"Artist-Teacher" is a powerful and frequently used term in the fields of art, museum studies, art history, and art education. Art educators typically use the term to describe their dual practice or to emphasize the importance of art production in relation to their teaching. In this article, the author reviews historical uses of the term…

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)

Argues that art educators must be acquainted with recent trends in art history, particularly the shift from connoisseurship toward cultural and sociological concerns. Presents a brief overview of art history practice in schools, followed by some recommendations for teaching from new perspectives. (KM)

Patricia Renick came to sculpture and college teaching after working as an art teacher. She discusses her career history, large-scale sculptures, and teaching philosophy. (IS)

In a fictional "history" written from the year 2037, Katan presents a satiric view of what art education may become. (GEA)

Reviews Natalie Robinson Cole's contribution to the field of art education by contrasting her philosophies with those of other art educators. Compares her teaching style with Viennese art educator, Franz Cizek. Concludes that Cole's life and work can be examined within as many frames for understanding as can be devised. (KM)

Argues that teachers should replace art history instruction with efforts to build in children a love for beautiful old objects. Suggests that children should be encouraged to examine family treasures and toys and share their discoveries. Describes several suitable classroom games, including tablesetting history, history to wear, and traditional…

Ruth Faison Shaw was an art educator who developed a nontraditional educational perspective of teaching and a different vision about children's art. As such, she is considered by some to be the initiator of finger-painting in America (The History of Art Education Timeline 1930-1939, 2002.) Shaw developed the technique of finger-painting and a…

Examined are inadequacies of the eclectic or contextualist classroom principle, defined as a philosophy of art education which selects scholarly art content offerings related to the production, criticism, and history of art as it relates to the school environment or context present in a particular time and place. (RM)

Explains how proper preparation, including giving students specific tasks to accomplish, helps focus a museum or sculpture garden visit. Outlines two basic ways that a teacher might organize a tour: (1) by showing a progression from figurative to abstract sculpture, and (2) by discussing design concepts. Includes pictures of four sculptures,…

Examines Viktor Lowenfeld's activities as an instructor at the Hampton Institute, Virginia (1939-1946), an essentially Black school in a pre-civil rights movement southern setting. Discusses his theoretical statements and his behaviors in relation to teaching art to Black adults. (GEA)

Discusses the development of art education since World War II, arguing for a return to a disciplined teaching approach which would deemphasize rote memorization of the "masterpieces" for testing purposes. Instead, it would focus on the attention, passion, and play that comes from making and responding to art. (GEA)

Compares two closely related distinct approaches to art teaching: (1) the issues-oriented approach; and (2) the thematic approach. Contends that the issues-oriented approach to art education supports cultural diversity by emphasizing art's potential to promote political change. (CFR)

Presents an art educator's reflections upon his career. Discusses psychological views of art, the role of the arts in enlarging human knowledge, and implications for the curriculum. Describes teaching as an artistically pervaded activity. Reveals how the educator's experience in the arts has influenced his thinking about education. (KM)

The Depression of 1929 heralded a difficult time for the teaching of art. Changes during this era included more utilization of technology, a shift from elitism to art for all children, integration of art into the social studies curriculum, and emphasis upon self-expression, rather than art appreciation. (CS)