Murals have become a powerful art form for portraying antiwar, human rights, social justice, and human dignity issues. Educators and artists have conducted mural workshops with adolescents in international settings to educate them about peace, human rights, and cultural tolerance. Learning with murals has been shown to be pedagogically meaningful…

In contemporary society, what, why, and how students come to gain knowledge and understandings of art defies traditional boundaries. In part, this is because of the prevalence of many forms of popular visual culture. In this article, the authors present three vignettes that demonstrate the ways in which three young children created connections…

Argues that art education does not meet its objective of creativity and instead is replicative rather than original. Contends educational journals such as "Instructor" and "Good Apple" reduce fine art to its antithesis, popular art. Concludes that art educators must work diligently to protect fine art from becoming "dumb…

Describes objects from everyday life and analyzes artworks by four contemporary artists whose works make use of familiar objects (Louise Nevelson, Claes Oldenburg, Mitchell Syrop, and Betye Sarr). Divides lesson into four steps: (1) discussing everyday objects; (2) viewing artworks; (3) studying artists; and (4) class activities related to the…

Observes that the need for art education to include discussions of popular visual culture that influences student knowledge grows more pressing as mass communication increasingly becomes a major source of information about art. Discusses representations of culture in art in advertising and art in film. Specifically looks at art in the film…

Asks how art should be taught in a culture in which television and electronic media constitute the primary media with which young people interact. Suggests that art educators should focus on how students use technology, the production and viewing of technological images, and the ways that such images have meaning. (DSK)