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…

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…

Introducing reclaimed materials into the art classroom provides students with unique opportunities to connect ordinary, discarded objects with unique, personal artistic creations. In an effort to better understand this connection, this article explores existing pedagogical precedents that support the role of the inclusion of reclaimed materials in…

This article describes why art educators might consider studying material forms from everyday life, presents suggestions for exploring them in an art classroom, and includes an example to illustrate teaching about an object of material culture. The author presents reasons for studying material culture in the art classroom and offers suggestions…

This article chronicles the development and implementation of a lesson sequence in a high school art course that utilized "Extreme Beauty: The Body Transformed," a special exhibition at the Metropolitan Museum of Art's Costume Institute from December 6, 2001-March 17, 2002. This project took place over a 3-week period in the spring…

Claims that domestic art or hiddenstream art is not referred to in the art classroom because art teachers have difficulty locating resources. Identifies sources for print and nonprint textiles ranging from local community activities to museum collections. Lists resources for Navajo weaving, African-American quilting, and Amish quilting. (KM)

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 the nature and future of computer graphics as an art form. Characterizes four basic beliefs about art and considers their relevance to computer graphics. Discusses the special qualities of computer graphics and how they can enrich art instruction. (MJP)

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…

Contends that art supplies can be obtained from discarded materials in the school, items from home, and other places. Maintains that students' creative supplies are what they save, what they wish for, and what they play with. Presents suggestions for creating art education supplies from a variety of everyday items. (CFR)

Recommends asking a basic question "What am I trying to teach?" when considering the use and adaptation of computers in art classes. Suggests testing a system to ascertain possibilities, limitations, and particular characteristics. Maintains that computer art is often simply a starting point for other projects. (MJP)

Summarizes negative aspects of computer technology and problems inherent in the field of digital imaging. Considers the postmodernist response that borrowing and alteration are essential characteristics of the technology. Discusses the implications of this for education and research. (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)

Presents four lesson plans centered around artworks involving Japanese clothing. Instructional materials include color plates of a 19th century print showing women's clothing, two beautifully handcrafted coats, and a coverlet in kimono form. The lesson plans discuss Japanese clothing, art, society, and culture. (MJP)