Suggests ways students can benefit when elementary teachers combine reading instruction with art activities. (JC)

Based on a longitudinal study of three children from birth, argues that children experiment with two dimensional representation much earlier than is commonly thought. Interaction between figurative and action modes of representation is described. Suggests symbolizations based on movement and time as well as configuration. (Author/AS)

Describes an elementary art program that teaches children to use clay, a course in which middle-grade students made pottery using old plaster greenware molds, and an art class in which middle-grade students made Indian jewelry. (RM)

Kellogg and O'Dell's criteria for designating children's art as pictures and Pitcher and Prelinger's collection of stories from children were examined for analogous patterns of structure. Results indicated that form, derived from a structure of repetition, is embodied by children as a metaphor for pictures or stories. (Author/SR)

Three media used in a longitudinal, cross-sectional investigation to determine the rate of artistic development in young children were clay modeling, drawing, and storytelling. The most significant result of the study reveals that artistic competence does not proceed upward across all media as the child matures. (JN)

In a theoretical and philosophical discussion, the author examines the results of two drawing exercises he used with elementary students. Exercise One, "blind contour" drawing from life, was based on child-centered art learning theory. Exercise Two, copying an artwork, emphasized the learning of graphic conventions and cultural forms. (SJL)

Tracing the changing concept of child art from the theories of Rousseau to the present, the author expounds the view that the interpretation of child art and the content of art education are functions of the social issues surrounding adult art in a given culture. (Author/SJL)

This second article in a series on children's artistic learning reviews the developmental process of symbolization and symbol representation by young children and analyzes the symbolism in works by three boys. Practical teaching considerations are discussed. For part one of this series, see the September, 1980 issue of this journal. (SJL)

In order to examine the role of aesthetic knowledge in the early socialization of children into art, the authors observed two preschool classrooms for evidence of teacher- and child-initiated aesthetic experiences. This article describes the study's background, reference model, methodological approach, and findings. (Author/SJL)

After reviewing the socialization models of Berger and Luckmann, Speier, and Piaget, the author relates the drawing process to these theories as a form of social interaction, citing changes in drawing style and subject matter with gains in social maturity. She concludes with implications for art educators. (SJL)

Prescribes six simple ways for changing the teacher's use of mimeograph stencils in elementary school art activities. Notes the importance of giving children freedom to creatively express themselves. (RL)

Reports three experiments which investigate: whether familiar objects have standard graphic orientations (Experiment 1); the relationship between use of object orientations and more conventional methods in depicting familiar objects in motion (Experiment 2); and whether orientations are used differently in novel objects whose only defining feature…

Art is presented as a key to understanding children's opinions and emotions, both for parents and teachers and for the children themselves. (SB)

Frames a developmental psychology of art by contrasting the structural orientation of the study of drawing and the functional orientation of the study of artistry. This model maintains that graphic symbolization emerges with early mark-making, children's representative art is guided by perceptions of affordances, and children continue to engage in…

Presents an art lesson that teaches students to look closer at a work of art and to utilize art vocabulary to describe a picture. Discusses a student project in which students use "Dippity Dye" to create the background on which to draw fish and other sea life. (CMK)