Rather than just creating lessons that result in cookie-cutter art, art educators should create lessons that promote more authentic learning because it fosters students' engagement and helps them formulate their positionality in the world. Through teachers sharing their approach to artmaking, encouraging students to formulate their voice through…

Agency and empowerment in the art classroom can exist at the epitome of how a student explores and defines her-/him-/themself, and then voices that recognition. Merriam-Webster ("Agency," n.d.) defines "agency" as "a person or thing through which power is exerted or an end is achieved" (n.p.). Empowerment can be seen…

The National Arts Action Summit (NAAS) is an annual event organized by Americans for the Arts (AFTA) that includes advocacy training and legislative meetings. In this article the author focuses on the curricular preparation thought necessary to prepare students to engage in the events at NAAS effectively. This narrative highlights important…

Designing an art curriculum that emphasizes authentic artmaking, empowers students, and elevates their voices--requires rethinking the way that art educators teach. Art educators must develop curriculum and instruction that embodies three key concepts: (1) inspire student thought; (2) assess students in ways that encourage artistic growth beyond…

Art educators can be reluctant to study graffiti with their students, commonly citing that the practice of graffiti art is rooted in illegal vandalism. While this is true for a large amount of graffiti, today, graffiti art is also often completely legal in the form of murals, commissioned pieces, works in galleries, billboards, logo designs, and…

This article explores two teaching approaches available to art education teachers: arranging curricula based on big ideas found in postmodern artists' work and practice, and/or adopting a choice-based studio model. The author considers the role that offering students choice (and fundamentally, shared power) plays in each of these approaches. As a…

In this article, the author describes a choice-based art unit she designed for her 7th-grade students, discussing how choice impacted student motivation and how this relates to playful exploration, meaning making, and sharing. With the implementation of a personally meaningful found-object unit, students' motivation increased because of the…

The Universal Declaration of Human Rights in 1948 by the United Nations includes Article 19, which protects the "right to freedom of opinion and expression" and the right to "impart information and ideas through any media" (UN General Assembly, 1948, art. 19), which are qualities inherent to artistic creativity as a human…

Do social justice issues get swept under the rug due to formal curriculum demands and discomfort with topics such as racism, sexism, and homophobia? In the United States, 50.5% of students are students of color (National Center for Educational Statistics, 2017) and by the year 2026, students of color will represent 55% of all students (National…

Developing students' understanding and fluency of the visual arts is one of the central goals of arts education for all students, regardless of grade level (Consortium of National Arts Education Associations, 1994). Yet, as many educators and arts advocates are quick to point out, the arts have consistently been cut from educational budgets and…

Paraprofessionals are among the 650,000 people supervised by certified professionals who support students with disabilities as determined by a student's Individual Education Plan (IEP). While there is a growing body of literature that examines the role of paraprofessionals in the general classroom, there is little information about the role of the…

Reviews recent brain research in education. Provides five implications for teaching in art: (1) use emotion; (2) use different sense; (3) promote student self-direction; (4) enable social learning; and (5) encourage pattern finding. Describes two sample art units demonstrating how the five implications and art instruction can be integrated. (CMK)

Focuses on the organization Young Aspirations/Young Artists, or YA/YA, that was founded by New Orleans (Louisiana) artist Jana Napoli after inviting high school students to her studio. Provides background information on YA/YA. States that the organization works within the framework of capitalism and gives a voice to adolescents. (CMK)

Teachers who frame the curriculum around purposeful playful activities that allow children to work at their own pace and allow children to make choices rather than be coerced into their work are indirectly committed to becoming researchers in their own classrooms. The art teacher-researcher is a participant observer of what goes on in the…

Outlines the use of a rubric format to assess student learning in art production. The rubric provides students a visual guide to the successful and deficient areas. It includes areas for comments on preparation, research, assignment goals, craftsmanship, originality, and aesthetics. Recommends student involvement in establishing the evaluative…