Elementary school students painted poster-sized portraits of Black Americans on kraft paper, plain brown paper used by stores to wrap merchandise. The posters were hung on the school's floor-to-ceiling bulletin boards. (RM)

However innovative Cezanne's pictorial structure may appear to those with a preconceived notion of what a representation of reality ought to be, his art is not a simple continuation of previous movements, nor is it a revolutionary reversal that leads directly to cubism and abstract art. (Author/SJL)

A high school art teacher reports her classroom experiences with a new type of chemical paint-alkyds. (SJL)

Describes a study using ocular photography to examine factors which affect the visual weights of significant elements in a picture. Results indicating that the upper half of the visual fields has greatest weight are discussed, as are results showing insufficient support for side preferences. Included are 27 references. (Author/BK)

The author suggests that we tend to give short shrift to sculpture when we go to art museums and great architectural landmarks. She describes various forms of sculpture: carving; modeling; modern plastics, rope, glass, rubber; and mobiles. (KC)

The author discusses the role of the visual arts in helping people deal creatively with their struggles while enhancing their creative abilities. Lists of media, materials, techniques, events, names of artists, art careers, and modes of expression are included. (CL)

The 1964-66 art education conferences were the last serious attempt to involve professional artists and educators in arts policy planning. This is a call to the art education profession to end this communication gap through a conference to examine the nature of excellence in the education of visual artists. (Author/SJL)

The article describes the artistic development of a gifted child who excels at painting, and includes the text of a conversation with him on such things as the themes of his paintings, how he views them, and early influences on his artistic development. (DLS)

Summarizes K. Burke's dialogic theories and exemplifies how they describe not only Edward Burne-Jones's interpretations of his paintings, but also his painted interpretations of poetry. Discusses how Burke's epistemology of interpretive practice contributes to the discipline of poetry therapy. (SG)

An interview with Helen B. Landgarten, a pioneer in art psychotherapy, addresses how she came to work in this field, her training, her experience with Jungian therapy, current approaches to training art therapists, her own painting, and the role of the American Art Therapy Association today. (DB)

Interviews video artist David Garcia, who offers his definition of video art, separating it from other related media such as television. Argues that video art is more about light and time than it is about narrative. Discusses the role of appropriation and the collage element in video. Offers a loose definition of what constitutes a successful…

Provides a lesson for a high school art course on three-dimensional design. Based on a portrait bust by Naum Gabo, the project involves the construction of a 3-D portrait bust using railroad board. Describes techniques that students will need to be taught before beginning. (DSK)

Describes the creation of Worlds Fair, a project that evolved over several years from a sketchy short-story idea into a full-blown Web-based multimedia project with over 80 contributors, and proved to be an education in incorporating visual rhetoric into composition pedagogy. (SG)

Outlines the Formal Elements Art Therapy Scale (FEATS), a measurement system for applying numbers to global variables in two-dimensional art. Developed for use with the single-picture assessment, researchers can apply many of the 14 scales of the FEATS to other types of drawings. Discusses how art therapists who are studying other assessments can…

Discusses a survey of ekphrastic writing (poetry that takes its inspiration from visual art) by contemporary poets that "barely scratches the surface" of a genre as varied as the writers who employ it. Points to the rich interactions and crossovers that occur when "word-folk" try to express their encounters with the work of "image-folk." (SG)