The art room is the canvas, and all furnishings and objects are the art supplies. All art room surfaces and spaces can be used to communicate an art lesson. Artists in all media plan visually, and art lessons should be planned and preserved as are other works of art. As a young art teacher, the author felt it was important for his students to…

In this article, the author relates the details of a recurring dream in which he and Victor Lowenfield, the father of modern art education, walk through art rooms, followed by children eager to show them their work. The scene shifts to a school cafeteria where they discuss children and their art over milk and cookies. Amateur dream analysis…

Maintaining one's artistic self while teaching should be a principal goal of art education. The ability to harmonize one's creative powers in teaching and art making should be the foremost competence of each art teacher. (Author)

Discusses how art teachers can broaden their students' art experiences by showing them how they became personally inspired and how they followed up on their inspirations. States that art instruction must go beyond art appreciation so that students will seek out experiences which become the sources for plans and projects. (GEA)

Examines the use of an art exhibition to help students fully develop their potential as artists. Describes how students gain new insights into their work as they prepare it for exhibition. Discusses three programs which demonstrate the value of exhibitions to school children and includes pictures of student work. (GEA)

Describes a study which compared the amount of art-related and non-art-related conversations between students and teachers in upper-elementary art classes. Findings showed that non-art related conversations took 68 percent of class time. The author discusses the purpose, appropriate subjects, and timing of effective art-related, teacher-student…

Suggests techniques for making the art period a creative rather than mundane experience for high school students. Included are hints on beginning the class, preparing materials, conducting the lesson, ending the class, assigning homework, and communicating with students. (SJL)

Through play, children draw ideas from their own experiences and create exciting works of art. Materials and methods that can be used in the classroom to help children play are described. (CS)

Presented are techniques that elementary and secondary art teachers can use to help students evaluate their own works of art. These include mapping and diagramming, tracings, coverings, cutting apart and placing together, estimating, framing, enlarging and reducing, simplification and elaboration, projecting, playful tools, celebrations and…

Proposes that presenters at conventions should be performers amidst an active audience and demonstrate the ideas as they might actually appear in the classroom using a hands-on, visual approach. Highlights various presentation introductions that illustrate this visual presentation approach. Provides suggestions for convention presenters. (CMK)

Describes how a teacher can motivate students to be creative by dressing up, performing for them, hiding things, and designing visual experiments. Advocates that art teachers demonstrate that art class is a playful and exciting place to be. Suggests methods to encourage teachers and students to perform. (KM)

Focuses on a video series showing elementary students discovering new approaches to painting. Describes performances and questions that expand children's views on painting, including painting objects, seeing different ideas for the canvas, and exploring new paint brush forms. (CMK)

Argues that teachers should replace art history instruction with efforts to build in children a love for beautiful old objects. Suggests that children should be encouraged to examine family treasures and toys and share their discoveries. Describes several suitable classroom games, including tablesetting history, history to wear, and traditional…

Contends that art supplies can be obtained from discarded materials in the school, items from home, and other places. Maintains that students' creative supplies are what they save, what they wish for, and what they play with. Presents suggestions for creating art education supplies from a variety of everyday items. (CFR)

Describes the "Adopt-a-School Project" that is part of the preservice art education program at the University of Kentucky. Contends that the confidence gained during this experience encourages the students to continue in art education and in their own personal art production pursuits. (CFR)