Provides information about the artist Katsukawa Shuntei and his artwork entitled "The Warrior Egara no Heita Battling with the Giant Serpent" that is a wood-block print. Describes how block prints are created and offers learning activities. Includes background information on the artwork. (CMK)

Presents an interview with a South African artist, Elitia Hart, who uses the technique called pewter embossing. Focuses on her background, why she began using the pewter technique, the history of this technique, and teaching. Includes a project about how to create a decorated bottle. (CMK)

Provides background information on Zimbabwean art and sculpture and Harry Chingono, a Zimbabwean sculptor. Includes reproductions of Chingono's sculpture "The King's Secret" and describes it in detail. Offers four ideas for learning activities. (CMK)

Introduces the topic for the next Clip and Save Art Print series: unique regions of the North American continent. Includes three paintings, with background information, on this topic. Discusses the format and use of the Clip and Save Art Prints. (CMK)

Contends that a work of art may have more than one story to tell and that the full meaning requires knowledge of the artist's background and culture. Presents four classroom lessons based on three paintings and a beaded belt. Includes full-page color photographs of the art works. (CFR)

Provides instructional strategies and materials designed to introduce students to Spanish art. Includes four lesson plans with student objectives, background information, and step-by-step instructional procedures. Also includes four full-page color reproductions of paintings by Murillo, Picasso, El Greco, and de Goya. (CFR)

Presents four lesson plans designed to teach about Frank Lloyd Wright's "Hollyhock House" to primary, intermediate, and secondary art students. Provides an overview describing the history and design of the house, including its relationship to Mayan architecture. Includes nine photographs and original drawings of the building. (CFR)

Asserts that neither of the two most popular models of art criticism lends itself to a postmodern understanding of the political role of visual art in the late 20th century. Concludes that the historical context model is rooted in historical understanding and that teachers must prepare for this type of instruction. (CFR)