In this article, the authors discuss mixed-media projects done with elementary students in a summer art camp and preservice elementary teachers taking Visual Arts in the Elementary Classroom, illustrating their consideration of how stories carry the curricular potential to bring students' out-of-school experiences into the classroom. In order…

In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…

Viewing YouTube culture as a creative, collaborative process similar to animal swarms can help art educators understand and embrace youth's digital practices. School-age youth are among the most prolific contributors to YouTube, not just as viewers, but also as producers. Even preschoolers now produce videos (McClure, 2010). So pervasive,…

In this article, the author discusses some of the photographs and videos that her students produced, and shares how their artwork serves as one way that, when given freedom and choice, children will incorporate violent play into their artmaking activities. The author argues that these images are not evidence of inherently violent, dangerous, or…

In this article, the potentially harmful effects of bullying toward LGBTQ students are demonstrated through personal narratives, encouraging tolerance and the freedom to create and express through art. As openly gay and lesbian arts educators, the authors have learned that it is vital for them not only to invite gay and lesbian lives into teaching…

Recently there have been calls to expandSTEM education to include the arts and design, transforming STEM into STEAM in the K-20 classroom (Maeda, 2013). Like STEM, STEAM education stresses making connections between disciplines that were previously perceived as disparate. This has been conceptualized in different ways, such as: focusing on the…

Interior design is seldom integrated within the general art education curriculum because the subject matter is generally segregated as a commercial art. However, the importance of interior design concepts of sustainability in art education can really help a student understand the scale and proportion of space and mass, and how sustainability is…

Educators hope that the impact teaching and curriculum have on students extends far beyond the classroom, making practical connections to daily life. Powerful myths about where art happens, who participates in the art world, and the communities that judge art, however, can cause feelings of exclusion, where even formally trained artists can feel…

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…

"The Moving Figure" unit of study examines the relationship between observation, expression, and memory drawing techniques with second year college-level Illustration students. The goal of the exercises is to foster the development of a personal artistic voice in drawing by asking the students to directly place themselves in-situ within…

After 10 years of teaching art in public schools, Carrie Nordlund arrived at a state of query that set in motion her search for alternative approaches to learning. As she was feeling stifled in a seemingly sterile education institution with its overdependence on and pedagogy aimed at standardized tests, she came across a reference to Waldorf…

This article describes how Paul Duncum teaches elements of realististic-style imagery. The elements he teaches are framing, angles of view, lighting, depth of field, and body language. He stresses how each of these elements contributes to meaning, and shows how they apply equally to old master paintings and today's digital photography.

Street artist Morley describes how his perspective on graffiti changed when more cosmopolitan art school peers introduced him to what at the time was being redefined from "vandalism" to "street art." Morley explains that, as fascinated as he was, his untrained suburban eyes couldn't make out the words or their meaning in…

Graffiti artist Sentrock sees his graffiti as a selfless act, a way of giving back to the community--when done legally--and inspires a group of middle school students. This is a case study of an artist and educator who teaches about graffiti art in public schools. He is unique in that he delineates between graffiti art and vandalism, and teaches…

This article examines how it is possible to use the aesthetic process to enrich teaching practices in preschool and elementary school education. What is under scrutiny is the aesthetic dimension of a core curricular subject, the ultimate goal being to achieve an understanding of curricular content through aesthetic learning processes. For this…