning and the choice of art…

In the past decade, the Reggio Emilia preschools and toddler centers have emerged from Italy as a significant international influence in early childhood education and a challenging presence to the notions held about young children in the United States. The Reggio Emilia approach raises questions about the inherent limitations of the…

As a classroom teacher of art, the author questions the definitive ends that often accompany progressive enterprises in education. He questions the pressure he has experienced to reduce curricular possibilities and learning outcomes to the space of a single document. He argues that planning a learning outcome is "not" an architectural…

Highlights the different forms of interdisciplinary teaching methods (integrated, related-arts, and correlated education) in order to provide a historical perspective of interdisciplinary education to art educators. Provides eight guidelines for future interdisciplinary programs in art education. Intends to prepare art educators for the…

Discusses art and design education in Scotland in which art appreciation is seen as the antidote to the limited focus on child-centered creativity. Offers three case studies that illustrate the integrative nature of the curriculum in Scottish schools and the diversity of approaches possible even within a national examination-led system. (CMK)

Describes the different types of graffiti: (1) private forms of graffiti (doodling and latrinalia); and (2 public forms (gang graffiti, tags, and pieces). Uses teenage psychology to interpret adolescents' involvement in graffiti. Examines graffiti art in relation to its educational implications for secondary art education. (CMK)

Provides criteria, formulated by the Committee on Lifelong Learning for art education, for programs in the visual arts for adults. Specifically covers instructor qualifications, program goals and standards, program/curriculum content, instructional spaces, class size, and potential art hazards. (AEM)

Compares and contrasts discipline-based art education with Viktor Lowenfeld's creative self-expression approach, using growth, medical, and molding metaphors. Maintains that these two approaches are similar because the views of the child, the teacher's role, and the relationship between them has not changed. (KM)

Asserts that elementary school art experiences are not always positive experiences. Discusses Eisner's model of art criticism which comprised six dimensions of critical judgments. Recommends a synthesis of subject-centered approaches based on four areas of activity: reacting; researching, responding, and reflecting. (CFR)

Argues that encouraging creative self-expression should remain a vital part of the art curriculum. Provides a case study and explains how the art teacher can intervene to engage affective concerns by using appropriate works of art. Concludes that increased resources or recognition in the field should not be reasons to replace a child-centered…