Presents the experiences of two physically handicapped students who were enabled to draw on their own through the use of adaptive drawing apparatuses specifically suited to fit their individual needs. Describes how to build a drawing tool, including the list of supplies. (CMK)

Defines folk art and explores the ascent of folk art in the United States, focusing on (1) the fascination of mainstream artists with indigenous and intuitive art and (2) the growing interest of collectors in folk and outsider art. Reflects on folk art and art education. (CMK)

Lesson in which students speculate about why an artist draws an image in a particular manner. Students examine expressive intent and imagery, subject, emotional content, techniques, media, and organization. Highlights four artists, providing art work, background information, activities, and assessment for each: (1) Irvin Tepper; (2) Nancy…

Discusses folk and outsider art and the relationship between the two art forms. Considers the inclusion of folk and outsider art in the curriculum, focusing on issues such as multiculturalism and social reconstructionism. Explores applications of folk and outsider art in the classroom. (CMK)

Attempts to refocus aesthetic education for art teachers and argues the need to see aesthetics in society. Discusses the ideas of T. Irene Sanders, Bernd Schmitt, and Alex Simonson to demonstrate real-world support for aesthetic education. Uses two examples: eye glasses and bathrooms. (CMK)

Presents the results from a survey on classroom conditions and practices of elementary art teachers in the United States and Canada whose students' artwork was selected for at least two of the last bi-annual Crayola Dream-Makers Art Education Program exhibits (1989-1995). Contrasts the results with two larger surveys. (CMK)

Distinguishes between lower and higher order thinking in education. Offers guidelines for higher order thinking approaches in the art classroom, such as using generative topics. Discusses a lesson on drawing portraits that uses higher order thinking. Considers ways to include higher order thinking in the curriculum. (CMK)

Reviews recent brain research in education. Provides five implications for teaching in art: (1) use emotion; (2) use different sense; (3) promote student self-direction; (4) enable social learning; and (5) encourage pattern finding. Describes two sample art units demonstrating how the five implications and art instruction can be integrated. (CMK)

Presents lessons on artwork by William Zorach, Gary Chapman, Ben Shahn, and Rembrandt Van Rijn. States that the four artworks focus on specific views of motherhood, but can also serve as symbols for the relationships between (1) artists and their art and (2) educators and their students. (CMK)

Explains that to successfully teach art, elementary generalist teachers need a solid grounding in some teaching-learning strategies for making and responding to art, along with knowledge on applying them to specific grade levels. Describes four strategies for making art and two strategies for responding to art. (CMK)

Explains that looking at a picture book as a work of art entails that one explores the relationship between images, the combination and arrangement of images, style and story, use of color, the relationship between the meaning of the text and images, and the form of the book. (CMK)

Presents the findings from a study in which children acted as art museum tour guides for their adult pre- and in-service teachers. Focuses on the children's conceptions of museums, art museum rules, and tour guides; the children's interpretations of artworks; and the learning outcomes. (CMK)

Provides background information on Marion Richardson's view of art education and her emphasis on visualization. Stresses the importance of cultivating students' creativity and enabling the students to express themselves. Describes an interdisciplinary art assignment for middle school students utilizing poetry to teach them to translate verbal…

Describes a form of assessment called the inverted test within the context of a ceramics class where students work in groups to create test questions and then test the teacher. Addresses the students' reactions to the inverted test, the positive outcomes that resulted, and applying the inverted test in other classes. (CMK)

Describes the use of puppet theater in an Alaskan elementary school focusing on the design and implementation of a play on the history of Alaska. Reports that the play's focus was on the change in architectural structures as a means to explore events that transformed Alaska. Provides recommendations for a similar project. (CMK)