In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether…

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…

With its ambient, interesting and dynamic use of materials, alternative views of materials and objects, with its playfulness and affecting different senses contemporary fine art can be very interesting for art-educational work. Due to its complexity, however, it suffers from misunderstanding, retreat, and last but not least also fears both among…

Teaching artists often find themselves working in schools and communities that are new to them, whether these are situations close to home or farther afield. This issue of Four Questions highlights teaching artists who travel extensively as part of their teaching and artistic practices and bring their expertise, energy, and creativity to…

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…

The best lesson ideas often derive from childhood recollections. When brought to class, play memories and art mementos from the teacher's childhood paint a powerful homage to children's art. A survey of a child's room in the dark, or with lights on, discloses interesting hanging sites, means of attachment and unusual items drafted for hanging, all…

Described nature printing, a botanical technique, developed in the 17th and 18th centuries to illustrate herbals and other books on plants. (Author/RK)

A powerful motivational force for painting activities may be found in the study of artworks by outstanding artists. The focus here is on the Twentieth-Century movement, Abstract Expressionism. Students are encouraged to combine discoveries of experiment with thoughtful development of their work. Recommended for junior/senior high school painting…

The greatest challenge for the secondary school art teacher is motivating the average art student who "must" take art in order to complete his graduation requirements. Provides some suggestions for meeting this objective through a class project in which students create papier-mache caricatures of other students in their school. (Author/RK)

The art of collage has developed from affixing scraps of paper to a flat surface into combinations and assemblages of found objects, three-demensional as well as two-demensional. The historical background of callage as well as its possibilities for printmaking and its appropriateness for teaching design are discussed. (BF)

Presents an art activity inspired by a workshop "Surrounded by Silk" given by Susan Skvoe in which the students create silk paintings. Explains that the students first sketch their floral design on paper, trace the design on the silk's surface, and apply liquid dye for color. Provides an easier activity for younger students. (CMK)

Gives an art activity for second-graders where they use two art techniques, tissue gluing and tempera painting, to create brightly colored pictures of landscapes. Expounds that first the students examine a variety of landscapes by different artists, such as Paul Cezanne, and then learn the differences between the foreground and background. (CMK)

Explains how a veil control method allows secondary students to use oil paints in the classroom without difficulties of control, manageability, and clean up. Outlines how to prepare and apply oil glazes. Maintains that this method enhances students' studio skills and helps them appreciate the works of the great masters. (KM)

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)

Identifies and discusses four instructional strategies that represent important aspects of studio instruction: (1) key ideas related to interpretive meaning; (2) knowledge transfer between the artist and the student; (3) personal connections between students' lives and subject matter; and (4) problem-finding. Includes illustrative examples. (MJP)