Teaching Art || Teaching Art: An Overview

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<ul><li><p>National Art Education Association</p><p>Teaching Art: An OverviewAuthor(s): Hilda Present LewisSource: Art Education, Vol. 41, No. 1, Teaching Art (Jan., 1988), pp. 4-5Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3194128 .Accessed: 14/06/2014 11:16</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.</p><p>http://www.jstor.org </p><p>This content downloaded from 195.34.79.49 on Sat, 14 Jun 2014 11:16:29 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=naeahttp://www.jstor.org/stable/3194128?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>Teaching Art: </p><p>T" ^SAn Overview </p><p>. </p><p>n this issue six authors offer suggestions for dealing with problems in ,^^^ ---^^ __i^Si^I *teaching art. The first one, in James Iams's words, occurs when "The </p><p>students settle onto their stools, pads comfortably placed, with palette and paints and brushes close at hand, ready to begin sketching .... It is </p><p>then that I see the expected blank looks. The problem has appeared on schedule. There is a growing silence. The students are puzzled; they do not understand what </p><p>E ' -,' ,~:, - _ they are looking at . . . . What to do?" lams goes on to describe his way of ,'~;v?'z' : t . s 5, e v vovercoming this common impediment. </p><p>z''.''-i5?.,-./i'];," ^George Szekely picks up at a later point in the process. The work is finished, and it X {'"l:. 2;:1;^ ^ ~ .' . :H is successful. What do you do with it? Hang it in the corridor? Send it home hoping ' .' .;:,&gt; : _)~ .that it will wind up on the refrigerator? Is that a proper culmination of the artistic </p><p>!~ ,. : ^ .; ', ' - </p><p>_:^ process? No, says Szekely. The completion of a work can usher in a second series of ,,. ... i " ' ;"; , . '.-,' ' _? learning experiences through using the art exhibit as a teaching tool. </p><p>. :'.i; . J.! ' ;. .;; '.'Phyllis Knerl Miller and her co-authors, Robert Blomeyer </p><p>and Anna Martin, describe a new solution to the perennial problem of acquiring, storing, preserving, and retrieving slide reproductions of works of art. Laser videodisc technology now offers art teachers easy and economical access to collections in major museums. The authors also describe the rewards that await teachers who are willing to invest additional time and money in order to become more sophisticated users of laser </p><p>i_,.~ L'~~ ' videodisc technology. "How can the historical content of art be presented as stimulating and experience- </p><p>oriented learning activity?" That is the problem Frank Susi addresses. Susi sees academic games and simulations as a way of motivating and enriching learning. He describes their potential in the art class, provides guidelines for their development, and offers examples of how they can be used. </p><p>Donald Hoffman deals with the special problem of teaching art to adult beginners. He reminds us that adults who have not experimented with the visual arts </p><p>_ since early adolescence usually possess the drawing skill of an 11-13 year old and often have underdeveloped understandings of art, aesthetics, and art history as well. </p><p>'^j, flP^^^^^^,^^^S ^ This can cause embarrassment for the adult student and condescension by the EHIfc X ji^^^^^^ ^S^ t 1 teacher. Hoffman describes his Scale of Visual Interpretation which helps naive </p><p>c- </p></li><li><p>iw </p><p>I tl1 i I : , </p><p>h:A : </p><p>How d you ive with I~~~~~~~.:~ ~::::7 </p><p>i 4% - | | S N </p><p>This content downloaded from 195.34.79.49 on Sat, 14 Jun 2014 11:16:29 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p><p>Article Contentsp. 5p. [4]</p><p>Issue Table of ContentsArt Education, Vol. 41, No. 1, Teaching Art (Jan., 1988), pp. 1-70Front Matter [pp. 1-3]Teaching Art: An Overview [pp. 4-5]If in Doubt, Go Take a Closer Look [pp. 6-8]The Art Exhibit as a Teaching Tool [pp. 9-17]Developing Academic Games and Simulations for Art Education [pp. 18-24]Instructional Resources: Animals in Art [pp. 25-28+45-48]The Laser Videodisc, a Slide-Management System for Your Classroom Now [pp. 49-53]A New Beginning: Adults as Artists [pp. 54-59]Guidelines for Teaching Art to Children and Youth Experiencing Significant Mental/Physical Challenges [pp. 60-66]Printmaker's Dream: A Crossword Puzzle [pp. 68-70]Back Matter [pp. 29-67]</p></li></ul>