This article describes how High School Visual Arts Teacher Jethro Gillespie built a portable art gallery for his students--essentially an 8-foot cube made from plywood and lightweight boards that can be assembled with bolts and taken apart in sections. The ceiling pieces of the gallery have track lights, the interior walls have been painted gray,…

A quarter of a million schoolchildren participated in the 1981-1982 PTA Reflections Project whose theme was "What Makes Me Smile.""Reflections" was initiated to increase childrens'"hands on" experience in the arts. Twelve entries became winners in the visual arts and were on display at Chicago's Junior Museum. (CS)

During a visit to Williamsburg Elementary School (Williamsburg, Iowa), this author was introduced to J. C. Holz, a 10-year-old boy who had already exhibited the characteristics of a prolific artist. During one of the interviews with J. C., the author encouraged him to have a solo exhibition of his work at the University of Iowa. The exhibition was…

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)

Asserts that the practice of drawing in sketchbooks contributes something valuable and unique to young children and to those who teach them. Maintains that voluntary drawings offer children a form of engagement in art-making that is substantially different from what they experience in lessons initiated by a teacher. (CFR)

Outlines a collaborative processing model of art education what draws upon the language and learning notions of Lev S. Vygotsky. Emphasizes the role of the learner in collaboration with her/his social environment rather than traditional disciplinary boundaries. Synthesizes the principles of transactional learning theory and the processes of making…

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…

Argues that encouraging creative self-expression should remain a vital part of the art curriculum. Provides a case study and explains how the art teacher can intervene to engage affective concerns by using appropriate works of art. Concludes that increased resources or recognition in the field should not be reasons to replace a child-centered…

Shows how two approaches, nurture (subject-matter centered) and nature (child-centered), have affected education and art education over the years. Concludes that whichever approach is fashionable, art education must be relevant to students' lives and they should be able to talk intelligently about art. (KM)

Examines the relationship between handwriting and early drawing. Maintains that often the quality of line in drawing becomes more reserved as the acquisition of the skill of writing-as-script becomes more fluid and automatic. Includes exercises that illustrate this process and use handwriting to explore creativity. (MJP)

Describes an experimental set of workshops in which primary age children used computers to create visual images. Concludes that using computers to create student artwork offers significant opportunities for primary and elementary art education. (CFR)

Maintains that there is increasing interest in the approach to art education in the Reggio Emilia schools in northern Italy. Describes the Emilia approach to early childhood education and characterizes it as child-centered and emergent. Includes a dialogue between a teacher and students using the approach. (CFR)