In this article, the author, an art teacher at a Pennsylvanian high school, tells of methods she has used to help "open up" students in her Intermediate Studio Art class who are timid but talented individuals who will not risk embarrassment by expressing themselves. Her methods involved having students serve as models for sketches and…

This paper explores the concepts of representation and response as illustrated, first, by "seeing-in" (Wollheim, 1980, 1987) or by the "reading" of a painting in which the viewer regards a particular painting from different perspectives and angles. In both instances, the reading involves a dual engagement with the substance and the medium. This…

The first version of Suggestopedia, developed in the 1960s and early 1970s, is compared with the second version, developed in the mid-1970s at the same institute and favored over the first by director Georgi Lozanov. Focus is on differences in the versions, particularly integration of the arts into the second version. First, Lozanov's writings…

In an effort to ensure that the arts receive equity with other areas of study, this paper presents an argument for the value of arts education in children's development. The argument is based on the work of four experts: (1) Nelson Goodman, who held that symbols are indispensable to communication, and that children's capacity for acquiring…

Seven presentations are featured from a 1980 conference on the role of art in the lives of people with handicaps. Three major themes were addressed in that conference: roles and responsibilities of art educators and art therapists, training and professional development, and programing. Each theme is addressed initially by summarized comments from…

Assesses Sergei Eisenstein's role in cinematic history and his reputation in the Soviet Union and throughout the world. Describes the Eisenstein exhibition planned for the Oxford Museum of Modern Art and examines additional activities designed to enhance public appreciation of this influential artist. Discusses several of his important films. (GEA)

Presented are several approaches to motivate students who are reluctant to get involved in art projects: experimental, creative competition, mechanical, utilitarian, complementary (interdependent), illusory, rhythmical, and the creatures and caricature approach. (KC)

Describes a several-step class activity involving 3-D art and essays which at-risk students carry out with success and enthusiasm. Notes how the project is attentive to learning styles and good motivational techniques. (SR)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

Describes a castle-building exercise in which students first learn about castles and then, using a map of the school, show on paper how they would convert the school into a castle. (TB)

Discusses the role of collective creative activity in developing preschool children's multicultural understanding and ability to live together. Notes artistic and language-based activities used in French preschools to teach these concepts and develop critical and responsible behavior. (JPB)

In this article, the author contends that including the arts in one's teaching repertoire may lead to increased student achievement. Four ideas are presented that are intended to engage student interest in the arts, increase student achievement, and empower those who are less successful academically.

This article beings with two anecdotes that demonstrate that math and science are everywhere in a teacher's classroom. The challenge is to take these wonderful "teachable moments" that happen all the time and intentionally incorporate them into the curriculum. Early childhood teachers need to learn to seize these teaching and learning…

This paper attempts to make explicit some assumptions about the creative abilities of people with developmental disabilities, and offers constructive strategies for replacing negative ideas and attitudes with positive attitudes. The paper points out that: a high degree of artistic ability can coexist with considerable impairments in other areas of…

The essential task of sharpening students' sensitivities may be facilitated by the curriculum, instructional program, and personnel of the school. Aesthetic education is basic because it is founded on the creative integration of sensing, feeling, intuiting, and thinking. The arts curriculum may be used to sharpen students' awareness and…