Presents the Kinetic Drawing System as a logical integration of the Kinetic Family Drawing and Kinetic School Drawing techniques. Reviews the literature of these two projective techniques and provides a rationale and process toward their combination into a single approach. (LLL)

An art teacher describes her experiences in teaching three classes of moderately/severely mentally retarded and multiply handicapped students (6-16 years old). Instruction focused on sensory experiences which involved a variety of materials and creative activities. Lesson plans were prepared based on information gathered in a questionnaire…

Five projects in the arts, such as drama and facepainting, provide a day's worth of class activities. Detailed instructions for each project, including materials and procedures, are given. (JL)

Describes the use of art counseling in elementary schools, illustrated with a case study. The sessions involved serial drawing, in which the counselor asks the child to draw a house, tree, and person, as well as free drawings. (JAC)

Describes the advantages of displaying children's art in public places and focuses particularly on such activities in New York City. Includes examples of student art. (KH)

Educating for personal knowing requires an approach to learning that is based in direct sensory experience. Creative art activity nurtures the development of vital sensory experience at every stage of the life cycle. Through imagination, sensory experience is transformed into self-knowledge and conceptual thought; together they illuminate the…

Examines the similarities and differences between the artistry of children and adult masters. Suggests that while artists have more highly developed skills, far more control of their gifts, and superior ability to experiment systematically and to choose among alternatives, much in their processes of creation is reminiscent of children. (JMF)

Discusses when, how, and why elementary school counselors might use art materials in working with children. Discusses establishing a trusting relationship, timing, choice of media, using what emerges therapeutically, processing the session, projective techniques, and training and resources. (ABL)

Reviews Natalie Robinson Cole's contribution to the field of art education by contrasting her philosophies with those of other art educators. Compares her teaching style with Viennese art educator, Franz Cizek. Concludes that Cole's life and work can be examined within as many frames for understanding as can be devised. (KM)

This book describes "Revitalize," an arts and aging program developed for the Fine Arts Council of Florida. The rationale behind the program, research involved in its structures, the evolution of ideas, the selection of the Neighborly Center, Inc. as a partner agency, the designation of sites for the program, the choice of artists, and the intent…

Observes that time in many cultures is viewed as cyclical in nature, and is perpetualized in rituals and the art forms that surround them. Argues that, if art education aims to promote understanding among cultures, it must consider works of art, techniques, and meanings not only in geographic and racial contexts but in temporal ones as well. (KM)

Aims to show that children have a "functional use of drawing" which contrasts with the mechanistic stages model of drawing development. Observes that young children's images often show extended time sequences. Argues that, when considered from this viewpoint, children's drawing abilities develop gradually from a high to a low variety of…

Examines basic issues about art education including its content, relevance to students' lives, creativity, and testing and accountability. Argues that art educators need to work at diagnosing problems, improving learning, and making opportunities for students rather than attempting to make art education accountable by submitting it to formal…

Describes two studies of art instruction offered to secondary school students which integrated art production with critical and historical learning and provided some comparisons with non-integrated approaches. Provides observations of high school art programs that included art history and criticism as part of the integrated art curriculum. (AEM)

Reviews research on the place of the arts in programs for the elderly. In nine articles deals with characteristics and attitudes of adult students in art and music, dance therapy, and creativity. Discusses the aging advocacy movement and suggests it can be useful to program planners and gerontologists. (JAC)