This article is a personal narrative of a teaching artist reaching out to persons ill, elderly, and their caregivers because of his own experiences with cancer. As a teaching artist, the author serves schools and communities as an art critic, that is, one who facilitates discussions about works of art made by the learners or by established…

In this article, the author focuses on the essential practices in guiding student dialogue about works of art. He offers ways to improve the quantity and quality of students' discussions about art, both the art that they make and that of professional artists. The article is informed by research into what philosophers of art and literature have…

This article describes six types of photographs: (1) descriptive; (2) explanatory; (3) interpretive; (4) ethically evaluative; (5) aesthetically evaluative; and (6) theoretical. Notes that these categories overlap and that a photograph will fit into several categories simultaneously. (JDH)

This article describes the importance of examining the internal, original, and external context of a photograph. The article concludes by showing how students can be helped to understand internal context. (JDH)

Past categorizations of photographs are critiqued, and a new category system is offered that asks viewers to consider photographs as if they were analogous to various types of language statements: descriptive, explanatory, interpretive, ethically evaluative, aesthetically evaluative, and theoretical. (Author/RM)

Techniques that teachers can use to involve art students in the critical examination of photographs are described. Given the opportunity and some guidance, students can and do engage in stimulating thought and talk about the art of persuasive photographs that confront them daily. (RM)

This essay presents an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, "In the American Grain," in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a successful attempt of teachers, students, and administrators at one…

The first of a three-part series on teaching about photography, this article argues that photography is significantly different from drawing and painting and that the differences should be highlighted so that photography can be appreciated for what it uniquely offers. The concepts treated are selectivity, instantaneity, and credibility. (JDH)

Argues that studying professional art critics can provide material for studying art criticism in the classroom. Focuses on the published work of Lawrence Alloway. Describes how his work covered a wide range of artists and movements and how he was politically proactive in promoting underrepresented populations of artists. (KM)

Compares stated goals of studio art course professors for teaching of criticism and the goals stated in art education literature of art teacher taught criticism. States that these goals are in conflict, therefore, future art teachers are being guided by goals for criticism that are not in accord with the goals set forth in their study of art…

Explores a set of principles as a guide to art interpretation in "Criticizing Art: Understanding the Contemporary." States that responding to works of art is a means to interpretation, focuses on personal and communal interpretations, and addresses the issues of multiple interpretations of artworks. Includes references. (CMK)

Explores critical activities in the visual arts and how they can enhance art appreciation. Outlines sources of criticism, different types of criticism, the varied backgrounds of art critics, and the artist-critic relationship. Maintains that, by emphasizing interpretive aspects, school art criticism can come closer to professional art criticism.…

Presents a metacritical examination of published essays by three professional critics of Richard Avedon's photographic exhibition, "In the American West," to determine how critics describe art work. Concludes that more comparative research is needed to bridge the gap between professional art criticism and that taught in schools. (KM)

Contends that teaching interpretation within art criticism is probably the most difficult aspect of teaching criticism. Provides suggestions and 17 principles to guide art teachers in engaging their students interpretive dialog about works of art and to provide criteria for assessing their interpretations. (CFR)