Contends that art therapy promotes mental health beyond diagnosing and treating illness. Outlines four overlapping ways that art contributes to mental health: (1) giving people a sense of identity and place; (2) conferring status; (3) expanding and directing thought processes; and (4) utilizing the security of the rhythmic "takeover" phenomenon.…

Presents lesson plans designed for secondary students that assess the role of naturalistic representation in twentieth-century art by examining the artwork of four artists: Pablo Picasso, Rene Magritte, David Smith, and Jackson Pollock. Provides background information on each illustration, and outlines discussion and art production activities for…

Examines how current education reform reports reflect arts and humanities education. Maintains that the reports are marginalizing the arts and are advocating a back-to-basics approach. Points out that National Endowment for the Arts (NEA) tried to overcome this trend by introducing "basic arts education." (KM)

Cites examples of students refusing to do coursework because of religious beliefs. Outlines a method in which students are encouraged to examine their beliefs to illuminate their objections to coursework. Maintains that teachers should resist efforts of individuals who attempt to shield themselves and others from general knowledge and ideas. (KM)

Discusses how computer experiences need to move beyond lessons that regard the computer as merely an extension of older art forms to studies that examine the inherent qualities of the medium. Maintains that art teachers should take advantage of the rich interchanges that can be developed between art and technology. (KM)

Maintains that art educators should base their theories of art, education, and discipline in the fundamental place of wonder in aesthetic experience. Examines Plato's philosophy to help understand some of the characteristics of wonder. Claims that all human experience has an aesthetic dimension and that wonder can motivate any inquiry. (KM)

Presents a prospective view of art education by examining the literature of past events. Outlines the three stages of the art education evolutionary process: (1) establishing guidelines for discipline-based art education (DBAE); (2) questioning the assumptions of DBAE by critics; and (3) resolving previously raised issues. (KM)

Maintains that the cognitive aspects of art education are being emphasized in order to validate art education's place in the curriculum. Argues that the studio approach to art education should be reformed while remaining at the core of art education. Explores the questions of who should teach art education; and how art teachers should be educated.…

Discusses how students can examine artists' use of clothing to express ideas about cultural values, lifestyle, and design. Features four, culturally different, artworks from the Art Institute of Chicago. Outlines instructional methods for discussion, creative writing, and art production. (KM)

Examines how an individual, as artist and as teacher, contends with these conflicting roles. The artist strives to remain creative, autonomous, and individual whereas a teacher must be outgoing, analytical, and confident, focusing on students' needs. Author maintains that teaching has helped her become a better artist. (KM)

Maintains that the study of art history should be learning about all forms of art work from every culture and relating it to the present. Describes how one art teacher uses puppetry to actively involve students in art history. Recommends that teachers look to the great teachers and their own teaching for such lessons. (KM)

Considers how multicultural art education should be approached in the classroom. Uses African art to help distinguish between appreciating art from different cultures and understanding cultural contexts. Discusses benefits and shortcomings of five multicultural approaches. Shows how the NAMES project (AIDS Memorial Quilt) could be used in the…

Responds to Enid Zimmerman's article, "Questions about Multiculture and Art Education." Argues time and resource limitations dictate that teachers determine art curricula. Maintains that other examples of fabric art can teach what the NAMES project (AIDS Memorial Quilt) offers without the controversial perspective. (KM)

Presents four examples of Afro-American art by Augusta Savage, Lenwood Morris, William H. Johnson, and Romare Bearden. Describes their lives and artistic objectives. Suggests study questions and art activities. (KM)

Praises past achievements of the National Art Education Association (NAEA) and the art education profession. Maintains that art curriculum must reflect community values and norms, and should be relevant to students' needs. Believes that art educators are currently in a position to make art a central part of educational processes. (KM)