In this article, I will examine the use of picture books as a means of supporting the intellectual pursuits of young children. Theoretical frameworks will be discussed as they pertain to the integration of these books in the Municipal Infant Toddler Centers and Preschools of Reggio Emilia and Pistoia, Italy. The pedagogical framework of these…

What is happening in arts teaching and learning in our classrooms? Recent NEMP reports tell us that Year 4 students are not performing well but that there is an increase in scores at Year 8. This new professional development resource builds on research into teacher practice in Years 0-6 classrooms in New Zealand primary schools. It offers new…

Argues that the aesthetics component of discipline-based art education (DBAE) needs to be re-evaluated in order for DBAE to be used at the elementary level. Suggests taking the practical approach to teaching aesthetics rather than the philosophical approach. (BR)

Presents two printmaking lessons for children inspired by master art teacher, Frank Wachowiak. "Repeated Motifs and Designs" uses vegetables and found objects to make prints emphasizing repeat patterns. "Fish Under the Sea" uses white liquid glue to make line prints with strong linear compositions. (LS)

Describes a cultural arts program of the National Congress of Parents and Teachers (PTA) that encourages K-12 students to explore their thoughts and express them through the arts. The 1988-89 theme was "Proud Experiences," around which students created artwork that depicted feelings of accomplishment as well as national and family pride.…

Maintains that the cognitive aspects of art education are being emphasized in order to validate art education's place in the curriculum. Argues that the studio approach to art education should be reformed while remaining at the core of art education. Explores the questions of who should teach art education; and how art teachers should be educated.…

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)

Ruth Faison Shaw was an art educator who developed a nontraditional educational perspective of teaching and a different vision about children's art. As such, she is considered by some to be the initiator of finger-painting in America (The History of Art Education Timeline 1930-1939, 2002.) Shaw developed the technique of finger-painting and a…

To have more contact with children who particularly desired her help, an itinerant art teacher set up a box in each school where students could voluntarily leave their artwork for her to comment on and return later. The week's outstanding products were displayed in the cafeteria "art gallery." (SJL)

Illustrates the skill and inspiration of master art teacher, Frank Wachowiak, by presenting three lessons for children: "Fruits and Vegetables" or "Leaves" in crayon resist, "X-ray Trees" in crayon engraving and "Angels or Self-portraits" in tempera. Lessons emphasize the use of patterns and textures, as…

Describes an Artists' Workshop that emphasizes the importance and value of connecting art and writing to demonstrate where ideas come from and how they are expressed. Justifies writing as necessary to focus on process and meaning of art and not merely the product. Extends art across the curriculum by encouraging sketch journals in the classroom.…

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)

Designed primarily for art education students and professionals in the field, this book presents the history of art education in U.S. public schools. The book gives priority to information rather than to theoretical or philosophical interpretation. It considers art education as a response to sociological forces, to trends and conditions in…

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)

Describes how the Educational Sector of the Sao Paulo Biennial assists art teachers in introducing contemporary art into the schools. Outlines how students were observed viewing the exhibition and creating artworks. Describes how training programs and materials were provided to help the schools. (KM)