This article recounts how during COVID-19, the author's fine arts class was forced into an online mode. The old class design, which was based on physical classrooms and physical locations, was now unsuitable for online teaching. With Malaysian education's emphasis on science, technology, engineering, and mathematics, and art dismissed as a minor…

During her career as a public university teaching assistant, Ting Fang (Claire) Chien observed many students who were not enrolled in an art degree program ("non-art-major students") struggle with studio art projects. As a result, she developed the Daily Life Object Project (DLOP) to show these students that art is connected to and…

Can a building's ornamentation grow and change? Can it inspire artists, educators, and other scholars to be creative in new ways? In this article, the authors, an instructional faculty team of two studio art professors and the fine arts librarian at Southern Illinois University Edwardsville (SIUE), describe how its collection of Louis H. Sullivan…

For the last decade Michelle Kamhi has been prominent in her critique of contemporary art education. In her philosophy she positions herself as an essentialist who believes there are essential masterworks that define fine art, and the curriculum in art should teach fine art only. Her definition of fine art focuses on representation in painting and…

In this article, the author shares her experiences and challenges in teaching university-level studio art classes for Muslim women in Kuwait. In Kuwait, popular interpretations of the "Quran" (the Koran), the Muslim holy book, prohibit the use of nude models. The author describes how she had to find alternatives to Western tried and true…

Describes how high school students are involved in using natural materials found in the local environment for art projects. The materials used include wood, clay, and natural fibers. Provides photographs of ten students' projects. (JDH)

A new movement has appeared recommending, in part, that the field of art education should lessen its traditional ties to drawing, painting, and the study of masterpieces to become the study of visual culture. Visual cultural study refers to an all-encompassing category of cultural practice that includes the fine arts but also deals with the study…

Whether massive in scope or intimate, focused on public works or gallery exhibitions, directed toward area youth in general or targeting at-risk populations, administered through public or private organizations, youth arts apprenticeship programs signal an exciting change in the relationship between art, artists, and society. Supported by sound…

Author suggested specific classroom practices that revealed the importance of photography and cinematography in the visible arts. (Author/RK)

Several national leaders in government, education, and the arts respond briefly to the question, "How can the federal government best support art education?" (Editor/SJL)

In contemporary society, what, why, and how students come to gain knowledge and understandings of art defies traditional boundaries. In part, this is because of the prevalence of many forms of popular visual culture. In this article, the authors present three vignettes that demonstrate the ways in which three young children created connections…

The author cites provisions of PL 94-142 and notes the arts advocacy thrust of the National Committee on Arts for the Handicapped. She urges arts educators to concentrate on the integrative aspects of this trend, not forgetting arts education for all through over-emphasis on special groups. (SJL)

In this article, the author discusses the key to successful art exhibition, which rests in the knowledge and skills of students from experiencing it first-hand. Over a period of years, a variety of exhibiting experiences are required in order for students to acquire a full spectrum of possibilities. They need to immerse themselves in various…

The author supports a nonvalue-laden acceptance and examination of the popular arts, and a better understanding of popular culture as an appropriate concern in art education. She suggests some groundwork for understanding and makes recommendations for the inclusion of the popular arts in the art curriculum. (Author/SJL)

A photoessay on the New York State Summer School of the Arts. (SJL)