When used effectively, feedback promotes student ownership in artmaking by encouraging students to inject originality, persist, and improve. Feedback from teacher, self, and peers can also provide students with motivation. In this article, the author explores her students' understanding of the idea of ownership, observes how feedback…

For this Instructional Resource, the author interviewed contemporary sculptor Michael Beitz, who uses art to explore the role of designed objects in human communication and emotional experience. This column was written in response to calls for using Enduring Understandings/Big Ideas (National Coalition for Core Arts Standards, 2013; Stewart &…

This Instructional Resource relates the experiences of Native American artist Neal Ambrose-Smith, who views himself not only as an artist with a studio practice, but also as an "Arts Worker" who pursues learning new knowledge with his arts-related jobs. Painting, sculpting, and printmaking are only three areas of his studio practice. He…

In this visual essay, NAEA Women's Caucus members gather at the National Convention to create collages in an effort to brainstorm ways to end violence. The mission of the Women's Caucus of the National Art Education Association is a clear call for equity between men and women and a call for social justice in general. Discriminatory…

A primary goal of substantive art education is to communicate visually--to decipher art for meaning and to construct meaning through images and objects. Strategies available to engage students are the interdisciplinary activities found in performance, visual and written forms of creative expression, and related disciplines such as ethnography,…

Place is defined by Lippard (1997) as "temporal and spatial, personal and political. A layered location replete with human histories and memories, place has width as well as depth. It is about connections, what surrounds it, what formed it, what happened there, and what will happen there" (p. 7). Thus exploring place extends…

In this article, Eliza Pitri states, "when allowed to make and explain their own choices, students develop invaluable creative problem-solving skills." Opportunities for such critical thinking abound in the art classroom. The importance of identifying how skills and dispositions related to creative problem solving are expressed in a…

Elementary school is not too early to introduce contemporary art; young students are especially adept at learning by mimicry and embracing contemporary art practices, including site-specific works. Elementary students are poised and capable to comprehend and respond to contemporary art. Tangible products can be made within a conceptual,…

While it would be egregious not to acknowledge the dire state and looming removal of art and music programs in many schools today, it is equally important to recognize that individual classroom atmosphere ultimately begins with and emanates from the primary/elementary teacher. Teaching of young children is a soulful experience; it comes from the…

The Chicago-born artist Alberto Aguilar enacts his artworks through video, performance, sound recordings, cooking, photographs, participatory events, drawings, installations, interior design, writing, collage, singing, teaching, conducting interviews, curating, mail-art, being on the Internet, writing, and personal social exchanges (e.g.…

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…

What's funny about art--and why should art educators care? Art historians, critics, and artists are now taking a closer look at art that generates a laugh. This has particular relevance for art educators who seek to direct student engagement in new and exciting areas and embrace artworks that generally fall outside of the art school…

Eric Garcia's large-scale oil paintings, drawings, installations, prints, and political cartoons examine versions of American history that have been overlooked and whitewashed. Aware that dominant history reflects a strategy of power, Garcia embraces the confluence of history, culture, and politics to challenge historical mythologies and…

Engaging with the quilts of Gee's Bend offers a rich opportunity for students in grades four through eight to develop appreciation for pattern, rhythm, and innovation while learning about history, entrepreneurship, and political activism. By easily accessing print, film, and Internet resources teachers can include these vibrant quilts and…

Murals have become a powerful art form for portraying antiwar, human rights, social justice, and human dignity issues. Educators and artists have conducted mural workshops with adolescents in international settings to educate them about peace, human rights, and cultural tolerance. Learning with murals has been shown to be pedagogically meaningful…