"Art Teaching" speaks to a new generation of art teachers in a changing society and fresh art world. Comprehensive and up-to-date, it presents fundamental theories, principles, creative approaches, and resources for art teaching in elementary through middle-school. Key sections focus on how children make art, why they make art, the unique…

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)

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)

Developing a prison art program involves training prison arts specialists, developing curriculum and instructional strategies, and planning for continuous program support. Through the study of art, prisoners have been able to re-examine themselves and establish new, positive goals. (Author/CS)

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)

In the Adopt-A-School Program, college art faculty establish relationships with local elementary and secondary schools, act as artists-in-residence, and use the schools as bases of operation for teaching methods courses for majors and nonmajors and for working with student teachers. (MSE)

Explores children's fascination with creating their own unique games as an art form. Focuses on different games, such as chess, checkers, pogs, and monopoly. States that observing children playing games offers a firsthand lesson in how children create. Discusses what it means to be an art teacher who promotes creative play with games. (CMK)

Describes prison art programs in the United States at the state and national level. Emphasizes guidelines for selecting and training prison art teachers, and discusses development of an art program and teaching methods. The need for practical guidelines and long range planning is stressed. (JAC)

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)

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)