Sarah Mostow was hired to provide professional development to a group of 10 elementary art teachers who worked at a charter school network in New York City. Searching for what she could offer the charter school teachers, who possessed diverse backgrounds and teaching styles, she wanted to find a structure they could adapt. She decided to distill…

The purpose of this article is to explore integrating nontraditional classroom art materials and allowing students to make art for nonart spaces. Art programs must stimulate creativity, innovation, and imagination; provide tools the students can use; identify a context the students can experiment within (Chang, 2015; Gude, 2010); and offer the…

Just as students should leave their Foundational year of art with a beginning sense of composition, color, value, and materials, so should they be cultivating their creative capacities. With the equipment exercised and the waters tested, students will be prepared to continue their journey; for it is the interplay of personal experience, social…

In this Instructional Resource, Denmead and Brown consider how "Ruffneck Constructivists," an exhibition curated by Kara Walker at the Institute for Contemporary Art (ICA), University of Pennsylvania, can disturb and provoke young creatives and art education more broadly. For this exhibition, Walker draws on the figure that MC Lyte…

Through play, children draw ideas from their own experiences and create exciting works of art. Materials and methods that can be used in the classroom to help children play are described. (CS)

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)