Reviews gender-related issues that might arise as students are introduced to women's art achievements. Divides women's art into mainstream art and "hiddenstream" art, or art represented by work in textiles, ceramics, and miscellaneous art forms. Includes a chart which shows the name and nationality of over 90 female artists working between 1390…

Contends that Discipline Based Art Education (DBAE) upholds and exemplifies a tradition that supports the male-dominated status quo in art education. Presents gender-biased quotes from various theorists and philosophers whose works form the foundation of DBAE. Concludes by showing how feminism may strengthen arguments for DBAE. (JDH)

Presents a biography of Mine Okubo, a prolific Japanese-American artist who was among the thousands of Japanese imprisoned in "relocation camps" during World War II. Provides insights into Ms. Okubo's philosophy as well as the phases of her art, emphasizing her role as a living repository and documentor of Japanese-American history. (JDH)

Reviews Betty La Duke's 1985 book "Companeras: Women, Art, and Social Change in Latin America." States that La Duke's background as an artist with more than 30 years of experience in Latin American travels produces a very clear impression of the aesthetic response of women to the fabric of their lives. (JDH)

Instructional strategies based on a portrait painting of Francisco Goya introduce primary grade students to the idea that portraits are pictures of people. Students also develop an awareness that the visual vocabulary of color, shape, line, texture, and the quality of brushstrokes can communicate feelings and ideas. (RM)

Instructional strategies based on a portrait painting of Jean-Baptiste Oudry familiarize intermediate grade students with the techniques of portraiture and introduce the characteristics of eighteenth-century French rococo painting. (RM)

The instructional strategies suggested use a work of one of Mexico's most celebrated political history painters, David Siqueiros, to introduce junior high students to formal qualities in portraiture and contemporary Mexican art history. (RM)

Instructional strategies introduce students in grades 10-12 to the stylistic characteristics and portraiture technique of Mary Cassatt and help them understand Cassatt's relationship to work of other Impressionist painters. (RM)

Presents two art lessons, the first of which introduces elementary students to Dutch still life painting and to the Dutch painter Claesz. The second lesson introduces intermediate grade students to still life as a subject for painting and to the possibility of personal interpretation by an artist, as shown in an O'Keefe painting. (RM)

The first art lesson helps middle-school students to understand characteristics, methods, and the historical significance of Cubist paintings as shown in Picasso's "Still Life with Compote and Glass." In the second lesson high school students learn about Cezanne's work and his relationship to the Impressionists and 20th century artists.…

Five reasons art education is important for all students are discussed. They are: (1) art as basic education, (2) creativity, (3) aesthetic experience, (4) art appreciation, and (5) historical understanding. (RM)

Nothing will kill the value of historical research more readily than a trendy, purposelessness, and careless methodology. Suggestions offered aim to give pause to future historical researchers so that they may reflect about what aspects of art they choose to study. (RM)

Studio art education is being affected by dramatic changes in the art world, including the development of a postmodern aesthetic, the use of video cameras as artistic tools, the availability of better and cheaper computers for generating graphic images, and the development of alternative galleries. (IS)

Lowenfeld enjoined teachers never to permit children to copy art works because children's art was such a crucial part of the self. Yet by rejecting all copying, one can place too great a value on novelty and miss the essence of Lowenfeld's emphasis on the individual child's experience. (IS)

This tongue-in-cheek article calls for the critical reexamination of the history of modern art. The author believes that modern art is neither an extension of the Renaissance aesthetic nor a collective by-product of artists possessed of creative genius. Creators of modern art were actually representational artists suffering from visual stuttering.…