We believe that the current environmental crisis can be addressed by changing our relationship with the Earth that sustains us. This entails a reorientation of the idea of self to include an understanding that one is integrally and relationally part of everyone and everything else. Grounded on the ideologies of deep ecology and interbeing, we…

Northern Ireland's well-known civil strife between Catholics and Protestants had enjoyed an uneasy peace, but a recent outbreak of new violence in 2010 caused disappointment to these authors. Bernard Conlon and Tom Anderson collaborated on creating a new children's peace mural with the Kids' Guernica Peace Mural Project in West Belfast. This Kids'…

This article draws on chapter 8 of "Art for Life: Authentic Instruction in Art," by Tom Anderson and Melody Milbrandt (New York: McGraw-Hill, 2005) [c] McGraw-Hill. Reprinted by permission.Why do people make art? And why should we teach students to make it? At the root of it, we make art to make sense of things, to give meaning to our existence.…

Describes six art activities for elementary and secondary art classes. Activities include designing a noise-making machine, the painting of pointillist pictures, drawing street scenes and still life photographs, making visual transparency projections to supplement student art history reports, and doing sketches of popcorn. (AM)

Asserts that aesthetic questions and aesthetic understanding provide the framework for learning in art. Contrasts formalism (the belief that art exists for its own sake) with contextualism (the belief that art is part of a social communication system). Maintains that a balanced art program should incorporate both approaches. (MJP)

If art reflects, transmits, and extends human culture, studio art should be taught in a socially conscious manner. A theoretical foundation and practical suggestions for implementing a socially-defined studio curriculum in art are presented. (RM)

Health and safety guidelines for secondary and elementary art classes are outlined. It is the teacher's responsibility to insist upon compliance. (RM)

Guidelines for talking about art with elementary students are presented. A critical factor in developing children's art talk experiences is an organized, well rounded, and well developed plan that recognizes the differences between talk about student art and more general talk about professional art. (RM)

The author urges art educators to contribute to holistic education by emphasizing the unique and alternative modes of thinking and acting which are intrinsic to visual arts. He presents two exercises to help students develop a perceptual rather than conceptual or linguistic mode. (Author/SJL)

Develops method for incorporating the intuitive and affective with intellectual and analytic components for understanding works of art. States that the premises for such a systematization include both Arnheim's claim that two basic interdependent procedures of intelligent cognition are intuition and intellect (1986); and Harry Broudy's (1972)…

Why focus on art instead of on some other discipline to approach intercultural understanding? This paper argues that because art is about the spirit, the self, the soul, the things that people think are important, it should be the key choice. To lay the foundation for this argument, the paper addresses art as communication of core values and…

Reexamines Arthur Efland's (1976) landmark analysis of the school art style in light of contemporary theory and practice. In that context, suggests "authentic" instruction in art that ties art to real life and real-life practices of the contemporary art world is a feasible strategy for dumping the school art style. (DSK)

As a method of convincing students that they can draw, and as a way of building self-confidence through positive results, the gridded drawing, a logical step-by-step method of perceptual problem solving, is an effective tool. A method by which to teach the gridded drawing is presented. (Author/KC)

Argues that drawing in art is a visual, intellectual, and emotional act. Provides suggestions for helping students understand these three perceptions. Discusses the impact on curriculum design in art education. (CFR)

Reports on a survey of U.S. and Canadian graduate programs in art education. Examines responses from 124 programs to determine the location, scope, and nature of graduate programs in art education including the content and strategies that are addressed. Presents detailed findings and general conclusions. (DSK)