Describes how high school students interested in pursuing a career in art can have their work evaluated by portfolio examiners from the admissions offices of art schools. Suggests that art teachers should make more use of these occasions by accompanying students and preparing them to accept criticism. (KM)

Maintains that, by the time students reach sixth grade, they are tired of painting flowers. By viewing them through the eyes of the artist, Georgia OKeefe, students interests are revived. Students analyzed her methods and then drew and painted their own large scale paintings. (KM)

Presents a lesson plan developed around the work of architectural muralist Richard Haas. Discusses the significance of mural painting and gives key concepts for the lesson. Lists class activities for the elementary and secondary grades. Provides a photograph of the Haas mural on the Fountainbleau Hilton Hotel, 1986. (GG)

States that the critical work for art educators will continue to be curriculum development and implementation. Claims that an emergent issue for art education is a community-relevant, developmentally appropriate curriculum. Discusses issues facing curriculum developers and outlines criteria for the art education curriculum. (GG)

Presents a lesson that introduces students in grades K-three to sources of design inspiration in contemporary urban settings. Using Don Eddy's painting of a jewelry store window display, asks students to describe and analyze the interplay of shape, pattern, and color. Suggests studio activities, including an activity in which students build a…

Describes a unit using materials gathered from Soviet children through Vermont's Children's Art Exchange Program. The unit involves a slide presentation and discussion of the cultural similarities and differences that are identified through an examination of art work. Suggests asking children to create art that represents their own culture. (KO)

Describes a thematic, interdisciplinary, middle-school curriculum that integrates visual and language arts. Curriculum embodies three principles: (1) visual and verbal responses depend on meaningful interaction among the artist (writer), the art object (text), the viewer (reader), and the environment (context); (2) visual and verbal thinking are…

Examined the portrayals of environment and development in two commercial movies: "Ferngully, The Last Rain Forest" and "Medicine Man." The two movies differed in their portrayal of the issues, presumably because of their targeted audiences. Suggests that further research is necessary. (Contains 26 references.) (Author/MDH)

This article describes how to combine painting and poetry by studying famous paintings and poetry of recognized artists from both media. It covers how to design a project, discussing pictures and poems, and giving children a chance to create their own art. A sidebar lists artists and poets that work well together. Includes extension activities.…

Describes and provides samples from a book on art appreciation by looking at landscape paintings with children. Reproduces four paintings, offers questions to use with students, and presents information on the artists and their pictures. The paintings are by George Inness, Henri Rousseau, Stuart Davis, and Edward Hopper. (JB)

Considers the true value of art by outlining a number of factors that determine the price of a painting including the fame of the artist, the time of the artist's death, and the age of the work. Concludes that students should be encouraged to consider the emotional, aesthetic, and intellectual worth rather than the monetary value. (KM)

Explores the sources of art criticism and reviews some extant pedagogical models. Outlines the content skills to be developed and the role of art criticism in a discipline-based teacher training curriculum. Recommends that art criticism should incorporate pedagogy and other disciplines of art. (KM)

Examines four works of art, created for public spaces, to help students understand the value of public art in the community. Illustrates work by Claes Oldenburg and Coosje van Bruggen, Siah Armajani, Jackie Ferrara, and Deborah Butterfield. Outlines lesson activities for elementary and secondary students. (KM)

Claims that domestic art or hiddenstream art is not referred to in the art classroom because art teachers have difficulty locating resources. Identifies sources for print and nonprint textiles ranging from local community activities to museum collections. Lists resources for Navajo weaving, African-American quilting, and Amish quilting. (KM)

Explores student assessment by portfolio approach as used in the Arts PROPEL project. Argues that the content of art knowledge is embedded in a process approach in which techniques, elements, formal analysis, and historical images can be explored. Observes that learning is an active process and teacher student interactions concerning the portfolio…