In this article, the author discusses some of the photographs and videos that her students produced, and shares how their artwork serves as one way that, when given freedom and choice, children will incorporate violent play into their artmaking activities. The author argues that these images are not evidence of inherently violent, dangerous, or…

In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…

Defines the concept of the phenomenal--as opposed to the objective--body and points to modern, primitive, and children's art as rich sources of phenomenal representation. (SJL)

Discusses how Franz Cizek, the first proponent of the hands-on approach to childrens' art education, influenced the direction of twentieth century art education. The author points out that, although Cizek's theories profoundly influenced other educators, he himself never actually applied them in his own classes. (AM)

Section One of this article reviews extant theories of children's art. Section Two outlines evaluative criteria based on developmental approaches: degree of representational detail, expressiveness, and representational accuracy. Section Three explores the theoretical support for alternative standards for evaluating children's drawings. (SJL)

After reviewing the socialization models of Berger and Luckmann, Speier, and Piaget, the author relates the drawing process to these theories as a form of social interaction, citing changes in drawing style and subject matter with gains in social maturity. She concludes with implications for art educators. (SJL)

Maintains that the study of art history should be learning about all forms of art work from every culture and relating it to the present. Describes how one art teacher uses puppetry to actively involve students in art history. Recommends that teachers look to the great teachers and their own teaching for such lessons. (KM)

Describes how a teacher can motivate students to be creative by dressing up, performing for them, hiding things, and designing visual experiments. Advocates that art teachers demonstrate that art class is a playful and exciting place to be. Suggests methods to encourage teachers and students to perform. (KM)

Presents a case study, through observation of a child named Hawk Weisman, that demonstrates a child's use of drawing to find meaning. Discusses Hawk's motivations for drawing, the recurring themes that encompass both humanistic and scientific concepts, and his homemade books. Addresses the educational implications. (CMK)

Focuses on a video series showing elementary students discovering new approaches to painting. Describes performances and questions that expand children's views on painting, including painting objects, seeing different ideas for the canvas, and exploring new paint brush forms. (CMK)

Explores how the universal stages of graphic language development manifest themselves in children living in the Amish community and how the uniqueness of this subculture is reflected in their drawings. Explains that Amish children focus on an agrarian environment and use copying as a means to finding an accepted place in the community. (CMK)

Compares and contrasts discipline-based art education with Viktor Lowenfeld's creative self-expression approach, using growth, medical, and molding metaphors. Maintains that these two approaches are similar because the views of the child, the teacher's role, and the relationship between them has not changed. (KM)

Discusses how students can examine artists' use of clothing to express ideas about cultural values, lifestyle, and design. Features four, culturally different, artworks from the Art Institute of Chicago. Outlines instructional methods for discussion, creative writing, and art production. (KM)

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…

Contends that differences in child development and cultural backgrounds affect the way children represent their world through art. Describes an exhibit of children's art from Thailand and Australia. Discusses differences in content, media, and style and concludes that both cultures could benefit from adopting aspects of the other. (CFR)