Reviews ideas about critical reflection in relation to the student teaching experience and art teacher preparation. Investigates the use of writing as a means for reflection in a study analyzing 19 final reflection essays in order to determine the role of reflection in student teachers' perceptions of their professional development. (CMK)

Addresses the need for art teachers to help students develop an empathetic awareness for others. Describes moral-cognitive learning as a means for encouraging empathy where a connection between the students and teacher must be made while a connection between self and ideas is also necessary; imagination also affects students' ability to care. (CMK)

Presents an instructional resource examining artwork by Charles Burchfield, Utagawa Hiroshige, Childe Hassam, and Georgia O'Keeffe that focuses on nature's four seasons. Offers activities to encourage students' observational skills and guide them to depict their personal views of nature in their own artwork (CMK)

Discusses a collaboratively designed project where a group of artist-teachers created an installation quilt for a group exhibition that spurred their reflection on aesthetic issues and feminist pedagogy. Explains that these ideas are connected and may offer teachers interested in gender issues a view toward a listener-centered pedagogy and…

Offers an interview with Jo Leeds, a retired art educator, because an elder's insights about teaching art could serve to enrich and sustain younger art educators as they overcome the trials and tribulations of teaching. Presents Jo Leeds' perceptions on various issues in art education, such as the push for a standards-based curriculum. (CMK)

Proposes that presenters at conventions should be performers amidst an active audience and demonstrate the ideas as they might actually appear in the classroom using a hands-on, visual approach. Highlights various presentation introductions that illustrate this visual presentation approach. Provides suggestions for convention presenters. (CMK)

Explains that performance art incorporates different artistic forms, emphasizes the process of art over the product, and blurs the line between life and art. Discusses the history of performance art, highlights the Performance Art, Culture, and Pedagogy Symposium, and provides examples of how to use performance art in the classroom. (CMK)

Explores how the universal stages of graphic language development manifest themselves in children living in the Amish community and how the uniqueness of this subculture is reflected in their drawings. Explains that Amish children focus on an agrarian environment and use copying as a means to finding an accepted place in the community. (CMK)

Describes the history of the Chautauqua Industrial Art Desk, a teaching machine that was created around 1913, and the two teaching guides, "The Home Teacher" and "Child Life," that accompany the desk. Explains that the desk was a response to the industrialization and urbanization of society in the early twentieth-century. (CMK)

Discusses the life of Benny Andrews, a recognized artist, cultural leader, and storyteller, and the importance of narrative in his artwork. Provides an interdisciplinary project where the students analyze Andrews'"Autobiographical Series," discuss the series as a form of storytelling, and then write their own family story. (CMK)

Discusses the curriculum model developed by the Art Team, a part of the International Project Division at Arizona State University, that provided technical advice on preservice training for art teachers in Turkey. Provides an example of the model's success in which the students used exploratory art criticism to examine a tapestry. (CMK)

Explores the similarities and differences in findings related to three studies that focused on the content and context of students' and teachers' definitions of art in order to study the socialization process. Reveals that the researchers themselves perpetuate this process by solidifying the students' and teachers' learned expectations of what art…

Discusses the life and artwork of Jack Barker who became a folk artist after running a local gas station in Essex, Illinois. Explains that art educators view student interactions with folk artists like Barker as valuable because these artists embody a creative spirit and a thirst for knowledge about materials and processes. (CMK)

From a 2-year ethnographic study in a sixth-grade art classroom, explores two different roles of art education: (1) to acknowledge that as students become literate in art they demonstrate their ideologies in their artwork; and (2) to recognize how art can initiate discussions to help students transform their beliefs. (CMK)

Addresses the social, emotional, and psychological needs of immigrant and refugee students and the use of art forms to communicate their feelings. Summarizes the identity crisis that immigrants and refugees experience. Considers art education as a helpful intervention. Discusses the characteristics of children's artwork and the art teacher's role.…