When one walks into an art gallery in Kampala, the capital city of Uganda, one sees a predominantly non-Ugandan audience. Visitors to homes of Ugandans, even those wealthy enough to afford art, find typically bare walls. This begs broader questions: (1) What is it about the education and presentation of contemporary art that excludes local…

Art as social practice encourages active, critical reflections on relevant issues among real people in locally situated engagements and with unpredictable outcomes. This instructional resource focuses on art as social practice that puts critical value on processes of engagement over the creation of art products by exploring contemporary artists…

Traces the history of the concern with self-taught artists and discusses various reasons for the growing interest in self-taught artists and their work. Focuses on the relationship between art education and the work of self-taught artists. Highlights concepts that students can learn by studying self-taught artists. (CMK)

Discusses a collaboratively designed project where a group of artist-teachers created an installation quilt for a group exhibition that spurred their reflection on aesthetic issues and feminist pedagogy. Explains that these ideas are connected and may offer teachers interested in gender issues a view toward a listener-centered pedagogy and…

Does the artist or the art teacher teach art more effectively? What does the artist really have to offer the students that existing school personnel and programs do not? While one art educator found the Artists-in-Schools program ineffective for student development, another art teacher thought the program should be supported. (Author/RK)

Discusses the life and artwork of Jack Barker who became a folk artist after running a local gas station in Essex, Illinois. Explains that art educators view student interactions with folk artists like Barker as valuable because these artists embody a creative spirit and a thirst for knowledge about materials and processes. (CMK)