The practices of artists and the field of artistic production is an iterative space--a rapidly evolving network of ideas and dialogic strategies, as well as collaborative and interdisciplinary practices. Artists function at the intersection of many disciplines as researchers, activists, and problem solvers. These practices provide an imperative to…

The term "knolling" was first used in 1987 by Andrew Kromelow, then a janitor at Frank Gehry's Santa Monica studio (Heathcote, n.d.). At the time, Gehry, an architect, was designing furniture for Knoll. While cleaning the studio, Kromelow would arrange displaced tools at 90° angles to create an organized surface. Perhaps done out of…

This article explores how new materialism can help conceive of art education practice as research. The discussion is organized in three parts. First, the authors examine how a practicing artist talks about materials as an aspect of creative artmaking experiences. The second section introducees new materialist concepts for thinking about the power…

This Instructional Resource relates the experiences of Native American artist Neal Ambrose-Smith, who views himself not only as an artist with a studio practice, but also as an "Arts Worker" who pursues learning new knowledge with his arts-related jobs. Painting, sculpting, and printmaking are only three areas of his studio practice. He…

Collecting and placing images/objects of inspiration and personal significance is not an uncommon practice for studio artists. Washington based mixed-media/installation artist Renee Stout draws from the collections she displays in her studio and in her home. She is an avid collector of various objects, including vintage perfumes, West African…

For centuries people from around the world have celebrated storytelling and puppetry for their educational and social functions. In the comprehensive curriculum, storytelling combined with puppet performances enriches the classroom experience by providing students with opportunities to engage in open dialogue, creativity, and structured play.…

For more than 60 years, Aminah Brenda Lynn Robinson has created art that documents her own experiences and the stories handed down to her from her family. She captures the character of the neighborhoods where she has lived and the places she has visited, and she chronicles the accounts of people and events that have changed the course of history.…

Public art takes many forms, including commemorative sculptures, site-specific works, and collaborative murals. Additionally, public art can beautify an urban environment or raise awareness of social issues. Public works of art are a form of discourse and open conversations and dialogue, helping communities work toward unity and empowerment. Using…

Article focused on the different processes of thought and expression utilized by artists to create their works and how to include those processes in the development of an art program. (RK)

States that the art of recycling has more to do with connecting people with objects, traditions, and rituals than sustaining the natural environment. Discusses some lessons learned in four categories: (1) recycling as self-sufficiency; (2) recycling as renewal; (3) recycling as a spiritual activity; and (4) recycling as aesthetic transformation.…

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)

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)

Examines how a discipline-based approach to multicultural art augments multicultural education. Focuses on Native American arts. Illustrates how symbols, colors, natural materials, and methods differ among tribes. Suggests teaching activities, including focusing on a particular artist to raise specific questions about specific symbols. Profiles…

Presents a lesson plan constructed around several color plates of the artwork of George Szekely. Szekely suggests a playful and open approach to his work and recommends various ways of interpreting and experiencing his art using a variety of senses. His recommendations include slide projectors, word games, and role playing. (MJP)